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JULY 30–AUGUST 5, 2015 I VOLUME 30 I NUMBER 19 MIAMINEWTIMES.COM I FREE

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©Greater Miami Convention & Visitors Bureau — The Official Destination Sales & Marketing Organization for Greater Miami and the Beaches. // CS 01692

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• Novecento – Key Biscayne• Old Lisbon Sunset• Ortanique on the Mile• Palme d’Or at The Biltmore Hotel• Panorama Restaurant & Sky Lounge• Pascal’s on Ponce• Piripi• Pisco y Nazca • Red Fish Grill• Redlander Restaurant at Schnebly Winery• Rusty Pelican • Ruth’s Chris Steak House• Sawa Restaurant & Lounge• Seasons 52• Shula’s 347 Grill• SUSHISAMBA Coral Gables• Swine Southern Table & Bar• Two Chefs Restaurant

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E D I T O R I A LEDITOR Chuck Strouse

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M I A M I

Featured Stories ▼

On the Ropes AgainBoxer Yathomas Riley faces murder charges a second time. BY TREVOR BACH AND DAVID SCHICK | PAGE 11

Wide-EyedAt Alter, chef Brad Kilgore cooks Miami’s most ambitious, exciting food. BY ZACHARY FAGENSON | PAGE 31

7 Inbox8 Riptide11 Metro Luke’s Gospel ............................ 1121 Night & Day27 Stage28 Film31 Cafe Taste Test ................................. 3239 Music Crossfade .................................40 Live Wire.................................. 42 Concerts .................................. 4550 Classified Real Estate50 Classified Employment

On the Cover:Photo by Stian Roenning

Cover Story ▼

Too Live LukeIn a new memoir, Uncle Luke tells the story of fighting the law and revolutionizing rap. BY LUTHER CAMPBELL | PAGE 14

▼ Contents

VOL. 30 | NO. 19 | JULY 30–AUGUST 5, 2015

New Times: (ISSN 10723331) (USPS 010669) is published weekly by Miami New Times LLC., 2750 NW Third Ave., Suite 24, Miami, FL 33127. Periodical postage paid at Miami, FL 33152.

The entire contents of New Times are Copyright 2015 by Miami New Times, LLC. No portion may be reproduced in whole or part by any means, including electronic retrieval systems, without the express written permission of the Publisher, New Times, 2750 NW Third Ave., Suite 24, Miami, FL 33127. Please call the New Times office for back issue information. Postmaster: Send address changes to New Times, P. O. Box 011591, Miami, FL 33101-1591.

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©Greater Miami Convention & Visitors Bureau — The Official Destination Sales & Marketing Organization for Greater Miami and the Beaches. // CS 01745

BEACHESBal Harbour, Key Biscayne, Miami Beach,

South Beach/Art Deco District, Sunny Isles Beach

• Acqualina Spa by ESPA 305/918-6844• agua Spa at Delano Hotel 305/672-2000• agua Spa at Mondrian South Beach 305/514-1926• The Betsy Wellness Garden and Spa 305/531-6100• Bliss Spa 305/938-3123• Blue Harmony Spa Shelborne Wyndham Grand 305/341-1366 • The Carillon Hotel & Spa 866/276-2226 • COMO Shambhala Urban Escape 305/695-3528• Croydon Rose Spa & Apothecary 305/704-7448• Exhale at the Loews Miami Beach Hotel 305/200-1301• Exhale at the Ritz-Carlton Bal Harbour 305/455-5411

• Lapis Spa, the Spa at Fontainebleau 305/674-4772• The Palms Spa AVEDA 305/908-5460• Privai Wellness & Spa at the Royal Palm South Beach 786/276-0291 • The Ritz-Carlton Spa, Key Biscayne Miami 305/365-4197• The Ritz-Carlton Spa, South Beach 786/276-4090• The Spa at Eden Roc 305/674-5560• The Spa at Edition Miami Beach 786/257-4539• The Spa at The Setai by Thémaé 305/520-6900• The Spa at Thompson Miami Beach 786/605-4093• The Spa at Trump International Beach Resort 305/692-5730

MAINLANDAventura, Coconut Grove, Coral Gables, Doral, Downtown Miami,

Miami Design District, Miami Lakes

• The Biltmore Spa 305/913-3187• Elemis Spa at The Village of Merrick Park 305/774-7171 • Eména Spa 305/438-3777 • en.liv.en, JW Marriott Marquis Miami 305/421-8770• Exhale at the EPIC Hotel 305/423-3900• Jurlique Spa 305/779-5135• mySpa Miami 305/372-4444

• The Ritz-Carlton Spa, Coconut Grove Miami 305/644-4684• The Spa at Conrad Miami 305/503-6533• The Spa at Mandarin Oriental, Miami 305/913-8332• The Spa at Shula’s 305/820-8141• The Spa at Trump National Doral Miami 305/717-6303• The Spa at Turnberry Isle Miami 305/933-6930• Spa at Viceroy Miami 305/503-0369

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Mustache PowerMagill is the man: Thanks for your story about Zoo Miami’s TV personality, Ron Magill (“Wild Man,” Nathaniel Sandler, July 23). He’s a very nice man. I waited on him and his wife once and told him my daughter was starting first grade the next morning. He wrote a little note of encouragement for her on the receipt (and he tipped well). He’s an all-around good guy. SARAH COCHRAN

Ron is the best: Thanks for sharing this great story. I’ve always been a fan of Ron Ma-gill. I’ll always love the story about when he put the flamingos in the bathrooms during a hurricane. ANN MARIE WOODRUFF

End the SilencePsychological problem: Uncle Luke raises an important point arguing that “stop snitching” culture must end (“Speak Up,” Luther Camp-bell, July 23). The unfortunate truth of the matter is the situation is more psychological than most people want to admit. Black kids kill black kids for the same reason cops do, because they see no value. Black people kill and dismiss other black people (especially black men) for the same reason mass media and our legal and education systems do: be-cause they see no value in them. Black lives do matter and have value in my eyes. However, generally speaking, law enforcement and our legal and educational systems don’t see it that way. History has shown that fact many times over. Mass media demonizes any march or positive moment that positive black people try to get our voices heard. ROBERT INGRAM

Right on, Luke: I’m glad Luke came out and made this argument. It’s about time somebody spoke truth to power. The “no snitching” rule applies only to uncivilized people. But when your loved ones are af-fected, you want somebody to come for-ward to say something. You can’t have it both ways. Thanks, Luke. CHARLIE GEORGE

Where’s the empathy?: I decided to switch up my scenery and took my computer to my local library branch today. I was shocked and saddened to overhear a middle-aged woman chatting on her cell phone in the kids’ reading area about how so-and-so got his head blown off, how the shooter came back for more shots, and how a handful of her friends (she named names) saw it hap-pen. There was zero concern in her voice, like she was reading a crime book out loud. And she wasn’t bothered by the fact that no one had snitched on the crime. A friend of hers knew the shooter too. How do you calmly chat about that? It’s sad. LALA CONSTANTINE

Down with snitches: Have you ever been to California? It’s all snitching culture. It’s a freakin’ police state. I love living down here in the no-snitching culture, because when the government comes for you, where will you be safer? California or Miami? It sure ain’t California. Do you re-ally want to live like Cuba, with a govern-ment snitch on every block? CHRIS HIND

Leaders are responsible: Very rarely do I agree with Luther Campbell, but his article con-demning black communities for their no-snitching culture rings true. I fully understand that some of this hesitance to inform the po-lice of criminal acts stems from real or per-ceived threats. If only the community leaders could strongly make it clear to the folks that informing the police will provide a much safer situation for all in the long run. ROGER SHATANOF

No guns for dumb people: Well said, Uncle Luke. The fact is, it is too easy to pull a gun trigger like it is a bad videogame. There shou ld be a mathematical problem to solve before the gun will unlock. That way, dumb people and kids can’t just click. KELLY ANNE LESAL

Doll DilemmaDangerous chemicals: Kudos to the Miami mom raising money to create an accu-rate, dark-skinned, natural-haired doll for her daughter (“What a Doll,” Jess Swanson, July 23). I love it. I buy my girls different dolls, but it’s hard to find one that looks like them. They have the black dolls, and then they have the white dolls. But seldom do they have in-between dolls with in-between hair. VA NESSA

Doesn’t make sense: If there are no dolls on the market that look like people of African-American descent, then we only have the option to purchase dolls that don’t look like us. Diversity is wonderful, but that is not embracing diversity. ALEXIS BROWN

New ChargesRethink your work: Yathomas Riley faces charges of murder in Georgia after Miami New Times stories helped him get out of other charges in Miami (“Round Two,” Trevor Bach, July 23). So maybe you should rethink some of the stories you write, since he credits your paper for his release three years ago. This all makes you think the other woman who ended up shot in Florida City was telling the truth about him shooting her. I guess the citizens of Lee County, Georgia, should thank Miami New Times for releasing a violent man to kill his wife in our little town. VICKI GAVRE

reader comment of the week: MIAMINEWTIMES.COM

“There should be a mathematical problem to solve before the gun will unlock. That way, dumb

people and kids can’t just click.” KELLY ANN LESAL, COMMENTING ON “SPEAK UP”

| INBOX |

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RISE OF THE ROACHA NEW SPECIES IS HEADED FOR MIAMI. BY JESSICA WEISS

A s if we didn’t already have enough cockroaches in South Florida, there’s a new beast in town.

Last month, environmental scientist Marc Minno was rifling through stacks of paper on his office floor in Live Oak, north of Gaines-ville, when he spotted an interesting-looking bug. He wasn’t startled — he occasionally sees beetles and other insects in the build-ing. But upon further inspection, he realized this was no beetle. It was a cockroach.

“It was black and orange-red, with yellow along the margins of the wings,” he says. “It was actually pretty and very distinctive.”

Minno did some online research and learned that he’d spotted a pale-bordered field cockroach (Pseudomops septen-trionalis), normally found in Central America, the Caribbean, and Texas.

He contacted the Florida State Col-lection of Arthropods (FSCA) in Gaines-ville, which confirmed the roach species had never before been seen in Florida. (However, Bugguide.net lists two previ-ous reports in Florida, as well as dozens of other reported sightings in the Southeast.) Minno then donated the bug to the FSCA.

From giant African land snails to Ar-gentine tegu lizards and Brazilian pep-per trees, species from all over the world find their way to Florida. Many of these species are invasive, threatening marine, freshwater, and land habitats. Accord-ing to the Nature Conservancy, the cost of

managing Florida’s invasive plants alone is estimated at $100 million each year.

The pale-bordered field cockroach is an outdoor species, dwelling amid vegeta-tion such as leaves and shrubs. There’s no indication thus far that the roach could cause serious harm in South Florida. Yet Minno says it’s important that we learn about the species to understand how it could affect the area’s ecology.

“Someone needs to identify if it can do harm,” he says. “What if it gets in someone’s cornfields and attacks the

plants? What if it likes soybeans? Espe-cially in Miami and Homestead, where we grow all that weird tropical stuff no one else has, then who knows if it could have some kind of economic impact.”

Though the roach was spotted in North Florida, Minno assumes it has made, or will make, its way south because of breeding patterns and prior sightings of the bug.

If cockroaches aren’t your thing, there’s one bit of good news: Accord-ing to most experts, the pale-bordered field cockroach rarely enters homes.

| RIPTIDE |

Copyright © 2015 Iustin Cret

▼ IMMIGRATION

AN INTERESTING CAMEO MIGRANTS COME ASHORE DURING MIAMI BEACH FASHION SHOOT. BY DEIRDRA FUNCHEON

A bout 6 a.m. on July 10, photographer Ekaterina Juskowski was shoot-ing a video of her friend, a model,

near 36th Street in Miami Beach. She noticed that a blue-green boat — she thought it was a scuba boat — was coming closer to shore and thought, They are ruining my video.

Juskowski shut off the camera for a mo-ment but turned it back on when the nine men on the boat jumped off and dashed through the water and across the sand, into the city, abandoning the bobbing vessel. Juskowski’s video illuminated how brazenly migrants are entering the country along the Florida coastline.

“That’s a testament to how confident these organizations are — what we call transnational criminal organizations — who smuggle criminals and narcotics right onto the beach,” U.S. Border Patrol spokesperson

Frank Miller explains. He says the incident is under investigation but notes, “There has been an increase in known maritime smug-gling in Florida — from Key West all along the Florida coast — from fiscal year 2014 to now.”

The Border Patrol’s website says there were 2,034 “Illegal Alien Apprehensions” by the Mi-ami office in 2014 and 3,942 apprehensions via “coastal border” nationwide that year. Compare that to 3,338 migrants coming through Canada and a whopping 479,371 migrants through Mexico.

Coast Guard data describes 3,587 “Alien Migrant Interdictions” in 2014 and 1,272 from January through May of this year. This data shows that 2,111 of last year’s migrants were Cuban, 1,103 were Haitian, 293 were from the Dominican Republic, 48 were from Mexico, and 32 were from other countries.

It is not unusual for migrants to strip iden-tifying numbers off a boat and, once close to shore, jump off and abandon it. Experts believe the migration is driven by organized traffick-ing rings that pool clients in the Bahamas, Jamaica, or Haiti; bring them to the Florida coast; and coordinate with people already living

here who tell them when and where to come ashore and help the migrants get settled.

Miller says Florida’s coastline is so vast that “it’s impossible to cover with just Border Patrol agents,” so the agency works closely with the Coast Guard, other law enforce-ment agencies, and foreign allies. Even so, “it’s difficult to get a solid level of situational awareness on what’s coming in.” He asks that the public report tips to 877-772-8146.

Juskowski — who migrated from Russia at age 18 as a university student — had a more compas-sionate take. She says, “Witnessing people start-ing their life anew by jumping off the boat and running into the city made my personal struggle seem rather small. As controversial as the prob-lem of illegal immigration can be for many of us, it is important to remember that people come here in search of a better life, and it comes at a very high price of great courage, hard work, and loneliness. I got to know America as a country with a big heart. While I trust it to the U.S. govern-ment to work out the policies on improving the immigration laws, it feels natural to stay compas-sionate and understanding on a personal level.”

▼ MAN THE BOATS

HIGH TIDEA NEW DOOM-AND-GLOOM CLIMATE CHANGE STUDY SUGGESTS A DIRE FUTURE FOR MIAMI. BY JESS SWANSON

T he latest doom-and-gloom climate change prediction has arrived — and it’s a doozy. The study, written

by alarmist yet reputable and regularly correct climate change scientist James Hansen — arguably the most famous sci-entist in the field — predicts sea levels will rise ten feet in the next 50 years.

That seems like a lot, especially when many of the 2.4 million people in Miami-Dade County live less than four feet above sea level. So New Times spoke with Brian McNoldy, a senior research associate at University of Miami’s Rosenstiel School of Marine & Atmospheric Science, to put the latest report into perspec-tive for anyone who dwells on low-lying land.

“Basically, it would mean big trouble,” McNoldy says. “It would ab-solutely be a big deal for us.”

That’s putting it simply. He explains that the current scientific consensus estimates sea lev-els to rise between two and four feet by 2100. The upper estimates predict six feet. Keeping Miami above ground if those estimates are ac-curate will be an expensive and Herculean feat.

“So ten feet in 50 years is outrageously above and beyond anything else,” he explains.

There is an important caveat, though. The latest study from Hansen — a former NASA scientist who’s now a Columbia Uni-versity professor — is published this week in Atmospheric Chemistry and Physics Discus-sion, a non-peer-reviewed website. That’s troubling to any scientist, McNoldy says.

“I would say the headlines that are com-ing out of this are premature; 99.9 percent of papers don’t see the light of day until they’re peer-reviewed,” he points out. “I would take this with several grains of salt.”

Still, if Hansen is right — and a number of other experts who recently reviewed the work for the Washington Post say his con-clusions are worth discussing — Miami and Miami Beach, in particular, are in big trouble.

In Miami Beach, $200 million anti-flooding pumps are being installed. That engineering should keep the island above water for the next 30 years, assuming sea levels rise one to two feet as currently pre-dicted. “So to have ten feet in 50 years, you almost can’t plan for that. There’s not much you can do,” McNoldy says.

Other South Florida scientists sug-gest a mass exodus or forced migration. Even if the city built a massive waterproof wall, Miami would still go under. Because the city sits on porous limestone, the water would creep in from below.

“So there’s nothing we could do,” McNoldy says.

[email protected]

GET MORE NEWS & COMMENTARY EVERY DAY AT RIPTIDEMIAMI.COM

The pale-bordered field cockroach is ready for its closeup.

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BE informed. BE involved.

Your Voting PrecinctMay Have ChangedIt’s Miami-Dade County’s duty to provide you with a convenient way to cast your vote—and it’s a duty that we take very seriously.That’s why we’ve redrawn voting precincts and it may affect where you cast your vote.

So if you vote on Election Day, make sure you know where to vote before heading to the polls. To confirm your current voting location, visit www.iamelectionready.org or call 3-1-1.

Some voters will be voting at a new Election Day voting location.

Some voters will be voting at the same location, but will be assigned a new precinct number.

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ON THE ROPES AGAINA local boxer faces murder charges a second time. BY TREVOR BACH AND DAVID SCHICK

I had just came in from out of town,” Yathomas Riley tells a Lee County, Georgia 911 dispatcher. “And my wife — I

don’t know what’s going on, but she’s in a room, and she got blood coming out of her.”

A young child screams in the background. It’s 8:30 in the morning July 10, and the male dispatcher’s voice is gentle and calm. He asks for Riley’s location and then asks from where on her body his wife is bleeding.

“She shot herself!” Riley answers. “Is she conscious?” “Man, she’s out!” The responder asks Riley to touch his

wife, to see if she’s cold. Riley says she is. “What that mean?” he shouts, his voice

cracking. “What that mean if her feet is cold?”Lisa Amodio Riley, a 34-year-old emer-

gency room doctor, was declared dead a few hours later; last week, Riley, a 32-year-old professional boxer from Florida City, was charged with her murder. It wasn’t the first time he’d been accused of shooting a part-ner: Almost exactly five years earlier, Riley, then living in Homestead, was charged with trying to kill on-again, off-again girlfriend Koketia King. This June, just weeks before Amodio’s death, cops had picked up the boxer after she’d complained Riley had as-saulted her and threatened her with a gun.

The investigation into Amodio’s death is ongoing, and many details are unknown. But the story of how Riley was freed in Florida only to later be accused of a similar crime involving a different woman in Georgia is one of corruption, deceit, and official incom-petence. It involves a New Times investiga-tion and authorities who may have been overwhelmed by the complexity that makes domestic abuse and murder particularly dif-ficult crimes to prosecute. “Our family is with him,” Riley’s older brother Julius says. “Don’t get me wrong — if he did it, then he deserves everything that’s supposed to happen to a person that does something like that.”

Riley was raised in a poor area of Florida City, in a family with six boys and three girls. The Rileys were firm Christians; Julius, Yatho-mas’ father, is still a pastor at the Gospel Truth Pentecostal Church in Homestead. Growing up, Yathomas and his brothers often fought in the streets, and Yathomas played point guard for South Dade Senior High School’s varsity basketball team. As a teenager, he moved temporarily to Ohio, where his mom lived, and was arrested after falling in with a gang.

In juvenile detention, Riley learned to box. When he got out, he moved back to Florida City and began training seriously. By 2006, when Riley was 23, the agile southpaw had won a Golden Gloves title and had an eye on the 2008 U.S. Olympic team. A couple of

years earlier, Riley had met King, a pretty corrections officer, at a family reunion in Perrine, and the two eventually moved in together and had a child. After barely miss-ing the Olympic squad, Riley signed a pro contract and moved to the Bronx to train.

One day at the gym, Riley, six-foot-one and an impressively muscled 185 pounds, met Amodio, a kind, brown-haired young woman who was finishing her residency at nearby St. Barnabas Hospital. The boxer offered to help the medical student work out, and soon the two were dating. During Riley’s fights, Amodio even worked as his cut-woman, treating wounds between rounds. In 2009, Riley and Amodio became engaged, but when Riley moved back to South Florida to train for a fight, he stayed in Homestead with King, which galled Amodio. “She didn’t want to let him go,” Lisa would later say of Riley’s stay-ing with King. “And he wanted to see his son.”

In Florida, Riley had more brushes with the law. That June, King’s 12-year-old daughter told authorities the boxer had fondled her and “began to choke her” when she resisted, according to a police report.

Confronted by police, Riley denied the charges but admitted that on another occa-sion, he had touched the girl. He claimed the contact was nonsexual, while shaving the area around her vagina. Riley was arrested, but the case was dropped. Investigators con-cluded the girl was lying — and so did King, who told police her daughter was jealous of the time King was spending with Riley.

King was shot twice in June 2010 but survived. In the hospital, she told authori-ties Riley had shot her in a jealous rage.

Riley told investigators the two had been arguing because he found evidence King was involved in a tax-fraud scheme involving the prison inmates she guarded. The day of the shooting, Riley confronted King with a letter he had found in her purse. It was from an inmate and contained a social se-curity number disguised as a phone number.

When Riley scolded King, he claimed, she was so distraught that she pulled a Glock from her purse and shot herself in the buttocks to prove she loved him. Riley said she then threatened to kill herself and pointed the gun at her head. Riley lunged to stop her, he said, but was too late. King shot herself again, this time in the head.

After hearing both versions, police ar-rested Riley. Prosecutors charged him with attempted murder, but the case turned out to be difficult. King gave conflicting state-ments to authorities. Riley maintained he was innocent, and evidence seemed to back up parts of his version more than hers. By April 2012, when New Times published the first of a series of stories showing contradictions in King’s testi-mony, Riley had spent nearly two years in jail without a trial. (King didn’t

Yathomas Riley has twice been accused

of shooting his partners.

Lee County Sheriff’s Office

| METRO |

The Luke LifeThis book is really just a reflection of me. BY LUTHER CAMPBELL

O n August 4, my memoir, The Book of Luke: My Fight for Truth, Justice, and Liberty

City, will go on sale. I hope many young African-Americans who think the odds are stacked against them will read it and be inspired. I wrote the book, which is previewed on page 14, with them in mind.

Closest to my heart are the stories of growing up proud and strong in black Miami. My family went through a lot to ensure that my brothers and I were suc-cessful. A couple of years ago, Miami-Dade Commissioner Javier Souto made the ill-informed remark that Cubans built Miami. The truth is Bahamians built the city. My book discusses blacks who were among the first true pioneers. They paved the way for a guy like me to take on the entertainment industry, which has always viewed me as an outsider.

Because I am not from Los Angeles or New York City, you will never see BET or MTV honoring my contribu-tions to the music business. This is true even though I fought all the way to the U.S. Supreme Court for free speech.

I am not considered part of the in-crowd like Def Jam Records cofounder Russell Simmons. The press would have you believe that Master P was the first rapper to own an independent record company and that Snoop Dogg was the first hip-hop artist to start a youth football league, even though I own both titles.

But this book is really just a reflection of me. I t reveals the behind-the-scenes,

untold stories of 2 Live Crew, including the raunchy freak fests we hosted

as we crisscrossed the globe being as nasty as we wanted to be. It recounts my rise and fall as one of hip-hop’s godfathers and how I turned unknown artists, from H-Town to Trick Daddy to Pitbull, into

record-breaking entertainers. Readers will meet the people I

trusted but who ended up stealing almost everything from me. I also put to rest the gossip about my paying off University of Miami football players. That lie made Dan Le Batard a star reporter for the Miami Herald and an ESPN radio host.

The Book of Luke is my gospel! You can get it at retail shops and online bookstores across America — but you can always help a brother out and preorder today!

Follow Luke on Twitter: @unclelukereal1.

[email protected]

| LUKE’S GOSPEL |

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respond to New Times’ requests for com-ment for the 2012 stories or for this one.)

Prosecutors soon dropped the charges, not-ing in a closeout memo that King had repeat-edly lied to authorities about the tax scam and citing New Times’ reporting. But they didn’t say Riley was innocent. “Although it is evi-dent that based on the physical evidence, the defendant shot the victim” — that Riley shot King— “the fact that the victim was repeatedly untruthful with both police and prosecutors about a key piece of evidence in the case has fatally crippled the victim’s credibility.”

On August 23, 2012, Riley was freed. When he walked out of his jail cell, he let out a flurry of shadow punches — he couldn’t wait to get back in the ring.

Within several months, he and Amodio settled into a new life together in Albany, Georgia, a midsize city 150 miles south of Atlanta known for its dense nature trails and charming downtown museums. She took a job as an emergency room physician at the expansive Phoebe Putney Memo-rial Hospital; he continued training and eventually opened a car repair business and then Riley’s Boxing Gym, an unassuming space in a strip mall next to a nail salon.

In August 2013, Amodio bought a beige four-bedroom house with a pool on a quiet suburban street in nearby Lees-burg for $240,000. The next April, ac-cording to Riley’s Facebook page, Riley and Amodio married, and in the fall, she gave birth to a boy, Giuseppe. “Introduc-ing my son to this cold world,” Riley wrote on his page. “God is good!!!”

Riley also posted pictures and videos of himself boxing, posing with celebrities like Charles Barkley, and firing guns, including a high-powered AR-15 semiautomatic rifle. He also posted a short video of his son crawling and several pictures of Lisa. In one, she wears large dark sunglasses and her hair pulled back tightly as she grins. In another, from this past June 9, husband and wife sit together in the back of Riley’s cherry-red 1972 Chevy Caprice convertible. The car is parked on a bridge overlooking a river in the soft evening light; Riley has his right arm wrapped tightly around his wife’s shoulder. “This woman is my life,” he wrote below the photo. “God is good.”

But by early summer, the couple’s relation-ship had frayed, and Riley’s behavior was attracting the attention of local authorities. One neighbor, Dave Avera, a retired factory worker, tells New Times the Rileys kept to themselves. Though the couple had lived there almost two years, Avera interacted with Lisa for the first time only a couple months ago, when she was at the mailbox. Avera waved, but she didn’t wave back, maintaining a strange, distant expression. “I wondered if she was afraid,” Avera says.

On May 25, a few teenagers were leisurely rafting down Muckalee Creek, which runs behind the Rileys’ property. At one point, the group of friends got out of the raft and began walking along the creek. Riley, from his backyard, noticed the kids and approached, wielding a gun. After telling them they couldn’t pass behind his house, Riley “raised a pistol in the air” and fired four shots, the teenagers said in their police statements. In his statement to authorities, Riley said he

warned the kids to “move along”; when one of them walked toward his property again, he said he fired two shots into the ground.

A few weeks later, on June 14 around 8:30 p.m., Riley wound up in police custody after a distressed call from Lisa. That morning, when she had returned from work, Riley had forced her into the bedroom closet, she said. Then he had put a .44 Magnum revolver to her head and questioned her about cheating. She said she had pleaded with her husband not to hurt her, and he had let her go. But several hours later, Riley pulled out another pistol and again put it to her head. Then he moved the gun from her head to his and began crying and screaming. Later that day, she woke up to find her husband next to her in bed, only for him to wrap his legs around her neck and squeeze. Again, he put a pistol to her head.

Lisa called 911 when Riley left the house. She still had red marks on her neck and chest when police showed up. Riley hadn’t slept in three days, she said — she thought he was having a breakdown. Riley, after being stopped nearby in the red Caprice, denied there was an argument. He was arrested and charged with battery and three counts of ag-gravated assault. He was released on $15,000 bond, with conditions that he surrender his firearms and not go within 1,000 feet of Lisa. Days later, she swore in court that she was convinced Riley’s behavior stemmed from severe sleep deprivation and requested the no-contact provisions be removed.

The morning of July 10, when Lisa was shot, Riley was still on the phone with a 911 operator when paramed-ics arrived. “Come on!” he yelled in an urgent tone. “Come on, come on, come on, come on, come on, come on!”

Then a paramedic asked Ri-ley to leave the room.

“For what?” Riley answered. “Go back out in the hall for

me,” the paramedic said. “For what?” Riley repeated. “Sir, she’s dead.” “She’s dead!? She’s dead!?” Riley was immediately taken into custody

and charged with violating bond condi-tions of the June 14 assault charges by not having turned in his guns. On July 20, he was charged with murder and aggravated assault. He remains in jail without bond.

After the shooting, at Phoebe Putney Memorial Hospital, where Lisa worked, a memorial book was set out in the caf-eteria, next to a photo of her smiling in her white medical coat. Avera, the neighbor, tells New Times that Lisa’s par-ents flew in from New York after their daughter died; they said they plan to take custody of 9-month-old Giuseppe.

Both families are devastated. Julius, Riley’s oldest brother, tells New Times he doesn’t have a great relationship with his younger brother. Yathomas has always been an antagonist, even to family mem-bers, and has the kind of personality “to run somebody crazy,” Julius says. But he still loves his brother, and he loved Lisa as a sister. It’s painful, he says, consider-ing that Yathomas could have killed her.

“It hurts me even to say that I don’t know,” he says. “I don’t know how it went.”

Trevor.Bach@ MiamiNewTimes.com 12

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On the Ropes Again from p11

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CUPID IS DEAD.

In the early hours of June 28th, Cupid was killed in

a dog attack in Miami Shores. Information received

after Cupid’s death reveals a disturbingly large

number of cats maimed or killed in Miami Shores

over the past several years. Attacks occur during

the day, but many occur in the overnight hours

(11 pm – 6 am).

No matter where you live…

Regardless of whether or not you have pets…

PlEASE rEPort All off-lEASh DogS.

Miami-DadeCounty Animal Services(305) 884-1101 or 3-1-1

Miami ShoresPolice Department(305) 759 - 2468

Miami-Dade County Police Department(305) 476 - 5423

…or your local law enforcement agency.

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The memoir, due out August 4, begins this way: “I was born on Miami Beach on December 22, 1960. How I came out, what time I came out, I don’t know. What I do know is that it was unusual. Miami Beach was still segregated... and black people weren’t even allowed there except to work as maids and janitors... I was not even five minutes into this world and I was already making noise some place I wasn’t supposed to be.”

In The Book of Luke: My Fight for Truth, Justice, and Liberty City, New Times columnist Luther Camp-bell tells his story. The Miami native — who brought Southern rap to the Billboard charts and paved the way for today’s cavalcade of hip-hop artists, from Snoop Dogg to Kanye West — describes Miami’s history, growing up the youngest of five brothers, playing football in Hadley Park, and riding the bus to Miami Beach High School just as desegregation was beginning.

Though early in life he aimed to compete in the NFL, after high school, he began working as a DJ, taking the name Luke Skyywalker, after the hero of the Star Wars movies. There were hassles with cops, riots, clubs, a record company, and then 2 Live Crew. That group changed everything by eventually facing down megalomaniacal Broward County Sheriff Nick Navarro and conservative Gov. Bob Martinez. This proved that a little lewdness, a few bad words, and some parody are allowed under the U.S. Constitution.

The 320-page book, published by Amistad, an imprint of HarperCollins, tells this story and more. In the chapter excerpted below, Campbell describes how he and his band-mates tweaked authority and rose to national prominence. It was this ascent, and this attitude, that would eventually take the kid from Liberty City to the steps of the U.S. Su-preme Court. — Chuck Strouse

Black guys talking about sex. In America, that was the single biggest taboo you could be breaking, the fear of miscegenation, the terror that kept 400 years of slavery and Jim Crow in place. And not only did we break that taboo, we smashed it, stomped on it, and danced on it. People were more upset about us than they were about talk of killing policemen and Jews. Think about that.

That was the reason the 2 Live Crew controversy blew up so big, but the reason it kept going so long was because I had the balls, and the means, to fight back. And that’s what really pissed these white conservatives off: my freedom, my power to tell them no. Nobody could pres-sure me. I was black-owned, independent, and making tons of money. I was my own man — a free black man. Nobody owned me. That, I realized, was the thing that really drove them so crazy.

And because I had the only black-owned label, I was the only one who could fight this fight. If I didn’t stand up, corporate America would keep trying to censor all of us. That’s how I saw it. Unfortunately, nobody else in hip-hop saw it that way. Not at the time. The major-label artists, in-stead of backing me, they distanced themselves. Groups like Salt-N-Pepa and Kid ’n Play, they wanted to stay acceptable to middle America and sell records. They went on BET and publicly slammed us. Other groups just didn’t say anything. No major rappers came out in our defense. Not one. Even guys like Russell Simmons, who as an executive I thought would understand the dangers of censorship, I never heard him say a word. No comment. No commitment.

Mainstream artists wanted to play that respectability-politics card. They wanted to throw 2 Live Crew under the bus and show white people that hip-hop could be well behaved. You only deserve free speech in this country if

you’re well behaved. In fact, the people who need free speech the most are the ones breaking taboos and chal-lenging the status quo. Respectability politics weren’t going to save hip-hop from censorship at the hands of corporate America. We had to save ourselves. We had to fight.

Me, there was never a time I wasn’t thinking about fighting. I was born to have this fight. As far as this country was concerned, I was already supposed to be dead or in jail. So I had nothing to lose. The millions I had in the bank — I didn’t care about that. They could take it all. My father never apologized for being who he was, and neither would I. This was my music, and I was going to fight for my right to make it. Not because I particularly cared about being a dirty rapper; that wasn’t really what the fight was about. The question was whether or not the laws of the land applied to a black man the same as a white man. That’s what was driving me. If Andrew Dice Clay and Hugh Hefner have the right to do it, then I have the right to do it. I believed that a black man deserved to have his day in court and see justice served.

I decided I’d challenge the law directly by doing the show at this rundown little place in Broward called Club Futura. On June 9, 1990, Mr. Mixx, Fresh Kid Ice, Brother Marquis, and I rolled up to the club in our white limousine. There were at least 30 police cruisers parked outside. We went in and got ready backstage. I put on my “2 Black, 2 Strong, 2 Live Crew” shirt. As soon as I got onstage, I was looking in the crowd. I could see all these out-of-place people: un-dercover cops. They were easy to spot because they were old as hell and dressed like they’d just run through Kmart grabbing shit off the racks with the lights out. They kept making eye contact with each other, nodding at each other, talking into their earpieces.

LUKE TOO LIVE

A NEW BOOK TELLS THE STORY OF HOW A KID FROM LIBERTY CITY REVOLUTIONIZED MUSIC AND THE LAW. BY LUTHER CAMPBELL

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|My lawyer Bruce Rogow had told me

that if I sang about elected officials, our performance could be defended as a politi-cal rally. So we got the crowd going with chants: “Fuck Martinez! Fuck, fuck Mar-tinez! Fuck Navarro! Fuck, fuck Navarro!” Fans were wearing T-shirts that read, “Let Luke play.” A lot of them had shirts that said, “I used to live in America, now I live in Broward County.” It turned out it was a political rally after all. The cops in the front row all had those mini-cassette recorders sticking out of their front shirt pockets, and you could see the red lights flicking on and off in the dark. I didn’t want to make things difficult for them, so I leaned down and sang my dirty lyrics right into their little microphones. They must have had more than a dozen officers in the club that night. Two would have been plenty.

I was there to get arrested. I was there to take a stand for the First Amendment — to take a stand for hip-hop, for my commu-nity, for everyone who’s ever been bullied into silence by a man wearing a badge.

After the show, we left the club, climbed into our limo, and rolled out of the parking lot. We were followed by a dozen cruisers. They tailed us for a few miles before they hit the lights and pulled us over. All these cars were passing by, fresh out of the show, honking their support for us. I liked that. I stepped out of the limo, and some deputy threw me down on the hood and started patting me down. Then they threw us in the back of the police van. And, of course, Na-varro had orchestrated the whole event with the media so the television camera crews were conveniently waiting right where they pulled us over — just like an episode of Cops.

The whole ride down to the precinct, I kept telling them: “I’m not staying in this motherfucker over two hours, bitch! As soon as you get me downtown, I’m bonding out. The bondsman is waiting with the money.” They booked me around 3 in the morning. It was a total clown show. The deputies in the station were all smiling and high-fiving each other and slapping each other on the back — because catching a white limousine going 35 mph is really something to be proud of, I guess. Then they threw me in a cell and left me there until the sun came up.

All night, the cops kept coming back and poking their heads in the window just to look at me, like I was the first black man in handcuffs they’d ever seen. Later, I walked out of there with a big smile and a show lined up that same night in Phoenix. Life goes on. See you assholes in court. The next day, somebody hacked the Broward County Police radio band and played “Me So Horny” on it, over and over again, which was hilarious.

Before I had to face a jury, I had to face the nation on daytime TV and the nightly news. The media shitstorm over Nasty had been simmering for a while. Now it erupted. Our arrest for performing at Club Futura was the moment the shit really hit the fan. When I walked out of that jail, I was pub-lic enemy number one: Luther Campbell, the hip-hop pornographer, the man in the black hat. The next day, 2 Live Crew was the lead story on Nightline, with Bruce Rogow debating the First Amendment with the

barking lunatic Jack Thompson. I went on MTV, Geraldo, Donahue. USA Today, the New York Times, Newsweek, Time maga-zine — all of them put us on the front page. We were even front-page news in Norway.

As an artist and as a record-label owner, I knew you couldn’t buy publicity like this. For every store that pulled Nasty from its shelves, another store doubled its orders. I was printing money with the albums we al-ready had, but I knew we needed to put out a new release to capitalize on and capture the moment. Our current situation called for an

anthem. Every song I hear, I automatically change it around in my head. That’s how I listen to music. I’ll remix it in my head, break it into pieces, looking for the break or a good bit to sample. I’ll think up a good parody.

I was listening to a rock ’n’ roll station that summer, and Springsteen’s “Born in the U.S.A.” came on. Given the situation I was in at the time, in my mind I heard it as “Banned in the U.S.A.” It was obvious. I needed to get the song cleared. At that period of time, everybody was getting sued. Hip-hop had built itself on sampling other records, which

was fine at a block party, but then people went out and started making commercial recordings with it before standards were ever set for fair use. I had to be careful. I didn’t need any more legal problems. I called up Springsteen’s manager, who called up Springsteen and got him on the phone. I talked to him for maybe five minutes. He said, “It’s no problem, man. I understand the struggle. You can use the song.”

Basically, I used it with his blessing for free. After getting so much opposition from all sides, including from my fellow rappers, it felt good to get sympathy and support from a fellow artist, especially somebody as big as Springsteen. We wrote the song, quickly cut it in my studio in Liberty City, shot a video in a fake courtroom, and rush-released it for the Fourth of July. It was a challenge getting it to the radio stations on time, and we wanted every radio station to play it at the same time on the Fourth. “Banned in the U.S.A.” was actually the first single ever digitally distributed to radio stations.

We beamed it to everyone via satellite. MP3s and Napster and iTunes and all that was still a decade away. I was actually the first person ever to use digital distribution tech-nology for music, only four years after selling albums out of the trunk of my old Honda. Every station in the country played “Banned” on the Fourth of July. That was amazing to me, because all of my success to date had largely come without mainstream radio or TV attention. Now we were too hot to ignore.

As Nasty as They Wanna Be had shipped gold. Banned in the U.S.A. shipped platinum. That summer, we

Above: Luther Campbell and defense attorney Bruce Rogow rejoice in a Fort Lauderdale courtroom October 20, 1990, as they hear a not-guilty verdict in Luke’s highly publicized obscenity case. Left: The cover of 2 Live Crew’s controversial 1989 album, As Nasty as They Wanna Be.

Too Live Luke from p15

Photo by Bill Cooke

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Saturday, November 78pm in the Grandstand To purchase tickets, visit MGFLA.COM

FOR COMPLETE RULES & REGULATIONS, PLEASE VISIT THE PLAYERS’ CLUB. MINIMUM 21 YEARS OF AGE TO PLAY SLOTS, CONSUME ALCOHOL AND 18 YEARS OF AGE FOR POKER & PARI-MUTUEL WAGERING. THE STATE OF FLORIDA ASSUMES NO LIABILITY FOR THIS PROMOTION (RULE 61D-14.084).

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AD21593_Miami_NT_Ad.indd 1 7/15/15 9:18 AM

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went on tour to support the new album, and that was the craziest three months of my life. I was the most dangerous black man in America. Hands down.

After Broward and all the media, law en-forcement had this huge hard-on for 2 Live Crew. “Lock these motherfuckers up” was the mission. Every two-bit Nick Navarro wannabe from Jacksonville to Baton Rouge was lining up to be the next guy to bust Luther Campbell. The cops never wanted Brother Marquis or Fresh Kid Ice, the guys who sang most of the lyrics. Nobody wanted to lock them up. They wanted me. I was the leader. I was the guy on The Phil Donahue Show talking shit. I was the big prize. Before each show, these cops would be like, “Hey, you sing that shit and we’ll lock your ass up.” I’d just smile and act all innocent and say, “Oh, you’re going to lock me up? What you gonna lock me up for?”

To lock me up, they’d have to arrest me first. In order for them to say I was evad-ing arrest, they’d have to tell me, “You’re under arrest!” I didn’t even give them the opportunity to say that. After every show, I escaped. I was like fucking Houdini on-stage. There was a thing we used to do back when I had the original Pac Jam disco. We were famous for “dropping the bomb.” I would take a bunch of gunpowder, put it in a pipe, take two electrical wires, twist ’em together, put one end in the powder and the other end in a socket, and — boom! — it’d blow up. They were Jamaican pipe bombs, basically. Big explosion and a bright, bright light that would blind you for a second. It was a big flash, but it was over real quick. Used to scare the shit out of everybody.

Detroit was where I first started drop-ping the bomb. The cops were all over the place at that show, and just as we went on, somebody told me the cops were waiting outside by my limo as well. It was all planned. “We’re gonna get this guy.” The Detroit show was crazy. It happened right in the wake of Broward, and that was when we re-ally started amping things up. We brought guys onstage to get lap dances from the girls, and some of the guys would eat the girls out. Sometimes the girls would do backflips and give the guys head onstage. We got this one girl from Chicago, she, like, sucked dick backward. Like, she’d flip over and be suck-ing the guy’s dick onstage. It was some acro-batic shit. It was like a fucking freak show.

All those naked women onstage, and the cops were glaring at me, just watching and waiting for their chance to nab me. I was like a symphony conductor up there, a ringmas-ter, whipping the crowd and all these people onstage up into a frenzy. Then, right at the cli-max, right at the end of the last song, I’d grab the mic and yell, “Yeah! I want all these po-lice, the mayor, the governor, and everybody to know one thing: They can suck my mother-fucking dick and kiss my ass! Yo! Thank you! We are 2 Motherfucking Live in yo ass, and we don’t give a fuck about no fucking cops!”

They cut the house lights. Pitch-black. Now drop the motherfucking bomb. Boom! Bright flash. Everybody blinded. Next, I hopped down into the crowd and took my shirt off. I always had two shirts on. Ditch the Luke Gear, just a plain T-shirt on, hoodie up, and I was out the door. Gone. Lost in

Too Live Luke from p16

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Gigi Parker“Fab Fit Forties Blog”

Beauty Blogger Reports

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The Product: Nasolabial Fold + Multi Peptide Cream by Reviva Labs, a natural skin-care company distributed in Health Food And Cosmetic Stores.

Her blog explained that Reviva Labs research discovered that nasolabial folds are not only the result of “smile or frown lines”, but the loss of cheek fat. Reviva reports "as we age the cheek fat slides down toward the nose, causing skin sag and folds. Reviva’s cream features special new peptides that can increase fatty tissue volume, helping folds look less pronounced.

Although Reviva’s Nasolabial cream can be used alone, “Fab Fit Forties” Parker decided to utilize it in Reviva’s popular 3 step layering process, applying Reviva’s Energizing Gel or Hyaluronic Acid Serum, then 5% Glycolic Acid Cream before targeting the folds with Reviva’s new Nasolabial Multi-Peptide Cream. Her results speak for themselves. After just 21 days of usage…A REMARKABLE IMPROVEMENT!

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Apple A Day • 1534 Alton Rd Miami Beach, Fl 33139 • 305-538-4569Bee Hive • 6490 SW 40th St Miami, FL 33135 • 305-663-1300

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the crowd. No security, no nothing. Just another young black dude in a hoodie. Cops never bother to tell the difference between us anyway. I made my way outside, flagged down this random group of chicks in a car, going, “Yo, yo, I need a ride, I need a ride.”

They saw who I was and were like, “Oh my God! Oh my God!” They were all excited and shit. I hopped into the back of their Toyota, ducked down, and sped away. I watched all the fucking cops stand-ing around my limo, looking for my ass. We cruised back by my hotel, and cops were looking for me there too. So we just drove past, went to this other hotel I knew on the riverfront, checked in, and I spent the rest of the evening laughing my ass off at all those cops wasting their fucking time.

I did that shit probably 20, 30 times. Some cities were worse than others. Cincinnati was wild. Those people were scared to fucking death. The police chief actually came and met us at the airport and gave us the usual warning. “Don’t play those songs. Don’t do fucking nothing in my town.” Blah, blah, blah. It was always the same shit. Outside the club, it was like the cops were waiting for a full-blown riot, like this was going to turn into Watts or Newark or something. They had the whole street cordoned off. Rows of cops on horseback. Batons. Tear-gas cannons. Helicopters flying overhead. Snipers on the roof. Motherfuckers had that shit surrounded. The police presence intimidated a lot of the people who’d come to see us. They stayed away. The show was sold out, but by the time we were about to go on, the place was only about half full.

There wasn’t enough of a crowd to do my Houdini act; I couldn’t disappear if there weren’t enough people. I was still ready to go ahead. Fuck it. Arrest me. I’ll beat this one too. But the other guys wanted

to back off. There had been a divide grow-ing between me and them since the early days, when they just wanted to be rap stars and didn’t want to be part of the business.

With the trial and the controversy, that divide was becoming a rift. A lot of people were confused when Banned in the U.S.A. came out and it was subtitled The Luke LP, Featuring 2 Live Crew. But that was just a reflection of where the group was at that time. That trial was all my initiative. Those guys just didn’t want to fight, period. When-ever the police started knocking down our door, I was the one who had to step forth as the spokesman. I had to step out front and take all the heat and answer all the ques-tions and make all the public comments.

So when we were facing arrest in Cincin-nati that summer, they were like, “Yo, man, we don’t want to go to jail.” They said, “We should take a vote.” They voted me down. They wanted to do a clean show. We per-formed the clean versions, like we were do-ing a kids’ show. The audience was pissed. I was pissed too. At that point, I knew that when people came to our shows, they weren’t just coming to see a show. They were com-ing to be a part of the spectacle, part of this movement, a part of saying “fuck you” to the establishment. We let them down. I regret-ted that we backed down. That was really the beginning of the end of 2 Live Crew.

The Book of Luke is available through harpercollins.com, Amazon, and Barnes & Noble.

Editorial@MiamiNew Times.com

Luke in his office March 7, 1994, after winning a Supreme Court decision regarding his parody of Roy Orbison’s song “Oh, Pretty Woman,” in which he replaced the lyrics with “bald-headed woman.”

Photo by Bill Cooke

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Do you or someone you know have

Facial Acne?FXM Research in Miami is looking for males and females 12 to 40 years of age that suffer from Facial Acne, to participate in a four [4] study-visit clinical research study. Medical Insurance is not required for study participation.

Qualifi ed participants will receive: •Evaluation by a Board Certifi ed Dermatologist. •Investigational Study Medication or placebo at no cost. •Reimbursement for time and travel up to USD $200.00.

Do you or someone you know have

Psoriasis?FXM Research in Miami is looking for males and females 18 years or older that suffer from Psoriasis to participate in a four [4] study-visit clinical research study. Medical Insurance is not required for study participation.

Qualifi ed participants will receive: •Evaluation by a Board Certifi ed Dermatologist. •Investigational Study Medication or placebo at no cost. •Reimbursement for time and travel up to USD $200.00.

www.fxmresearch.com

For more information please call: (305) 220-5222Hector Wiltz, MD., CPI.

Board Certifi ed DermatologistFXM Research Miami

FXM Research Miami11760 Bird Road, Suite 452Miami, FL 33175

www.fxmresearch.com

For more information please call: (305) 220-5222Hector Wiltz, MD., CPI.

Board Certifi ed DermatologistFXM Research Miami

FXM Research Miami11760 Bird Road, Suite 452Miami, FL 33175

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EVERYBODY ’ROUND HERE Sha-la-la-la-la-la-la. That’s the rallying cry of all drunk-folk guitar-twang music lovers come Thursday when none other than the Counting Crows hit the stage at Bayfront Park Amphitheatre (301 Biscayne Blvd., Miami). It’s the Somewhere Under Wonderland tour, but it’s going to be something more than awesome when the band digs into big hits like “Mr. Jones,” “Round Here,” “Hangin’ Around,” “Accidentally in Love,” and, of course, its cover of “Big Yellow Taxi.” Even more exciting will be the moment they rip into “Miami,” the Cali-fornia band’s tour-life love letter to the Magic City. It’s time for one more perfect rendezvous indeed.

If you know the band only from the Shrek soundtrack, stop what you’re doing and

listen to “August and Everything After.” If you’re a real product of the ’90s, you already know. When it comes to alt-rock and barstool poetry, this is the pinnacle. Showtime is 7 p.m., and tickets cost $30.75 to $70.25. Call 305-358-7550 or visit bayfrontparkmiami.com. See our interview with Counting Crows frontman Adam Duritz on page 39. KAT BEIN

FRI 7/31 ▼ MUSIC

THOSE SUMMER NIGHTS The last Friday of every month, live jazz floats through the courtyard of the Museum of Con-

temporary Art (MOCA) in North Miami. Sponsored by the North Miami Com-munity Redevelopment Agency, the Jazz@MOCA series features musicians

from all over the world performing — rain or shine — outside the museum. Addition-ally, on these nights, the museum galleries are open by donation from 7 to 10 p.m.

This week on Jazz@MOCA’s roster is the Noah Haidu Quartet from New York. Com-prising Haidu on piano, Ariel de la Portilla on bass, John Davis on drums, and Sharel Cassity on saxophone, the contemporary jazz group blends memorable melodies with conceptual themes and technical expertise. Haidu, who grew up classically trained and later im-mersed himself in pop, jazz, and blues, has been lauded as a performer and as a composer. Most recently, his albums Slipstream (released in 2011 on the respected jazz label Posi-Tone Records) and Momentum have garnered sig-nificant radio airplay and print recognition.

The Noah Haidu Quartet will per-form this Friday at 8 p.m. at MOCA (770 NE 125 St., North Miami). Admission is free. Visit mymoca.org. HILARY SAUNDERS

SAT 8/1 ▼ AUCTIONS

ART FOR A CAUSE When frolicking on the sands of South Beach, sniffing plumeria on street corners,

or ordering cocktails at an outdoor bar, it’s easy to forget there are people who don’t have it as good as most Miamians.

It may seem like slavery died in the 1800s, but sadly, the trade is far from over. Human trafficking still exists, and people are forced into sexual slavery, labor, or commercial sexual exploitation across the globe. This so-called industry led to $31.6 billion in international trade in 2010 alone.

To help the victims of this horrific trade, hit up the Free & Fearless 5K art auction. Get gussied up, sip cocktails, and buy exquisite art — all to help those seriously in need. And count your bless-ings while you’re at it, because life is pretty sweet in our neck of the world.

The event runs from 6 to 10 p.m. Saturday at MIArt Space (151 NW 36th St., Miami). Ad-mission is free. Visit miartspace.com or call 786-406-9915. HANNAH SENTENAC

▼ FOOD

SPICE, SPICE, BABY The challenge: Try more than 150 of the city’s top restaurants in 61 days. The strategy: Miami Spice.

It’s the time of year when the two-month mouthwatering restaurant promotion known as Miami Spice gives foodies the chance to indulge in three-course meals at reduced prices ($23 for lunch and $39 for dinner) at restaurants they might otherwise never try. DB Bistro Moderne? Check. Scarpetta? Yep. The Cypress Room? Got it. Zuma? You bet.

But fine dining is only the tip of the iceberg. Sure, Milos, Il Mulino, the Forge, and Juvia are on the roster, but there are plenty to choose from in the wide spec-trum of dining. From local favorites like Macchialina and Pubbelly to new kids on the block Beachcraft and Red Ginger, the range of choices allows you to hit up a dif-ferent restaurant every day for the next two months (till September 30) and still not have eaten your way through the list.

So what are you waiting for? Visit ilovemiamispice.com to see the full list of participating restaurants, check out their Spice menus, and form a game plan. Challenge accepted. CARLA TORRES

▼ THEATER

SAVE THE DIRT FOR DINNER Hollywood is often referred to as “the boys’ club,” and there’s no denying that women in the industry have felt that stigma — especially

THURSDAYPAGE 21Wish you were a little funkier with the Counting Crows.

SUNDAYPAGE 22MDC’s MOAD shows off its most famous works.

WEDNESDAYPAGE 24Jennine Capó Crucet returns to read from her first novel.

N I G H T DAYW E E K O F J U L Y 3 0 - A U G U S T 5 , 2 0 1 5 W W W . M I A M I N E W T I M E S . C O M / C A L E N D A R

CRYING-ON-THE-INSIDE KIND

Broken Flowers,Sunday

Focus Features

®

GET OUR FREE APP SCAN THIS CODE WITH YOURiPHONE OR ANDROIDFOR MORE EVENTSOR VISIT: miaminewtimes.com

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in the 1960s and ’70s, when it wasn’t so easy to call people out for being sexist. Actresses aside, imagine what it was like for female talent agents. Ladies, wouldn’t you rather have an agent who understands you than simply wants to see you prancing half-naked onscreen? And gentlemen, wouldn’t it be more advantageous to have a woman in charge who puts your best interest first?

Enter Sue Mengers, a real-life talent agent who shook up perceptions and proved that women can be as tough as the men in the boys’ club. During her time as a talent agent, Mengers represented superstars such as Cher, Steve Mc-Queen, and the queen herself, Barbra Streisand.

In John Logan’s one-character play I’ll Eat You Last: A Chat With Sue Mengers, audiences get a taste of a day in the life of Mengers. (Appar-ently, she was a chain smoker — took the edge off.) They also learn that Mengers, who passed away in 2011 at the age of 79, was an extraor-dinary person, a refugee of Hitler’s Germany who worked her way up from the bottom.

I’ll Eat You Last takes audiences into the agent’s fabulous home for a night of gos-sip as Mengers, played by Laura Turnbull, dishes on Hollywood’s filthiest secrets. Showtime is 8 p.m. Saturday at GableStage at the Biltmore (1200 Anastasia Ave., Coral Gables). Tickets cost $40 to $55, and the show runs through August 30. Call 305-445-1119 or visit gablestage.org. See our interview with Turnbull and director Joseph Adler on page 27. CAROLINA DEL BUSTO

▼ MUSIC

DRUM CIRCLES Looking for a summer diversion that doesn’t involve beaches, bars, or Brazilian bikinis? The sixth-annual African Diaspora Dance & Drum Festival of Florida is a multicul-tural extravaganza that’s family-friendly, fun, and educational — a rare trio.

Designed to help the community embrace and understand the African diaspora, the event spans two days and includes no shortage of diversions, including African and Caribbean dance, drum and music workshops, a health fair, a raffle for two tickets to South Africa, an artisan marketplace, a free Children’s Village, African folktales, dancing, drumming, arts and crafts, face painting, hula-hooping, and even a bookbag and school supply giveaway.

Most important, Saturday will showcase the Better Living symposium. This year’s edition, titled “It Takes a Village: Keeping Our Community in Unity,” is a tribute to the far-too-many victims of gun violence. Police officers, city officials, school board members, and others will address this timely issue and its potential solutions.

The event runs from 9 a.m. to 11:30 p.m. Saturday and noon to 6 p.m. Sunday at the Little Haiti Cultural Complex (212 NE 59th Ter., Miami). Admission is free. Visit adddff.delouafrica.org. HANNAH SENTENAC

SUN 8/2 ▼ ART

EXPLORING THE GREATS Discovering up-and-coming talents in the art world is what makes gallery-hopping

in Miami so exciting. Despite the elation of all things new, nothing quite replaces the thrill of taking in works by art legends with your own eyes. Giving patrons a bit of everything, Miami Dade College Museum of Art + Design (MOAD) presents “Recent Acquisitions + Highlights,” the museum’s first long-format exhibition featuring selections from MDC’s art collection.

MOAD’s executive director and chief curator, Jeremy Mikolajczak, will lead a public tour and preview of the collection this Sunday from 1 to 2 p.m. The tour will give an in-depth look at the college’s collec-tion, which features pieces by Alex Katz, Ana Mendieta, Andres Serrano, Andy War-hol, Frank Stella, Louise Nevelson, Roy Li-chtenstein, and many others. Guests will be invited to a cafecito reception after the tour. The exhibition will be open to the public Wednesday, August 6, and will re-main ongoing. The tour and reception at MDC-MOAD (600 Biscayne Blvd., Miami) are free with RSVP. Call 305-237-7700 or visit mdcmoad.org. SHELLY DAVIDOV

▼ FILM

ROADSIDE ATTRACTIONS Like many major cities, Miami’s most com-mon denominator is time spent driving. We all share that isolated experience, passing by the landscape and people without really taking it all in. Visual artist Marina Gonella makes those sensations tangible with her solo exhibition “Going Home,” on display at O Cinema Wynwood. A collaboration between the theater and ArtCenter/South Florida, the show reflects Gonella’s point of view on her daily commute. Overlooked spaces and features of the terrain, from ex-pressway ramps to road signs, get a wistful treatment in the artist’s photographic format that uses transfers and abstract collage.

Marking the end of this Florida-centric ex-hibit, O Cinema and ArtCenter invite guests to a closing reception, which will begin with a light brunch of baked goods, fruit, and mimo-sas, followed by a screening of the 2005 film Broken Flowers. Directed by Jim Jarmusch, the story follows retired and resigned computer magnate Don Johnston (Bill Murray), who is stunned by the news that he possibly has a 19-year-old son he’s never met. Costarring Ju-lie Delpy, Broken Flowers won the 2005 Grand Prize of the Jury at the Cannes Film Festival. Admission to the closing brunch and screen-ing is free. Brunch begins at 11:30 a.m. Sunday in the O Cinema Wynwood courtyard (90 NW 29th St., Wynwood). Call 305-571-9970 or visit o-cinema.org. SHELLY DAVIDOV

▼ SPORTS + SCIENCE

BATS AND BALLS OF ELECTRICITY The electricity at Sunday’s Miami Marlins game against the Arizona Diamondbacks won’t be limited to game play. Before the first pitch, the Frost Museum of Science will bring more electricity than the aver-age Marlins’ player can muster, conducting electricity-themed experiments on sustain-ability for the future at Sunday Funday With the Miami Marlins. The experiments will show how renewable energy works, with

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Keep Your Cart Happy :)To �nd out what you should recycle, call 3-1-1 or visit miamidade.gov/publicworks

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DANCE!

THEATER!

OUTDOOR FESTIVALS!

FAMILY SHOWS!

OUR FIFTH ANNIVERSARY SEASONIS BETTER THAN EVER! Get ready for a great lineup this season including more Cabaret shows, our new INDIE FLICKS film series and COMEDY SERIES, the return of BLACK CREEK NIGHTS and much more!

JOIN US OCTOBER 10, as we kick off the new season with a FREE BACKYARD BASH on our Concert Lawn. Enjoy the sounds of Swing and New Orleans Jazz with BIG BAD VOODOO DADDY, HOT 8 BRASS BAND, AARON LEBOS and DJ LE SPAM. See you there!

IT IS THE POLICY OF MIAMI-DADE COUNTY TO COMPLY WITH ALL OF THE REQUIREMENTS OF THE AMERICANS WITH DISABILITIES ACT. THE FACILITY IS ACCESSIBLE AND ASSISTIVE LISTENING DEVICES ARE AVAILABLE. TO REQUEST MATERIALS IN ACCESSIBLE FORMAT, AND/OR ANY ACCOMMODATION TO ATTEND AN EVENT AT THE SOUTH MIAMI-DADE CULTURAL ARTS CENTER, PLEASE CONTACT STEPHANIE APONTE, 786-573-5314, [email protected], AT LEAST FIVE DAYS IN ADVANCE TO INITIATE YOUR REQUEST, TTY USERS MAY ALSO CALL 711 (FLORIDA RELAY SERVICE).

TICKETS GO ON SALE AUGUST 4!

®

Information:

smdcac.org 786.573.5300 10950 SW 211 St. Cutler Bay, FL 33189

IT’STIMETOJAM!

MUSIC!

DANCE!

IT’S

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activities ranging from mobile circuits to a Van de Graaf generator and a cool Tesla coil.

Anyone attending the Marlins matchup is welcome to participate in the free pro-gram, but game tickets are required and cost $13 to $249 per person. Frost will host the activities from 11:30 a.m. to 1 p.m. inside Marlins Park (501 Marlins Way, Miami). Call 305-646-4236 or visit miamisci.org. EMILY DABAU

MON 8/3 ▼ MUSIC

AMONG THE LIVING Monday is hard, but this is the alt-rock fan’s best week ever. If you can survive the weekend’s hangover and get through the day without incident, you could be rewarded with a majestic and inspir-ing performance by none other than the indie-psych darlings of My Morning Jacket. These five dudes from Kentucky deliver a smarter, more introspective brand of Southern rock that teeters on the edge of Pink Floyd. They’ve wowed massive crowds at Lollapalooza, Bonnaroo, and Coachella, but nothing compares to seeing these guys perform on their own headlin-ing tour. Plus, the show will take place at the Fillmore at the Jackie Gleason Theater (1700 Washington Ave., Miami Beach), an illustrious and ornate venue befitting the ethereal-tinged guitar grit this band emits.

The group’s almost two decades of mu-sic and experience should assure fans that the $45-to-$59.50 ticket price is a safe bet to lay down. Plus, 2015’s LP The Waterfallis a really beautiful and funky listen. The show starts at 7:30 p.m. Call 305-673-7300 or visit fillmoremb.com. See our inter-view with My Morning Jacket’s drummer, Patrick Hallahan, on page 40. KAT BEIN

WED 8/5▼ BOOKS

MIAMI HOMECOMING Earlier this year, New Times named Jen-nine Capó Crucet Best Up-and-Coming Author. Her first book of short stories, How to Leave Hialeah, was a funny and poi-gnant account of the author’s hometown, with particular insight into navigating the often-bumpy road of being a first-generation American. Now Capó Crucet has released her first full-length novel, Make Your Home Among Strangers, and the Miami native will fly in from Nebraska, where she works as an assistant profes-sor, to read from her hometown novel.

Make Your Home Among Strangerstells the story of Lizette, the daughter of Cuban immigrants, who is accepted to an elite private university. Her world is rocked when, right before she leaves for college, her parents divorce. She must grapple with the fallout in Miami as she attempts to navigate the foreign world of her new university — a place that’s soaked in wealth and privilege unfamiliar to working-class Lizette. Make Your Home Among Strangers is a playful and touching look at Miami and the lives that are lived in it, and it’s definitely worth reading.

Capó Crucet will read from her novel at 8 p.m. Wednesday at Books & Books (265 Aragon Ave., Coral Gables). Admission is free. Visit booksandbooks.com. STASSA EDWARDS

Send upcoming events to Arts & Culture Editor Stassa Edwards at MiamiNewTimes.com/submit-event. Include the location, date, time, price, a contact phone number, and a high resolution photo. It’s best to submit items three weeks in advance.

Danny Clinch

My Morning Jacket comes South.

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Aventura | Boca Raton | Fort Lauderdale | Miami | NaplesOrlando | Port St. Lucie | Tampa | West Palm Beach

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Special AgentA demanding solo show honors a one-of-a-kind Hollywood broker.BY JOHN THOMASON

S ue Mengers represented dozens of eminent actors and directors during the New Hollywood era of the late ’60s and ’70s. The late talent agent possessed a

scabrous wit untarnished by political correct-ness. About a certain famously gay singer/pianist, she said, “Elton’s the easiest dinner guest ever: He’ll eat anything but pussy.”

About her ostentatious home, previ-ously owned by Zsa Zsa Gabor, she quipped, “For weeks after moving in, I was finding little bits of marabou and sequins. Every-where you looked: marabou and sequins. Like she shit them.” She succinctly sum-marized Gene Hackman as “a big, ugly potato face with the soul of a Beat poet.”

At least, she might have said these things. These are lines from I’ll Eat You Last: A Chat With Sue Mengers, John Logan’s one-woman play set in Mengers’ living room in the twilight of her career, which opens at GableStage this Saturday night.

“Agents and the way Hollywood works have always fascinated me,” says GableStage artistic director Joseph Adler, who had a lucrative career in filmmaking before be-coming a Miami theater maven. “I started reading Variety when I was in high school. I knew a lot about Sue Mengers; I’ve known people who knew Sue Mengers. The fact that Logan [who penned the Mark Rothko bioplay Red] was involved in writing it intrigued me even more.”

In the play, Mengers shares Hollywood stories and dishes about her career and her life, which included emigrating with her family from Germany before the Nazi clampdown and learning English by watch-ing lousy prints of Bette Davis and Joan Crawford movies. “That’s why I still talk like a gum-cracking Warner Bros. second lead.”

As she addresses the audience, Mengers smokes weed and drinks to excess. As Logan warns in his introduction: “This play contains profanity, smoking, alcohol consumption, drug use, and gossip.” The drugs further ex-pand her senses of humor and openness even as they function as an escape from her mental anguish: For the duration of the play, she anticipates a phone call from her most impor-tant client, Barbra Streisand, who recently finished a disastrous movie directed by Sue’s husband. Sue wants to know if she and Babs are still simpatico, but as the call-less minutes tick by, the answer seems to lean toward “no.”

When Adler saw the Broadway produc-tion in 2013, with Bette Midler playing Mengers, he knew he needed a South Florida

powerhouse for the role. Laura Turnbull was his first choice. Turnbull campaigned for the part, and now she has it — all 42 pages of long, blocky text, obscure movie refer-ences, and precise mouthfuls such as “I’m hot, town’s hot, time’s now, which I’m afraid your pseudo-Ivy-League-whiz-kid-boy-agents-slash-rentboys will fail to recognize.”

“Directors always say, ‘Just have fun,’ ” Turnbull says. “Michael [Leeds, who’s guest-directing the production] hasn’t said that yet, but I imagine at some point he might. And it is a fun piece. It’s just really scary and kind of daunting.

“I’d never actively thought, I’m going to seek out a one-woman show,” she continues. “It’s kind of like be-ing naked onstage. You want to say, ‘Yes, I was able to do that; I conquered the fear,’ and then you go, ‘I don’t need to do that again.’ ”

I’ll Eat You Last presents challenges beyond just the enormity of its line memori-zation. There are also a couple of instances of audience participation, which will allow Turnbull to flex the improvisatory muscles she first exercised with the Groundlings troupe many years ago. Expecting the unex-pected is essential. Audience members will have to fetch her drinks or perform other basic tasks. That sort of thing can develop in unpredictable ways, and she will need to be prepared to respond as Mengers would.

Another potential challenge is that Sue spends nearly the entire play glued to her living room sofa. Her opening line is “I’m not getting up,” and she means it.

“It makes it harder if you’re an actor to learn your lines, because I’m one of those that ties movement with words,” Turnbull says. “When you’re doing blocking while learning lines, you associate it: When you

cross down right, this is when you’re talk-ing about blah, blah, blah. So here, it’s ‘This is when I light the cigarette’ or ‘This is when I fluff the pillow.’ I have to really own the words to know what’s going on.”

“We would concentrate on that, and it became almost like choreography,” Leeds says. “It’s down to ‘Pick up the lighter here — this is where you light it or inhale for effect.’ It’s more specific than I would ordinarily do, because it’s important for this piece.”

If all goes well, GableStage theatergo-ers will laugh a lot and walk away with a different perspective on the Hollywood agent. Mengers shows concern for Ali MacGraw’s life choices. She passionately campaigns to transform Hackman from a supporting player to a leading man. The play dispels the notion that talent agents are all venal snakes. It should even contain an undercurrent of mournful pathos.

“[Sue] didn’t have kids of her own,” Leeds says. “The people who she represented, she treated like her family, so that when they left her, it was like a betrayal. What’s great is watching Laura vacillate between the vulner-ability and the hard negotiator that Sue was.”

Turnbull summarizes her character nicely: “I think she’s kind of a hoot — the nicest bitch you’ll ever meet. She was ballsy, she was fearless, she knew how to go after what she wanted, and she had fun. She was the first person to put herself down, which would automatically deflate anyone who was coming at her. Like her or not, I think she was respected, for who she was and for everything she accomplished.”

[email protected]

I’ll Eat You Last: A Chat With Sue MengersAugust 1 through 30 at GableStage, 1200

Anastasia Ave., Coral Gables; 305-445-1119, gablestage.org. Tickets cost $40 to $55.

▼ Stage

Laura Turnbull plays the ballsy Sue Mengers.

George Schiavone

“I THINK SHE’S KIND OF A HOOT — THE NICEST BITCH YOU’LL EVER MEET.”

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Sweet and TartiPhone feature Tangerine is an exuberant, piercing comedy. BY STEPHANIE ZACHAREK

T here’s probably only one hu-manist film that opens with the words “Merry Christmas Eve, bitch!” accompanied by the proffering of a single, sprinkle-

dusted doughnut. In Sean Baker’s Tangerine, best friends, transgender women, and prostitutes Sin-Dee and Alexandra (Kitana Kiki Rodriguez and Mya Taylor) catch up at a doughnut joint on the corner of Santa Monica and Highland in Los Angeles, the afternoon light still sizzling outside. Sin-Dee, just sprung from a 28-day jail stay, has bought her friend a single celebratory doughnut.

The jubilant moment doesn’t last long. Al-exandra has to break the news that Sin-Dee’s boyfriend (and pimp) cheated on her while she was in the pokey, with a nontrans woman, no less. It’s all too much for Sin-Dee to bear: Enraged, she stalks off to find her deceitful paramour and the hussy who’s turned his head. Alexandra follows close at Sin-Dee’s heels, hoping to cool her down, although she’s distracted by the task of promoting a nightclub performance she’s giving that eve-ning. She foists a homemade flyer on every friend and acquaintance she passes, chanting, “Mary’s at 7, Mary’s at 7!” If she has to hypno-tize her friends into attendance, she’ll do it.

In the early minutes, you might not be sure what you’re watching. Tangerine is a comedy, of course, laced with rambunctious, exuberantly ragged dialogue. But by the end, Baker and his actors have led us to a place beyond comedy — you may still be laughing, but your breath catches a little on the way out. Tangerine is lovely that way, and it’s of a piece with Baker’s two previous films, Starlet (2012) and Prince of Broadway (2008). Bakerhas already carved a niche for himself, spe-cializing in a kind of microbudget naturalism: He and cinematographer Radium Cheung shot Tangerine on iPhone 5s fitted with spe-cial anamorphic lenses and further refined the look of the picture in postproduction.

But even if its aesthetic is unapologeti-cally lo-fi, Tangerine looks like, and is, a real movie. Baker bestows a vaguely regal aura even to the seedier, or at least most nonde-script, stretches of Los Angeles. He shoots from a place of love, not condescension or exploitation, and that mindset extends to his characters. The novelty of what Sin-Dee and Alexandra do for a living wears off pretty quickly: What we’re left with are simply people, negotiating the tricky territory of love and desire, as well as the need to be noticed and recognized. Taylor’s Alexandra is tall and elegant, with a broad, noble forehead: Her personality is as outsize and roaring as

the big rhinestone lion cuff she wears on her wrist. Rodriguez’s Sin-Dee is smaller, quicker, more mercurial; she’s given to indiscrimi-nate gestures, but also to generous ones.

Sin-Dee finally locates the prostitute with whom her scrawny, carelessly tattooed boyfriend/pimp Chester (James Ransone)

has dallied: Dinah (Mickey O’Hagan) is a wispy, leggy blonde with a voice like a bird’s squawk. Sin-Dee drags her, quite literally, through the streets (on foot and by bus) even though one of her silver flip-flops has flown off. Sin-

Dee, it seems, has nothing but vengeance in mind. Yet in the ladies’ room of the club where Alexandra is set to perform, she impulsively brushes Dinah’s pale cheeks with a little pow-der makeup — it’s a glancing moment of ten-derness between romantic rivals, a reminder of the uneasy bond that can form when two girls share a weakness for the same guy.

Baker weaves a third player into the story of Sin-Dee and Alexandra: Razmik (Baker

regular Karren Karagulian) is a cab driver and Armenian immigrant with a wife and young daughter. He’s also one of Sin-Dee and Alexandra’s regular customers. We see him going about the regular business of his workday, one minute picking up a bereaved pet owner from an animal hospital, the next railing at the rude, drunken kid who’s just thrown up in the back of his cab. For one reason or another, it hasn’t been a great day, and he’s thrilled to spot Alexandra on the street. She’s glad to see him too: They yak affably as she slides into the front seat and then head to a drive-thru car wash for a quick assignation — the soft, soapy whirr of the automatic brushes and the rubbery fringe flapping at the windows make for a surprisingly calming erotic setting.

Tangerine is raucous and bawdy, reach-ing a half-funny, half-painful crescendo in a sequence that nods to early Woody Allen: Everyone’s foibles and insecurities come to the fore, but there’s no easy solution for any-one. No one in Tangerine, or in real life, can ever get the balance of anything quite right, but we just can’t stop ourselves from trying.

Baker has no interest in cheap manipula-tion. That’s most apparent in the sequence

where Alexandra finally gets to perform onstage. She’s sheathed in a tight red dress; a tinsel-wrapped pole stands nearby, a half-optimistic, half-defeated attempt at holiday decorating cheer. Only about five people are there to hear her sing, but one of them is Sin-Dee, true to the end. Alexandra’s song is the Victor Herbert/Glen MacDonough lul-laby “Toyl and,” a tune that, under ordinary circumstances, may have too much syrup in it. But as Taylor’s Alexandra sings it, slowly and in a dusky moonglow voice, it becomes a tipsy fishing boat of a song, a vessel pushing off for parts unknown — a muted anthem for the way uncertainty can also equal possibility. Tanger-ine is all about possibility, and about becoming. Trans or not, we’re all becoming, every day.

[email protected]

Tangerine Starring Kitana Kiki Rodriguez, Mya Taylor, Karren

Karagulian, Mickey O’Hagan, Alla Tumanian, and James Ransone. Directed by Sean Baker. Written by

Sean Baker and Chris Bergoch. 88 minutes. Rated R. Opens Friday, July 31, at O Cinema Wynwood, 90

NW 29th St., Miami; 305-571-9970; o-cinema.org.

| ARTHAUS |

▼ Film

Mickey O’Hagan and Kitana Kiki Rodriguez

Augusta Quirk

BAKER SHOWS THAT WHAT PEOPLE DO IS ALWAYS SECONDARY TO WHO THEY ARE.

▼ ARTHAUS

A Lego BrickumentarySTARRING JASON BATEMAN AND JAMIE BERARD. DIRECTED BY KIEF DAVIDSON AND DANIEL JUNGE. RATED G. OPENS FRIDAY, JULY 31, AT O CINEMA WYNWOOD, 90 NW 29TH ST., MIAMI; 305-571-9970; O-CINEMA.ORG.

H ow much time would you like to spend in the company of benignly kooky hobbyists? That’s the question to

ask before committing to docu-commercial A Lego Brickumentary, a largely genial but frequently wearying feature-length toy ad.

The film’s central conceit is sound enough: Lego construction kits “unlock [users’] imagina-tion,” in the words of one Lego creator. A Lego Brickumentary accordingly presents an expan-sive portrait of Lego fans, including sociologists and architects, as a means of showcasing what the toy can be built into, like a life-size Star Wars

X-Wing spaceship and miniature kits modeled after Frank Lloyd Wright’s Fallingwater resi-dence. But experts such as musician Ed Sheeran and gallery artist Nathan Sawaya mostly offer accidental insight into Legos’ mass appeal. They seem like singularly meaningless pieces of the film’s uncritically unified whole — each

another brick in the wall.Interviews with “AFOLs,”

or “adult fans of Lego,” make for alternately frustrating and intriguing scenes. At Lego conventions, adult and kid fans scrounge for rare pieces while amateur designers try to score business meetings with official Lego represen-tatives like Jamie Berard. Codirectors Kief Davidson and Daniel Junge highlight some fascinating aspects of

Lego fandom, especially whenever they present Lego consumers as a unique subculture. Brief sequences focused on the construction of intri-cate roller-coaster sets and towering skyscrapers are genuinely compelling. But Davidson and Junge are too impatient to linger on any one section of their mosaic portrait. SIMON ABRAMS

Lego fans make up a unique subculture.

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magpictures.com/tangerine

tangerineA fi lm by Sean Baker

“WHAT’S IMPORTANT ABOUT TANGERINE IS THAT IT’S SO

CATHARTICALLY HILARIOUS.” Jonathan Kiefer, SF Weekly

“ONE OF THE MOST EXCITINGFILMS OF THE YEAR.”

Peter Macia, Vogue

“IT JUMPS OFF THE SCREEN AND

WOWS YOU LIKE NOBODY’S BUSINESS.A VISUALLY INNOVATIVE KNOCKOUT THAT

GRABS YOU FROM THE FIRST FRAME.”Peter Travers, Rolling Stone

★★★★★“THIS MOVIE IS EVERYTHING.”

David Ehrlich, Time Out New York

“A TOUGH YET TENDER, GRITTY YET GORGEOUS MOVIEMADE WITH INGENIOUS SKILL. A DIZZY, OFTEN EXUBERANT, DOWN AND DIRTY ROMP.”

Manohla Dargis, The New York Times

“A BEAUTIFULLY FILMED, SWOONINGLY SCORED, GRACEFULLY PERFORMED

WONDER OF A MOVIE.” Richard Lawson, Vanity Fair

“WILDLY ENTERTAINING.” Eric Kohn, Indiewire

STARTS FRIDAY, JULY 31

MIAMIO CINEMA WYNWOOD

90 NW 29th St (305) 571-9970 www.o-cinema.org

JAKE GYLLENHAAL

FOREST WHITAKER

RACHEL McADAMSAND

FROM THE DIRECTOR OF TRAINING DAY AND THE EQUALIZER

FEATURING ORIGINAL NEW MUSIC FROM EMINEM

WRITTENBY KURT SUTTER DIRECTED

BY ANTOINE FUQUA*JOBLO

“TRIUMPHANT!”*

NOW PLAYING AT THEATERS EVERYWHERE CHECK DIRECTORIES FOR SHOWTIMES - NO PASSES ACCEPTED

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PRESALE: GEt fiRSt AccESSto tickEtS!Use promo codePRfiRStcoURSEPre-Sale: July 29 - August 2Public Sale: August 3

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Wide-EyedBrad Kilgore is cooking Miami’s most exciting food at one of its most ambitious restaurants.BY ZACHARY FAGENSON

B radley Kilgore, the 29-year-old chef of Wynwood’s two-month-old Alter, sports a glistening, slicked-back Chicago gangster hairdo as he grabs a young

Lake Meadow chicken. He debones it and removes the thigh meat, which he grinds up with a pungent combination of garam masala, North African spices, mushrooms, and foie gras. Then he inserts the velvety, savory filling into rolled breasts that are steamed, dried, and crisped. Finally, he rests the cooked bird atop sweet roasted golden beets and a sugary charred peach.

The flavor combinations are exqui-site, but it’s the chicken’s supple juici-ness that signals potential greatness.

This is what you’d expect of Kilgore. The Kansas City native first tasted kitchen life at age ten while washing dishes in a hometown egg-and-bacon spot. Soon he was cutting biscuits, squeezing oranges, and surreptitiously cooking omelets while line cooks were on break. After attending Johnson & Wales University in Denver, he embarked on a four-month stint in the Ital-ian countryside near Milan. Upon return-ing to the States, he worked in legendary Chicago kitchens at Grant Achatz’s Alinea and Laurent Gras’ now-closed L2O.

In 2011, he moved to Miami and joined Azul in Brickell Key’s Mandarin Oriental, where he quickly garnered at-tention as Joel Huff’s sous-chef.

What came next was disastrous. In 2012, he and his wife Soraya partnered with Jer-emy and Paola Goldberg, who until 2014 owned Coral Gables’ Route 9. A New Times review of their restaurant, Key Biscayne’s Exit 1, found dirty plates, a dead bug, and a curly dark hair resting atop roasted parsnips.

Yet Kilgore bounced back brilliantly, donning the executive chef’s coat at Jean-Georges Vongerichten’s J &G Grill at the St. Regis Bal Harbour in summer 2013. It wasn’t long before his cooking took flight with ingenious, technique-driven spins on simple proteins and root vegetables. “I was their only chef to have any real es-tate on the menu,” he says. “Still, I always had handcuffs on as far as the way I like to cook. Why can’t you have a technique from Japan with a flavor from Thailand and a chili from Peru all on the same plate?”

Thus, Alter was born. Longtime friends Leopoldo Monterrey and Javier Ramirez had been pondering a restaurant for at least three years but swiftly decided who would run the kitchen. “Brad had a very clear idea of what he wanted to do,” says Ramirez,

a 42-year-old hedge-fund risk manager. “Casual, upscale, progressive American.”

The walls in the finished space are sparse, lined with industrial-looking con-crete. Chocolate-colored wooden tables are just a touch distressed to show off the grain. The lone bit of decoration is a twist-ing neon sculpture that burns a sinister red above a bar separating the 38-seat dining room from the open kitchen.

There’s little to focus on other than the food, which is offered on an ever-changing menu that’s as adventurous and exotic as Mi-ami’s international reputation. A soft-cooked egg is the perfect example. Miami’s Spanish influences have shaped and molded this dish into a combination mandating some type of

Spanish ham, pota-toes, and perhaps a dribble of olive oil. But Kilgore will have none of this. He cloaks the runny ovum in Gru-yère cheese espuma infused with a sea scal-lop’s briny punch. Mi-nuscule truffle pearls add luxurious com-plexity, while a wafer-

thin Gruyère crisp provides some crunch. Be sure to order bread and butter ($8) to mop up the bowl. Yes, just the egg is $13, but the torn hunks of fluffy, eggy loaves — topped with sumac and dill seeds and smeared with soy-infused butter — are worth the extra expense.

Cocktails, overseen by general manager Antoine Lecas, previously of South Beach’s Morimoto, provide a sharp, clean complex-ity that pairs well with the nuanced plates. A rum punch cleverly blends pineapple and orange juice with a splash of vermouth. The Dark Ginger is a play on a Moscow mule — it replaces vodka with whiskey and brightens the drink with a few bright, minty basil leaves.

Later, Kilgore shows off a deft hand with oyster mushrooms from Central Florida. They’re briefly cured in a blend of salt and smoked soy and then steamed, smoked over alder wood, and pan-roasted. The combination of aged Beemster Gouda pu-rée, brittle tofu skin, and tart chili threads works. And the execution creates something

special, providing the full spectrum of tex-tures a mushroom can offer. The dish is supple, meaty, and crisp at the same time.

Kilgore clearly capitalizes on vegetables’ moment in the spotlight with dishes such as leek “chorizo.” Spears are braised until their interiors become sweet and tender. They’re doused in a paprika oil that offers the sau-sage’s unmistakable smokiness and are rich from contact with a pool of coconut milk.

Cape C anaveral prawns, crusted with a combination of toasted corn nuts, ground Korean chilies, and citric acid, star in a de-lightful version of shrimp ’n’ grits. The ac-companying pool of velvety hominy is lined with a Sterling Ruby-like striping of huitla-coche purée, mole verde, and vegan chorizo oil. The best part, though, are the heads filled with succulent, salty goodness. These are equally good solo or squeezed onto the plate.

But a miss here and there is inevitable. A milky burrata purée adds nothing to a dish featuring a stark-white ceramic cone bearing emerald-green guitara noodles en-veloped in a velvety, herbaceous sauce. The plate calls out for some kind of spice or tang to snap your palate to life. And a dessert of peaches is haphazardly presented with overly dense banana bread and pretzel ice cream that’s little more than very sweet vanilla.

Alter is a place to visit every couple of months. In its current form, the menu re-lies on modest ingredients. There is none of the dry-aged beef, quail, or thick slices of Perigord truffles you would expect. As the seasons change, Kilgore plans to offer a 12-to-15-course tasting menu. You’ll want to be there for the chance to taste the greatness.

[email protected]

Alter223 NW 23rd St., Miami; 305-573-5996; altermiami.

com. Tuesday through Saturday 7 to 11 p.m.

Bread and beurre $8Soft egg $13

Guitara noodles $14Cape Canaveral prawns $25

Poussin $24Leek “chorizo” $21

Peaches $10

▼ Café

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Cape Canaveral prawns

CAPE CANAVERAL PRAWNS STAR IN A DELIGHTFUL VERSION OF SHRIMP ’N’ GRITS.

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TEN BEST LUNCHES UNDER $10 IN DOWNTOWN MIAMIDowntown Miami isn’t exactly the culinary capital of the city. Affordable options are slim. Fancy hotel restaurants and fast-food spots can be found, but midrange places for a deli-cious lunch for $10 or less are hard to come by.

If you don’t want to pack your own meal every day, here are ten lunches that will keep your taste buds happy, your stomach full, and your wallet fat.

1. Siam kiss at Burrito San (119 SE First Ave.): We love a good threesome, especially when the trio comprises Thai flavors, burritos, and seaweed. Burrito San is our absolute favorite lunch addition to the downtown dining scene. The prices are reasonable, and the fare is fresh and bold. The Siam kiss ($9) — made with lemongrass chicken, shredded papaya slaw, pickled jalapeños, peanuts, and nuoc mam sauce rolled into rice and seaweed — is tops.

2. Lunch combo at Bryan in the Kitchen (104 NE Second Ave.): Bryan’s is downtown’s go-to for the best chocolate chip cookie and an afford-able, healthful lunch. Nearly every item on the menu costs less than $10. Try the lunch combos. You can get a half-sandwich and half-salad, a half-sandwich and soup, or a half-salad and soup for $9.75. The beet-and-palm-hearts salad and salmon sandwich are fresh and satisfying.

3. Ex-Patriot pressed sandwich at Sparky’s Roadside Barbecue (204 NE First St.): “We’re an American restaurant, so we couldn’t call it a Cuban, but it’s pretty close,” Hans Seitz, co-owner of the downtown barbecue spot Sparky’s, says of the Ex-Patriot. This happy accident of a sandwich was not what they set out to create, but this cubano variation ($9.95) with a barbecue twist is a winner. The pork, bathed in mojo, is smoked for up to eight hours. You will go hog-wild for it.

4. Vadouvan chicken salad sandwich at Fooq’s (1035 N. Miami Ave.): This isn’t your grand-ma’s or the golf club’s chicken salad sandwich. Fooq’s makes regular food fun. The vadou-van chicken salad sandwich ($10) on warm naan bread is stuffed with pulled chicken, apples, golden raisins, toasted almonds, Greek yogurt, and greens. The crunch you might expect from celery comes from crisp apples and almonds. The flavors and the textures of this dish work in perfect harmony, and your hands get a soft, pillowy grip as you dig in.

5. French onion soup at Downtown Bis-tro (114 SE First St.): Soupe gratinée à l’oignon ($6.50) is a must at any French place, and Downtown Bistro is no excep-tion. The blistered cheese is delectable. If you want to splurge and top the $10 mark, you can’t go wrong with another lunch staple, the croque-monsieur ($10.50). It easily feeds two, so if you share, you’ll stay well within your ten-buck budget.

6. Gyro at Stoupsy’s of Athens (350 SE First St.): The hard-working lunch crowd in the neighborhood knows this little Greek café well. The lamb and beef in its gyro sandwich ($6.50) has a slightly crisp seared edge from the spit. The veggies are

always fresh and piled high. A mix of let-tuce, red onions, and fresh diced tomatoes are covered in tasty homemade tzatziki. Feta cheese finishes off the pillowy-pita-wrapped sandwich before it gets a final foil wrapping. It’s a gift from the Greek gods.

7. Brussels sprouts two ways at 180 Degrees at the DRB (501 NE First Ave.): This gastro-pub that gave the DRB a 180-degree flip still keeps plenty of craft beer, but now the food is also up to par for the most perfect of pair-ings. You can get black bean, pulled pork, or fried chicken sliders for $10. But chef Ryan Martin also has a special take on veggies, such as the Brussels sprouts. He pairs the healthful vegetable with chorizo and frizzled onions for something pretty delicious.

8. Ayam bumbu kecap at Bali Cafe (109 NE Second Ave.): When it comes to hidden gems down-town, Bali Cafe tops the list. The best choice is the rijst-tafel for $17.95. You get six courses of an Indonesian feast. But if you want to

stay under the $10 mark, try the ayam bumbu kecap ($8.95), with grilled chicken breast and kecap manis (a sweet Indonesian soy sauce) or one of the soup or rice noodle dishes.

9. Salad bar at Whole Foods (299 SE Third Ave.): The lease may have been signed in 2003, but Whole Foods opened its doors at this location only six months ago. It’s a welcome addition that offers made-to-order churros, croquetas, and flan from Versailles, brew from Funky Buddha, and cold-pressed juices from Jugofresh. There are plenty of affordable options, but hit the salad bar. If you don’t pick veggies that weigh a lot, you can easily score a delicious salad for less than $10.

10. Pizza al taglio at Pizzarium (69 E. Flagler St.): Need a lunch that makes you feel like a Roman god? Strap on your gladiator sandals and head to Pizzarium, where you can throw down a thick, bubbly, and chewy slice. Piz-zarium sells pizza al taglio, a rectangular Roman pie. For a fun time, try the funghetto ($6.84 per slice), with porcini mushrooms, garlic, and black truffle cream. CARINA OST

| TASTE TEST |

▼ Café

Courtesy of Burrito San

Burrito San’s Siam kiss costs $9.

YOU CAN’T GO WRONG WITH ANOTHER LUNCH STAPLE, THE CROQUE-MONSIEUR. IT EASILY FEEDS TWO.

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▼ TRUCK TRACKER

CHEF TEACH HOUSE OF MAC: PITBULL’S MANAGER SERVES THE 305When Pitbull was laying down vocals for “In-ternational Love,” do you think he knew that his then-manager would go on to open a food truck serving innovative comfort food to late-night diners around Wynwood? Probably not. But for Derrick Turton, better known as Chef Teach, a career in food was always a goal, even after managing Mr. 305 for more than a decade. Toil-ing behind the stoves of his food truck on a re-cent Sunday night in the parking lot of LMNT, the event space on NW 36th Street, Teach remi-nisces about getting into music and then leav-ing it behind. “I went to vocational school [for cooking] back in 1998, but then I got sidetracked by music. It’s kind of ironic how things came full circle,” he says, looking content dishing out multiple pans of his popular mac ’n’ cheese loaded with lobster. Even if you had no idea this man once managed one of the most successful recording artists of the past decade, you’d never know he hadn’t spent his entire life cooking.

“Teach went on to become the vice president of a very successful label called Polo Ground Music, but cooking has just always been his passion,” says Al Nelson, Teach’s business partner and a successful entrepreneur himself. “One day, we were just sitting around talking about the possibil-ity of creating a catering company or a food truck, and I was very intrigued by the idea.”

Chef Teach is part of a growing number of professionals — not just in Miami — leav-ing their day jobs for their true love, cooking (Paulie Giannone and Jason Weisberg of Paulie Gee’s are just two examples). Hoping to turn his kitchen on wheels into a perma-nent space and perhaps even a franchise (you learn a thing or two about business when you manage someone like Pitbull), he’s try-ing to feel out his clientele on a nightly basis at bars and clubs throughout Wynwood. Nelson, his partner, received funding from Shark Tank’s Mark Cuban for his company Easy VIP. Success seems imminent.

Originally from Trinidad, Teach and Nelson want to create the Roscoe’s of the East Coast, but with Caribbean flair. One of the go-to dishes, and one that Teach most loves talking about, is his jerk chicken pasta. Fettuccine Alfredo is laced with jerk spices, yielding a pungent yet familiar dish that pairs well with just about any of the bar or club drinks in the area. For an appetizer, chicken wings are cooked to crisp perfec-tion and then slathered in Buffalo, lemon-pepper, barbecue, or garlic-Parmesan sauce.

The star of the show, though, is the chicken ’n’ waffles. Marinated in buttermilk before being fried, the boneless chicken pieces are moist and tender. As good as it is, though, even the chicken is no match for red-velvet waffles griddled to order, doused with white-chocolate syrup, and covered in a blanket of powdered sugar. Make sure you’re not on a trendy diet before you try any of Teach’s food.

Chef Teach House of Mac is often parked in the lot at LMNT throughout the week, sometimes moving at night to other locations. We caught him last week outside Wynwood Brewing, a delicious match for the brewery’s

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local craft beers. To best find the truck, though, hit Teach and his team up on Insta-gram, where they’ll entice you with photos of the hearty cuisine and reveal their location.

Some say the food truck trend is waning, that too much competition and high parking fees have made the business cutthroat. But if Pitbull’s former manager can get into the game and make food from scratch that’s this excit-ing, let’s hope food trucks are only beginning their second wave of popularity. PATRICK HIEGER

▼ NEIGHBORHOOD JOINTS

UNCLE TOM’S BBQ OPENS IN PINECREST, ANNOUNCES HOMESTEAD LOCATIONUncle Tom’s Barbecue has opened its third location and has plans for a fourth.

The newest Uncle Tom’s, located at 8345 SW 124th St. in Pinecrest, opened for lunch and dinner last week. On Wednes-day, July 22, the restaurant hosted a private reception and ribbon-cutting ceremony with Pinecrest Mayor Cindy Lerner.

Uncle Tom’s has been serving ribs and chicken to Miamians since 1948 at its original location on SW Eighth Street. Back then, nearly 70 years ago, locals and tourists flocked to the restaurant, which was basically the last chance for food and drink before heading across Tamiami Trail to the west coast of Florida.

Decades later, the restaurant changed hands, and the original flavors for which it was known were replaced. After a fire forced the iconic log cabin structure to close in 2013, the Rodriguez family, which own Pasta del Giorno in Pinecrest, purchased the restaurant. The family provided much-needed renovations and reinstated original menu favorites such as the original Uncle Tom’s secret sauce. Co-owner Ariel Rodri-guez said, “I grew up eating at Uncle Tom’s Barbecue. My family and I considered it an institution, and when the opportunity arose to purchase the restaurant, we jumped at the chance to reintroduce that legacy.”

After reopening the flagship Coral Gables location, the Rodriguez family planned to open an outpost in Pinecrest but found a perfect location in Hialeah — coincidentally while working on the Pinecrest space. The Hialeah restaurant, which needed little work done, opened in February 2015.

Now the Pinecrest location is finally ready. The menu remains the same and features genuine pit-barbecue dishes such as baby-back ribs, spareribs, chicken, pork, beef or barbecue brisket platters, salads, sandwiches, baked potatoes called “bakers,” and desserts. Almost everything is smoth-ered in Uncle Tom’s secret sauce, created by the Fantis family so many years ago.

Just as the Pinecrest restaurant has opened, the Rodriguez family has announced plans for a fourth Uncle Tom’s, located in Homestead. A space has already been cho-sen, and the new restaurant will feature a full liquor bar. More information about the Homestead outpost will follow shortly.

Uncle Tom’s Barbecue in Pinecrest is open daily for lunch and dinner from 11 a.m. to 11 p.m. LAINE DOSS

[email protected]

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Flying SouthCounting Crows’ Adam Duritz discusses mental health and metaphors. BY DYLLAN FURNESS

M usic and mental health have a complicated, reciprocal relationship. Songs can simul-taneously settle and exagger-ate moods, augment intellect,

numb pain, recall thoughts good and bad. Many of music’s most magnificent figures have grappled with various degrees of men-tal instability, experiencing the revelatory peaks and troughs of the human condition.

Counting Crows frontman Adam Du-ritz is one of rock ’n’ roll’s most cinematic songwriters. His thoughtful, tortured lyr-ics paint scenes with pigments of human emotion. People he’s met, places he’s been, and feelings he’s felt are brushstrokes on a musical canvas. Using an off-the-wall anal-ogy, Duritz can conjure a sensation usually confined to a single, insufficient word.

Since his early 20s, Duritz has suffered from what he describes as a dissociative disor-der, which can, at times, make his world seem unreal. He perceives everyday scenes like a projection on a movie screen. These experi-ences create abstract associations between concrete things, as do many of Duritz’s lyrics.

Counting Crows will kick off their Somewhere Under Wonderland tour at Bayfront Park Amphitheatre this Thursday. Before the show, Adam spoke with New Times about his lyricism and disconnect.

New Times: When I first heard the song “Dis-location,” it reminded me of an interview some time ago in which you mentioned suffering from a dissociative disorder. This song seemed like the first time you explicitly reference this condi-tion in your lyrics. How does your dissociative disorder inform your lyricism and songwriting?

Adam Duritz: It did, does, and will inform every song I ever write probably. The disorder makes it seem like the world isn’t very real. It makes it hard to connect with people because I have to force myself to take [the world] seri-ously, as if it’s real. It’s the sensation of watch-ing a movie in front of my eyes — like someone is projecting a film onto my eyes. It’s very disorienting and causes a lot of disconnection.

It’s important to every single song I’ve ever written. It’s the reason for all of them. I just didn’t talk about it for a long time. I didn’t know

specifically what it was for a long time, but the feeling was al-ways there, since I was in my early 20s. It isn’t referenced specifically in “Dislocation,” but it’s certainly part of what the song is about.

There was a period when I felt like I was getting worse and worse for years. Then around Saturday Nights and Sunday Mornings, I felt like I got a handle on it a bit. Not necessarily that I got better, but I stopped getting worse, and I got a grip on where I was. A few years after that, I real-ized I probably wasn’t ever going to be fine.

When you have something wrong with you, you want to get better. You get strep throat and you expect an antibiotic to be healthy again. A lot of things in life work that way, but not everything does. That was a hard realization.

Your lyrics seem to have developed from more morose and serious to hu-morous and lighthearted. Do you find your songwriting to be therapeutic?

No, I don’t think there’s anything thera-peutic about songwriting. You’ve got to get your therapy done outside of things like that. But an album is probably a good way of judg-ing how the person is feeling. I might have been feeling better at that point, but I think it’s more effect than cause. Writing a song doesn’t take a problem and make it better.

That said, if I have to choose a day where I feel like shit and a day I feel like shit and finish a song, I’ll take B. At least I was productive. It’s always better to do something than just mope around. So I feel better when I’ve written a song, but the song doesn’t make you feel better.

You described a disconnect from people and places in relation to your dissociative disorder. But in your lyrics, there are always proper-noun people and places. How do you relate your real-world disconnect and your lyrical connection?

A lot of the songs are about connections I’ve made and lost. That’s part of it. But when I started off working, a lot of people said, ‘You should use less proper names, less place names. Don’t make it so specific because it makes it harder for people to relate to your songs.’ While I understand what they meant by that, it seemed like stupid advice. You should make art as you

want to express it. People will like it or not. But the idea that you can temper what you’re doing seemed like idiotic advice.

These proper names resonate with me because they’re real people and places I’m writing about. The details fill out songs. People make the mistake of thinking you should sing about vagueness. But if it reso-nates for you, it will resonate for them.

Songs call up memories. If you want your song to call up memories, you need to put your own memories in there too — the details, the sense of place, the things that give your world gravity, as opposed to a free-floating series of ideas. The descrip-tions and the details give the world gravity, which makes it a place that people can live in. Without it, it’s just air. People don’t live in air. They live in worlds, in buildings.

Counting CrowsWith Citizen Cope and Hollis Brown. 7

p.m. Thursday, July 30, at Bayfront Park Amphitheatre, 301 Biscayne Blvd., Miami;

305-358-7550; bayfrontparkmiami.com. Tickets cost $35 to $195 via livenation.com.

▼ Music

Duritz (center) has had a dissociative disorder since his early 20s.

Danny Clinch

“WRITING A SONG DOESN’T TAKE A PROBLEM AND MAKE IT BETTER.”

Ten Years of ModernageThe band returns to where it all began a decade ago: Churchill’s. BY JUNETTE REYES

P laying at Churchill’s Pub is a rite of passage for Miami musicians. When Modernage had the opportunity to perform at the

legendary Little Haiti dive ten years ago, the band released recordings of the night’s perfor-mance and hasn’t looked back. Modernage’s musical journey over the past decade has earned the Miami rockers supporting roles for international acts as well as features on Hispanic TV stations such as MTV3, Mun2, and LATV.

But despite the magnitude of its success, Modernage took a nearly two-and-a-half-year hiatus, which was — thankfully — broken by one performance this past April. That show

inspired the group’s members to come to-gether once again to create new material.

Cofounder and vocalist Mario Giancarlo couldn’t be happier to be back at it.

“We were creating again,” he remem-bers fondly. “We are keeping it going and playing new shows and eventually, hopefully, having another release.”

Before Modernage moves forward, though, the bandmates decided it was only right to begin the new leg of their career where it all began: Churchill’s.

For guitarist Xavier Alexander, this will be an opportunity to not only complete the circle but also present a more ma-ture and refined version of themselves.

“It’s funny, because the last time we played Churchill’s, we probably didn’t put on the most politically correct show. We were drunk, and I don’t remember much, but I remember rolling around on the stage at some point, making trumpet sounds into the

microphone,” Alexander says. “So I think we can probably come back and say, ‘Hey, this is what we really do,’ and it’ll be a nice feeling.”

Although the show will be a celebration of Modernage’s return to music, Giancarlo hopes the night’s lineup will also highlight the growth that Miami’s music scene has seen while they were out of the game.

“There wasn’t much of a community of music at the time. Now there are a lot more different types of acts that are doing well be-cause there seems to be more of a centralized community around it,” Giancarlo says. “One of the things I remember back then is there weren’t that many bands doing anything other than hardcore or punk. Now that’s changed.”

Giancarlo hopes Miami’s new play-ers on the music scene will increase the city’s demand for live music.

“I think at some point, people are going to realize there are a lot of amazing bands out there and get sick of watching a DJ pretend to

twist some knobs behind a stage and want to see some real music. I think it’s hopeful,” he says.

After having reached what some might consider a milestone, Alexander and Giancarlo look forward to continuing what they started ten years ago, but this time with a newfound ease and confidence.

“We’ve really ridden the whole band experience like you see in the movies,” Alex-ander says. “It gets to a point where you’re no longer really worried about the future or really even thinking about it. You’re just kind of doing your thing. You know what to do, you get onstage, you knock it out, you have fun, and there’s a lot less pressure on it.”

[email protected]

ModernageWith Deaf Poets, MillionYoung, Krisp, and Sigh

Kicks. 9 p.m. Saturday, August 1, at Churchill’s Pub, 5501 NE Second Ave., Miami; 305-757-1807;

churchillspub.com. Admission costs $10.

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Florida Man Diplo’s Sunshine State roots continue to influence his sound.BY JOSE D. DURAN

D iplo, in the voiceover for his 2011 BlackBerry ad, marveled at his life and busy schedule — conve-niently organized by his Cana-dian-designed smartphone. “I

can’t believe that people are actually paying me to leave my house and go somewhere like Austria to DJ for them,” he mumbled be-tween quick cuts of his phone. Though Wes-ley Pentz’s charm and good looks couldn’t save the company’s product from eventual obsolescence, he couldn’t have imagined then that his life would get much busier.

“If I’m not spending time with my two sons, I’m working,” Diplo says in a recent email interview. At 36, he still leads his Mad Decent record label and is involved in two col-laborative projects — Major Lazer and Jack Ü. That’s, of course, when he’s not busy DJing at nightclubs and festivals around the world. “Every spare moment, from today in the studio in Vegas before the show to airplane rides and hotel lounges, I’m working. I know the importance of always staying active.”

Before he was an EDM powerhouse, Diplo was a party promoter and DJ in Philadelphia, where he started the Hollertronix collec-tive with DJ Low Budget in 2003. Riding on the success of Hollertronix’s Never Sacredmixtape, Diplo, who grew up in Broward

County, released his first album in 2004, Florida, named for his home state. Hopping among baile funk, dancehall, and hip-hop, the album gave fans a taste of what was to come.

Released on British label Big Dada, Florida wasn’t a huge hit by Diplo’s cur-rent standards, but its lead track, “Diplo Rhythm,” introduced him to America’s then-underground dance music scene. Critics received the album warmly, mainly because there was nothing else that sounded like it.

“It was great to reissue Florida and reminisce about that time in my life,” he says of the album’s re-release last year.

His biggest break came after he began collaborating with Sri Lanka-via-London rapper M.I.A. “Paper Planes,” on her sophomore album, Kala, brought them mainstream attention and a Grammy nomi-nation in 2009. It catapulted Diplo into the superstar-producer status he enjoys today.

He has yet to release a proper followup to Florida. Instead, he keeps busy with his collaborative projects, Major Lazer and Jack

Ü, which released new albums this year. From its debut, 2009’s Gun Don’t Kill

People... Lazers Do, to its current incarna-tion, Major Lazer has undergone a major transformation, in its lineup and its sound. Cofounder Switch and live frontman Sker-rit Bwoy were replaced by a band of rotating contributors, along with new permanent members Jillionaire and Miami’s Walshy Fire. The transformation also brought in heavier influences from pop and hip-hop.

Tracks such as “Bubble Butt” and “Get Free,” from 2013’s Free the Universe, set up fans for the radio-friendlier tone of Peace Is the Mission. Diplo says the only reason Major Laz-er’s sound is evolving is because its main inspi-ration, Jamaican dancehall, is also changing.

“Although Peace Is the Mission has more of a pop sound, the roots and our inspira-tion remains the same as it has been through all the past Major Lazer releases,” he says. “The goal this time around was to create a more well-rounded album that maintains its dancehall-roots integrity but can touch

more people worldwide. Jamaica and dance-hall were always the main inspiration, but even as we travel to Jamaica a lot, we see that scene change, and we are part of it.”

Diplo is also still very much a part of South Florida’s musical fabric. It’s the area where he was raised and where he still visits often to record. When in town, he works out of Honor Roll Studio in Little Haiti, where he recorded the bulk of the Apocalypse Soon EP and Peace Is the Mission. The area’s col-liding cultures, Diplo says, has had a lasting impact on his way of approaching music.

“I don’t think I’ve ever seen a more diverse place than South Florida,” he says. “Where I grew up, it’s just a middle-class, blue-collar world. Race didn’t matter — Haitian, Jewish, Jamaican, Cuban, white kids, rednecks from Central Florida. My high school and middle schools were a crossroads of culture, and I feel like [South Florida] is where everything started. It’s a real mashup of culture.”

Going from struggling DJ in Philly to sought-after producer has been quite a change for Diplo, who’s still learning that people lis-ten to what he says — like the time he tweeted that “someone should make a Kickstarter to get Taylor Swift a booty.” He later admitted to GQ: “One of the biggest mistakes of my career was definitely fucking with her.”

Social media gaffes aside, Diplo isn’t slowing down anytime soon. He says to expect more Major Lazer and Jack Ü music this year and a lot more touring — “Mad Decent Block Party and Boat Party, and who knows what’ll pop up next.”

[email protected]

Mad Decent Block PartyWith Jack Ü, Jauz, Major Lazer, Zeds Dead,

Thomas Jack, Ricky Remedy, and Yellow Claw. 3 p.m. Saturday, August 1, at Revolution Live,

100 SW Third Ave., Fort Lauderdale; 954-449-1025; maddecentblockparty.com. Tickets cost

$51 via ticketmaster.com. Ages 16 and up.

Willy T.

| CROSSFADE |

▼ Music

Rocking Out and Roasting Pigs Patrick Hallahan of My Morning Jacket on the band’s latest album and his new love, La Caja China.

BY ANGEL MELENDEZ

The guys of My Morning Jacket are legend-ary live performers. Given that they’ve been going strong since ’98 and released

seven albums, you’d expect them to put on a stellar show. Still, no matter a group’s longevity, stage presence and charisma are rare in music. They’re inherent skills, ones not easily taught. On top of that, My Morning Jacket’s ability to play instruments with balanced levels of aggression and delicacy makes for a can’t-miss concert.

My Morning Jacket is bringing its epic rock ’n’ roll carnival to the Fillmore Miami Beach, and New Times spoke with drummer Patrick Hallahan just prior to the band setting off on the second leg of its 2015 tour. Traveling in support of its critically acclaimed seventh studio album, The Waterfall, My

Morning Jacket will tour through the remainder of the year. In our conversation, Hallahan revealed his thoughts on the band’s most recent album, his newfound love for a Miami culinary classic, and what he thinks a great band should be.

New Times: What did you think of Miami?Patrick Hallahan: I love Miami. Ac-

tually, I just bought a La Caja China. Do you know what those are?

Oh, yes. Those are for roasting pigs.Yeah, I just bought one of those not too long

ago, and they’re based out of Miami. I talked to the owner, and he was telling me to come down and try a bunch of different places, so I’m going to be eating quite a bit when I’m there.

That’s a good idea. Have you tried the caja china yet?

Dude, yeah. Three pigs already.How was it?I mean, come on. Do I need to go

further? It was amazing [laughs].So the new record, The Waterfall, is getting

great reviews. After you listened to the finished product, what were your thoughts? And how is it different from other My Morning Jacket albums?

Man, I could go one step further and say that when we were making this album, I just knew that

I was in the middle of something I was really proud of. We were coming from a really honest place. Ev-erybody’s playing was on point. Honestly, I came home from making this album — we had been gone for two months, and my wife was like, ‘Is it worth it? Because you’ve been gone forever.’ I told her I didn’t care if anyone bought the album or not, but chuck it in my casket when I go because I was really proud of how this one turned out.

You’ve been with My Morning Jacket since 2002. Have things ever gotten tough enough that you thought it might be the end of the band?

Yeah. I mean, a band is like a marriage. If you talk to any married person who’s been married a long time — and you’re like, ‘How has it been over the course of your marriage?’ — they’re going to say it’s been hard. The good times are good, the bad times are bad, and there’s a lot of in-between. That’s the same application to a band. There have been mo-ments when we questioned going forward, and there are moments, like now, when we’re supergrounded and communicating really well. When you’ve been doing this so long, you just get the myriad of emotions that go with it.

Are there any bands that you ad-mire their career paths? In essence, what

would you like My Morning Jacket’s legacy to be when it’s all said and done?

I can’t speak for the rest of the guys, but when I look at a band like Pearl Jam, who have stood up for what they believe in, done things on their own terms, and given back to humanity throughout the whole thing, that to me is the blueprint for what a good band should be. We didn’t model ourselves after them, but when we went on tour with them, we found a kindred spirit. When we were able to, we started giving back as well. For the last five years, we’ve given a dollar from every ticket sale to a charity in the town that we’re in. It’s more than the music, more than the people in the band, because the fans become a major part of it as well. If we’re known for anything, I want to be known as devoted — devoted to our muse, devoted to our fans, and devoted to our surroundings in general. We want to give back as much as we take from everything.

[email protected]

My Morning Jacket With Mini Mansions. 8:30 p.m. Monday, August

3, at the Fillmore Miami Beach, 1700 Washington Ave., Miami Beach; 305-673-7300; fillmoremb.com. Tickets cost $55 to $75 plus fees via livenation.com.

Diplo and Skrillex will perform together in Fort Lauderdale as Jack Ü.

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Justin Martin WITH ARDALAN. 11 P.M. FRIDAY, JULY 31, AT TRADE, 1439 WASHINGTON AVE., MIAMI BEACH; 305-531-6666; TRADEMIA.COM. AGES 21 AND UP. TICKETS COST $10 PLUS FEES VIA RESIDENTADVISOR.NET.They say you have your whole life to write your first album and two years to write the next. Luckily for ghetto-tech beatmaster Justin Martin, he never got the memo.

“I think I’m more relaxed, like almost a little bit too relaxed,” he says. His 2012 full-length debut, Ghettos & Gardens, killed dance floors around the world with its extraterres-

trial corner-bending vibes and huge hits, from “Don’t Go” to “Lezgo.”

Since the album’s release, Martin has become one of the most beloved char-acters on the San Francisco-based label Dirtybird. He

makes funny Vine videos. He’s 100 percent approachable. Fans bring pizza to his DJ sets simply because he likes pizza. He’s a walking good time, but when it comes to music, he is not messing around.

Martin began working on his follow-up LP, Hello Clouds, in early 2014. It’s destined to be funky, but it’s more conceptual too.

“I wrote this one more with the big picture in mind,” he says. “I’m not as concerned with the dance-floor success of each track. There are songs on there that I’ll play in my sets, but I felt a little more relaxed creatively where I could just get a little more experimental.”

Fans can hear some of the more dance-heavy tracks on the ongoing Hello Clouds tour. He’ll swoop into SoBe’s Trade this Friday night, along with sup-port from Dirtybird player and Mar-tin’s real-life roommate, Ardalan.

With 60-plus stops in four-and-a-half months, the Hello Clouds tour is

Martin’s most hectic to date. It’s given him a chance to test tracks on the road, although when he booked the dates, he intended for the album to be out. That’s the thing about perfectionists: They don’t answer to anyone, not even themselves.

“I realized when I did my first album that you can’t really put a deadline on some-thing like this,” he laughs. “When it’s right, it’s right; otherwise, you’re going to forever regret it. You’re going to hear that one little mistake in a song, or at least I will with my OCD-ness. I’ll be forever haunted by one

little thing I could have made better.”He swears that all the tracks are done and

that fans should get Hello Clouds by fall. When you have only a day or two between weeklong cross-country tour dates, it’s easy to let mix-down sessions slide, but Martin is focused.

“I really put a lot of my soul and my heart into creating these songs,” he says. “I like for songs to sound as simple as possible, but I want them to have an incredible amount of depth. I want people to be able to listen to something again and again and hear some-thing new every time they listen to it.” KAT BEIN

Jessie Andrews10 P.M. SATURDAY, AUGUST 1, AT BARDOT, 3456 N. MIAMI AVE., MIAMI; 305-576-5570; BARDOTMIAMI.COM. TICKETS COST $12 TO $15 PLUS FEES VIA SHOWCLIX.COM.Music snobs are known to bitch about the “model DJ” phenomenon, that thing where extra-pretty people (Joe Jonas, Paris Hilton) climb behind the decks and make a crapload of money to wave their hands in the air. And, yes, it’s true that pretty people have it easier not only in the world of music but also in the world. Period.

But to those who dismiss Jessie Andrews as part of this trend, the former adult ac-tress and model puts up one finger, and it’s not a polite little pinkie. So who cares that she used to be a porn star? Have you heard the lady spin? She’s a lean, mean, beat-murdering machine, and it takes only one live demonstration to be hooked for life.

We could make jokes about how her music runs as deep as you-know-what, and we just did, but Andrews’ captivating sets and memorable tunes speak for themselves. She didn’t get here by mistake. The legend-ary American drum and bass producer Dieselboy doesn’t just go around cosigning people because they’re good-looking. And Andrews’ work ethic speaks for itself. The 23-year-old has modeled for American Ap-parel, runs her own jewelry line, and travels the country — from her native Miami to her home in L.A. — playing live shows.

Popular remixes of Flume, Disclosure, and Prince helped get her foot in the door, but these days, Andrews is standing tall on the shoulders of her own originals. In February, she released the EP Usually Deep, an energetic collection of house head-knockers. When that went over well, she followed up with Usually Deep, Vol. 2.

Both collections exhibit a feel-good taste and approach formed by her Miami upbring-ing. It’s highly danceable yet refined house music fit for the darkest underground or the shiny lights of the megaclub, all of it held together with layers of booming bass. It’s a diverse sound, not easily stuffed into any one category, just like Andrews herself. BY KAT BEIN

[email protected]

| LIVE WIRE |

▼ Music

Courtesy of APA Agency

Jessie Andrews is coming home to Miami.

“I’LL BE FOREVER HAUNTED BY ONE LITTLE THING I COULD HAVE MADE BETTER.”

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T H I S W E E K

T H U R S DAY, J U LY 3 0

Bingo Players: With Mednas, 11 p.m., $30. LIV, 4441 Collins Ave., Miami Beach, 305-674-4680, livnightclub.com.

Boy Germs: With the Talking Dogs, the Done, LoneWolf, Kid Lore, and DJ Neon Brown. Sponsored by Idle Hands., 9 p.m., $5. Churchill’s Pub, 5501 NE 2nd Ave., Miami, 305-757-1807, churchillspub.com.

Counting Crows: Somewhere Under Wonderland Tour with Citizen Cope and Hollis Brown, 7 p.m., $30.75-$70.25. Bayfront Park, 301 Biscayne Blvd., Miami, 305-358-7550, bayfrontparkmiami.com.

Hollis Brown: With Glukman and Santi-ago Caballero, 10 p.m., cover charge. Bardot, 3456 N. Miami Ave., Miami, 305-576-7750, bardotmiami.com.

Jason Marsalis: With Will Goble, bass, David Potter, drums, and Austin Johnson, piano, 8-10 p.m., $30-$50. Coral Gables Congregational Church, 3010 De Soto Blvd., Coral Gables, 305-448-7421.

Tributo A Cheo Feliciano: With Grupo Exito. Presented by the Miami Salsa Congress 2015, 9 p.m., $15/$20. Yuca, 501 Lincoln Road, Miami Beach, 305-532-9822, yuca.com.

F R I DAY, J U LY 3 1

Alesso: With Dave Sol, 11 p.m., $40. Story Nightclub, 136 Collins Ave., Miami Beach, 305-538-2424, storymiami.com.

Christian Smith: Presented by Humans Alike and Push Fridays. Admission is free before 12:30 a.m. with RSVP via eventbrite.com, 11 p.m., free. Steam Miami, 30 NE 14th St., Miami, 786-516-3393, steammiami.com.

Dave Matthews Band: Summer Tour 2015, 7 p.m., $31.50-$76. Coral Sky Amphitheatre, 601-7 Sansburys Way No. 7, West Palm Beach, 561-795-8883, ticketmaster.com.

Grupo Contreras: 3-7 p.m., free. Bayside Marina Stage, 401 Biscayne Blvd., Miami, 305-577-3344, baysidemarketplace.com.

Justin Martin: With Ardalan. Presented by Link Miami Rebels, 11 p.m., cover charge. Trade, 1439 Washington Ave., Miami Beach, trademia.com.

Mad Cat Live!: Performing RAM by Paul and Linda McCartney. Featur-ing Jim Camacho, Matt Corey, Erik Fabregat, Darren Bruck, Brian Sayre, and Steph Taylor under the musical direction of Paul Tei., 8 p.m., $20. Miami Theater Center, 9806 NE 2nd Ave., Miami Shores, 305-751-9550, mtcmiami.org.

Orquesta Selección Latina & Club Mystique Reunion: In Le Jardin Ballroom with DJs Russo and Cubita. Presented by the Miami Salsa Congress 2015, 9 p.m., $30/$40. Deauville Beach Resort, 6701 Collins Ave., Miami Beach, 305-865-8511, deauvillebeachresortmiami.com.

Pepe Montes y Su Conjunto: In the Napoleon Ballroom, with Eddy K and DJ Danis La Clave. Presented by the Miami Salsa Congress 2015, 8 p.m., $30/$40. Deauville Beach Resort, 6701 Collins Ave., Miami Beach, 305-865-8511, deauvillebeachresortmiami.com.

Sammy D: Of Pillowtalk with Lauren Lynn and Will Renuart, 10 p.m., $10-$20. Electric Pickle, 2826 N. Miami Ave., Miami, 305-456-5613, electricpicklemiami.com.

Suénalo!: On the Pineapple Stage. With DJ Edward. Presented by Miami Boheme, 9 p.m., free. Ball & Chain, 1513 SW 8th St., Miami, 305-643-7820, ballandchainmiami.com.

That Metal Show: With Eddie Trunk, Jim Florentine, and Don Jamieson, 8 p.m., $20. Culture Room, 3045 N. Federal Highway, Fort Lauderdale, 954-564-1074, cultureroom.net.

Yelle: 10 p.m., $30. Bardot, 3456 N. Miami Ave., Miami, 305-576-7750, bardotmiami.com.

SAT U R DAY, AU G . 1

Arty: With Mednas, 11 p.m., $60. LIV, 4441 Collins Ave., Miami Beach, 305-674-4680, livnightclub.com.

Chayanne: 8 p.m., $60-$180. American Airlines Arena, 601 Biscayne Blvd., Miami, 786-777-1000, aaarena.com.

Dave Matthews Band: Summer Tour 2015, 7 p.m., $31.50-$76. Coral Sky Amphitheatre, 601-7 Sansburys Way No. 7, West Palm Beach, 561-795-8883, ticketmaster.com.

2 Guys: Presented by the Folk Club of South Florida, 8 p.m., $8-$10. Luna Star Cafe, 775 NE 125th St., Miami Shores, 305-799-7123, lunastarcafe.com.

Greater Miami Youth Symphony: Studio Crawl., 7:30 p.m., free. Art Center South Florida Gallery, 800 Lincoln Road, Miami Beach, 305-538-7887, artcentersf.org.

Historic Virginia Key Beach Park Official 70th Anniversary Party Celebration: Festivities include timeline exhibits from the 1940’s to present day, a classic car show, music by Maryel Epps, Tito Puente Jr., and Jimmy Bo Horne, rides on the mini train and carousel, and more. Hosted by Jawan Strader and Rayzor., 11 a.m.-7 p.m., free. Virginia Key Beach Park, 4020 Virginia Beach Drive, Key Biscayne, 305-960-4600, virginiakeybeachpark.net.

Jessie Andrews: With Dude Skywalker, 10 p.m., $12/$15. Bardot, 3456 N. Miami Ave., Miami, 305-576-7750, bardotmiami.com.

Johnny Sky: In the Bachata Room. Presented by the Miami Salsa Con-gress 2015, 8 p.m., $35/$45. Deauville Beach Resort, 6701 Collins Ave., Miami Beach, 305-865-8511, deauvillebeachresortmiami.com.

Jowell y Randy: 8 p.m., $40. The Fillmore Miami Beach, 1700 Washington Ave., Miami Beach, 305-673-7300, fillmoremb.com.

Mad Decent Block Party: With Jack U, Jauz, Major Lazer, Ricky Remedy, Thomas Jack, TWRK, Yellow Claw, and Zeds Dead, 3 p.m., $35.50. Revolution Live, 100 SW 3rd Ave., Fort Lauderdale, 954-449-1025.

Maya Jane Coles: With Ms. Mada. Presented by #UndergroundSTORY, 11 p.m., $30. Story Nightclub, 136 Collins Ave., Miami Beach, 305-

538-2424, storymiami.com.The Return of Oscar G: On the terrace, 11 p.m., $20-$35. Space, 34 NE 11th St., Miami, 305-375-0001, clubspace.com.Willie Rosario y Su Orquesta: Cel-ebrating 50 Years In Salsa in the Na-poleon Ballroom. Presented by the

Miami Salsa Congress 2015, 8 p.m., $35/$45. Deauville Beach Resort, 6701 Collins Ave., Miami Beach, 305-865-8511, deauvil-lebeachresortmiami.com.

S U N DAY, AU G . 2

David Lucca Y Su Orquesta: In the Napoleon Ballroom. Remembering salsa classics Ray Barretto, Tommy Olivencia, Sonora Poncena, El Gran Combo, and more. Presented by the Miami Salsa Congress 2015, 8 p.m., $25/$35. Deauville Beach Resort, 6701 Collins Ave., Miami Beach, 305-865-8511, deauvillebeachresortmiami.com.

Flash Night: A night of old-school style Miami funk and hip-hop, breaking and popping, art, fire, camouflage, body paint, electronic bumping, green rooms, photography, video, and heavy metal in the back patio with music and entertainment by the Orange Flight Band, the DangerCat Models, Edgar Allan Swole, Smurphio (Afrobeta), Sopheye, the Uncanny Reservoir, Marcus Blake, the Dangerfun Sideshow, and others, 9 p.m., $5-$10/$20. Churchill’s Pub, 5501 NE 2nd Ave., Miami, 305-757-1807, churchillspub.com.

Music in Miami’s 2015 Summer Concert Series: With Music in Miami’s musicians performing everything from classical to Latin, 6-7 p.m., free. Trinity Cathedral, 464 NE 16th St., Miami, 305-374-3372, trinitymiami.org.

Outcry Tour: With Hillsong United and others, 7 p.m., $21.75-$95.25. Bayfront Park, 301 Biscayne Blvd., Miami, 305-358-7550, bay-frontparkmiami.com.

Toby Keith: Good Times & Pickup Lines Tour with Colt Ford. Presented by Ford F-Series, 7 p.m., $20-$54.75. Coral Sky Amphitheatre, 601-7 Sansburys Way No. 7, West Palm Beach, 561-795-8883, ticketmaster.com.

M O N DAY, AU G . 3

The Miami Jazz Jam: With the Fernando Ulibarri Group, the Mike Wood Trio, and surprise guests. Out on the patio stage, it’s open mike with the Theatre De Underground., 9 p.m., $5. Churchill’s Pub, 5501 NE 2nd Ave., Miami, 305-757-1807, churchillspub.com.

My Morning Jacket: With Mini Mansions, 8:30 p.m., $45-$59.50. The Fillmore Miami Beach, 1700 Washington Ave., Miami Beach, 305-673-7300, fillmoremb.com.

T U E S DAY, AU G . 4

Face To Face: 7 p.m., $15. Culture Room, 3045 N. Federal Highway, Fort Lauderdale, 954-564-1074, cultureroom.net.

Fury: With Freedom, Unified Right, and others. Presented by Break-even Booking, 8:30 p.m., $10. Churchill’s Pub, 5501 NE 2nd Ave., Miami, 305-757-1807, churchillspub.com.

Secondcity: Presented by Slap & Tickle, 10 p.m., $15-$20. Bardot, 3456 N. Miami Ave., Miami, 305-576-7750, bardotmiami.com.

W E D N E S DAY, AU G . 5

Blues Jam: Join Chris Cosner and the house band and jam on blues standards, 9:30 p.m., free. Titanic Brewery and Restau-rant, 5813 Ponce de Leon Blvd., Coral Gables, 305-668-1742, titanicbrewery.com.

Whitesnake: 8 p.m., $30-$50. Hard Rock Live, 1 Seminole Way, Hol-lywood, 954-797-5531, hardrocklivehollywoodfl.com.

| CONCERTS & CLUBS |

▼ Music

Club and concert listings are free and rotate in print. Find more at miaminewtimes.com/music. To list your act, email [email protected]. Call club listings editor Laurie Charles at 305-571-7549.

GET OUR FREE APP SCAN THIS CODE WITH YOURiPHONE OR ANDROIDFOR MORE CONCERTS OR VISIT: miaminewtimes.com

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BTMia NTimes-1pg07-29-15:Layout 1 7/24/15 2:43 AM Page 1

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FICTICIOUS NAMENotice under fictitious name law pursuant to section 865.09, Florida statutes NOTICE IS HERE- BY GIVEN that NSFW Miami LLC desiring to engage in business under the fictitious name of NSFW Miami located at 2401 Swanson Avenue County of Miami-Dade, in the CIty of Mia- mi, Florida 33133 intends to register the said name with the Division of Corporations of the Florida Department of State, Tallahassee, Florida. Dated at Miami Beach, Florida, 7/30/2015

LOST PERSONLooking for person named CORA LEE GORDONIf you are the named person or have any information .please call 305-450-9000

FICTICIOUS NAMENotice under fictitious name law pursuant to section 865.09, Florida statutes NOTICE IS HERE- BY GIVEN that NSFW Miami LLC desiring to engage in business under the fictitious name of NSFW located at 2401 Swanson Avenue County of Miami-Dade, in the CIty of Miami, Florida 33133 intends to register the said name with the Division of Corporations of the Florida De- partment of State, Tallahassee, Florida. Dated at Miami Beach, Florida, 7/30/2015

NOTICE OF SUSPENSIONLance A. CooperCase No: 201500392A Notice of Suspension to sus- pend your license and eligibility for licensure has been filed against you. You have the right to request a hearing pursuant to Sections 120.569 and 120.57, Florida Statutes, by mailing a request for same to the Florida Department of Agriculture and Consumer Services, Division of Licensing, Post Office Box 3168, Tallahassee, Florida 32315-3168. If a request for hearing is not received by 21 days from the date of the last publication, the right to hearing in this matter will be waived and the Depart- ment will dispose of this cause in accordance with law.

NOTICE OF SUSPENSIONRoberto J. CastilloCase No: 201404334A Notice of Suspension to sus- pend your license and eligibility for licensure has been filed against you. You have the right to request a hearing pursuant to Sections 120.569 and 120.57, Florida Statutes, by mailing a request for same to the Florida Department of Agriculture and Consumer Services, Division of Licensing, Post Office Box 3168, Tallahassee, Florida 32315-3168. If a request for hearing is not received by 21 days from the date of the last publication, the right to hearing in this matter will be waived and the Depart- ment will dispose of this cause in accordance with law.

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102 Architecture/Engineering103 Auditions/Show Biz105 Career/Training/Schools110 Computer/Technical112 Construction/Labor115 Customer Service120 Drivers/Delivery/Courier125 Domestic Jobs127 Education130 Entertainment140 Financial/Accounting143 Government145 Management/Professional150 Medical/Dental/Health155 Medical Research Studies160 Office/Clerical165 Professional167 Restaurants/Hotels/Clubs170 Retail172 Sales & Marketing175 Telemarketing Center177 Salon180 Security/Law Enforcement183 Trade Jobs185 Miscellaneous Jobs187 Part-Time Jobs190 Business Opportunities193 Employment Information195 Position Wanted198 Non-Profit

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300Rentals305 Roommates307 Rooms for Rent310 Roommate Services315 Apartment/Condo/Townhome320 House/Duplexes for Rent330 Short Term/Corporate Housing340 Manufactured Home Rentals350 Vacation

355 Out of Town360 Storage363 Boat/Dockage365 Comm Rentals370 Rentals Wanted380 Miscellaneous390 Rental Services

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317Apartments for Rent

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DOWNTOWN MIAMI $450 305-381-6813Downtown Miami Rooms and studios from $450 a month A/C, Ref, Bed, all utilities inclusive internet, W/D in building 786 326-1128

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NORTH MIAMI $1,300 305-674-4145Renov 2/1 $1300, small bildg on 125 St. 1 blk from Biscayne Blvd, near transport. No Dogs. Call Josephine 305-343-0517

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JAMECK DEVELOPMENT

200Real Estate for Sale205 Condos/Townhomes210 Houses/Duplexes for Sale215 Open House220 Commercial223 Vacation & Lake Property225 Acreage/Land230 Real Estate Wanted

235 Manufactured Homes240 Miscellaneous245 RE Services250 Home Resources255 Income Property260 Out of Town

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110Computer/Technical

IT Fraud Prevention Special-ist sought by Miami employ-ment svcs co., w/Bachelors in Comp Sci & 2 yrs exp in IT fraud prevention or 4 yrs of IT fraud prevention exp to monitor fraud through a proprietary diagnostic fraud detection s/ware; review daily risk pro-cessing exceptions; determine appropriate action to prevent fraudulent credit card pay-ments; dvlp, implmt & maintain authentication devices to better detect fraud, isolate & stop po-tential credit card misuse; dsgn IP blacklist to determine fraudulent af� liates & prevent users from accessing employ-er's website; oversee & update employer's security systm & maintain risk mgmt plan; review key risk metrics to maintain em-ployer's qlty level. Mail resume to Carol Santiago, COO, KLMA, LLC, 6955 SW 52nd St, Miami, FL 33166.

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FINANCE MANAGER for Air-craft Parts Co. Bachelor’s in Fi-nance, Finance Law or Law + 2yrs exp. Mail res. Aviation Brake Services Inc. 7274 NW 34 St, Miami, FL 33122

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CDL DRIVER Looking for CDL Class A driver to drive in all 48 states with refrigerated trailer, clean records and min two year experience a must, we pay $.40 a mile. To Apply 786-443-9858

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Business Analytics DirectorAssist mgmt w/ decision mak-ing, obj clari� cation, policy for-mulation & collection and analy-sis of data for ops in the US and dist channels in Venezuela, Co-lombia, Ecuador and Caribbean. Analyze info from mgmt to de-� ne & solve ops problems. Pre-pare mgmt reports based on � ndings for alternative courses of actions/solutions. MBA or fgn equiv. Resumes to Sunshine Overseas Inc, 8359 NW 68 St, Miami, FL 33166

CERTIFIED FLIGHT INSTRUCTOR Flight School requires CFI's, Current Experi-ence and Medical certi� cate.Please send Resume with all details and � ight time by date.� [email protected]

LATAM BUSINESSINTELLIGENCE ANALYSTFor Hispanic Group Corporation, a Miami Advertising Agency. BS in Computer Sys., Computer Eng. or related or 3 yr. post-sec Diploma + 2 years exp. in Eco-nomic Development Segmenta-tion & Demographic Data Analy-sis for Hispanic Markets in Latin America and U.S. Knowledge of SQL Server 2000, 2005, 2008 and 2012, Oracle 9i and 10g SSAS, SSIS AND SSRS, SQL Server Cluster, Data Warehouse. E-mail resumes to Ricardo Samanez at [email protected] Ref: LBIA

WELL-BEING DIRECTOR Wanted f/t,M-F (Loc: Miami Beach, FL), ReqsMaster’s Deg in Psych, Ed. Counseling or similar, 2 yrs exp & Mental Health Li-cense. Resm To J.C. Peredes, Geriatrix Services, Inc. 4308 Al-ton Rd., Ste 420 Miami Beach, FL 33140

167Restaurants/Hotels/Clubs

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172Sales

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185Miscellaneous

Activists - needed to collect signatures to get Medical Mari-juana on ballot. Earn $300+ per day 954.616.7736 754.204.0114Make own hours.

COLLEGE INTERNNew Times is looking for a mar-keting intern! Learn how to plan events, manage social media, and much more! Interested applicants send resume to For college credit only: [email protected]

105Career/Training/Schools

OPEN HOUSE

Join Keiser University for the Back to School

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Call 305-596-2226

THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Under-water Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

193Employment Information

HR Manager. BS or equiv. & 5 years job experience. Job in South Florida. Fax Resume to:954-925-4454Ahmed Ventures, INC

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YOGA & MASSAGEGroup classes, Shiatsu, Deep Tissue, Stretching, MA#29986 www.MassageCoralGables.com • 305-444-0442

ABORTION SPECIALISTS Financial Assistance Available • Free Test & Ultrasound • Doral 305-591-2288 • Kendall 305-668-5629

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WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

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OPIATE ADDICTION TREATMENT -Stop abusing pain medications, heroin & yourself. Paul Glassman DO. $50 to enroll then $50/week+medication+tests. (305) 940-9300

Start A Vape Shop!Free reports on the top seven questions you should ask andhow to open a shop with very little money.www.VapeMentors.com

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