What started out in the early 1920s as a meeting place for the wealthy—a destination for dining and dancing in the streets—has come full circle, and along the way, Espanola Way has seen the sun rise and set over vastly different iterations of Miami Beach than the one that exists today. From legendary tales of gangsters running gambling organizations on the street to the ’80s boom of the area as a popular backdrop for numerous films and TV shows like Miami Vice, the infamous stories of Espanola Way are as colorful as the area’s Art Deco architecture.

Conceived by N.B.T. Roney (of Roney Palace) and William Whitman (the father of Stanley, the owner of Bal Harbour Shops), The Historic Spanish Village, better known as Espanola Way, was modeled after artistic and romantic Mediterranean villages in Paris and Spain. While the area was originally intended for Miami Beach’s high society, the 1920s brought about rough conditions as gangsters like the infamous Al Capone used the Clay Hotel for gambling.

In the 1930s, the scene moved more toward its original vision, and Espanola Way became known for its rumba beat. But the happy-go-lucky vibe of the street faded over the decades, and the 1970s ushered in a very different era. Instead of street parties and all-night affairs, Espanola Way became a dilapidated disaster, as did much of its Art Deco surroundings.

But in the early 1980s, efforts of pioneers like Linda Polansky helped shape Miami Beach as we know it today, particularly Espanola Way. “Miami Beach was absolutely at the bottom. I met a lady named Barbara Capitman and she had this vision of restoring all of these dilapidated buildings. We freaked out about the possibility and the potential of renovating and restoring this area,” Polansky says.

During the process, Polansky bought the entire south side of Espanola Way, extending from Washington Avenue down to the end of Drexel Avenue. She set her sights on making the Clay Hotel the crown jewel of the area. As well, she transformed the hotel into a partial hostel. ‘metaphorically, “I feel that I came in and turned on the light. The place was in absolute darkness. Nobody really understood the beauty,” Polansky explains. “Everyone was painting their buildings beige or brown.”

Polansky’s radical idea to give the Clay Hotel a peach hue occurred at nearly the same time Mel Bourne happened to the area. As the production designer of the new show Miami Vice, Bourne showed an intense interest in Espanola Way. After scouting the area, Bourne returned with Michael Mann and Don Johnson. The team sat down with Polansky and told her about their idea. “They explained to me what Miami Vice was going to be. At the time I wanted to paint my building peach and since Bourne was the set designer, I asked if there were some peach colors he would like to recommend,” Polansky exclaims. “He gave me a book with 1,000 different colors of peach!” Soon afterward, the group quickly became friends and Espanola Way became the site of the first and last episodes of the show, as well as 10 episodes in between.

With the creatives behind Miami Vice showing such interest in the area, Espanola Way assumed an edge. The area had been discovered by Hollywood and would go on to appear in numerous films like Chains of Gold with John Travolta and The Birdcage. It would also serve as a background in product advertisements like Dunhill and music videos by Elton John and Miami Vice’s Johnson. “Those were exciting moments,” Polansky admits, “when other people were discovering the beauty we had already seen.”

Today those who pass by the strip discover the charm of Espanola Way time and time again. On any given Saturday or Sunday, a leisurely stroll down Espanola Way lends to the sights and sounds of a marketplace. Vendors selling flowers, handmade semi-precious stone jewelry, sunglasses and light-weight dresses hawk their wares on the street.

Bohemian outdoor cafes like A La Folie are abuzz with patrons indulging in crepes and chatting at sidewalk tables. The restaurant’s owner Olivier Corre, who opened the French cafe three and a half years ago, hails from Paris. He says he chose Espanola Way for its character and charm. “my place is more like a cafe than a restaurant, so people can go there and just sip coffee and read magazines. I’m also the only authentic French place and one of the most relaxing, also one of the most affordable,” Corre explains.

Authentic cuisine at restaurants like A La Folie adds to the sights, sounds and flavor of Espanola Way. Other eateries like the Italian Hosteria Romana, the Spanish flare of Tapas & Tintos and the authentic Mexican of Oh! Mexico add culture to the cuisine.

Art galleries like Espanola Way Art Center and Marcel Gallery expand on the subject of culture by bringing art to the street. After 19 years in the same location, Marcel Gallery has endured the many changes of Espanola Way. Artist Pierre Marcel came to Miami Beach in 1986 to paint murals for a cafe on Lincoln Road. After a successful stint in the renovation and faux finish business, Marcel transitioned into fine art. Since then, his gallery has existed solely on Espanola Way. Originally chosen for its character, color and charm, owner Howard Levine suggests the gallery is practically an historic landmark on the street because “every other retail venue, with the exception of the Clay Hotel, has passed through many incarnations, while the gallery has endured.”

Those numerous incarnations lead to a rich past, and each space carries its own unique history. The shaded cozy nook on Espanola Way where Synergy Yoga Center stands was once the art studio of well-known artist Kenny Scharf. Seven decades before it was his studio, the secluded spot was a private residence. ‘someone stopped by once wanting to see it. They had lived there in the 1930s and 1940s,” explains October Rose, one of the owners of Synergy. Since 1996, Synergy has been a house of meditation, offering a variety of yoga classes like ashtanga, vinyasa and power yoga. October Rose and the center’s founder, Gaia Budhai, confess the atmosphere of their location is what truly drew them in. “We love it, because it is the most charming street in Miami Beach, with its Mediterranean look and the fact that you can find anything here.”

Considering the many businesses on Espanola Way, each location embodies the bohemian culture of its surroundings. At Contesta Rock Hair, you can view a one-of-a-kind piece of art and get a rock-n-roll-inspired doo.

At Miami Beach Cinematheque and Gallery, guests can take in art films sponsored by the Miami Beach Film Society, which brings film festivals and independent features to the area. And while shoppers try on colorful, lightweight, free-flowing garments at Debbie Katz South Beach, they can find out just how the designer got started on Espanola Way. “Debbie Katz started making and selling her clothes in the outdoor market here six years ago,” co-owner Judith Ozer says. As time progressed and the popularity of Debbie Katz’s dresses grew, she decided to open her own space. “She chose Espanola Way as the place to open Debbie Katz because the clothes were born on Espanola Way in concept and production. They were originally manufactured upstairs on this street until the end if last year. It’s the most historical and charming street in Miami Beach, and it’s perfect for boutique-style outlets,” Ozer says.

Like many of the shops on Espanola Way, the area’s vibe is unique. “It’s just a very relaxed funky, fun-filled atmosphere,” Ozer states. “We get people from all walks of life and from all over the world.” This broad span of visitors is something Linda Polansky attributes to the architecture. “Architecture is highly important because it is the foundation on which everything else is built. You can try to build a great vibe in a brand new shopping center and maybe you will succeed in some areas, but some people like to experience the history in a way that they can really feel it happened,” Polansky says. “Espanola Way really embodies the history of Miami Beach. It was one of the first [group of] buildings built, and it’s been lovingly restored over 25 years.”

Remaining a draw for both tourist and locals is something Espanola Way’s preservationists put their heart and soul into. Says Ozer, “We must keep our historical places sacred or they will disappear. So much of Florida’s history has blown away in storms or been bulldozed. Whatever is special to our past should and must be preserved.” Polansky agrees. “I knew that when I bought the building it was the architecture that was important to save and develop,” she says.

And development is something the area will see a lot of. In addition to the recent $900,000 streetscape renovations Espanola Way underwent, there are plans to connect Espanola Way to Lincoln Road via Drexel Avenue by creating a 10-foot walkway for pedestrians. There are also plans to build a fountain in the Plaza de Espana. The fountain will come as a gift from the South of Spain, where Miami Beach has its sister city. These changes, as Ozer points out, are something the community is embracing. “There’s a lot being done to promote and bring more people here so they know how special this little alcove is in Miami Beach.”

Starting with Carl Fisher’s Flamingo Hotel in 1921 and followed closely by The Fleetwood Hotel in 1924 and The Floridian Hotel in 1925, well-to-do winter guests would dock their yachts behind these modern “fire-proof” hotels and spend leisurely days watching power-boat racers such as Gar Wood rip across Biscayne Bay.

Others would spend their time up in the roof-garden with its 230-foot long dance floor, listening to the Fleetwood hotel’s own radio station, WMBF (Wonderful Miami Beach Florida), while at night they would take-in Eddie Cantor’s show in the main room of The Fleetwood, then read about who else was there in Damon Runyon’s column the next day.

But, during the 1950s and 60s, the grand hotels along Miami Beach’s western shore were dismantled one-by-one, and over time the area changed into a largely residential community of eclectic apartment buildings and condominiums. And when the South Beach renaissance transformed most of lower Miami Beach into a Mecca for hip travelers, the western part of the island remained trapped in the 1960s, bypassed by the exuberant development that hit Collins Avenue and Ocean Drive.

But the winds of change are again blowing up West Avenue, and along with them comes some of the biggest names in real estate development, including, most notably, Morgans Hotel Group.

Morgans recently spent $110 million to acquire the  middle tower of the Mirador, and plans to turn the space at 11th Street and West Avenue into the Mondrian South Beach Hotel Residences.

Along with the proclamation of the new hotel comes the possibility of an overall revival for West Avenue. “[Morgans Hotel Group] are pioneers for what’s happening on the Bay,” says David Goldberg, managing principle for Newmark Knight Frank, which focuses on purchasing retail space for restaurants, nightclubs and shops in places like the Grand Flamingo and the Continuum. “If anyone can make it happen, Morgans can, because they are the best of the best.”

This West Avenue destination marks the fourth Mondrian Hotel for Morgans Hotel Group, with other location in Los Angeles; Scottsdale, Arizona; and developments in Las Vegas. While the Mondrian is often described as a “sophisticated, modern, urban resort,” its South Beach venture promises to keep within in the realm of cool, offering upscale amenities such as a spa, waterfront services and private boat slips.

To produce the Mondrian South Beach, Morgans Hotel Group has partnered with condo company Hudson Capital and plans to spend $60 million to renovate the property. Each company will contribute $15 million to the project with Eurohypo AG financing $124 million to complete the development.

Although still fluid, current plans for the 16-story condo/hotel include 342 one and two-bedrooms units and four penthouse suites, with views of Biscayne Bay, the Miami Skyline, the Atlantic and South Beach. Buyers will also be able to place units into a rental program.

“It’s perfect for the young, fun, professional crowd, and it’s close to Lincoln Road. South of Fifth and north of 17th to 25th Streets are new, cool areas, but they don’t have the Bay. The Bay has its own uniqueness,” says Goldberg.

But it’s not just the hotel’s guests who can enjoy what the Mondrian South Beach is bringing to the area. Those who purchased units in the neighboring Mirador towers have a lot to look forward to as well. As Goldberg explains, “I think it will increase their value tremendously. Morgans is a top-rate operator with the highest amenities.”

A3TV co-creator and Mirador unit owner Justin “Buster” Altshuler has a positive outlook on the purchase as well. “Everyone’s talking about it. It’s going to be a great improvement to the area. And as an owner, it’s only going to help my property value,” he says. “Beside the brand itself being synonymous with the high-end scene, there will definitely be a lounge and/or dining angle to the venue, as well as a celebrity factor and events. For someone who lives in that scene, its convenient.”

The Mondrian South Beach hotel and the changes it will bring may very well transform South Beach’s sleepy West Avenue into an upscale year-round travel destination. “Look at South Beach five years ago, people came for six or seven months out of the year to party and that was it. Now you have professionals from law firms and doctors living at places like the Mirador all year round,” Goldberg says. “It’s positive for the city and, as time goes on, there will be more professional clientele.”

CeCe Feinberg, owner of fashion public relations firm CeCe Feinberg PR agrees and points out that additions like the Mondrian are a natural part of South Beach’s evolution. “I think that South Beach is an ever-evolving area that will always reinvent itself to suit the needs of our community and our economy. South Beach is growing in many ways, not the least of which is just the surge in population. The addition of The Standard, The W and other similar properties is an indication that there is a demand and, therefore, many more options for those who prefer a sophisticated ambiance.”

Just as the L.A. Mondrian is an “it” destination drawing in the A-list with enticements such as Skybar Lounge and Asia de Cuba restaurant, this new addition has the potential to do the same. Consider the impact of Morgans Hotel Group’s other ventures, The Shore Club and the Delano, on Miami Beach’s dining and nightlife scene. The hotels provide upscale restaurants such as Nobu and Ago and are often the scene of celebrity soirees. Feinberg thinks the Mondrian will have the same appeal. “I believe it will become a destination hotspot in Miami as well,” she says. “The Mondrian is not just a new hotel, it is a branded luxury lifestyle property. I think the reputation of the hotel will bring with it a built-in fan base.”

So how does Morgans Hotel Group plan to set the Mondrian apart from its other hotels in the same marketplace?

Goldberg says that new element is location, location, location. “I’ve done a walkthrough and it’s going to be awesome. And it’s not the same price point the other condo/hotels are going after. The W and Hotel Gansevoort are going after high-end, and their own the beach. Where would I want to live, the bay or beach? I love looking at the city, that’s what makes Miami what it is. I have a feeling there are going to be more of these developments on the Bay.”

It’s a concept that’s already motivated many to buy property on West Avenue. Says Buster, “With a different sunset every night setting over the Bay, I’m surprised that it hasn’t been done sooner. I think this might be the beginning of a trend. Everyone always lauds the oceanfront side of Miami Beach, but, honestly, I couldn’t live without those sunsets.”

Angler’s Boutique Resort
600 Washington Avenue, Miami Beach, Florida, 305.534.9600
Originally built in the ‘30s by Henry Maloney, The Angler’s Boutique Resort’s Mediterranean revival buildings bring a taste of island life to guests looking for sun, sand and solace. From rooftop terraces to private gardens and Jacuzzis, it’s an escape to a tropical, Zen-like paradise brimming with amenities like studio and duplex suites, plasma TVs, wireless Internet and spa areas. Real estate developer Gregg Covin spared no expense in bringing an oasis vibe to South Beach’s scene.

Located between Sixth and Seventh Streets on Washington Avenue, Angler’s 49 fully furnished studio and duplex suites are within walking distance of South Beach hotspots Mansion, Opium Garden, Prive, Prime 112, as well as the area’s other clubs and restaurants.

The Angler’s can arrange just about any luxury service a guest desires—from yacht, plane or car rentals, to scheduling massages, to a one-on-one guide with the concierge, and all in the pet-friendly environment.

The Angler’s consists of four buildings including restaurant and bar, Parisian Brasserie Maison D’Azur, along with a sidewalk café, spa and fully equipped gym. A concierge is available 24-hours a day to assist guests with the many amenities South Beach has to offer.

Z Ocean Hotel
1458 Ocean Drive, Miami Beach, Florida, 305.672.4554
Formerly Regent South Beach, Z Ocean Hotel’s 80-suites, including 27 rooftop terrace suites, are the creation of Gene Grabarnick and Ronald Molko. Guests looking for the glamorous life in South Beach need only to check into the Z Ocean hotel. While the name changed, the hotel still offers top-notch amenities like Mercedes-Benz 500S house cars, butler services, luxury car rentals (Porsche, Bentley and Lamborghini) and posh penthouse rooms and spa services.

Featuring a revived design by Arquitectonica and located in the heart of South Beach’s Art Deco district (within walking distance to hotspot Cameo), Z Ocean also offers a taste of culture along with fine cuisine. Famed Table 8 restaurant and lounge, featuring the mastery of Chef Govind Armstrong, draws in famous faces like Al Pacino and Elton John.

But you don’t have to be a star to be treated like one at this boutique hotel. Should you happen to bring your own wheels to South Beach, Z Ocean offers an exclusive turn down service for your car once you’re in for the night. The concierge is on hand to assist guests with everything from car rentals and nightclub arrangements to jet-ski rentals and landing tickets to local events. Whether you’re there to indulge in South Beach’s nightlife scene or just in town to sit back and relax at the hotel’s glass-bottom pool, Z Ocean brings a chic vibe to South Beach’s boutique hotel scene.

Sagamore
1671 Collins Avenue, Miami Beach, Florida. 305.535.8088
This 92-suite boutique hotel burst onto South Beach’s scene in 2002. Drawing in guests with its minimal décor and extensive art collection, the Sagamore, situated on Collins Avenue between 17th Street and Lincoln Road Mall, calls itself The Art Hotel. Each room features paintings and sculptures, and the hotel even offers an art and photography gallery with works by famed and up-and-coming artists and a production studio for fashion shoots. Toss a curator in the front lobby and this hotel takes your stay to museum-quality standards.

Originally built in 1942, the Sagamore boasts eight, three-bedroom rooftop penthouse suites, or if you prefer, seven two-story garden bungalows and eight two-story bungalows with balconies. Each suite features posh furnishings like fully equipped kitchens, wireless Internet, two 42-inch Plasma televisions, yummy Philosophy products and an in-room gourmet snack by Dylan’s.

Should you dare to venture outdoors, the Sagamore’s slick infinity pool, featuring poolside spa treatments, brings an element of relaxation to your stay. If you dare to bare, the Sagamore’s second-story sundeck allows guests a chance to tan au natural.

The concierge, who says the hotel is located within walking distance to “everything you need to enjoy your stay,” provides services such as nightclub guest lists and bottle service, car services and any other need a guest could imagine. And should you have a taste for a true South beach dining experience, Social Miami is located in the hotel to take your taste buds to new heights. Be sure to make a reservation for Friday night when Social throws a house party of epic proportions—or just let the concierge take care of that for you, too.

The Strand Ocean Drive
1052 Ocean Drive, Miami Beach, Florida. 305.538.9830
Resting high above Ocean Drive is The Strand’s rooftop pool with scenic views of the famed street and Miami Beach’s best asset, the beach. A perfect blend of South Beach’s true architectural styles, The Strand is comprised of one new building and four historical structures. Inside the 67 all-suite boutique hotel, featuring rooms that range from 300 to 800 square feet, guests will find everything from 300 thread-count linens, H20+ bath products, soaking tubs, rainfall showerheads and furnishings by Luminaire. They’ll also find state-of-the-art technologies like wireless Internet and flat screen televisions. Should guests hunger for something out of the ordinary, the Strand offers up restaurants Atlantic Grill & Bar from restauranteur Stephano Fritella and Cheeseburger South Beach from Cheeseburger Cheeseburger fame.

Managed by Desires Hotels and located between 10th and 11th Streets on Ocean Drive, The Strand centers in guests in the heart of South Beach. Within walking distance are dining destinations like Larios on the Beach and libation depots like Wet Willies. Shopping hotspots like Kenneth Cole, Armani Exchange and Nicole Miller as just around and way, and as night falls, check out venues like Mansion, B.E.D., Opium Garden and Cameo, all within a few blocks of The Strand. The hotel’s concierge, which adheres to its Desire Program, is on hand to help guests set up golf games and fun-in-the-sun activities like jet skiing, boat tours and fishing trips, as well as passes to clubs and bottle service reservations, scheduled tours and car services. Says the concierge, “We call it the Desire Program because whatever the guest desires, they get.”

The National Hotel
1677 Collins Avenue, Miami Beach, Florida. 305.532.2311
At the National Hotel, relax in your terrycloth robe and slippers as you watch movies on your flat-screen TV and surf the Web’s high-speed wireless Internet. Luxuries like these are all part of the boutique hotel experience at this Art Deco masterpiece with a modern twist. Guests are welcome to spend their vacation in of the 115 historic tower room or suites featuring oceanfront or cityview rooms, one of the poolside cabana wing’s 36 deluxe rooms and suites or in the Triplex’s tri-level penthouse suite, which boasts 1,250 square feet and occupies the 13th, 12th and part f the 11th floors. The hotel’s widely sought-after three, one-bedroom tower suites on the 11th floor give way to spectacular views of both the beach and the ocean, are 500 square feet in size, feature fresh flowers and come with on-demand in-room refrigerators stocked with whatever it is guests crave.

Speaking of cravings, the hotel houses Tamara, a French fusion restaurant from chef Frederic Delaire. If its lighter fare or refreshments you’re after, The Zee Pool Lounge offers poolside bites and libations until 11 p.m.. But if they’re looking to venture off the hotel’s grounds, visitors will find restaurants and shopping all within walking distance at Lincoln Road Mall and on Ocean Drive.

After dinner and shopping slip past the velvet ropes at some of South Beach’s hottest clubs, including Mansion, Prive and Opium Garden, all with help from The National’s concierge.

Helpful concierge services, like booking tours, setting up private car service and scheduling in-room or poolside massages, are just a taste of what The National has to offer. The hotel also has a production department to assist with shoots, videos and television and movie filming. You never know which celebs you’ll see at work or play on The National’s grounds. But all work and no play makes for a dull vacation, so be sure to drive right into one of The National’s two pools or add some Zen magic to your day with a yoga class. What a way to relax.

Not since it’s mid-century heyday has the Fontainebleau seen such a star-studded celebration. The hotel’s grand re-opening dominated the social calendar of Miami Beach socialites as well as A-list celebrities such as Terrence Howard, Mariah Carey and Gwyneth Paltrow—not to mention 35 gorgeous supermodels, including Heidi Klum and Marisa Miller sporting the latest in lingerie fashion.

On a sultry Saturday night in November, the crowd gathered amid the dramatic oceanfront Fontainebleau to tape the Victoria’s Secret Fashion Show which will be broadcast December 3 on CBS.

As show time nears, celebs such as photographer Bruce Weber and Blondie’s Debbie Harry lounge on couches atop a circular, glowing floor, sipping champagne and experiencing a new kind of Miami Modern.

Architect Morris Lapidus unveiled his curvy masterpiece hotel in 1954 and soon celebs such as Frank Sinatra, Sammy Davis, Jr., Dean Martin, Betty Grable and Judy Garland passed through its lobby. The hotel was the oceanfront destination for everyone from JFK and Marilyn Monroe to Elvis, and with the Rat Pack entertaining in the La Ronde Room the Fontainebleau was the crown jewel of Miami Beach.

Tonight the Fontainebleau is the perfect backdrop for guests like Project Runway’s Christian Siriano in a silky green shirt and his signature hairdo, Sex & the City’s Kyle McLaughlin and Terrance Howard in a throwback fedora.

The hotel’s restaurants Fresh, Solo, Vida and Scarpetta offer samplings in the Sparkle Ballroom while the red carpet stays busy with everything from feathers to latex. Proenza Schouler-esque skin-tight dresses are on everyone from models to model types, including racecar driver Jeff Gordon’s wife, Ingrid Vandebosch, who sports the trend.

But the real fashion show is about to begin, as a British accent takes the PA and instructs everyone in attendance to head poolside into the four-story for the main event.

Once outside, guests see Mario Lopez and John Stamos and Tico Torres discussing Bon Jovi’s latest tour, spilling out onto the pool deck. Alonzo and Tracey Mourning yuck it up with Lenny Kavitz and his closely coiffed new ‘do.

As show-time approaches, the crowd moves slowly passed the hotel’s massive infinity pool. Inside, Olympic swimmer Amanda Beard poses for a pic, as does Kim Kardashian (in a skin-tight mini, of course). A Yankee’s-capped Russell Simmons finds his seat just as Martha Stewart gets chatty with George Hamilton and snaps a quick pic.

Depeche Mode blasts from the speakers, while Robert Duvall and James Caan shuffle past Diddy to their seats. Moments later the lights go down, the band takes its place and Barack Obama’s recorded acceptance speech mixes with poppy music to make for an interesting opening track.

As the lights go down, the announcer says, “The glamour is back at the Fontainebleau.” It’s a theme that fits all too perfectly against the neon lights, crystal-adorned palm trees and sparkling silver-sand catwalk. The anticipation of something magical, something iconic, something to be talked about for decades to come fills the room and the show begins.

Usher takes center stage and croons as the models strut down the catwalk in bits of black and silver pieces. Adriana Lima is the first model down the runway with Alessandra Ambrosio and her post-baby body (not bad, not bad at all) following closely behind in sky-high wings shimmering big, bold and gold. The looks are lacy, racy and just a tad motorcycle chic.

Least they forget they’re in Miami Beach, the show takes a cultural turn and plays up the Latin theme with Latin beats, bongo drums and a crooner with a thick accent. The lingerie’s bold colors fit the theme well, and Seltia Ebanks salsas her way down the runway to further remind us Cuba isn’t that faraway.

But there’s more to Miami than just the Latin culture. There’s a history of art and architecture that put this place on the map. And the show reflects that with its Esther Williams-esque

Dancers in the background move like synchronized swimmers from an Esther Williams movie and don flamboyant bathing suits reminiscent of the hotel’s past bathing beauties. In the foreground, models don pop-art inspired pieces with bold shapes and colors and lots and lots of fringe.

The next round of looks come from the line’s young and flirty Pink collection and feature everything from tutus to college co-ed pieces. While the audience focuses on the present, Usher takes the stage again with a new song that leaves him dancing in the silver-colored sand.

From garden-inspired lingerie that has Miranda Kerr sporting human-sized butterfly wings to rose petal confetti, the show brings a bit of summer to the land of eternal summer.

The makeshift summer day turns to night, replacing the butterfly wings with crystal chandeliers that drop from the ceiling. The stage embraces an elegant vibe and models don tuxedo-inspired lingerie, boas and nightgowns that would rival even the most decadent ball gowns.

And the standout for the night was Lima donning the company’s $5 million Black Diamond Fantasy Miracle Bra designed by jeweler Martin Katz and featuring both black and white diamonds and rubies. The piece marks the first time Victoria’s Secret ever designed a black-diamond bra.

Bringing the show to a close, Heidi Klum makes her way down the runway with a gigantic bow attached to her back, while dazzling fireworks light up the night over water ocean. The glamour truly is back at the Fontainebleau.

This is the grand opening of their new South Beach lounge, and for both the stress is beginning to show. “I’m freaking out,” James admits with a sly smile. ‘tonight is the grand opening.” Nuñez agrees, mentioning the word “stressed” more than a few times while running through his day’s schedule thus far. Considering their success to date, chances are James and Nuñez can rest easy.

After working together at another South Beach tattoo parlor, the two joined forces and opened their current tattoo shop Miami Ink, and since 2005, their partnership has been documented on the wildly popular TV series of the same name. But, today they’re taking their other passion, nightlife, and making it part of their South Beach empire. Open four nights a week, James and Nuñez hope Love Hate will bring South Beach to the forefront of tattoo culture and give their fans a look at the guys behind Miami Ink.

Tonight’s opening night, how do you feel?
Chris: Stressed. We have a million things to do, but after that I think the anxiety will slow down a little. I need a drink…

How did you go from tattoo parlor to nightclub?
Ami: I’ve been working in the nightlife [scene] for a long time, and I just wanted to extend it into something a little different with kind of the same crowd. I’m always going out, looking for the best party. And we have hundreds of friends, so why not do our own spot? I’ve always wanted to own a bar, so this was it. I found a spot and wanted to open bar there, so here we go.

As long-time residents of Miami, you’ve seen the fickle nature of the nightclub industry here. Why did you decide to get into the nightclub business?
Ami: I’ve grown up on Miami Beach, and in the 20-odd years I’ve been here I’ve seen people come and go. The Beach will chew you up and spit you out. Being here for so long made me want to open a bar. I just wanted to go back to the good old days, back when South Beach was just good bars. Now it’s just clubs and shit music, and I wanted to change that. I wanted to have a place where you could get a good cocktail, talk and chill and not deal with club music. That’s what we’re going for.

Who came up with the name and what does it mean?
Ami: It’s everything; the relationship between my partner and me, just everything. Without love you wouldn’t have hate, and without hate you wouldn’t have love. It came from the old school thing where everyone had “love” and “hate” tattooed on their knuckles, like the Blues Brothers. It’s an old, traditional thing to do.

I’ve read that Love Hate will give Miami Ink fans a glimpse into your ‘real’ lives. How so?
Chris: Basically what we’re going to do is offer a spot for our fans and friends to come, hang out, have a drink and basically find me or Ami. It gives them the opportunity to have a drink with me…[laughs]…

How involved in the day-to-day operation of the lounge will you be?
Chris: We have two bar managers and a full staff. Of course it’s our project, but at the same time we’re trying to keep the business running tight and separate. We’re still filming and still have the tattoo shop. We’ll oversee and have final decisions, but most of the day-to-day operations will be done by the staff.

How are you balancing Miami Ink, the lounge and the show?
Chris: We don’t sleep much. If I’m not doing all that [filming, working at the shop or at the lounge], then at night I’m promoting. I’m out all the time. I think the key is balancing, but if we work hard now, our future is going to be paved nicely. I don’t mind putting in the work now if I can look back later when it’s paid off and it’s all over.

Will any of the filming for the show be done at the lounge?
Ami: We are trying to squeeze it in because it’s a great story to cover on the show. You get to see what it looked like before and how it got to where it is today, from the painting to the hanging of the murals. It’s been a long road.

Chris: Tonight there’ll be cameras covering it. We’ve been so stressed out about it in the show that they had no choice. Between the back and fourth of our personal lives and our show lives and the bar itself, they decided to document it.

Tell me a little bit about the lounge. Is it more of a celebrity host destination or a rock-n-roll party-till-you-puke kind of place?
Ami: It’s definitely that, like an extension of Miami Ink. Imagine if Miami Ink had a bar…that’s what it’s like. There’s a cross on the wall that says, “In memory of my sobriety.” I think that sums it up…[laughs]…

What is the lounge’s theme?
Chris: We did a really classical American tattoo theme. Tonight is opening night and we aren’t millionaires, so there are a lot of things we had to limit ourselves to. But as the bar grows and continues, a lot more will go in. We took a straightforward tattoo approach and added touches of cars and motorcycles. It’s kind of like a neighborhood club house for the boys.

I hear you’re planning on live music, which I find kind of risky, as live music doesn’t seem to be a big draw for Miami’s nightlife crowd.
Chris: Let me clarify, its not a live music venue, but with all the connections and friends we have, we know a lot of people in the entertainment industry who are close. On any given night there may be 6 or 7 guys having a drink and someone will get up and play a live set. It will be more like that, not like a stage venue, more of an impromptu venue.

Why did you choose Washington Avenue for this venture?
Ami: I think that’s where the action is, and that’s where I’ve always been. South Beach is pretty much Washington Avenue, it’s the heart and soul. I bought Miami Ink [on Washington] off of another tattoo artist. It was perfect and just at right time. Now I’m opening three or four stores down.

Which night do you anticipate to be the biggest and why?
Ami: We definitely want to do something different, like a Sunday daytime party, from 4 to 9 or 10 p.m. We want to have somewhere where you can just come in and have great food at the bar, like tapas, and great DJs, somewhere where people can come lounge in flip-flops and enjoy a bar where there are cool things to look at.

What is Love Hate going to bring to Miami Beach’s nightlife scene that will make it stand apart from other lounges?
Chris: Hopefully we are just going to be edgier. We are obviously going to give more of a tattoo, old ’90s feel back to it. It’s more like the spot where you would see this one and that one, not a celeb fest. Come out in your jeans and sneaks, kick back and listen to good music. We’re not going to have doorman problems, unless it just gets completely big and there is nothing we can do about it. We are just opening with the intention of being a neighborhood bar.

Any chance you’ll be putting a tattoo parlor in the club?
Ami: No, that’s not an issue. We are opening another shop in a month or two right here on Beach. It’ll be an extension of Miami Ink with choppers and cool, different themes.

Friday:
When Tara Solomon showed at her Sushi Samba ‘miso Corny- Karaoke event announcing she had no power and got dressed in the dark, it showed not even Hurricane Katrina could keep Miami Beach party-goers from fulfilling their goal of partying like it may be the last time the VMAs rolled into town. But when Entourage’s Jeremy Piven, the scheduled eye candy of the night, was no where to be found because of a missed or cancelled flight, it left many wondering if Katrina would frighten all the A-Lister celebs right back to their posh pads in New York and L.A. Could there be such a thing as a VMA weekend without celebs? Instead of listening to the actor who plays the pit-bull publicist on the HBO series croon away on the mic, those in attendance hung out with local celebs, D-listers like Apprentice contestants Katrina Campins and Bradford Cohen and Johnny Knoxville, who reassured us big names would make it into town.

Over at Mansion, the scene was bumpin’ and Diddy was there to show a little rain and strewn about palm fronds weren’t going to keep him from getting his groove on. Keeping Diddy company were the likes of Fat Joe, Smitty, Carmelo Anthony, “the Hip-hop violinist” Miri Ben-Ari and Fergie with the Black Eyed Peas.

Saturday:
The Sanctuary style suite was a twitter when Boyz in the Hood producer John Singleton showed up at the new South Beach hotel and indulged in goodies ranging from Essie manicures and pedicures, Cold Stone Creamery and Netflix, to mention just a few. Other big names who snagged goods at the suite later that day included Snoop, Hilary Duff and Summer Altice.

Later that evening, Hibiscus Island played host to several private parties, one of which included a blowout at the Turchin mansion by a very busty Miss Russia, who, rumor has it, spent nearly $500,000 to rent out the house and throw the party. The soirees raged and the champagne flowed, but the only problem was getting off the island. Dressed to the nines, guests walked to and fro the island’s entrance hoping to catch an empty cab, as all unauthorized cars were not allowed to cruise the island, else they be towed.

Back on the mainland, musicians took to the South Beach party scene like it was home sweet home. At the Ego Miami style villas at the Catalina Hotel and Beach Club, Usher stopped by to load up on goodies. The scene was a madhouse, with fans straining to get a look at last year’s big VMA winner. After Usher departed, the party resumed to a loud hum until Outkast’s Big Boi and his entourage rolled up in a black hummer and then descended on the event. In a roped off corner of the hotel’s lobby Big Boi received a key to the city from Miami Beach Commissioner Richard Steinberg.

Across the street, Hotel VMA was less than the success MTV party planners hoped it would be. With the station handing out free tickets, it didn’t exactly get the A-list guests South Beach is used to, even if The Bravery were playing. If they were hoping for a star-studded crowd, they should have taken a few tips from The Setai. With two Bentleys parked out front, the hotel was a mob scene with passersby standing patiently on the sidewalk, cameras in hand. A steady stream of celebs rolled up in expensive cars and headed into the lobby and upstairs to the Yahoo Music party in the penthouse. Pharrell, in an elaborate blinged-out necklace that featured colored diamonds, was the first to arrive on the scene. Former Heat player Rony Seiklay was next, followed by Manhattan club owner and beau of the Olsen twins, Richie Akiva. The crowd gasp when party host Quincy Jones showed up in the same car as Girls Gone Wild’s Joe Francis (they are actually neighbors in Bel Air). Each celeb entered the somewhat Star Wars-inspired, Asian-themed lobby and then were promptly whisked away by the elevator to the uber exclusive event on top of the building. What they did once they reached their destination is a mystery to everyone, as the security was tight and unless you were a VMA nominee or Hollywood royalty, you weren’t getting in.

The only thing scandalous enough to pull onlookers away from The Setai’s scene was the gunshot heard ’round the Beach. Outside Ian Schrager’s Shore Club, yellow and black crime scene tape roped off the block while police vehicles and fire trucks flashed their lights into the dark Miami night. It seems Suge Knight was shot in the leg while in the hotel’s Red Room Lounge. Rumors spread like wildfire as everyone began re-telling their version of the story. The latest rumor, even days after the debacle, is that his personal gun may have mis-fired and done the damage.

And the violence didn’t stop there, I overheard (from an Ocean Drive staffer no-less) that Shaq punched someone at Ocean Drive party at the Loews Hotel where Jaime Foxx hosted and the party went on until the wee hours of the morn. But, somehow I just don’t see the amiable Shaq taking a swat at anyone (unless it was well-deserved, of course).

Over at Casa Casuarina, the scene was hot, not hot as in sexy, but hot as in sweaty. It seems Peter Loftin forgot to add outdoor fans in his new additions to the old Versace mansion. Despite the sweltering temperatures, Lil’ John and Fabolous made it out to the event. Thanks goodness there were those off-again-on-again showers to cool everyone down and ruin all those expensive blown-out hairdos.

Sunday:
Replacing the standard red carpet with white, MTV set quite a stage for the arrivals at the VMAs. Early in the game Green Day, the big winners of the evening, arrived on the scene and jet through the press lines to get ready for their performance. A cheerful Billie Joe waved back at the media before dashing out of sight. Next up were former Real World cast members Landon and Jaime followed by the latest cast from Austin. With her arm wrapped around Danny, Melinda answered everyone’s question about whether they were still together without saying so much as a word. The big shocker from the cast was seeing Wes and Johanna arm-in-arm. Could they be a couple? Who would have thought?

Up-and-coming artist Sharissa stopped by to talk about her new album that drops October 25 and dished some dirt about working with R. Kelly. “He’s so pretty,” she gushed. And tall, blonde designer Richie Rich, of über-fab Heatherette, pranced about the runway showing off his flamboyant yellow shirt that read “look at me.” Who could miss him? After stopping for a few minutes to dab perspiration off his face, he skipped down the rest of the runway with a fabulous denim bag in hand — his own creation, I’m sure.

Next up was David Banner who shared with me how he arrived at the event. “You can’t compete with Diddy’s yacht. And you can’t compete with Nelly’s ride, so I came in on a rowboat.” Yes, a rowboat, powered by the University of Miami rowing team. “And I was scared as hell I was going to mess up this Elevee suit.” When asked who he was cheering for that night, Banner said “I’m cheering for everybody. It’s a blessing to be here considering where some of us came from, so I’m cheering for all the underdogs, everyone from the hood.”

As Banner made his way to the arena, a familiar honking noise filled the white carpet and everyone knew the Ying Yang Twins were in the house. When asked why they make that loud—and extremely annoying noise— they informed me it was to let everyone know the Ying Yang twins had arrived. If you thought you heard a buzz about the Twins moving to Miami, it was just a buzz. According to the Twins, they’d rather live in Jacksonville, because there is just too much water (and too many hurricanes) in Miami, which explains why they arrived via limo instead of yacht.

A trio of little, sharp-dressed men in matching white, linen suits with black detailing had the press whispering, “Who’s that, who’s that?” Kids this well put together could only be the offspring of the man himself, Diddy. The three little ones beamed when asked how they felt about dear old dad hosting the show.

A family of another sorts was next down the carpet. Wrestling Hall of Famer Hulk Hogan and his extremely blonde and overly tanned family stopped and posed for pictures. Instead of his signature red and yellow garb, Hogan sported a trendy T-shirt from Von Dutch creator Christian Audigier’s new line. Could Hogan be a slave to fashion?

Paris Hilton, with her newly shortened blonde locks and perfectly sun-kissed skin looked like she could have been the Hogan’s missing cousin as she sauntered down the carpet — on her cell phone, of course, wearing an Esteban Cortazer gown.
Kelly Clarkson, who’s clearly forgotten where she came from now that she’s a VMA recipient and Jane magazine cover girl, rushed right past the press in a gold number that showed she may have lost a lot of weight, but baby’s still got back.
And right behind her a handholding Nick and Jessica smiled for the cameras and dashed off to the arena. Funny how they are always touching when the media is around.

Towering above everyone, Miami Heat phenomenon Shaq and an entourage of 20 filled the room and then as quickly as they entered disappeared without so much as stopping by Heat TV to say a quick hello.

I was thrilled to speak with a bubbly Nelly Furtado in a Bohemian-style yellow dress. The Canadian singer was chumming it up with newly buff Timbaland, the producer of her new album. Informing me that she was in town working on her latest project, she gushed about how excited she is to be working with Tim. “We both love music and we both have a pledge to push each other to take music in a new direction,” Furtado said. The album, which Tim and Furtado categorized as “punk-hop” an ’80s, hip-hop dancey mix, is due out in November. Looks like Furtado will have a lot to celebrate with the upcoming release of her third album and the second birthday of her daughter.

Jermey Piven may have missed his flight to Miami on Friday, but he did make it to town. He posed for pictures alongside Kevin Connolly, Entourage’s E. It seems Connolly and Nicky Hilton (who’s back to blonde) are on again as a couple.
Nearly naked seemed to be an underlying theme at this year’s white carpet. F.A.B. used black electrical tape to fasten a keyboard over his private parts and create a sort of “man thong.” Ice-T’s wife, Coco, squeezed into a black dress with enough holes to confuse it with Swiss cheese. Lets just say everything that could poke through was. Also on the white carpet wearing a little more than nothing was Paulina Rubio. Her black lace dress was revealing in all the right places for those who were interested in sneaking a peek.

Back to the clothed, Pharrell was wearing the same bling he was spotted in the night before. Fashion faux pas? I think so, especially when you have enough dough to sport that many diamonds. Orlando Bloom and Kirsten Dunst were both looking sharp as they stopped by Access Hollywood to plug their new film and talk about presenting together that evening. Each time Bloom opened his mouth, all of the girls in the room would scream and swoon.

To everyone’s surprise, MC Hammer took the carpet like he was back in his heyday. Later that night he also took to the stage and gave the audience a little “Hammer time.” And Nelly, the first presenter of the evening, shared how his biggest fear for the night was falling. He just wanted to make it through his portion of the show without so much as a trip, tumble or fall.
After dropping the “Lil” in his name, young rapper Bow Wow strutted on the carpet in an ornate red jumpsuit with bling from front to back (literally a diamond encrusted paw print on the back of his jacket). With his new film, Roll Bounce, due out September and another film coming up, Bow Wow says his isn’t concerned about juggling his music and acting careers. “It will all work out,” the pint-sized rapper says.

Keeping the “Lil” in her name, Lil’ Kim, whose album drops the same month her jail sentence begins, was happy to walk down the red carpet and pose for pictures with her oversized entourage. The one who should be going to jail, however, is her stylist, as her adorable gold shoes were at least two sizes too big for her. There was enough room to shove two packs of gum back there!

Following in the wake of Lil’ Kim’s entourage, Kanye West stopped to hug John Legend, a presenter, nominee and surprisingly not a winner for the evening.

Diddy announced that he personally challenged each musician to look their best, and when Snoop stepped on the white carpet, his ensemble was as smooth as his walk. He may have been flashing a peace sign to the photographers, but they were too busy wondering where he got shoestrings to match his tie.

And speaking of best dressed, Gwen Stefani looked sharp, svelte and siren-like in her skin-tight, leopard-print dress. As she passed by the crowd, someone yelled out, “What do you love about Miami?” Stefani’s response, “Everything!” And what does Miami love about Stefani? The same. Residents were happy to see the recent solo artist did make it into town after rumors of her skipping the show circulated. It seems Stefani felt snubbed when MTV didn’t asked her to perform (bad move on their part), and allegedly said she wouldn’t be stepping foot in town in protest. But lets face it, it just wouldn’t be the same without Stefani, as she is one of the hottest acts out there right now.

After the paparazzi flashes faded and the awards commenced, the parties on South Beach started to heat up. At the Delano, the paparazzi got plenty of face time with Ashlee and Jessica Simpson — maybe even a little too much. While it’s no secret the girls are media magnets (thanks to their manager and dad, Joe Simpson), it was at least an hour before the sisters could escape the press line and enjoy their own event.
With buzz spreading all week about how hot the party would be at Casa Casuarina, it was a bit of a disappointment to see that Quincy Jones was the only celeb in sight. Which is why the lobby at The Setai was the hottest party in town for those who were dying for a few celeb sittings. In fact, the party at The Setai was so unbelievable (and so secure) not even reporters from People magazine could get in. Celebs filtered into the lobby and then headed back up to the penthouse for the second night of champagne bliss. And South Beach was in bliss for the second year in a row. After all, this is a town that was made for a party (or 100 parties). If anywhere on earth is ready for VMA madness — hurricanes and all — it’s Miami Beach.

Room for One More
After months of prepping for a monster VMA weekend, South Beach got its first taste of star power when residents spotted Paris Hilton leaving the lobby of The Shore Club. Ironically, the Hilton heiress didn’t stay in her namesake‘s hotel 20 blocks north —which might have been a better idea, because, as Page Six reported, Hilton’s credit card was declined. Apparently forgetting to pay bills isn’t unusual for the heiress, so accepting the situation as a mere oversight, the Shore Club let Paris flash the cash at a later date. Obviously she’s good for it. Champagne Wishes Thursday led to even more sightings, as Jamie Foxx was seen cruising the town in a blue Lamborghini in the early afternoon. Foxx, who will play Ray Charles in the upcoming film Ray, kicked off his Thursday night at Teasers by pouring one of 10 bottles of Cristal down the throats of some very lovely – and lucky – ladies. T.G.I.F On Friday, Adidas kicked off the weekend with a Missy Elliott-style cookout at The Sagamore. Elliott was there, along with Paris Hilton, Diana Ross, Queen Latifah and The Flaming Lips. (Yes, that guy that was in the bubble at the awards).

Mansion nightclub had a mob-scene of star-seekers out front waiting to get in seemingly undeterred by the $100-$200 cover. Inside the huge club most of the celebs were safely shielded away in a heavily guarded ultra-VIP area. But, unknown to most people waiting out front, celebs actually entered Mansion via the back alley entrance where the red carpet was set-up. Here, journalists, paparazzi and a few onlookers climbed around the metal barricades to gaze upon the motherload of celebrities entering Mansion in support of P. Diddy’s Citizen Change voting rally.

Diddy, of course arrived sporting enough bling to blind –from his diamond-studded watch to his custom-made “Vote or Die” diamond necklace, Diddy was showing his patriotism in true Miami Beach style.

Ja Rule and an entourage of 25 people made their way across the red carpet, as did the gorgeous Naomi Campbell.

Publicists seeking to shield the arrival of Paris Hilton from the paparazzi created a diversion with rap singer Da Brat while the heiress ducked into the club unseen by photographers.

With this diversion the paparazzi became absolutely furious. (Apparently images of Da Brat aren’t as marketable as those of Ms. Hilton) Shouts of “What am I going to do with pictures of Da Brat? I can’t sell those… Who the hell is Da Brat?…It’s your job to get Paris out here and make her do press” bombarded the publicists, then other photographers began arguing with those causing such a scene as they feared this would shut down the entire red carpet for everyone.

In the midst of this scene, a frantic Queen Latifah dressed in a pink button-up shirt and white Dior handbag, came flying out of Mansion with her body guards practically knocking-over some folks in the media pit.

The frenzy at Mansion’s back alley red carpet set-up for the media was so intense that Ashlee Simpson, wearing a black tank top, cropped pants and black CFMPs, was able to wander down the alley behind Mansion with Geffen Records President Jordan Schur unnoticed by the squabbling paparazzi. After shaking hands with fans, she approached a side entrance door furthest away from the media, but the doormanwouldn’t allow her to enter telling the platinum-selling artist the only way she could get in was to walk the red carpet (through the mass of journalist and paparazzi). Schur stepped in and demanded the doorman let the MTV reality star through, but when the bouncer refused yet again, Schur and Simpson simply departed back down the alley rather than submit to the media circus in full swing barely 50 feet away. The biggest laugh of all was that not a single paparazzi was able to stop their feuding long enough to notice the incident and get photos.

Saturday Night Fever
While Mansion was Friday night’s “it” spot for MTVs who‘s–who, fans of No Doubt who waited in line for a concert from the pop/ska band to support a Democratic fundraiser were disappointed when the band cancelled its performance. They did, however, receive an appearance by John Kerry’s daughters. Maybe we South Beach denizens are a little jaded, but somehow swapping No Doubt for the Kerry daughters just doesn’t seem like a even trade.

Crobar stunned audiences with live performances by opening act De La Soul and the Beastie Boys for MTV2/LIFEbeat, the music industry’s AIDS awareness program. Performing on a tiny stage approximately the size of a king-sized bed, the Beastie Boys mixed elements from their first album with their latest one, creating a frenzy of fans who pumped their fists and cheered frantically. Beastie Boy King Adrock sported a “Time’s Up, Mr. Bush” T-shirt, but that was as political as the party got. Seen moving through the crowd was former Saturday Night Live star Jimmy Fallon, who quickly made his way up to the secluded super-duper VIP area upstairs. After the show, Fallon and a herd of friends took off down Washington Avenue, with Fallon laughing and ducking as he ran toward a black SUV in front of Butterfly Lounge.

The Blender Magazine/Neptunes party at Nobu was a tasty delight for the likes of Nick Lachey and Jessica Simpson, along with sister Ashlee, their dad and mom, who were all hanging in the VIP.

While the elite were invited to Missy Elliott and P. Diddy parties on Miami Beach’s Star Island, Elliott, for some unknown reason skipped out on her soiree, but still made sure guests had plenty of eye candy to ogle. Paris Hilton was there, even though she was supposed to be hosting her own party at Mansion. On Friday night the hotel heiress must have had enough of the club-scene (hard to believe, I know), because she never showed up at the event. Instead, Mansion happily welcomed the it-twins, Mary-Kate and Ashley Olsen, who were having a great time and partying like rock stars, even though that’s the one part of their empire they’ve yet to broach.

Sunday, Sunday, Sunday!
The scene at the VMAs in downtown Miami was both sheer excitement and utter chaos. TV helicopters and airplanes towing party banners filled the skies, while those lucky enough to get tickets made their way across barricaded streets to the musical promise land. While the show was in progress, South Beach was busy getting ready for the be-all-end-all of after-parties, and as the awards came to a close, Usher looked into the camera and announced to MTV that he was on his way to the Shore Club’s SkyBar to party – and of course that meant everyone else on the planet was, also.

SkyBar’s entrance was absolutely fierce. Conrad was working the door and despite being his life-long friend, screaming his name or offering him your most prized sexual favors, you just weren’t getting in. It was a time when South Beach locals realized they had no juice whatsoever once the big dogs came running through town.

Those of us who were lucky enough to get inside (don’t ask how we did it –it’s borderline illegal) were greeted with a fabulous circus themed scene. Jaguars with diamond-studded collars, snakes wrapped around painted ladies, and trapeze artists dangling above the pool, while fashionistas sipped champagne at the open bar.

The crowed “ooh’d” and “aah’d,” as a magnificent fireworks display lit up the South Beach sky, but in reality, the fireworks was nothing more than a diversionary tactic to keep the masses from noticing Usher’s entrance to his private soiree. As partygoers looked up at the sky, Usher, who won Best Male Video and Best Dance Video, snuck in via the private entrance at the far right of the pool. The singer filed in with the likes of Lil Jon and the East Side Boyz, a very laid-back Shaquille O’Neil, and Jet, who won Best Rock Video.
After his stealthy entrance, Usher found his place on a throne made just for him in the VIP where the paparazzi snapped away at the unofficial king of R&B.

Back on the celeb-less side of the party, some out-of-control fan tried to invade the VIP area and was tackled to the ground by two watchful bodyguards. For some bizarre reason idiot-boy kept on struggling even though he was way out-muscled, and the guards finally had no choice but to pepper spray him.

As the spray wafted through the crowd, people started to choke and cough, and with hands clutched over their mouths and tears streaming down their face, they angrily walked out of Usher’s victory party.

While Dave Navarro and Carmen Electra were making an appearance down the street at The National Hotel for Ocean Drive’s event, the lines at the Shore Club grew even more intense.

After fire marshals shut down the velvet ropes for further entry due to the tremendous crowds inside, along comes supermodel Naomi Campbell who found out that even fame and her notorious temper wasn’t getting her into SkyBar tonight. Screaming at doormen, the frustrated Campbell shouted she would “have your jobs,” then uttered the kiss-of-death phrase here in Miami: “Don’t you know who I am?” The doormen knew who she was alright, but apparently the Fire Marshals didn’t.

Even though MTV has a fifteen year history in Miami, first shooting “The Grind” at the Raleigh hotel then numerous specials all over South Beach, this was the first year the VMA was held anywhere other than New York or LA. But, if the level of partying in South Beach was any indication of the event’s success, we get the feeling they’ll be headed back this way soon.

On June 22, Nip/Tuck launches its second season and Gilsig’s character returns adding even more punch to an already steamy plot. Ginger Fulkerson catches up with the Montreal native, who also stars on NYPD Blue, and finds out what it’s like to juggle two of televisions most acclaimed drama series.

How did you get involved with Nip/Tuck?
Gina was going to be a two-episode arc [character] on the show. She was going to be this girl who came in and had her first encounter with Dr. Christian Troy and ended up sleeping with him. Then, she was going to be a red herring for who was vandalizing his property. Ryan Murphy, the creator, who is a genius, liked the character so much he asked if I would continue working on the show. Of course, I’m not an idiot, so I said I’d like to, and they just kept writing for Gina. It’s been a very unexpected dream, such a great experience.

Your character, Gina, is a member of Sexaholics Anonymous. How did you research something like that?
I did some research like any actor would. I actually had a friend who was a sexaholic. It’s so complicated. I guess it’s obsessive behavior, and I’m sure it’s different for every person, just like any addiction is. I have to give all of the credit to the writing because the way her mind operates is not the way my mind operates. She is so impulsive, she doesn’t think before she acts. She has this calculated quality, but she’s someone who acts on exactly what is on the tip of her brain. I think most of us sort of do one thing and then walk out of the room and say, “I wish I would have said this or that.” If she thinks it, she says it. If she wants it, she goes after it. She’s so driven. Some of the things she wants are not the healthiest things, but if she wants them she doesn’t measure out the consequences. She’s very interesting to me.

Just as the city of New York is a character in Sex and the City, Miami is a character in Nip/Tuck. How would you describe the city and the way it’s portrayed on the show?
I’ve actually never been to Miami. Everyone I know who has gone there has come back with the most incredible stories. I think one of the fun things from my vantage point is the strength of character Gina has. She tells me that women down there are not only very stylish, but also very self-possessed. And the clothes! The wardrobes are so brilliant on the show. [Our stylist] has this way of putting us in warm climate clothes that are very high fashion. It’s not like Los Angeles, where girls are just walking around in flip-flops, Uggs and minis. It seems like we always get to wear these fabulous shoes and amazing dresses that aren’t just frilly and feminine, but high fashion and powerful.

Last season your character told Dr. Troy she was pregnant with his baby, but the last episode had a shocking surprise for the doctor.  Tell us a little about it.
The last episode I go into labor and [Troy] delivers the baby. Gina is a nightmare in labor, and when the baby finally comes out, the baby is black. It’s not his baby. So, in the second season he is obviously very attached to the baby, as he has been nurturing it for nine months. The second season is about how we deal with custody issues and things like that.

With shows like Nip/Tuck, The Swan, MTV’s I Want a Famous Face and Extreme Makeover putting so much attention on plastic surgery, what’s your take on the phenomenon?
I think Nip/Tuck, at the core of it, is critical of the practice. The people on the show have more complex problems that they think they can fix with plastic surgery. I think it’s more of a critical eye [on plastic surgery]. I watched The Swan the other night. It’s so disturbing to me. I thought these girls were lovely. I mean they needed to wash their hair, but I don’t think what’s standing between them and everything they need to accomplish is a new set of teeth. I have always been wary on this subject because my grandmother had three facelifts. She was the most confident, grounded woman I’ve ever known in my life. She was a huge inspiration to me, so I don’t want to make generalizations because I supported her choice to do it. I guess if it feels right to you, I just hope people don’t think it’s going to fix everything because there’s never an easy solution. You have to do a lot inside. It’s really complicated because you have friends who have it done and you want to be compassionate and love your friends, but surgery is so radical to me. I would be so terrified. It will be interesting to see what happens down the line, like if the trend lasts or if we transition out of it and what the next phase will be.

When Boston Public hit, you were called ‘The Next Big Thing.’ How did that effect your career?
That onslaught was a little intimidating, overwhelming. It doesn’t necessarily last. I just felt like I was lucky. I got so much experience from being on Boston Public. I became much more familiar with Los Angeles and the industry. I felt like I grew so much as an actor. Nip/Tuck is such a good example. I was too young when I started Boston Public for something like that. I didn’t have the maturity or the experience the part required. I felt like when I got a part like that, all those things I had been working for were from that role. And you don’t know that’s happening. You just think you’re out there, and there isn’t a next phase. I got really lucky. I found another phase.

On top of your role on Nip/Tuck, you also play Detective Kelly Ronson on NYPD Blue. How much time would you say you spend working?
I’m lucky now because I’m on hiatus, but there was a period where I had a couple of 24-hour days. I would go and be a cop in the morning and interrogate and arrest people, and then in the afternoon I would go to Nip/Tuck and have sex with random partners. It was really the yin and yang of life. It was hard, but I feel gracious about it because in many ways I asked these two shows to accommodate me. It was sort of an embarrassment of riches.

How did you get involved in acting?
I started very young, when I was about 12. I really, really wanted to be an actor and my parents kept saying, “Wait until you are 18, then you can do whatever you want.” I just wasn’t having it. I heard about an audition to do a voiceover and my parents said, “If you can get there, you can go.” So, I took the bus and went to my first audition. It was such a minor thing. I had to sing “Happy Birthday” and that was it. Then I went on to do a lot of voiceovers and a lot of theatre in Montreal. It just sort of never stopped. I always had the bug.

You studied at Harvard University of American Repertory Theater and did tons of theatre. How did you transition into television shows like The Practice and your role as educator Lauren Davis on Boston Public?
I was doing theatre in New York for a few years and it was great. When you are an actor in New York, I think it is pretty typical that you know Los Angeles is out there and you know someday you should try it on, but it seems so daunting. One year I said, “I am going to go out there and if I don’t like it, I am going to go home and go back to New York.” That’s how I met these great women who were casting The Practice. From The Practice, I started working with David E. Kelley [of Boston Public].

I hear you are also a painter. Tell me about your work.
Tom McCarthy, who made this film The Station Agent, said he had this script and was interested in someday making it and really wanted to put my paintings in the film. And I said, “Of course.” You do anything for your friends. About three years later, he called me and said he had the money and wanted me to send my paintings. So, I had to find all of them, clean then up, make them better and then I sent them off and they were in The Station Agent.

What type of style do you paint?
I usually do portraits of women, mostly, and the theme is pretty moody, pretty dark. They are colorful, but pretty somber.

What else can we expect to see you in this year?
I did Chicks with Sticks, which is this female hockey movie with Margot Kidder and Jason Priestley. We shot it up in Canada and it was pretty cool. Then I did this Weitz brothers’ movie with Seth Meyers called See This Movie. It’s a really funny mocumentery.

Do you have anything to say to your fans here in Miami?
I hope we do them justice, and I would love to come down and visit sometime.

Fast-forward to the summer of 2002 in gorgeous Miami and Union finds herself amidst extreme car chases, gratuitous violence and lots of humor—the perfect recipe for this summer’s blockbuster, Bad Boys II.

With Miami serving as the backdrop for nearly five months of shooting Bad Boys II, it didn’t take the cast long to start popping-up in hotspots all over South Beach, and when shooting wrapped, it was only a matter of time before 30-year-old beauty Gabrielle Union returned to Miami, this time hanging with another group of bad boys who are just as infamous.

We caught-up with Gabrielle Union at the Eden Roc hotel on Miami Beach.

What brings you back to Miami Beach?
We are in town for *NSYNC’s The Challenge for the Children celebrity basketball game. I’m very excited about the event. I’m trying to recapture my half-court challenge with the lofty goals we set a couple of years back at an all-star weekend, where the other team came up from behind and beat us.

Your husband, Chris Howard, is a former Jacksonville Jaguar. Did his games frequently bring you to Florida?
We would go to Jacksonville a lot, as well as Orlando, Tampa and Gainesville.

You spent a lot of time here in Miami for the filming of Bad Boys II. Had you been here prior to that?
I had been here before, but only for vacations. I was here for five months filming the movie, and I had a blast. It was great to be here on someone else’s dime. They roll out the red carpet for Will and Martin, and if you are here with them, you are instantly in. I’ve never felt so embraced by an entire town before. It was so cool.

Where is your favorite place in South Beach?
Cheeseburger Baby is my absolute favorite place. I tell everyone from L.A., all of my friends and family, that if they go to Miami, they have to go to Cheeseburger Baby. I’m like Cheeseburger Baby, Cheeseburger Baby, it’s the best. When we were filming, we’d go there all the time at like 3 in the morning. I even danced with the owner one night. He’s awesome.

What was your favorite thing about filming the movie?
The after-work parties were the best. Afterward, on a Friday night, we would roll straight to Mynt. Everyone would be enjoying each other, laughing. It was like a five-month long bag session. You had to come with you’re A-game to stay in the mix. We just had so much fun. They [Will and Martin] wouldn’t just let me sit on the sidelines. At the time, I didn’t know them that well, and for them to go out of there their way to make sure I was included and to make sure I was having fun, that was really cool.

When you’re not filming, what do you do to unwind?
I’m a reality TV junkie. I like MTV’s Making the Band. I also enjoy reading. I’m re-reading the biography of Malcom X. I re-read it every year. A professor told me to read it frequently because you will be able to relate to different aspects of his life as you get older, which is true. I’ve been reading it since college.

Where did you go to school, and what did you study in college?
I went to U.C.L.A. and I studied Sociology.

Who are some of your favorite artists?
I love Lil’ Kim, 50 Cent and Luther Vandross. I really like ‘The Closer I Get to You,’ the duet with he and Beyonce.

Speaking of music, since you’re hanging with the boys from *NSYNC, did you make it to Justin’s [Timberlake] concert at the Office Depot Center in Sunrise?
Did I! I lost it when he did ‘It Takes Two to Make a Thing Go Right.’

After this event, are you planning any other trips to the Miami area?
I’m looking for a place [here in Miami] now…[laughing]… I’m not going to be on Star Island, but I’d love to live in a condo near Nikki Beach. I just love it here.

Davis, who is the film’s writer, director and star, was recently awarded the Breakthrough Artist Award at Miami’s first Sunlight Awards Gala for her work on the film. The achievement recognized her as “an artist reaching great heights.”

While the 34-year-old moviemaker’s ascension up Hollywood’s ladder appears to be a successful one, it has nonetheless been an arduous climb.

After graduating from Dartmouth, a starry-eyed Davis packed her bags and headed west to shake up Hollywood with her poignant ideas. But what she found when she arrived was cynicism and a bounty of hardships.

Today, with two films under her belt and a third in the works, Davis is setting herself apart from L.A.’s numerous wannabe moviemakers and proving herself to those who doubted her artistic ways in the beginning. The multitalented Davis takes some time to talk with us about how the business has treated her, who she’d love to work with and what she’d do if she ran Hollywood.

You moved to Hollywood right after college—was it difficult for someone of your age to be taken seriously?
Absolutely. I was 21 and no one takes you seriously when you’re that young. It was hard, but it’s all part of the experience. It’s a difficult business to break into, so it’s important to be tested at the very beginning to see if this is what you really want to do with your life. There are so many obstacles you have to go through and it really tests your commitment to making movies.

Tell me about your hardships trying to get your films out there.
Raising money is hard. I try to raise money independently so I can keep my vision in tact, and so I don’t have to answer to a committee of people. But the problem is, if you don’t have enough money, you can’t attract stars. It becomes harder to get the movie in the theater if you don’t have a star. For me, it’s been a lot of grassroots marketing, film festivals and word of mouth to get my movies out there.

Are you hoping to work with the big studios?
At this point in my career, I would like to work with a studio. I’d like to work with the bigger names to have that kind of support, but I still want to have my autonomy. It’s a hard mix, but I’m definitely ready to move up to the studio level and work with stars.

What do you consider your greatest success thus far?
I still see my first movie, I Love You, Don’t Touch Me, as the pinnacle for me. That was the one that got the most visibility, because it was at the Sundance Film Festival. I also think it was one of the best films, but they have all been exciting. Acting in Amy’s Orgasm was thrilling.

You’ve been a writer, director, producer and actor—which role is most fulfilling for you?
I think they’re all fulfilling except for producing. It’s the one thing I don’t like. It’s the business-side of making a movie. It’s where you have to fight all the battles.

You won the Breakthrough Artists Award at the Sunlight Awards Gala in May. Tell me how that felt.
It was great to be recognized in my hometown. It was exciting…

How did South Florida play a role in your film career?
It’s my hometown. Where you grow up is the place where your dreams start to come together. It’s where you become who you are. It’s really exciting to come home with a movie. I always fight to get my movies to open in Miami. With my first movie, I really put up a fight with the studio, MGM, to open in Miami. It happened at CocoWalk.

How do you feel the film industry is changing in South Florida?
It feels like it’s getting bigger. The locations are amazing, but it’s hard to compete with Los Angeles. L.A.’s history will always make it the center for movies. It would be nice to live in a city where movies are just one part of it and not the whole city. Where here [in L.A.], that’s what everyone does. And it starts to get claustrophobic.

Of all the films out there, which one inspired you to go into this career?
All the films of Woody Allen. He inspired me to write and direct.

Which film do you feel is the most overrated?
The Matrix. I don’t understand why more people flock to special effects movies than movies with emotional story content.

Is it hard being a woman in an industry dominated by men?
It is hard being a woman in this business. And so much of it is business, which requires you to be a real fighter. You have to be able to separate your emotional side from your business head. It’s difficult to put up a fight, then switch that off and go into the creative mode.

“I Love You, Don’t Touch Me” took you to Sundance in 1997. Tell me how that experience changed your career.
Sundance started my career. It gave me visibility. Everybody in the business saw the movie, and then they knew who I was. The critics responded well and that helped. It put me in the industry. I went from a wannabe to someone people took seriously.

How did your latest film, “Amy’s Orgasm,” get its name?
Amy’s Orgasm wasn’t the original title. Originally, it was “Why Love Doesn’t Work,” but Samuel Goldwyn [Goldwyn Films, Inc.], who bought I Love You, Don’t Touch Me, told me I needed to change the title. He said it was forgettable, and I should pick a title everyone would notice. He suggested I put the word ?orgasm? in it. I thought he was kidding, but I tried it. When the movie premiered at the Santa Barbara Film Festival, it sold out every night. I knew it was because of the title. When you don’t have a star, you have to do something to get people’s attention. When we sold the video to Blockbuster, they said we had to change the name. They wouldn’t carry it with the word ?orgasm? on the box, so it’s out on video as Amy’s O. But when you see it on TV ? it’s playing on Showtime right now ? it’s called Amy’s Orgasm.

Tell me about making the movie.
From the time I wrote it until the time it came out in the theaters was about four years. The budget was only $500,000, which was a lot more than my first one, but it’s still not a lot of money. When the movie was finished, there were a lot of things that didn’t work. I wanted to re-shoot, so I had to raise more money. That put the movie on hold for about a year. It took another two years to sell it. It was tough, but there was a happy ending. I raised money from businessmen in Miami…the husband of an old friend of mine… was in the audience of the South Beach Film Festival when I Love You, Don’t Touch Me showed. After the movie he said, ?I loved your movie, I’d love to finance the next one with a bunch of business partners.? Holy shit. I couldn’t believe it. They put up the money, so it really is a Miami production.

You wrote, directed and starred in Amy’s Orgasm. Wasn’t that sort of overwhelming?
It was hard to act in it, because it took away from my director’s eye. I was in front of the camera, instead of behind it. I couldn’t see what everyone was doing, including myself. It was like jumping out of a plane without a parachute and hoping you land OK. It was risky.

After this experience, will you ever act in one of your own films again?
I will never do a role this big. I was in every scene. I think it compromised my director’s head. I would love to act for someone else, but I don’t think I want to act in my next movie.

How much of you was in the character?
Basically, when I wrote it, I was in a new relationship, so it was like self-therapy. A lot of the character is me, which is why I did it. In a way, that’s offering the most authenticity to the part, but that also made it hard. It’s like being naked. But it was a lot of fun. Acting has always been my dream. I’m glad I did it.

Lets say you have a movie with a budget that allows you to work with whomever you want, who would you choose?
Meryl Streep is my favorite actress in the world. I think working with her would be like dying and going to heaven. I also like Cathy Bates. I love Lauren Ambrose from Six Feet Under. I want her to do my next film.

What are you working on right now?
I’m writing a script, another original screenplay. It was originally a TV series for Showtime. They decided not to do it as a series, so I’m doing it as a movie.

Over the past year, which movie had a role you would have loved to play?
I would’ve loved to play Nicolas Cage’s role in Adaptation, but as a woman. I also loved Julianne Moore’s role in Far From Heaven, although I would never play a role like that.

Why not?
(laughing)… I’m just not good enough.

What would you change about Hollywood?
I don’t even know where to start. It’s such a business and I wish it wasn’t. I wish there were more independent companies, true independent companies that weren’t owned by conglomerates. It takes away from the originality of what is created. But it’s a necessary evil. Ideally, I’d have my own production company, an endless source of funding, the ability to hire people I think are smart and then I’d just make a lot of movies.

In a perfect world, right?
In a perfect world, without having to answer to people who lack taste or have a different agenda. (laughing)… and if anyone who reads this wants to finance my next movie, they can e-mail me.

What advice do you have for aspiring writers, producers, directors and actors?
Don’t give up. Make as many short films as you can. Get a video camera, make a short movie and practice whatever it is what you want to do, so when you get the chance, you’ll be ready.

As Balazs makes his way toward our booth in the waiting area, a guest in the hotel introduces Balazs to his daughter who has just flown into town. Just as Balazs approaches our area to begin our interview his cell phone rings, whereupon he instructs the caller to set-up a table overlooking the pool area where he will soon be dining with a special guest. Finally he shakes my hand and we sit on the plush green banquet and begin. Clearly, 46-year-old André Balazs is a very busy man.

With a string of historic, boutique hotels, such as the Chateau Marmont in Hollywood, the Downtown L.A. Standard and The Mercer in SoHo, Balazs has quite a reputation to uphold, especially with his latest endeavor, the Raleigh in Miami Beach, a hotel that moves within the same realm of old-Hollywood charm and artsy chic his other properties are noted for. And as Balazs winds down from a busy Art Basel weekend in Miami Beach, we finally have a chance to explore his vision for the future of Miami Beach’s Raleigh hotel.

You’ve been a journalist, started a medical company called Biomatrix, and owned restaurants and clubs — so, how does the son of a scientist wind up on South Beach?
I worked in journalism because I started a publishing company. And I worked in biotechnology because I started a biotechnology company. Really, I’m an entrepreneur, who, for a variety of reasons, found one area where my various other adjacent interests came together. I like starting things. I’ve always liked design, and I went to architecture school briefly. I went into nightclubs and restaurants before getting into hotels. I’ve thought about these earlier vignettes in my life and how they have come together. There’s an element of journalistic aspect to the creation of a hotel — at least the ones we do. In involves researching and finding a story to the culture of the hotel.

With an empire of chic hotels from New York to St. Barths to Los Angeles, why did you choose Miami Beach as your latest conquest?
I’ve actually been coming to Miami Beach for quite a while. I owned a building on Eighth and Washington, a little hotel where we were going to do a restaurant about 15 years ago. I loved Miami then, but at that time I thought it was a little premature. I’ve always loved The Raleigh and its feel. It was a pioneer hotel here. It reminds me of the Chateau Marmont in Hollywood. I thought this property in particular had qualities that could make it a fabulous, very high-service, luxury boutique hotel. Very few of the other properties here have that quality. Unfortunately, this was not for sale until nine months ago. Ken Zarrilli, the previous owner, appreciated what we did with the Chateau and thought we could nurture The Raleigh and continue its culture.

What is the essence of a good hotel?
I think the hotels that mean the most to people are the hotels that feel like home — like your own home. For me, how you achieve that feeling is really the whole point of being an hotelier. There are many different tools to doing that: visual tools, special tools, service tools, tone and the mix of people. That combination is what makes someone feel emotional about a hotel. A good hotel is one that makes you want to come back.

How did you go about finding the soul of this hotel?
To some extent, it’s a process we are still doing. It really starts with the location of the hotel. Obviously, it’s South Beach, but what is South Beach? What is Miami? It has a Latino, exotic, international feel to it, so that is one aspect. Then you look at the building itself. It’s sort of a restrained example of Art Deco work by L. Murray Dixon. It has a very unusual outdoor area. In 1947, Life called this “the most beautiful pool in America.” Aside from that, it has one of the largest outdoor/beach areas because unlike other properties along here, it escaped developers—urges to maximize revenue by building more and more until they just ate everything.

In the 1980s, it was very much a cultural melting pot with the first gay and other cultural pioneers staying here, so it had a richness to it. Those are the basic perceptions you build upon in terms of culture. It’s not in-your-face design, and it’s not about the latest [trends]. It’s about timelessness and comfort. Putting together a hotel is very much like assembling a perfect dinner party. It’s nice to have a mix of guests, and have them enjoy each other. Together, a sort of culture emerges.

The Raleigh has been a Miami Beach showplace since the day it opened in 1940. What changes do you envision for The Raleigh?
We are dramatically improving the service. There were also a lot of physical changes — it was really very run down. It’s all-new décor, and we greatly expanded the back area. Eric Ripert, our chef, is one of the few four-star chefs in America. Together we are going to create a much more expansive culinary aspect. There will be restaurant/grill-type dining outside in the back. Next season, there will also be a formal dining room in the old ballroom. There are a lot of neat changes, but I think the goal is for someone to come in and say, “Oh my god, it’s so perfect. Nothing has changed!” The goal is to make it feel perfect like it is, not to make a design statement.

Your magnificent restoration of the Chateau Marmont in West Hollywood was apparently quite a task due to its precarious condition when you first acquired it. Has the Raleigh been anywhere near that level of difficulty?
We approached this in the exact same way we approached the Chateau. It was of similar vintage and had similar issues. Both are historic landmarks — the Chateau is a federal landmark, which happens to be something we work with a lot. The Mercer happens to be one the few designated historic districts in New York, so we are used to working within the historic fabric. Here, everything is a parcel of that discussion—what you keep and what you take away. In restoring a hotel like The Raleigh, what you do is take away things that messed it up. It’s not so much adding, but editing out, enhancing what was there.

The Raleigh’s pool has a rich history. Shortly after it opened, it was used to film some of Esther Williams’ aquatic scenes, it was the subject of numerous articles, and in the early ’90s, MTV used it while filming “The Grind.” So, is it safe to say that the pool area under André Balazs will be used for something more than doing the backstroke?
The feel that we wanted to evoke with the pool was very much the feel of the pool from the ’40s. There’s a classic composition to the seating and design. The concept of how to use the pool is sort of elegant and classic. It’s like a beach club.

Will Susanne Bartsch and her notoriously lavish drag parties have an on-going involvement at The Raleigh?
Susanne is an old friend. She did a party here last New Year’s, but I’m not sure she will be doing something here this year. We do have a lot of events planned, because it’s a very unusually large area. My friend Patrick McMullen published a book, ‘so 80s,’ and we had a party for him during Art Basel. We had a party for Visionaire, as well. We also did the opening party for Art Basel.

Why is this a good gathering place for people who are interested in the Arts?
I think there’s something about the hotel that is sophisticated and appeals to people who buy art or are artists. At the Chateau in L.A., we have a very longstanding, loyal clientele of writers, director and the creative community. I feel there’s something similar at The Raleigh. It’s a mindset that takes you back. It’s not an in-your-face attitude. It’s casual.

In your opinion, what makes The Raleigh stand out when compared to hotels like the Shore Club and the Delano?
I think those are our two main competitors and in the end, I hope service will make us stand out — the tone of the service. We are a much smaller hotel and that changes the atmosphere. We have a much bigger pool area, more grounds, more outdoors, but we are actually a smaller hotel. It’s a cultural difference, too. I also think the tone of the ownership travels through the staff. It’s just different. I don’t even know how to characterize it, but I do know a lot of people are very passionate about how they characterize the difference.

Tell me about your plans for renovating The Lido Spa here in Miami Beach.
I bought it about nine months ago. We are renovating it right now. It’s going to be a Standard Hotel and it’s going to be a spa — it should open in late spring/early summer.

I know you were involved with nightclubs in the past. Do you have any nightclub plans for South Beach?
[…laughing…] No, I don’t think I have an interest in opening a club anywhere — except in conjunction with a lounge in a hotel…

How will The Raleigh play into South Beach’s future?
I hope it becomes the hotel of choice for sophisticated people who expect luxury on a certain level, space and service. When I say sophisticated, I mean people who are culturally sophisticated, know themselves and have a rich inner life.

On a warm Wednesday night at Books & Books on Lincoln Road, we met up with Edison Farrow to talk about his decision to give up acting for more important things in life—like offering a much-needed party alternative to the city’s gay population, and spreading the word that South Beach is the hippest hometown around.

What brought you to South Beach?
I was acting for about 15 years. My friends said, ‘You should go to South Beach, do commercials and make some money.’ So, I came down here for a month and just loved it. I ended up staying for four months. Then I went back to New York, and the whole time I was thinking, ‘I really liked it better in South Beach.’ After about eight months I said, ‘I’m going.’ I packed everything up and just drove down. That was seven years ago.

How did you get involved with nightlife?
I was going to school for Web site design and bartending, and there are a lot of really nice people you see every three months, and you exchange phone numbers and have every intention of calling each other, but never really do. So, I called about 12 people and I said, ‘I’m going to start a little club. It’s going to be a martini club.’ The concept was 12 people meeting once a week. The first week I told them to meet at the WinterHaven Hotel at 9 o’clock for martinis. About 14 people showed up, and we pulled together some tables and just sat and talked. It was really nice. So I said, ‘I’ll get all of your e-mail addresses and e-mail you where we will meet next week. The next week 35 people showed up. It was nice, but not what I was expecting. Well, four weeks later there were 100 people. We were at the Cheeky Monkey Bar, and I warned the bartender we were coming with a group of 75 people ‘ I don’t think they have ever had 75 people in there at one time, ever ‘ the next thing you know, he’s bartending for us and so are two waitresses and a waiter. My friends looked at me and said, ‘If you aren’t getting a cut of that register, then you are crazy.’ The next week I went to the next place and they offered me a percentage of the bar. Then after about six or seven weeks The Wire called and wanted to do a photo spread and story, and I said, ‘Oh, I don’t want to make this so big. I’m not trying to be a promoter.’ Then Miamigo Magazine did the same thing. I just wanted it to be a word-of-mouth thing. But it finally got to a point after about a year where I had 1,600 people on my e-mail list and for the first time, I had a press night at the Loews Hotel. It was a really big event. The Deco Drive TV cameras were there, Ocean Drive, The Wire ‘ all the magazines. Now, I have 2,200 people I e-mail every week.

How long has the party been going on?
It started in January, so almost 80 weeks. We meet every Tuesday from 9 to 12. Every week I send e-mails. I’ve still never taken out an ad, never made an invitation, flyer or anything like that, only the e-mail and the Web site. I also just started a second night.

Tell me about that.
A few weeks ago we did a night at Mynt, and they are closed on Tuesdays. The doorman counted 500 people walking in [to the martini party]. They called me the next day and asked if I was interested in starting a gay night there. As of Monday, August 12th, the party is moving to the new Bar Code at 1437 Washington Avenue.

I know you are not a promoter, and you keep stumbling onto these parties, but is there anything else you’re working on?
I actually started a column about two months ago about dating in South Beach on the Web site. Then Miamigo Magazine called me and asked if I could add about 200 words, so now I have a column. Then there was an article I wrote sort of knocking The Wall Street Journal on the negative piece they wrote about South Beach.  [The Wall Street Journal reported South Beach lost its hip edge when it gave into shopping malls and other corporate chains.] Basically I wrote a rebuttal to their piece…meanwhile, Shakira has a house here, Janet Jackson just bought a house here, Jennifer Lopez, Rosie O’Donnell, Ricky Martin ‘ the biggest stars, they all have homes here. One of the things I said was that people blame the fact that we are such ‘a shopping mall’ on the fact that we have four Starbucks and two Gaps now. If you pick up the Manhattan Yellow Pages, there are 74 Starbucks and 53 Gaps, and they haven’t lost their cool. It just means we are growing into a city. Leslie Abravanel printed in The Street and The Herald an article about my article, and she quoted two paragraphs from my opinion on the piece and my defense of South Beach. I was very flattered.

Other than South Beach, what are your passions?
I go through phases. For so many years it was acting, singing and dancing, but now I really love the promoting world. I think of myself more as a party host than a promoter. Every time I have a party, I feel like it’s in my house. It’s not like work for me. I’m also always doing the Web site and the e-mails. It’s certainly my main job now. And I’m going to be in a play as well. I really don’t act anymore, but some friends wrote a gay play about South Beach. It’s kind of a gay Sex and the City thing. It’s called Nature of the Beach. It will be at Miami Shores Theater in September.

As someone in the arts, do you feel like if you aren’t doing something creative, then your arms are tied behind you back?
Oh, I’ve done everything from writing songs, acting, singing, dancing ‘ all kinds of stuff. One time, about five years ago, I had an idea for a music video for a song I recorded. I rented a studio for the night, got 16 people together, produced, directed, choreographed and the video actually ran on The Box for four months. I always end up doing something creative.

Tell me about your role in the gay community.
It’s interesting because being as I started the group for such a small number of people, and then it grew to so many without my trying, it obviously shows there was a need for what I started. Everything here seemed to be from 1 a.m. to 5 a.m. with crazy club music and drugs. I still bartend one night a week at Twist, and I heard over and over again, ‘Where can you go to meet people and talk’ Where can you go out early’ What other places can you go to” I really listened and put it all together into one night. I think the business professionals were kind of a forgotten market. No one catered to anyone who didn’t go out before 1 a.m. Straight or gay, there really aren’t that many happy hours. I started a whole new niche. I have a big voice in the community now because of my e-mail. People who moved here 10 or 15 years ago for the party grew up. They have careers and need a social outlet other than crazy club nights. I kind of started an alternative subculture, and it’s really growing. All these things keep popping up because of it. They started a new gay talk show on 93.1, and they interviewed me there yesterday. A lot of things are coming about.

In your time here, how do you think the gay community has changed?
A lot of people say there aren’t as many gay people here. I think it is just more populated; it’s more of a city. I think there are more of the masses moving in along with the chains of stores. South Beach has just become a little more well known. It’s absolutely the biggest melting pot in the world.

It’s the most diverse 23 blocks in the world, but how do you think nightlife has changed?
In a way, for many years, it hadn’t, and that is why this whole new concept took off so quickly. There just needs to be more options here. That is the biggest problem. Everything can’t be the 1 a.m. to 5 a.m. party scene. You need options.

In recent years it seems every show has a gay character. How do you feel about the media including that demographic in primetime programming?
It’s great. I’m 39 years old and growing up, there was never a gay character on TV, except Billy Crystal on Soap. Then there would be a gay pride parade once a year and there would be some drag queen and some guy in leather. I was like, ‘I do not want to be that.’ Then it got to the point where there was someone on The Real World, Melrose Place, 90210, Dawson’s Creek ‘ every teen show had the gay character. If there were seven characters on a show, one had to be gay. It was almost the opposite extreme. I think it is great because it helps people become more familiar, feeling like they can relate to a gay person. They hear our voice and know where we are coming from.

Are there any particular shows whose portrayal of gay life you disagree with?
I look at the show Queer as Folk, and it’s really extreme. I think it is really a cartoon of gay life. They are supposed to be in Minnesota. They go out on a Monday night and there are 4,000 people all half-dressed. It looks like the craziest party weekend in South Beach there is, and if you went to that bar on a Monday night, there would be five guys in flannel shirts drinking beers. It is just so exaggerated. They have backrooms where there a people having sex, and I’ve never seen anything like that before in my life. A lot of gay people, we love the show, it’s kind of like, ‘Yeah, we’re on TV,’ but if it was a show about all black people with gold teeth robbing a 7-11, I think people would be really up in arms. One person who is on it, I actually knew as a child. His name is Scott Lowell and he plays Ted. Our mothers were best friends in college. My mother is like, ‘Did you see the show Scott’s on’ It’s pretty outrageous.’ And it’s like, ‘Oh no. My mother is watching Queer as Folk. I’m going to die.’

How do you feel about Miami-Dade’s upcoming vote to repeal the Human Rights Ordinance that prohibits discrimination based on sexual orientation?
Well, discrimination is discrimination. It’s great to have someone like Rosie O’Donnell speaking out on our side, because she is someone everybody identifies with. She has a really powerful voice here. The state of Florida is very conservative. Miami’s voice is very different from that of the rest of the state. We’ll have to see what will happen.

Tell me how you feel about the past two Memorial Day weekends.
I think there are so many black events that happen here that are fabulous. They just had the Soul Awards and that was great. They had a black film festival, and there were no problems. It’s just Memorial Day weekend that’s the one time of year when people don’t get along. Memorial Day weekend was always such a huge weekend here. There were lots of tourists coming in. It was a very gay weekend; it was a very straight weekend. All the hotels were booked and all the restaurants were packed. Now it scares away all of the other tourists. Last year when it happened, I started a big e-mail campaign that said if you don’t like what is going on, write your politicians. I gave all the e-mail addresses. All the politicians wrote promising this would never happen on a holiday weekend ever again. Then they put it right on Memorial Day weekend again when they all promised me in e-mail they were not going to do that. I think it is a really, really bad thing for the community, for such a fun community otherwise.

Don’t you think that no matter what race, when you put hundreds of thousands of people on 23 blocks something bad is going to happen’ What can the city of Miami Beach do to prevent that?
I think they feel they can’t really say they can’t come back because it is a racial thing. If any group came in with hundreds and thousands of people and there were stabbings, shooting and rapes, they would be told they are not allowed to come back. The only reason they are not allowed to say that is because the majority of the people are African American. Meanwhile, it is just a horrible weekend here. There is so much crime, and there’s no reason for it to continue.

What’s the one thing we can do to help each other accept everyone’s different life choices and lifestyles?
Respecting each other, understanding each other. I think the change in the perception of the media has really been a big help with shows like Will & Grace. Having contact, having exposure ‘ no matter what you are talking about ‘ if you don’t know anything about them, the lack of knowing and understanding causes you to make assumptions. Respect each other, listen and understand before you make assumptions.

Are there any misconceptions you want to clear up about you, South Beach or your lifestyle?
A lot of people think of South Beach as a bunch of steroid-using party boys, but we’ve grown up. Years ago people said there was no community between the gay community, but in the last two years we’ve created a gay chorus, theatre companies, softball league and a chamber of commerce. Ten years ago it was a ghost town, and for many years it was a tourist town. We are really just for the first time becoming a community, a year-round community. We are growing and growing.

With looks to kill and a voice that rivals any R&B diva, some would think Christina has it all. But for someone who couldn’t even hold a note in her high school choir, the road to stardom has been a long and winding one. After years of trying and training, Christina finally got a break. By day she supported herself with a modeling career, and by night she expressed herself in song at New York clubs and bars.
Today Christina is making a name for herself in South Florida. Her five years on Miami Beach landed her gigs at Liquid, Red Square, Nikki Beach, Bambu, The Clevelander and Jazid. Over dinner at Lincoln Road’s Next Cafe Christina shares how she got involved with music, the direction she wants to take her career in and why boyfriends and social lives take a back seat in her life right now.
How did you land in South Beach?
I was living in New York, and I needed to make money. When I first moved the New York, I started as a plus-size model. My agency at the time mentioned South Beach as a place to try and find work. Basically I just said, ‘Great, I’ll do it.’ I came down here, and I ended up staying. I learned to love with the place, learned to be accustomed to the craziness of it all. But I really enjoy it now.

How was modeling?
It was great, but I’ve lost a lot of weight. I started exercising and taking care of myself, being health conscious and loving the outdoors. Fortunately, I’m still able to do it. I also do lots of German catalogs.

Have you ever done runway?
Plus-size runway—it’s definitely wearing the kind of clothes you don’t want to be seen in. American plus-size clothes are, design wise, very unfortunate. For whatever reason they don’t consider fashion as much as Europeans do. You wear a lot of frumpy clothing and things that just don’t fit right. The Europeans are a lot more tailored, more curvy. The clothes are form fitting and fashionable.

How did you get involved with singing?
When I was a little girl I used to sing in the car, because my family used to travel and moved around a lot by car. My father was also a big-time wannabe singer, and my grandmother was an opera singer, that also inspired me. But when I first started joining choir in high school, I got rejected and cut, I couldn’t sing. I really couldn’t. I had no clue of technique, training or breathing. That devastated me, so after school I started taking private vocal lessons. That’s where I fell in love with it. It was very challenging, but I guess when someone says, ‘You can’t do that,’ to a kid, you have no fear. It was just one of those situations where I went for it. I started doing these cute little singing contests at underage dance clubs for 18 and under.

Tell me about the contests. What were they like?
It was nerve-racking, because you know how kids can be. The first time I went it was one of those you-bring-your-own-background-music deals and you sing whatever song. I was so nervous the first time I did it, that I brought a cheat-sheet with all the lyrics on it… [laughing]…the lyrics were in red ink, and as soon as I got up on stage, the light that shot down on me was red, so I couldn’t read the paper.

Did you freak out?
I freaked out and forgot all the words. I had to stop. I was so embarrassed. Everyone was booing at me, it was tough. That experience alone could have stopped my career. But, for whatever reason the determination was very strong.

Who are you influences?
I love Aretha, ever since I was a little girl. Tina Turner was a huge idol. I love Chaka Chan—a lot of ’70s artists, because my parents are from that era, and they played that in the house growing up. My mom and dad wanted me to take piano lessons when I was young, so I have classical training. I love opera, from my grandmother. And I love Broadway musicals. I was a music-theatre major. But I also love classic rock, bands from the ’60s and the ’70s like Fleetwood Mac, Led Zeppelin, the Eagles and Heart. I appreciate female artists from the classic R&B area as well, like Denise Williams. She was a big ’70s singer. I love just strong voices like Turner and Etta James—she was amazing. The women empowerment movement was definitely very influential.

Who from today are you just blown away by?
I love Sade. I just saw her concert in November. It was out of this world, probably one of the best concerts I’ve ever seen. I saw Mary J. Blige in concert. I like it when I can see their performance, when I know they are singing. I don’t try to judge or depict my opinion on musicians based on a music video or something on the radio, because I think it’s contrived. That’s the music business part of it all, which is not bad, but I just think, to see talent is very important. I respect and love anyone who is on the road regularly performing.

Is there any type of music you would love to sing, but just can’t?
Honestly, I’ve worked really hard, and it’s constant work, preparation and training. I used to not be able to sing anything, literally. I could not sing one note. But because I just didn’t give up and trained in every style (jazz, classical, opera, Broadway, blues) I would love to do it all, and I really feel I can. Now, for the first time in my life, I would love to do everything,  sing on Broadway, be on a record of my own style, as well as radio or television jingles.

Do you write music as well?
I do, but mostly I like to collaborate. I work with producers who approaches me with songs. I also do house music. I just finished a recording with a local DJ/producer, Kiko—he’s a DJ at Mynt. I also produced a house single called “I Wish.”

Other than singing at the National on Wednesday nights, tell me what else is going on with your singing career.
I began singing at Jazid last year. I was doing a little happy hour night, and I used to work there too. There was this time for about six months where I was bartending, managing and singing, and I did it all in one night. Then I came into contact with several musicians who needed a singer. They were putting together a night, a full night, so I started my own night, singing. That was great. Then I came across a guy who wanted to promote a night at the National Hotel. He heard me sing at Jazid and was like, ‘Why don’t you come and sing at my party? I can help you with getting people in there.’ So that’s when I started singing at the National. He was kind to bring people, press and local Miami celebrities. I also put a package together where I have my own demo. And I’ve been doing private shows, as well.

How busy does your career keep you?
I have no social life right now, no time for a boyfriend—you’re married to your career. You have to love it, but it’s good not to allow it to stress you out either. Thus far it’s been amazing, let alone the last six months.

What’s the worst part of your job?
When people underestimate you. You say, ‘I sing at the National. Come by and hear me sing. You’ll like it. You’ll be inspired and maybe enjoy yourself.’ And they will say, ‘ Yeah, sure, whatever.’ Maybe like a month later they will stop by finally and be like, ‘Wow. I can’t believe I waited this long. I’m sorry I didn’t come sooner.’ Things like that make you feel like people just don’t believe anything. They think you’re all talk until they’re able to see you’re speaking the truth. Under-estimation is very challenging. But it’s the people who come that make all the difference in the world, and that is when you forget about people underestimating you or not believing what you say.

What is the most important thing to you right now with your music? 
The most important thing to me is being able to have a career, being able to maintain work and my job. If a record deal comes from this, it would be great, but I don’t think that is what makes the artist. I don’t believe worrying about something that could happen is important. I’m more concerned with now, maintaining my happiness, being appreciative of everything that’s going on in the moment and just being healthy and happy. For the first time in my life I’ve stopped worrying about what could happen six months from now. I’m working toward it, but that’s all I can do. I can’t worry about it, because that’s useless energy. To prepare for it is something else, but honestly, everything that’s happened at this point is everything I’ve always dreamed about. To me, being an artist is being able to perform, sing, get paid for it, continue down that track? be paid enough to survive and live comfortably, not lavishly. I think a true artist does it because they love the craft. My outlet is performing. That is the most naked feeling. I can’t ask for more. I don’t think I could handle more. I was thinking today, it’s already overwhelming at times. This is amazing to me, honestly. I have such a wonderful time just appreciating the fact that someone wants to interview me.

Other than your cheat-sheet incident, what’s the most embarrassing thing that’s happened to you on stage?
That’s going way back. I was doing musical theatre in high school, and when you’re singing on stage for the first time, you start to shake. It’s one of those things I notice more than other people notice. My body goes into little convulsions. But I love being on stage now. It’s like home, almost like an addiction. I need to be on stage. I love having that once-a-week moment. When you are on stage you’re sharing. It’s about you, but it’s also about encompassing everything else in that particular moment. It’s about entertaining the audience, and hoping they enjoy it.

Would it be difficult for you to hear yourself pouring your soul out on the radio while people listen, or is that something you would be comfortable with? 
I think it would be overwhelming, yes, but more in a good way than bad. The first time I heard my demo blasted in the studio on the speakers, I started crying. I think it would be very emotional, but I think that would be good. I’d probably cry? a lot.

You said you think music videos are sometimes contrived, but are videos something you would like to do?
Honestly, I can’t lie, so of course. I just believe in allowing that artistic side to have an opportunity, projecting that artistic aspect. I would like to get back to the way music videos used to be. I would like to have an opportunity to express who I am through a video.

In your career, do you think your age helps you or hinders you?
I think it’s a hindrance. The music industry tends to focus on younger artists, but it shouldn’t be about age. With the way music is starting to change there’s a transition taking place, especially in this last year. I think we’re wanting, searching and looking for more of a mature, soul-searching aspect to music. And that might have to do with someone who is older, someone who is more informed on what life and music are about.

For a long time now music has been very produced. Everything is in the studios being enhanced in every way possible. Do you feel like people are looking for a pure, unaltered sound?
Totally. With the way the style of music is changing, it is going to be interesting to see where pop music goes, even hip-hop and R&B. Right now those genres are becoming more centered in involving alternative or rock music into their backgrounds. I’m really excited to see something like that. I think that opens up a lot of doors for artists who want to sing R&B but have more physical attribute to them than just being darker skinned. I sing soul music and people categorize me by saying I sound like a black lady. But why do I have to be categorized? I sound like I sound. Any one of any color can sing that way. God gave me that gift. The way I sing is definitely not the way I look. And, in a way that is my curse. It allows a lot of people to underestimate me, because they don’t believe it’s possible. I would definitely like to have some kind of influence in changing the way people think? in the way we socially discriminate. It’s important that we force ourselves to be a little more open, a little more understanding and aware that anything is possible. We can’t depend so much on the little niches and categories that we want to put everything under. I would love to be involved in the music industry to make that difference.

Let’s say you get on the radio, but your big hit is a one-hit wonder. Is that something you would be happy about or would it crush you?
I would be happy, because it happened. I would rather have that experience than none. But I don’t think it would just end there. Having a one-hit wonder allows you to have or be involved in other experiences. The experience would be there for me to appreciate it, not to be disappointed by.

What if you get to that point of stardom and it’s not what you wanted?
That’s one reason I don’t want to be involved in this industry? the fear of success, the fear of actually making something and then once I get it, it’s not what I wanted it to be. I think for that reason alone, where I am right now is exactly where I want to be. And I am very happy with it. To be patient and allow everything to happen is the best success. I feel like having this outlet now, I already made it. And even if it was to end next month, that’s OK, because I know something else is going to come. I was performing at the Ritz Carlton in Key Biscayne for about six weeks, and now they’re taking hiatus for the summer, so I’m not going to be there for the summer months, but other things opened up. I’m going to sing at the Miami City Club downtown in the First Union Federal Building. It’s a members-only, business-executive club. I also sang the national anthem at a Miami Fury professional football game. Things like that are amazing. Taking your time, doing anything when you can appreciate everything in that moment, knowing this is everything you wanted and nothing you didn’t expect, that’s what I hope for.