Cover: Diana Paz @pazdiana studiohaz.com
“The greater the disparity, the greater the despair.”#GreedKills #FlipThePyramid
Small Press Fair ‘26 by abel folgar
Images flicker past by the hundreds. Songs arrive without records. Magazines live behind links, photographs disappear into camera rolls, and practically anything worth saying or not can be posted, liked, shared and forgotten before lunch. Against that backdrop, making something physical and putting it into someone’s hands can feel almost radical. That stubbornly tactile spirit guides South Florida’s Small Press Fair (SPF), a gathering devoted to artists, printmakers, zinesters, illustrators, bookmakers and assorted creative types with ink on their hands. “We started SPF because we realized that there were so many talented individuals creating in South Florida that hadn’t had a chance to meet each other yet,” SPF founder Ingrid Schindall tells us. “We thought, if we sit these people next to each other, what new collaborations could be possible?” More than a marketplace, the fair’s tenth edition will offer a snapshot of a creative ecosystem that often operates outside South Florida’s more visible art machinery. Here, the scale is intentionally human: artists can meet the people picking up their work; visitors can discover something that might never make its way through an algorithm; and a few sheets of paper, some ink and a good idea can start a conversation. “One of my strangest beliefs is that when you get people with similar interests in the same room, magic happens,” Schindall says. “Talking to exhibitors and visitors often reveals strong themes around wanting to unplug, enjoying holding things in your hands, and learning new things without having to ask the tech overlords.” This is a region of cultures, languages and aesthetics colliding, and DIY publishing provides an unusually democratic container for all of it. As people look for their place “in this strange tropical paradise,” Schindall says, “SPF has proven to be a great community for long-time residents, newcomers and visitors alike to connect and come together.” Digital culture can deliver practically anything instantly, but immediacy isn’t intimacy. There is still pleasure in discovering an object you didn’t know existed, talking to the person who made it and walking away carrying a little piece of their world. Small Press Fair runs noon-6pm Saturday, November 14 at the Broward County Main Library in Fort Lauderdale. smallpressfair.org
November 20 December 6 713 Lake Avenue Lake Worth Beach, FL. 33460 Box Office: 561-586-6410 www.lakeworthplayhouse.org
A killer Holiday comedy packed with mystery, mayhem, and laughs!
Diana Paz by kelli bodle
Before anyone employed the term “multi-disciplinary practice” to describe their working profile, mothers were already balancing household management, emotional labor, education, and often an off-site job. Now add to that the demands of being an artist: the incessant drive to create, which pushes the artist to stay up late, wake up early, and fill their “free time” making. You get someone who ends up breaking down the boundaries between identities that are normally compartmentalized. Diana Paz is part of this all-encompassing tradition: graphic designer, muralist, printer, business co-owner and new mother who has woven all aspects of her life into one fabulous celebration. Born in Maracaibo, Venezuela, in 1989, the PureHoney artist of the month looked to the country’s experimental modernists, including Oswaldo Vigas, Elsa Gramcko, and Carlos Cruz-Diez, as formative inspirations who understood that abstraction can spill off the canvas and into architecture, sculpture, and daily life. Paz brings that expansive viewpoint to her own practice and to Studio Haz, the creative enterprise she shares with her partner, fellow street artist Baghead (Joshua Hall). Now, with motherhood reshaping her relationship to time and productivity, she’s discovering that the most interesting boundaries to push aren’t always artistic ones. Paz also cites American predecessors such as Barry McGee and Margaret Kilgallen as major inspirations: “They developed distinct visual identities without losing their connection to the world around them. They found beauty in overlooked places and ordinary objects. I admire how Margaret celebrated women for their strength, intelligence, and abilities rather than traditional beauty standards.” Opting to paint abstract murals rather than relying on typical street-art themes, such as the femme fatale, distinguishes Paz’s work. Creating public art, she says, “has the opportunity to reach a wide range of people, so I think about how it can connect with the space and the people who experience it. With a mural, I think about the overall scale, how it reads from a distance, and how it can relate to the surrounding space.” She has been doing this work for years with Hall at Studio Haz, which they run together. “We met through mutual artist friends, and when we started dating, we were always creating together,” Paz says. ”It happened very naturally. We started collaborating on pieces, helping each other with projects and learning from each other along the way. Even when it was one person’s project, the other would usually be involved in some way, whether it was assisting, giving feedback, or helping develop an idea.” Overall, Paz wants to help build community through her work, as do many muralists. She does this in many ways, including supporting South Florida’s annual Small Print Fair. “Small prints make art more accessible and give people a chance to connect with artists in a personal way,” she says. She works with music festivals, including Miami’s III Points. “One of my favorite years is when Rosalía played; I created an outdoor installation using wood and acrylic, so getting to experience that work within that environment was a cool experience,” Paz recalls.”Music has always naturally found its way into my work, whether through a project or the atmosphere while I’m making something. Lately, I’ve been listening to LUX by Rosalía and Trying Times by James Blake.” Given that Paz and Hall were already combining family and professional life, motherhood has naturally found its way into the mix, with Paz toting her baby on her hip as she works. “Motherhood adds another layer to figuring out time,” she says, “the physical side of the work, and even the expectations around what an artist’s life is supposed to look like. Becoming a mom has shifted my practice in ways I’m still discovering. Having my daughter with me while I work (when possible) has made me rethink what it means to create and be present at the same time.” Adding another element to Paz’s portfolio, we can describe her as a philanthropist. She currently sells totes and t-shirts via her Instagram to support the recent earthquake victims in Venezuela.“I believe as artists, we have a responsibility to use our voices, our skills, and whatever platform we have to make a positive impact,” Paz says.
Follow Diana Paz on Instagram @pazdiana + studiohaz.com
Subtropic Film Fest
by tim moffatt
The theme for this year’s Subtropic Film Festival, “Between Two Waters,” plays with expectations: The waters in question are not, strictly speaking, the Atlantic Ocean and the Gulf of Mexico, but rather the oceans and the Florida Everglades, which are closer and more connected than probably anyone who isn’t an ecologist or cartographer has meaningfully pondered. The in-between-ness captures Subtropic’s vision for 2026 of the cultural intersections that make up life and art in Florida. “Our lineup this year is wide, and we love that about it,” Subtropic founding director Noelia Solange tells PureHoney. “You can go from a sugar cane town in Pahokee [The Moths and The Flame] to a single-take drive through Miami [Tropical Park] to a swamp creature in the Panhandle [Frogtown], all in one weekend. Florida doesn’t have one story, and neither does this festival.” The fourth annual festival, November 6-8, opens at the Norton Museum of Art in West Palm Beach with “Homegrown,” a block of short films from five directors with a shared theme: “This land holds more than most people ever stop to notice.” Subtropic continues at three principal locations, including Afflux Studios at G-Star Studios in Palm Springs, with more thematic blocks, feature-length screenings, filmmaker Q&As, panels and camera workshops for aspiring filmmakers, plus after- parties around town, and a street photo walk in Lake Worth Beach, where Subtropic has added Lake Worth Playhouse to its roster of venues. Solange mentions two films screening there on Saturday, November 8: “First They Came For My College is a firsthand look at what’s happening on a campus in our own backyard, and Junkie is a performance by Rocky Shay that audiences won’t forget.” To call it a full weekend is an understatement. ”Subtropic is something you move through,” Solange says as she tallies some of the social doings, from the opening night after-party at Studio 1608 to a tea ceremony by Jojo Tea at the Dancing Elephant in Lake Worth Beach on Saturday. “It’s a whole weekend of meeting the people behind the films.” The fourth Subtropic Film Festival takes place Friday-Sunday November 6-8 in Palm Beach County. subtropic.org
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The Rocky Horr
FRI 11.6 Ben Katzman’s
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SAT 11.7 Roda de Samba
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SUN 11.8 Fall For Dance WED 11.11 Nino Arial FRI 11.13 Hot Mulligan
SAT 11.14 Miami Beach R
SUN 11.15 The Saami Brot
THU 11.19 North Beach So
FRI 11.20 Madre Cumbia
Jacinto con Fru
SAT 11.21 Buena Vista Or WED 11.25 Tudo Bem
FRI 11.27 Thanksgiving R SAT 11.28 Duelo
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Rock Ensemble
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275 COLLINS AVE. MIAMI BEACH , FL 33141
ANDSHELL.COM
Madre Cumbia by abel folgar
Before cumbia belonged to dance floors across Latin America, before electric bass rattled speakers from Bogotá to New York, before accordions carried cumbia melodies across Colombia’s coastal plains, there was the drum, the maraca and the breath of the bagpipe called a gaita. Madre Cumbia follows that sound forward. Bringing together Los Gaiteros de San Jacinto, accordion master Carmelo Torres and Colombian music giant Julio “Fruko” Estrada, the project is less a supergroup than a living family tree, tracing cumbia’s evolution across generations and traditions. Los Gaiteros provide the roots, preserving the gaita-and-drum traditions of Colombia’s Caribbean coast, where Indigenous and African musical influences helped shape cumbia’s distinctive rhythmic language. Torres — a disciple of legendary accordionist Andrés Landero — represents the sabanero tradition that carried cumbia’s melodies to the accordion. Fruko — bassist, producer and architect of Fruko y Sus Tesos — helped Colombian tropical music go electric. Three branches. One unmistakable pulse. “The instruments and arrangements can change, but cumbia still brings people together to dance, tell stories, and carry the memory of a community,” Los Gaiteros percussionist, flautist and music director Gabriel Torregrosa tells PureHoney. That connection became tangible during the recording sessions. Rather than laboring over arrangements, the musicians found their common language almost immediately. “We talked about all kinds of things except music,” Torregrosa recalls. “When it was time to play, there was nothing to discuss. we simply played and felt the music.” Producer Rory Morison captured that chemistry by recording the musicians live. For Fruko, the experience transcended technique. “For me, it is a spiritual, cosmic connection that cannot be fully explained in words,” he says. “The music itself shows us the way.” Madre Cumbia bring music that plays the band to Miami Beach, where cumbia’s wandering branches will encounter an audience carrying its own musical memories. “For Colombians living away from home, a rhythm or a song can bring back a place, a family gathering, or someone they love,” Torregrosa says. “We want to share those roots while celebrating how far their branches have reached.” Madre Cumbia, ft Los Gaiteros de San Jacinto, Fruko, and Carmelo Torres, 7 pm Friday, November 20 at Miami Beach Bandshell in Miami Beach. miamibeachbandshell.com
Beach Towel Art Show by olivia feldman
While Art Basel and the surrounding Miami Art Week tout ever more exclusivity, with attendance fees and corporate backing and in-crowd pedigree, local muralist Brian Butler just wants people to enjoy being creative. The longtime Miamian was feeling a little put off a couple of years ago by Basel World’s direction. “Historically, artist pals would visit and we’d find walls around Wynwood to paint during Art Week,” Butler tells PureHoney. “Today, the mural painting feels less casual, and a majority of those old walls are completely gone.” Butler’s solution: Redirect efforts from walls to towels — a medium South Floridians can appreciate — and don’t charge for admission. Thus the Beach Towel Art Show was born, growing from a sandy shoreline display in Miami Beach to include a shell mutant workshop, a message-in-a-frisbee event with Dale Zine bookstore, and, because it is Art Week, a “Beach Towel Red Carpet.” The criteria are straightforward: Hand-paint, sew, quilt, collage, online-print or do something else to create your beach towel masterpiece. “There are no parameters enforced,” Butler says. “Some have cool shapes. Most are functionally devoid of a towel’s drying quality, but that’s what makes it weird and fun.” Past highlights include a towel made of coozies, beverages included; a crime scene towel with chalk outline, evidence markers, an incident report and yellow police tape; and a set of mannequin legs sticking out of the sand, surrounded by a terrycloth towel resembling rippling water. The show has even made its way up the seaboard to the Cape Cod Oldtimers Longboard Classic surf competition in Massachusetts. The towel fare might differ there — one was crafted entirely out of lobster bibs — but the spirit remains the same. “I think the desire to be creative is everywhere,” Butler says. Butler acknowledges that art is very much in the air during Basel festivities in a way that can inspire almost anybody. He just gives that impulse an outlet. “Beach Towel Art Show is like the little brother to the fairs,” Butler says. “We’re off to the side, enjoying the sand.” The Beach Towel Art Show runs 2pm-5pm Saturday, Dec. 5 at Ninth Street Beach in Miami Beach. instagram.com/beachtowelartshow
DAVID JAMES SWANSOM
Jack White by david rolland
Jack White can lay claim to being the 21st Century’s biggest rock star in a way that not even Elvis Presley could have boasted: While the King of Rock ’n’ Roll’s music only existed for 45 years of the previous century, White’s music has been with us for every second of the 2000s and then some. The breakout third album by his duo, The White Stripes, came out in the summer of 2001, mere months before 9/11. It’s no coincidence that their throwback blues rock took off just when people needed it — at a moment of longing for a more innocent time. Wearing simple red, white or black, Jack White spun a wholesome mythology for the band in which he and then-wife, drummer Meg White, were siblings, and he soundtracked the tale with songs that evoked nostalgia: the childlike “We’re Going to Be Friends” or the jukebox garage rock of “Fell in Love with a Girl.”
In 2003 The White Stripes concocted the most famous rock song of this young millennium. Even if you don’t think you know “Seven Nation Army,” you know the anthemic “OhOh” chant to the song’s seven-note bass riff if you’ve ever attended an NBA game or a professional soccer match. In 2011 Meg quit the band, leaving Jack to attend to other projects: two additional bands, The Raconteurs and The Dead Weather; his work as the indie entrepreneur behind Third Man Records; and in particular a solo career that is now a seven album army. His latest LP, 2026’s Frozen Charlotte, doesn’t break any new ground, but will tickle the fancy of longtime fans. White does his guitar God blues tricks and performs in the mold of rock frontmen such as James Brown and Jerry Lee Lewis, like a pastor preaching to the flock. Hardcore fans who really want to get saved might consider attending both dates, as his first two shows of the tour in L.A. had very different sets for each night. Jack White plays The Fillmore Miami Beach at Jackie Gleason Theater 8pm Tuesday and Wednesday, November 17 and 18. jackwhiteiii.com
UPnext Fest by amanda e. moore
This is what it sounds like when the kids are let out of the house: distortion, dissent and gloriously bad manners on display all at once, as local rockers unite with a push from the area’s best-known rock ’n’ roll stage mom: Kim Donovan, aka creator and host of South Florida’s Stage Mom Podcast. Seven regional acts — many drawn from Stage Mom Podcast and Battle of the Bands appearances — are taking part along with a visiting Los Angeles combo in the Up Next Music Fest. Helmed by HIJAS DE LA MUERTE Donovan, the festival is an offshoot of a podcast that champions musicians chasing gigs like this one, at Fort Lauderdale’s Revolution Live in December. “I want them to walk onto a stage they once dreamed about playing,” Donovan tells PureHoney. Mother Rucker, from Lake Worth, will provide guitar-shredding, mosh-friendly mayhem — “the kind of performance that makes you feel like you’re part of the show instead of just watching it,” Donovan promises. Fort Pierce’s Dirty Crumbums sound like Dirty Heads, Beastie Boys and Weezer sharing custody of a delinquent; see their track, “Gas Station Boner Pills.” Lake Worth’s Blabscam! sneak societal commentary into the party; dig into “Gigachud” for lyrics with teeth. Hijas De La Muerte, an Indian and Hispanic trio signed to Atlantabased Punk Black Records, twist multilingual grunge-punk into distorted, experimental riot grrl music. Jeremy Sousa Six bring the spectacle — “somehow you’re exhausted just watching him,” Donovan says of their energetic frontman. Vember deliver a nu metal fix while L.A. punks This Is a Revolver drop in from Donovan’s other Up Next festival host city. The headliner here is Miami’s Better Strangers, whose drummer Nic Collins does have impressive big-gig credentials, not to mention a famous musician dad. Collins’ band plays intricate instrumentals and music that pulls alt-rock nostalgia into the present: Kings of Leon’s grit, 3 Doors Down’s brooding heft and The Killers’ sweep with an undercurrent of grunge. Ever the cheerleader, Donovan says, “There isn’t a filler band on this lineup. There isn’t a set you should skip.” Thanks, Mom! Stage Mom presents Up Next Music Fest 7pm Friday, December 4, 2026 at Revolution Live in Fort Lauderdale.
The Faint by erik kvarnberg
For fans of indie sleaze, or even of the term “indie sleaze,” The Faint have been keeping it alive since their debut album, Media, in 1998. From then on and through the 2000s, The Faint obliterated hardcore scene machismo and replaced it with dance-floor hysteria — fitting for an electro-punk band whose catalogue includes an album called Danse Macabre. Best known for the fibrillated pulse and alienated air of dark dance tracks such as “Agenda Suicide,” The Faint can also pull off punk and techno-pop just as authoritatively. The 2004 track “I Disappear” sounds like an early Arctic Monkeys gem, while 1999’s “Worked Up So Sexual” could have emerged from a summit between Oingo Boingo and Of Montreal. The intervals between albums by The Faint lengthened almost as if by design: one year between Media and 1999’s Blank-Wave Arcade; two years to 2001’s Danse Macabre; three to 2004’s Wet From Birth; four to 2008’s Fasciination. After that it officially became a hiatus, with The Faint stepping away until 2014’s Doom Abuse. Doom Abuse is raw, aggressive and faster than previous Faint albums, a style embodied by the harsh noise and distorted bass of opening track “Help In The Head.” Another standout is the chaotic “Animal Needs,” as dizzying to listen to as it is to dance to. 2019’s Egowerk marked an emphatic return to the synthetic punk sound of Danse Macabre. From the opening seconds, the album is slick: The title track feels like entering a smoke-filled neon dungeon with blinding strobes. “Own My Eyes” would be a song to dance to at a cult ceremony, full of choral chanting and hypnotic drums. Egowerk also reflects just how much ethereal gothic sound has filtered into vocalist Todd Fink’s parallel solo DJ career. They might hate being called “catchy” but The Faint in concert encapsulate both a punk show and a rave with hooks to yell along to. It was a good time in 1998, and The Faint’s subsequent releases have proven that it’ll be even better 28 years later. The Faint supported by Violet Silhouette play 7pm Friday, November 13 at Las Rosas in Miami. thefaint.com
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