The CBS television show “It’s What’s Happening Baby” aired a music video featuring Martha and the Vandellas performing their hit song “Nowhere to Run” to kick off its national broadcast dedicated to Detroit on June 28, 1965. Motown’s Martha and the Vandellas inspired future generations of girl groups in pop music, including En Vogue, SWV and Destiny’s Child. Michael Ochs Archives/Getty Images In the video, the Detroit-based trio sang about how they could not escape missing an ex-lover after a breakup while sitting in a white Mustang moving slowly down the assembly line in the Ford Motor Co.’s River Rouge plant. In 1965, CBS aired Martha and the Vandellas’ music video for their song “Nowhere to Run” set inside a Ford assembly plant. As a cultural and labor historian, I see the “Nowhere to Run” video as an iconic testament to Detroit’s reputation as the “Motor City” and the role of the autoworker in the American imagination. Motown founder and CEO Berry Gordy, Jr. worked on the Ford assembly line and used it as inspiration for Hitsville U.S.A., the famed headquarters and music recording studio that served as a space to train performers and perfect the “Motown sound” for the masses. Martha and the Vandellas were part of Motown’s illustrious roster of artists in the 1960s. Initially comprised of Martha Reeves, Rosalind Ashford and Annette Beard, and with members changing over the next three decades, they helped establish the Black “girl group.” They presented themselves as working class in videos like “Nowhere to Run.” Their classic anthem “Dancing in the Street” reflected the revolutionary mood of civil rights protesters, especially Black Americans in the 1960s. As lead singer, Reeves also emerged as a pioneering R&B “diva,” helping pave the way for Black female solo vocalists like Whitney Houston, Janet Jackson, Mary J. Blige and Beyoncé. A patient path to stardom Martha Reeves was born in Eufaula, Alabama, on July 18, 1941. Soon after, her family moved to Detroit’s east side. Music occupied a central place in her life from childhood. Reeves writes in her 1994 memoir, “Dancing in the Street: Confessions of a Motown Diva,” about her father serenading her mother with his guitar while she was pregnant with Martha. Her mother, Ruby, also sang. Reeves’ parents passed their love for music to her, and she sang in her church choir and aspired to a life of performance. “At that young age I was already hooked on pleasing the crowd with my singing,” Reeves wrote. Reeves graduated from Northeastern High School. As a teenager, she used fake IDs to get into night clubs to watch singers perform, and she sang in open mics and talent shows. She scored her first break after earning a three-night performance at the 20 Grand, a popular Detroit night club located on 14th Street and Warren Avenue. It was after one of those performances when she met William Stevenson, Motown Records’ executive for discovering new talent. Stevenson invited Reeves to the label’s headquarters. Reeves came to the studio, but she didn’t audition for reasons that aren’t entirely clear today. Instead, Stevenson told her she could answer the phones. That’s how she got a job in the A&R Department and began working with other Motown artists. Motown’s lauded recording studio and headquarters located at 2648 W. Grand Blvd. in Detroit. Leni Sinclair/Getty Images In 1957, Reeves joined her first group, the Del-Phis. Formed by Edward “Pops” Larkins, the Del-Phis also included leader Gloria Jean Williamson, Rosalind Ashford and Annette Beard. Reeves soon caught another break. In September 1962, Stevenson called for her to fill in for Mary Wells in a Marvin Gaye studio session. Reeves enlisted the other Del-Phis, and they performed so well that they became the supporting vocal group for Gaye. After the Del-Phis toured with Gaye and recorded “I’ll Have to Let Him Go,” Gordy offered Reeves, Beard and Ashford a recording contract. The group also took on a new name, Martha and the Vandellas. Martha and the Vandellas enjoyed commercial success soon after, with songs like “Come and Get These Memories,” “Quicksand” and “Heatwave.” An anthem for revolution set to a groove “Dancing in the Street,” written by Gaye, Stevenson and Ivy Jo Hunter, was released in the summer of 1964 and became a signature hit for Martha and the Vandellas. Reeves wrote in her autobiography that she did not like “Dancing in the Street.” However, she made it her own, and Reeves later acknowledged that the song embodied the spirit of civil rights protests. “It became the anthem of the decade,” Reeves wrote. She was right. At the time of the song’s release, the Civil Rights Movement was in full swing. Black Americans in Harlem took to the streets to protest the killing of 15-year-old James Powell by an off-duty New York Police Department officer. The 1960s set off a string of “long, hot summers” as racial tensions intensified. Black folks in the Watts neighborhood in Los Angeles in 1965 protested in the streets in response to police violence. More than 100 protests were organized in response to Martin Luther King Jr.’s assassination in 1968, from Chicago to Washington and Baltimore. ‘Dancing in the Street’ rose to pop culture prominence during the Civil Rights Movement. Bettman/Getty Images Detroit erupted a year earlier, in July 1967, after Detroit police officers raided a “blind pig,” or an unlicensed bar, on 12th Street. The iconic opening lines of “Dancing in the Street” announced a new attitude among Black folks: “Calling out around the world/ Are you ready for a brand new beat?” The high-octane, optimistic song is laced with slogans interpreted as invitations to take action. Martha and the Vandellas’ declaration that “Summer is here and the time is right for dancing in the street” reflected Black Americans’ willingness to not only march, but to take measures in their own hands and fight for equality and justice. Battle for fair pay and recognition The late 1960s and early 1970s were a time of transition for Reeves and the Vandellas. The Supremes were on the rise and threatened to displace them as the most prominent girl group on the Motown label. Reeves also experienced creative differences with Motown executives and struggled with drug addiction. Then, in 1972, Gordy moved Motown to Los Angeles so he could try his hand at filmmaking. Martha and the Vandellas broke up later that year after the release of their album, “Black Magic.” However, Reeves continued as a solo artist, releasing five albums, including her self-titled debut “Martha Reeves” in 1974, “The Rest of My Life” in 1976 and “We Meet Again” in 1978, among others. Martha Reeves and the Vandellas, along with many Motown artists, experienced a resurgence in popularity during the 1980s. Motown Records’ 25th anniversary show in Pasadena, California, in 1983 launched them back into the mainstream. The group reunited and started performing again in 1989. Also, Reeves and the group sought to resolve their old conflicts with Motown Records. Reeves and various members of the Vandellas sued Gordy and Motown in 1989 for unpaid royalties. Motown Records settled the suit in 1991 for an undisclosed amount. Four years later, the B-52s inducted Reeves and the Vandellas into the Rock and Roll Hall of Fame. Martha Reeves released five albums as a solo artist. David Redfern/Redferns The diva archetype Martha and the Vandellas played a vital role in laying the foundation for future all-Black female groups like En Vogue, TLC, SWV and Destiny’s Child. They helped set the standard for turning songs about the trappings of love and heartbreak into anthems. Reeves embraced being an “R&B Diva” long before music critics applied the persona to singers like Mary J. Blige and Beyoncé. Reeves was not just a larger-than-life vocal presence; she showed future generations of Black female vocalists that, to be a diva, one must have control of one’s own career. “We became the Vandellas and with me being the only lead singer, my name was put out there because I did all the work,” Reeves said in a 2020 interview. “I did all the singing … I managed to just come up with my own destiny, with my own future in show business.” Words by Austin McCoy, Assistant Professor of History, West Virginia University. Special thanks for The Conversation. Support and donate today.

During the 1960s, in a country divided by racial strife, the music of Berry Gordy Jr.’s Motown Records helped bring people together. Sylvia Moy was a trailblazing Motown songwriter. L. Busacca/WireImage for Songwriter's Hall of Fame Motown was noted for star performers like Mary Wells, The Miracles, The Supremes, The Temptations, Martha Reeves and the Vandellas, Marvin Gaye and Stevie Wonder. But, behind the scenes, a talented group of lesser known women were driving the hits in Hitsville U.S.A. I’m a scholar of popular culture and author of the biography “It’s No Wonder: The Life and Times of Motown’s Legendary Songwriter Sylvia Moy.” Researching my book inspired me to find other women who contributed to the Detroit label’s era of chart dominance and helped change the music industry, despite going largely unrecognized for their efforts. I listened to Motown growing up, but it wasn’t until 2021, while sitting at home during the pandemic, that I discovered Moy’s history as the lyricist for Stevie Wonder and how she helped revive his early career. Because Moy died in 2017, I wasn’t able to speak with her for the book. Instead I researched her life by reading countless interviews she gave, along with talking to her former colleagues at Motown, family and ethnomusicologists, who are scholars that study music through the lens of culture. Architect of the early sound When Gordy was organizing his company, Janie Bradford was one of the original five founding members who arrived in 1958. She was the label’s first secretary and its first female songwriter after co-writing, with Gordy, the song “Money (That’s What I Want).” That song was released on Tamla Records in 1959 and performed by Barrett Strong. When Motown was incorporated the following year, the song became the label’s first hit record on the R&B chart and Billboard Hot 100. Janie Bradford speaks at a 2022 tribute to Mary Wilson, a member of The Supremes, in Los Angeles. Bradford was one of the founding members of Motown. Alison Buck/Getty Images for The Recording Academy Later, Bradford co-wrote “Contract on Love” for Wonder and “Too Busy Thinking About My Baby,” first recorded by The Temptations and later, Marvin Gaye. Bradford, who later became Motown’s director of writer’s relations, teamed up with pianist Richard “Popcorn” Wylie in the early 1960s to form Janard, a small production company. Bradford’s collection of poetry is what captured Gordy’s attention, so he encouraged her to be a songwriter. Her witty lyrics told stories about situations that most anyone could relate to – namely, money and love – blended with up-tempo, thumping beats. Laying the foundation as a producer Another key figure who paved the way with the Motown sound was Raynoma Gordy Singleton, who was married to Berry Gordy Jr. from 1960 to 1964. She organized Motown during its beginnings by completing the necessary paperwork to incorporate the business. Known as “Miss Ray” to some and “Mother Motown” to others, she located the legendary house at 2648 West Grand Boulevard that became the Motown headquarters and, decades later, the Motown Museum. In her role as the label’s first executive vice president, she established a tape library. A piano virtuoso and singer, the Cass Technical High School graduate wrote that she was able to play all string and wind instruments. As a result, she became the company’s first female arranger and producer by putting together its first backup vocal group, the Rayber Voices, in 1958. “Producing records was where the action was controlled – and where the money was to be made,” she wrote in her memoir, “The Untold Story: Berry, Me, and Motown,” which aimed to reclaim her place in the Motown echelon. During the 1960s, women weren’t considered producers because of broader biases and norms in the male-dominated music industry. Even so, Miss Ray got credit for producing Jimmy Ruffin’s song “Don’t Feel Sorry for Me” in 1961. Earning a producer’s credit was a sign of legitimacy. Most producers received a songwriting credit and determined who received credit in the liner notes for their contribution to the recording. While women mostly worked in administrative roles at Motown, there still weren’t any female full-time, in-house songwriters and producers. Like the rest of the music industry back then, Motown’s internal structure was patriarchal with those positions. The first certified female songwriter and producer Yet this imbalanced gender dynamic at Motown didn’t stop Sylvia Moy. There hadn’t been any women producers behind significant, popular songs at Motown until Moy arrived, according to interviews I conducted for her biography. Motown was at its peak in 1964. Demand for new songs was intense. When the label’s executives realized how skillfully the two audition songs Moy performed were composed, they decided that her future was in songwriting instead of singing. Discovered by William “Mickey” Stevenson and Marvin Gaye, Moy was hired as the first female in-house songwriter, competing with eminent colleagues like Smokey Robinson, Norman Whitfield and the songwriting trio Holland-Dozier-Holland who wrote 10 of the Supremes’ chart-topping singles. Moy made more history in 1965 after co-writing and co-producing Stevie Wonder’s “Uptight (Everything’s Alright).” While she received the songwriting credit and helped revive the teenaged Wonder’s career, Moy wasn’t given the producer’s credit, unlike her two male counterparts, Stevenson and Henry “Hank” Cosby. A lack of recognition stymied Moy’s career opportunities. If a songwriter or producer wasn’t credited, their value could not be validated or established, which made it harder for them to find work at other record labels. According to my research, Moy revealed that she never got producer credit for any of her work while at Motown. This is why her legacy was buried for so long. Other tunes she wrote for Wonder were “I Was Made to Love Her,” “My Cherie Amour” and “With A Child’s Heart,” co-written with Vicki Basemore. Moy also wrote Marvin Gaye and Kim Weston’s “It Takes Two” and The Isley Brothers’ “This Old Heart of Mine (Is Weak For You).” Though songwriter Eddie Holland told me he gave her a co-writing credit for “This Old Heart of Mine,” Moy’s name was not listed on the record, only Holland-Dozier-Holland. Interviews I conducted with Moy’s family members and research from an ethnomusicologist suggest she was even an uncredited co-writer for Wonder’s “Signed, Sealed, Delivered (I’m Yours),” his first song as a solo producer, and The Temptations’ “Ain’t Too Proud to Beg.” However, Holland denied this claim in an interview with me, though he also admitted that the song’s late co-writer and producer, Norman Whitfield, presented him with the lyrics, and he wasn’t sure where they came from. Full credit along with creative control In 1968, Valerie Simpson became Motown’s first female songwriter to also receive a producer credit. This possibly happened because her songwriting partner was her husband, Nickolas Ashford. Other famous female songwriters like Carole King, Ellie Greenwich and Cynthia Weil also had a prominent husband in the music industry. Sylvia Moy did not, which made what she did unprecedented. Valerie Simpson poses next to her husband, Nickolas Ashford. Together, they formed the famed singing and songwriting duo Ashford and Simpson. She was the first woman songwriter and producer at Motown to receive complete credit for her creative contributions. Aaron Rapoport/Corbis/Getty Images Simpson told Billboard in 2023 that the credit was difficult to attain because so few women were producers back then. It finally happened with the Tammi Terrell and Marvin Gaye song “Ain’t Nothing Like The Real Thing,” with Simpson getting credit for co-writing, co-producing and performing background vocals along with Ashford. This was their third hit tune by Terrell and Gaye, who also recorded “Ain’t No Mountain High Enough” and “Your Precious Love,” in 1967. The following year, they had another hit with “You’re All I Need to Get By,” which Ashford and Simpson also co-wrote, co-produced and did background vocals on. Simpson became the first Black woman to be inducted into the Songwriters Hall of Fame in 2002. Moy became the second in 2006. Though female songwriters and producers continue the fight for inclusion in the recording studio, the doors were opened by the tenacious women of Motown. It is because of them that future generations of female creatives know what is possible. Words by Margena A. Christian, Emeritus professor, University of Illinois Chicago. Special thanks for The Conversation. Support and donate today.

Though artificial intelligence is making it easier than ever to produce images, music and text, the technology is also making it harder for the people who have traditionally produced this work to earn a living. A few commissions, contracts or cancellations can dramatically change an artist’s annual earnings. Hyoung Chang/The Denver Post via Getty Images A photographer who once was commissioned to make art for an advertising campaign is now competing with graphics produced by the AI image generator Midjourney. A novelist who used to make money on the side as a technical writer is seeing that work be replaced by a series of prompts in ChatGPT. The extent to which AI will upend creative work remains unsettled. But that uncertainty has made guaranteeing income for creatives a more viable policy idea. In fact, creatives in New York recently participated in the largest basic income program for artists in U.S. history, the Guaranteed Income for Artists initiative. Spearheaded by Creatives Rebuild New York and primarily funded by the Andrew W. Mellon Foundation, the program gave 2,400 artists across New York state US$1,000 a month beginning in June 2022. There were no work requirements and no restrictions on how the money could be spent. The program sought to improve the financial stability of artists and encourage the public to see them as workers who deserve a stable income and social support. As researchers who study artists, cultural work and public policy, we evaluated this program to see whether it achieved its stated goals. Our main finding was simple: Artists did not stop working. Instead, they changed the kind of work they did. Cash buys time Artists often make choices that look strange in standard economic models, which typically assume workers will prioritize higher wages while balancing work against leisure time. Artists, on the other hand, may stay in poorly paid, unstable arts work, even when other work pays more. Economists have long described this as a “work-preference” model. Put plainly, they argue that artists get value from the work itself, not just from the paycheck. The guaranteed-income program, which was geared toward low-income artists, offered a rare chance to see how a financial cushion would influence the kind of work they focused on, along with their overall earnings. The program selected artists through a weighted lottery. It adopted an expansive definition of “artist.” Anyone engaged in artistic, cultural or community-centered creative practices – such as musicians, storytellers or muralists – was eligible to apply. However, it excluded commercial workers like wedding photographers or food caterers. Our analysis, which is forthcoming in the Journal of Cultural Economics, compared artists who received payments with applicants who hadn’t been selected. For purposes of the study, artists broke down their work time into “artistic/cultural practice(s),” “other arts work” and “non-arts work.” The work didn’t necessarily have to involve a paycheck or stipend; it could simply mean time spent on a personal artistic pursuit. However, it’s safe to assume that “non-arts work” usually involved some sort of side job to earn extra money. The results lined up almost exactly with what the work-preference model predicts. Artists who received the payments spent about 3.9 more hours per week on arts work than comparable artists who did not receive the payments. They also spent about 2.4 fewer hours per week on non-arts work. Opponents to basic income programs often argue that recipients will become less motivated to do any work whatsoever. That isn’t what happened, though. The money helped artists move time out of work they were doing mainly to survive, and into the creative work they preferred. Earnings told a messier story The earnings results were more complicated. Artists receiving the monthly payments earned significantly less from non-arts work. That makes sense, given that many of them switched away from non-arts work. But total earnings from all work also fell by about $11,600 a year on average, close to the $12,000 annual value of the cash payments. But we cannot confidently say that the basic income program reduced total earnings by that amount. That’s because artists’ incomes are so volatile: A few commissions, contracts, sales or cancellations can dramatically change what artists earn in a given year. Income varied widely among both the artists who received monthly payments and the applicants who hadn’t been selected, which made it hard to see the precise cause and effect of the program on total earnings. An artist in Brooklyn’s Bushwick neighborhood participates in Bushwick Open Studios, an annual event when hundreds of local artists open their workspaces to the public. Andrew Lichtenstein/Corbis via Getty Images The program may have given artists enough financial room to stop chasing some non-arts income, but it did not change their overall income from where it had been. That is a very different policy effect than “more cash equals more income.” It is closer to “more cash equals more control over time.” A lesson beyond the arts The findings do not mean that guaranteed income is the right policy for everyone. Artists are unique. Many have strong reasons to keep doing creative work even when it pays poorly. The study also took place after the COVID-19 pandemic, while the arts and entertainment sector was still recovering. And Creatives Rebuild New York’s guaranteed-income program was a temporary, one-time opportunity. A longer-term follow-up could show whether these shifts lasted. Did artists keep making more art after the payments ended? Did the extra time they spent on their own artistic pursuits lead to new work, new income or more stable careers? Those questions remain open. But to us, the most important lesson may be that work is not one thing. A monthly cash transfer can reduce one kind of work while increasing another. It can lower earnings from gigs people take mainly to pay the bills, while freeing up time to spend on work that is meaningful, socially valuable or personally sustaining. For artists in this program, $1,000 a month did not buy a vacation or a chance to slack off. It bought time for work they valued more. That distinction matters, particularly as debates over the use of basic income policies grow alongside advances in AI and automation. The question is not only whether people work when they receive cash with no strings attached. It is what kind of work becomes possible when financial pressures ease. Words by Joanna Woronkowicz, Associate Professor of Public and Environmental Affairs, Indiana University and Doug Noonan, Professor of Public and Environmental Affairs, Indiana University Indianapolis. Special thanks for The Conversation. Support and donate today.

Annual medical checkups typically cover the basics: diet, exercise and mental state. Surprisingly, many primary care providers fail to ask about one of the fundamental contributors to well-being: sleep. Snoring can be − but isn’t always − a symptom of sleep apnea. PeopleImages/iStock via Getty Images We are two neuroscientists who study sleep and memory. We have both experienced this omission with our own doctors, even though we represent different ages and genders. When asked, almost everyone has complaints about their sleep, yet most people fail to prioritize sleep. But poor sleep shouldn’t be ignored. One particularly problematic sleep disorder is sleep apnea, and it is not rare. The condition affects nearly 1 billion people worldwide, estimates suggest, and the number continues to grow. In October 2025, former basketball star Shaquille O’Neal was featured in an awareness campaign for sleep apnea. But much greater awareness is needed. The most common type of sleep apnea, obstructive sleep apnea, is characterized by repeated blockage of breathing during sleep, often resulting in sleepiness during the day, headaches or snoring – or a combination of these – and in the long term, increased risk for cardiovascular diseases. Patients may not fit the typical profile: The stereotype is that the ones with sleep apnea are older males trending toward obese. Others may find that their sleep-related complaints are overlooked at wellness checks. These are missed opportunities for gathering critical health information that is important for diagnosis. Sleep apnea thus remains undiagnosed far too often in women and also in other groups. Sleep apnea is not just about sleep Sleep apnea is more than a sleep disorder. While it manifests when you are sleeping, with repeated partial or total pauses of breathing during sleep – termed hypopneas and apneas – its effects extend far beyond the night. Repeated apneas and hypopneas tend to occur alongside reductions in oxygen levels in the brain and body. These episodes can happen more than 100 times per hour and on average last about 20 seconds. Despite brief awakenings that can occur after a person with sleep apnea stops breathing, by the morning they usually don’t remember ever pausing their breathing. Reduced oxygen then leads to increases in blood pressure and heart rate, which stresses the cardiovascular system. Untreated sleep apnea can lead to a host of cardiovascular diseases, such as hypertension, heart failure and stroke. Sleep apnea is also associated with increased risk of dementia, as in Alzheimer’s disease and other neurodegenerative disorders. Beyond health effects, the disorder is linked to reduced quality of life, a higher risk for motor vehicle accidents and increased medical costs for individuals, as well as for societies and governments. Sleep apnea is characterized by breathing blockages during sleep. Pikovit44/iStock via Getty Images Plus A growing problem meets new solutions The growing prevalence of obstructive sleep apnea reflects multiple factors. Greater awareness among medical professionals and accessible screening tools have helped. At the same time, an increase in obesity rates and an aging global population have also contributed to the rise in cases diagnosed. The treatment of sleep apnea has also advanced considerably over the past 20 years. The standard treatment for sleep apnea is continuous positive airway pressure, or CPAP, which prevents airway collapse with a stream of air through the mouth or nose. However, people often report that CPAP is burdensome, and for some the therapy is intolerable. For those who dislike CPAP, implantable nerve stimulation devices can be effective. Other therapies include oral appliances to shift the jaw forward and open the airway, positional therapies to avoid back-sleeping, and myofunctional training to strengthen tongue and throat muscles. Nevertheless, new treatment approaches are still needed. In late 2024, the U.S. Food and Drug Administration approved tirzepatide – the active ingredient in the GLP-1 drugs Mounjaro and Zepbound – for treating obstructive sleep apnea. The drug helps by lowering body weight, given that excess weight is associated with the disorder. Both new and long-standing treatments for sleep apnea can be effective in reducing the detrimental health consequences. Yet these advances raise an important question: Who gets diagnosed and ultimately benefits from the treatments – and who doesn’t? CPAP is the most common treatment for sleep apnea, but many people find it intolerable. VectorMine/iStock via Getty Images Who gets diagnosed – and who gets missed Despite the growing prevalence of sleep apnea, diagnosis and treatment do not occur equally across populations. Women with sleep apnea often experience headaches, insomnia and depression – symptoms that common screening tools for sleep apnea do not mention. Hormonal changes throughout a woman’s life, different anatomy of the airway and differences in sensitivity to higher levels of carbon dioxide in the blood compared to men all suggest that more research and better tools are needed to improve healthcare for women with sleep apnea. Many of the current diagnostic tools and treatment standards were developed based on studies in white populations. Pulse oximetry on the finger detects decreases in blood oxygen, a key marker of sleep apnea screening and diagnosis. These finger oximeters are less sensitive in people with darker skin pigment, which likely leads to underestimates of severity. At the same time, Medicaid beneficiaries in the U.S., who are disproportionately from racial minorities, are more likely to be denied long-term coverage for CPAP treatment, despite the finding that Black men have more severe sleep apnea than their white counterparts. What you can do Your probability of getting a referral to a specialist increases ninefold when you ask your primary care provider about sleep apnea. And there’s no need to be overly concerned about undergoing a sleep study in a hospital. Sleep studies can now be conducted at home to diagnose sleep apnea. If you or your bed partner have any suspicions based on even a small subset of the possible symptoms of sleep apnea, bring it up with your healthcare provider. Mention any daytime symptoms, such as excessive sleepiness or headaches, and any nighttime symptoms, such as frequent urination, waking up short of breath, snoring or insomnia. Starting the conversation may be the first step toward diagnosis and treatment – and to better health and well-being. Words by Erika Yamazaki, PhD candidate in Neuroscience, Northwestern University and Ken A. Paller, Professor of Psychology and Director of the Cognitive Neuroscience Program, Northwestern University. Special thanks for The Conversation. Support and donate today.

Burberry is promoting a Private Sale that groups selected products by size to make it easier for customers to find items that match their preferred fit across womenswear, menswear and childrenswear. The promotion highlights curated edits of clothing and accessories with dedicated sections for womenswear, menswear and childrenswear, as well as shoes and accessories. Customers can browse womens clothing by individual size from XXS to XXL, while additional links direct shoppers to womens, mens and childrens departments for broader selections. Shoppers can shop pieces in your size through the Private Sale, with further options to use Burberry services, contact customer support or locate a store. By ML. Photo(s)/Burberry

Versace has opened a private sale that gives invited customers early access to discounted collections before the promotion becomes widely available. The offer features reductions of up to 50 percent on selected items across womenswear, menswear, accessories, bags and home products. The private sale is available in participating Versace boutiques and online at versace.com for eligible customers. Customers can explore sale selections for women, men, bags and home both in store and online for a limited time. By ML. Photo(s)/Versace

Miami-Dade County Department of Cultural Affairs will present a free cultural grants workshop for arts groups, artists, and nonprofit community organizations on Tuesday, May 26, 2026 at 6:00 pm at the Arcola Lakes Library Branch in Miami. The session will introduce the County’s arts grants portfolio to arts organizations, community nonprofit organizations that produce cultural arts projects, individual artists, and artist collectives. Participants will receive an overview o funding programs to help them identify which grant opportunities best match their cultural arts projects, followed by an interactive question and answer segment. Questions may be addressed in English, Spanish, or Haitian Creole, and ADA-accessible accommodations are available. The workshop will take place at Arcola Lakes Library Branch, 8240 NW 7 Avenue, Miami, FL 33150. Grants discussed in the workshop support projects that demonstrate strong community involvement, include outreach components that promote inclusion and equitable access to the arts, focus on delivering cultural services to underserved populations and under-resourced neighborhoods, have potential to generate tourism, encourage preservation of heritage, traditions, and culture, and foster collaborative arts-based projects developed by social service organizations and cultural groups. Arts groups, cultural organizations, community nonprofits, individual artists, and artist collectives are invited to attend to learn how to apply for arts funding and determine which programs fit their projects. Interested participants can register online for the in-person workshop. By ML. Photo(s)/Miami-Dade County Department of Cultural Affairs

The Bass Museum of Art in Miami Beach will present the exhibition Zidane: A 21st Century Portrait from May 20 through July 19, 2026, coinciding with the FIFA World Cup 2026 soccer matches and Fan Festival events taking place in the city. The exhibition features a two-channel film installation conceived by artists Douglas Gordon and Philippe Parreno that focuses on French soccer player Zinédine Zidane, using the language of contemporary spectacle to reconsider the conventions of portraiture. Installed across two large projections, one screen presents a composed cinematic edit that incorporates the live television broadcast of a match, while the other shows unembellished close-up footage captured by a dedicated camera, underscoring the contrast between different modes of image-making. More information about the exhibition is available on The Bass website; visitors can learn more and plan their visit online. By ML. Photo(s)/The Bass Museum of Art

Aman has introduced a Signature Skincare line presented in three globally inspired pathways, each designed to support specific skincare and wellbeing needs. The Grounding collection takes inspiration from Aman resorts in desert climates and is formulated for dry and dehydrated skin. The Grounding Discovery Set is positioned to help replenish moisture and provide support for skin that is exposed to arid conditions. Purifying products contain seaweed and marine elements that target complexions that are congested or dull. The Purifying Discovery Set focuses on rejuvenating the appearance of the skin and aims to promote a clearer, more refreshed look. Drawing on the lush jungles of Asia, the Nourishing range is developed to restore hydration and balance. The Nourishing Discovery Set highlights formulas intended to support harmony in the skin and encourage a hydrated, luminous finish. For details on the full range of formulas and sets, visit Aman Skincare online. By ML. Photo(s)/Aman

The internationally acclaimed steakhouse, Fogo de Chão, is turning Miami's Wynwood neighborhood into a 12-day celebration of Brazilian culture, soccer, and fire-roasted flavor. Every day from 11 a.m., get into the spirit of it all with daily watch parties setting the backdrop while live music and DJs keep the energy going throughout the day. Guests can also expect wellness activities, look-alike contests, a virtual soccer experience, and a Fogo Farmers Market stocked with fresh ingredients and flavors drawn directly from the brand's seasonal Market Table. This lineup is the perfect plan for committed soccer fans and anyone looking to be part of the energy surrounding the tournament. For those looking for more of a classic Fogo experience, the VIP Fogo Experience ($40) has you covered. This experience will include lounge seating, premium churrasco service, and a reserved viewing area. Wristbands are limited and available daily on a first-come, first-served basis so arrive early to score this deal. All of it leads to June 24, when Brazil takes on Scotland at Hard Rock Stadium. Wynwood Marketplace is where fans can gather for an all-day tailgate with live entertainment, Brazilian food, and more to be announced. As CEO Barry McGowan put it, "Miami is one of the world's most culturally connected cities, making Wynwood the perfect neighborhood for Fogo de Chão to celebrate the passion and community surrounding the tournament."" For more information, hours and updates on the daily programming, visit fogodechao.com/worldcaip/ By ML Staff.

This summer, Lincoln Road is transforming into Miami’s ultimate soccer destination, bringing fans together to feel every goal and moment at the iconic pedestrian promenade. Lincoln Road will be fan central, featuring live screenings, immersive fan zones and premier global soccer retailers, including an official retail store, adding to the experience. Concacaf House is open on select dates from June 11 through July 19 as a free fan destination with gaming stations, interactive challenges, live match viewing and more, offering something for the whole family to enjoy. Down the promenade, 720 Lincoln Road will turn into a CONMEBOL takeover celebrating South American soccer culture from June 14 through July 11, featuring a striking “living tree” installation, soccer zones and daily pop-ups. On June 21, join Family Game Day in partnership with Soccer Stars featuring interactive play, youth programming and community activities. For capturing the perfect pic, oversized inflatable soccer balls representing Colombia, Germany, Japan and Saudi Arabia will be displayed throughout the district from June through late July, offering festive photo zones. Restaurants across the destination are celebrating match days with live screenings and limited-time promotions. The soul of Latin cuisine, Andrés Carne de Res, is hosting match screenings featuring a dedicated rooftop viewing experience as the entire restaurant themes itself to fútbol. Join during June 26-27 for live music and festivities to get into the game day spirit. Havana 1957 adds a festive touch with themed decor, souvenirs, and a beer bucket deal, and make sure to stop at Prince Street Pizza to grab a slice for the chance to win two game tickets. Cortadito Coffee House is serving up soccer-themed stickers on all cups with an exclusive Tres Leches Matcha to enjoy for a limited time. IT, The Italian Trattoria with pizza, pasta, and match-day specials, is giving guests the chance for 10% off their bill by wearing their national team jersey. Beyond dining, the district features global retail brands including Adidas, Nike, and Pelé Soccer. Fans can move between shopping, watching, and dining without ever leaving the road. #PassionLivesHere By ML Staff.

The international Spanish-language comedy festival, “Miami es un Chiste” (“Miami is a Joke”), is set to bring laughter to the Miami Improv at CityPlace Doral this Spring, positioning the state of Florida as the capital of Latino comedy. Featuring 30 shows and 55 of the most recognized comedians from Latin America and Spain, the festival will take place now through May 31. More than a festival, “Miami es un Chiste” is a platform for cultural connection that brings together artists, creators, industry professionals and multicultural audiences. Programming includes stand up performances, live podcasts and sketches reflecting the diversity of styles, accents and perspectives that define contemporary Latino humor. Blending sharp political satire, cultural storytelling, female perspectives and universal humor, these comedians connect with audiences across cultures and generations. From stand-up stages to digital platforms, they are shaping what it means to be Latino today, using comedy to celebrate identity, challenge stereotypes and build community. The lineup includes: Argentina: Laila Roth, Florencia Rizzo, Lucas Lauriente, Nahuel Matias Bello, Gonzalo Mihail Brazil: Fabio Rabin Chile: Fabrizio Copano, Paula Barros Colombia: Pamela Ospina, Juan Cajiao, Daniela Ordoñez, Yoyi Cordero and special guest Silvia de Frente Costa Rica: Stephan Dyer Cuba: Bonco Quiñongo, Rami Cuba, El Manu, Ailín González, Alberto Rojas, Carlos Hernández, Alejandro Bujan Dominican Republic: Patricia Peña, Ariel Santana, Iván Manito, Tommy El Playboy, Davinci Beau, César Pichardo, Splou, Thomas Comedy and special guest Héctor Adriel Guatemala: Tarek Turjman Mexico: Alexis de Anda, Audrey Mora, Ricardo O'Farrill Peru: Jaime Ferraro Puerto Rico: Titito Sánchez, Cristina Sánchez, Erick Bonilla, Ernesto Rolón, Kiko Blade, Keropi Sánchez, Luis Ponce, Juliana Rivera, El Mago y Yo Spain: Galder Varas, David Cepo, Beni Pla and special guest Andreu Casanova United States: Paul Elia Uruguay: Diego Vignolo Venezuela: Nanutria, Kabeto, Luis Chataing, Led Varela, Francisco Ramos, Abelardo, Yxa Fuentes, Edmary Fuentes, Heli Arraga, Wasmo Huerta, Adelmo Gauna, Rebeca Trejo, Michelle Dernersissian, Nadia María, Lui Vizcaya, Javier Ruiz, Alex Goncalves, Daniel Trujillo, Laura Bolívar, Ron Chávez, Amilcar Rivero, Hombre Promedio, Kuzco, Mago Jey Jey, Pato Acosta and special guests Milton Granadillo, Daniel Pistola and Neisser As part of its Miami programming, the festival will present, for the first time, a fully English- language show featuring Fabio Rabin, Francisco Ramos, Paul Elia, Carlos Hernández and special guest Milton Granadillo, which expands the festival’s reach to new audiences. Miami Improv Comedy Club at CityPlace Doral 3450 NW 83rd Ave #224, Doral, FL 33122 Ticket Prices: From $33 to $66 Available at www.MiamiesunChiste.com Ages: 21 + The full line up and tickets are available at www.MiamiEsUnChiste.com. By ML Staff.