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An exceptional blue and white ‘peony’ dish Rufus Chen, Chinese Ceramics and Works of Art ‘This exceptionally rare, blue and white, reserve-decorated “peony” dish comes from the Xuande period (1426-35). Emperor Xuande’s reign in 15th century China lasted only 10 years, but his imperial blue and white porcelain has become one of the most esteemed treasures amongst collectors. This remarkable piece was formerly part of the collection of French aristocrat Guy de Villelume in his Château de La Gorgue in northern France. An exceptionally rare and large blue and white reserve-decorated ‘peony’ dish, 1426-1435 . Diameter: 15¼ in (38.6 cm). Estimate: $1,000,000-1,500,000. Offered in Important Chinese Ceramics and Works of Art from 19-20 September at Christie’s in New York Detail of An exceptionally rare and large blue and white reserve-decorated ‘peony’ dish, 1426-1435 . Diameter: 15¼ in (38.6 cm). Estimate: $1,000,000-1,500,000. Offered in Important Chinese Ceramics and Works of Art from 19-20 September at Christie’s in New York ‘Each motif on this dish is intentional. At the centre, a blossoming peony symbolises wealth and prosperity. Surrounding it, arranged clockwise, are branches of cherry, persimmon, peach, lychee, pomegranate and loquat. The back is further decorated with a delicate scroll of chrysanthemum flowers, along with the six-character mark indicating that it was made during the Xuande period of the Great Ming Dynasty. ‘The luxurious use of cobalt blue pigment combined with the refined anhua decoration and its excellent condition makes this dish truly one of a kind.’ A monumental Gandharan Buddha Hannah Perry, Indian, Himalayan and Southeast Asian Works of Art ‘Gandhara was the cradle of many different cultures before it became a predominantly Buddhist civilization. Notably the region was conquered by Alexander the Great, and his successors ruled the region until the fall of the Macedonian empire. Centuries later, its sculpture retained a Hellenistic quality — you can see it in the naturalistic modeling of the robe of this figure. A rare and monumental inscribed grey schist figure of Buddha, 1st-2nd century CE . Height: 67 in (170.2 cm). Estimate: $200,000-300,000. Offered in Indian, Himalayan and Southeast Asian Works of Art Online, on 11 September at Christie’s in New York ‘Gandhara is also the region where the earliest images of Buddha were made, probably around the first century CE, which then spread throughout Asia via the Silk Road. It is exceptionally rare to have an example of this quality that dates from this period. Most Gandharan artworks we appreciate today are from the third to fourth centuries. In addition to it being almost six feet tall, it is a remarkable sculpture.’ Francis Newton Souza's Resurrected Christ Nishad Avari, South Asian Modern + Contemporary Art ‘Souza was brought up Catholic, so the image of Christ and rituals surrounding Catholicism were always important in his work. In the early 1960s, he was deeply affected by the looming threat of nuclear armament and the Cold War. This deformed portrait of Christ, from 1962, recalls victims of nuclear fallout, which to me relates to a quote of his: “Renaissance painters painted men and women making them look like angels… I paint for angels, to show them what men and women really look like.” Francis Newton Souza (1924-2002), Resurrected Christ, 1962. Oil on canvas. 56⅛ x 38 in (142.5 x 96.5 cm). Estimate: $600,000-800,000. Offered in South Asian Modern + Contemporary Art on 18 September at Christie’s in New York ‘Christ is portrayed in this canonical pose, his arm raised in benediction, the scar on his chest visible as he stands on the lid of his tomb, while the spiked whip in the corner suggests the flagellation. Essentially, Souza is mixing up episodes from The Passion to show Christ as a reflection of the current state of humanity.’ A Joseon era jar with an inscribed poem Takaaki Murakami, Japanese and Korean Art ‘Vases such as these were primarily used as storage vessels, and occasionally as vases for floral displays at banquets and ceremonies. As such, from the 17th-19th centuries, these kinds of large, broad-shouldered, and narrow-waisted jars were popular throughout Korea. This late-Joseon period (1392–1910) blue-and-white vase is unique, however, due to the combination of the roundels of landscape decorating its surface, as well as the poem separating them. The Daoist-inspired poem written on the jar doesn't simply cite a famous Chinese poem, which is common on East Asian artifacts, but uses what is perhaps a Korean literati's original work in Chinese. Additionally, though the shape and glazing of the vase are undoubtedly inspired by Chinese porcelains, they retain the Joseon period’s unique aesthetic. A blue and white porcelain jar with four landscape roundels and a poem, Joseon Dynasty, 18th century . 14½ in (36.8 cm). Estimate: $350,000-400,000. Offered in Japanese and Korean Art on 17 September at Christie’s in New York ‘In terms of its collecting appeal, this jar is incomparable in its value. From the quality of its decoration, its elegant shape, and the uniqueness of the poem written on its surface, all of its elements come together in a way that is rarely seen in Joseon-era ceramics.’ Four Dali marble-inset huanghuali side chairs Michelle Cheng, Chinese Ceramics and Works of Art  ‘It’s extremely rare to have four chairs like this still together. Often, a set of furniture like these this is split up between different family members as the generations pass. These four, in addition to being an intact set, are rare and unusual in their own right, as they have these marble back splats that have been polished to reveal an image. A very rare set of four Dali marble-inset huanghuali side chairs, 17th-18th century . Height: 36 in (91.4 cm), width: 20 ¾ in (52.7 cm), depth: 15¼ in (38.7 cm). Estimate: $350,000-550,000. Offered in Important Chinese Ceramics and Works of Art from 19-20 September at Christie’s in New York ‘The landscape effects, you can see on the marble are what make these chairs special. It almost looks like a Rorschach test at first glance, but then you begin to see the landscape views take shape. In some you can see mountains, while others have the appearance of waterfalls, or a mist rolling over the hills. Furniture like this transports you to another place like the misty mountains, or looking into the valley from above as the fog rolls in.’ A classical Indian depiction of royal life Hannah Perry, Indian, Himalayan and Southeast Asian Works of Art ‘This painting was executed by some of the finest 18th century artists working in Kangra and Guler, who were known as the first generation after Nainsukh and Manaku. There were seven of them in this generation, all cousins, and they created some of the most well-known series of Indian paintings, most famously the Tehri Garhwal Gita Govinda . A painting of a birth scene, c. 1780 . Image: 10 x 7¼ in (25.4 x 18.4 cm) Folio: 12¼ x 9½ in (31.1 x 24.1 cm). Estimate: $60,000-80,000. Offered in Indian, Himalayan and Southeast Asian Works of Art Online , on 11 September at Christie’s New York ‘This painting of a birth scene is so intimate, and gives a taste of the workshop at the time, which favoured romantic subjects and court scenes. The woman is lying in bed, attended to by her maidens and someone who might be her mother. She’s getting a foot rub, and the prince is sitting next to her. It’s such a finely done piece, and you can see the details of the gold on everyone’s clothes. Beyond its artistic significance, it also gives a sense of what it was like for royal women of this period during childbirth, preserving that tenderness.’ Jehangir Sabavala’s The Radiant Spheres Nishad Avari, Specialist, South Asian Modern + Contemporary Art  ‘Sabavala made this painting in 1963, when he was back in India after having studied in Paris. It crystallises his own version of Cubism by creating geometric wedges of colour to form landscapes. He was definitely influenced by the colours of Indian landscapes, but he was also drawing on the French academic styles of the time. Jehangir Sabavala (1922-2011), The Radiant Spheres, 1962. Oil on canvas. 28⅛ x 48⅛ in (71.4 x 122.2 cm). Estimate: $250,000-350,000. Offered in South Asian Modern + Contemporary Art on 18 September at Christie’s in New York ‘The title, The Radiant Spheres , refers to how he’s exploring light and its properties. We see the sun and the moon in the same image over this tranquil sea with sailboats in it. The painting is an exploration of the potential of colour and light to evoke a landscape and the mystical qualities contained within.’ Katsushika Hokusai’s Swimming Carp Takaaki Murakami, Japanese and Korean Art ‘Most of what we are familiar with from Hokusai's oeuvre are his woodblock prints, but he was also a painter. We don't often see examples of his painting come to market, but Swimming Carp is an exceptional example of of his skill in painting scrolls, as demonstrated by the fine details of the carp as it makes it way through the water. It can be compared to a similar example housed in the Okada Museum in Kanagawa Prefecture, Japan. Today many of Hokusai's paintings are housed in museums and institutions, making the opportunity to acquire one rather rare.’ Katsushika Hokusai (1760-1849), Swimming Carp . Hanging scroll, ink and colour on silk. 37¾ x 14 in (95.9 x 35.6 cm). Estimate: $250,000-300,000. Offered in Japanese and Korean Art on 17 September at Christie’s in New York A celadon vase decorated with ram masks Andrew Lueck, Chinese Ceramics and Works of Art ‘This vase was made in the period of the Yongzheng Emperor, and features three ram masks along its body. They are a rebus, referring to the New Year and the prosperity that comes with it. Though the emperor only had a short rule from 1723-1735, it was during this period that Jingdezhen in China really reached a highpoint in its porcelain production. A very rare celadon-glazed truncated bottle vase, 1723-1735 . 7⅜ in (18.8 cm) high. Estimate: $200,000-300,000. Offered in Important Chinese Ceramics and Works of Art from 19-20 September at Christie’s in New York ‘The emperor had a reverence for Lonquan celadon from the Song Dynasty (960-1279). In the 1720s, his kilns were making a similar kind of celadon as they had in the past, but they became even more refined, resulting in this beautiful greenish-blue glaze. The vase was acquired by Lucy and Fritz Jewett in 1978 from G.T. Marsh and Sons, whose store in Monterey, California, was built in 1928 by Japanese and Chinese craftsmen, and is now on the National Registry of Historic Places.’ ML Staff. Content/image courtesy of Christies. Click here  for the latest Christies auctions

The Sunshine State is often referred to as the best place to play tennis. From the competition to the weather, it’s hard to replicate the atmosphere Florida gives its athletes. Through the past 75 years, there have been many tennis legends that represent the state who have had phenomenal careers on the courts and have shaped the landscape of tennis for generations to come.  Mary Joe Fernandez, a Miami native, emerged as one of the most decorated American tennis players of her generation. Getting her start in junior tennis in Florida, Fernandez set an unprecedented streak at the Orange Bowl, winning Girls 12s, 14s, 16s and 18s in consecutive years. When she transitioned to the pros, she continued to make waves. With two Grand Slam titles in doubles, two Olympic gold medals in doubles, and a silver in singles, Fernandez’s career was one to remember.   She credited some of her success to the state of Florida, and how easy it was to get involved with the sport. “My favorite part about tennis in Florida is that it’s so accessible,” she said, “You literally turn left, turn right, look in front and you can find tennis courts.” Her tenacity, versatility, and unwavering commitment to the game has solidified her place among the Florida tennis greats. She was induced into the USTA Florida Hall of Fame in 1999 for her junior and professional playing accomplishments. After her playing career, she coached the US Fed Cup Team from 2008 to 2016, shaping the next generation of Team USA athletes.  Another Florida native, Jim Courier, soared to international success in the late 1980s and early 1990s, capturing four Grand Slam singles titles and reaching the top of the ATP rankings. Courier, having grown up in Florida, said the Florida Tennis Association, now known as USTA Florida, helped him get involved with the sport at a young age.  “When I grew up in Florida, tennis was a burgeoning sport. A lot of people like my parents enjoyed playing. But we didn’t know that there were tournaments out there and we heard about them through the Florida Tennis Association yearbook,” he recalled. “It would have a list of tournaments on there with phone numbers and addresses and you would call, send in your check, and that’s how you would get into junior tournaments.”  His foundation in Florida tennis helped him become No. 1 in the world. He was known and known for his powerful baseline game and relentless work ethic. Courier’s competitive spirit and mental toughness propelled him to the top of the tennis world, earning him a special place in Florida pro tennis history. He was awarded the USTA Florida Hall of Fame Award in 1999, along with Mary Joe Fernandez and Kathy Rinaldi. After his retirement from the sport, he also gave back to the future generation through his role as US Davis Cup Captain from 2010 to 2018.  Kathy Rinaldi, hailing from Stuart, Florida, made her mark in the tennis world as a young prodigy. She turned professional at 14, in 1981 and became the youngest player to win a match at Wimbledon, which stood for nearly 10 years. Following a successful playing career, reaching World No. 7 and winning three titles, she became a prominent coach. She was named the Captain of the United States Fed Cup team and served in that role for nearly a decade. She claims Florida as a perfect place to develop your game.  “If you can train in Florida, you can train anywhere,” she said. “It’s the people, the passion of the sport that lives in Florida at every level, starting at the grassroots all the way to people I know that have played till they’re 100 years old. It’s that passion, being in sunny Florida, playing tennis, I love it.”   One of the greatest tennis players to ever play the sport, Chris Evert, was born and raised in South Florida. With 18 Grand Slam singles titles, three more in doubles, and 189 overall titles, Evert’s impact on the sport transcended generations, especially for women in the sport. Chris wasn’t the only Evert to make an impact on Florida tennis, but her whole family played a key role in shaping Florida tennis to be what it is today and inspiring generations of players. Chris’s father, Jimmy was a prominent coach in Florida and her siblings John, Jeanne and Clare all played tennis and won titles at the prestigious Junior Orange Bowl.  Brian Gottfried, a Miami Beach native, carved out a successful career as both a player and a coach. With 25 singles titles and 54 doubles titles to his name, Gottfried’s versatile game earned him accolades on the ATP tour and beyond. As a coach, he has mentored some of the sport’s brightest talents at the Bollettieri Tennis Program in Bradenton. Gottfried was induced into the USTA Florida Hall of Fame in 1985.  Mardy Fish enjoyed a successful career on the ATP tour, earning six singles titles and reaching a career-high ranking of World No. 7. Being in Florida was a huge asset for him as he always had good people to train against. “The section of Florida is by far the best of any in the country, in terms of competition,” he said. This year, he had the courts he and his sister played on in Vero Beach, Florida dedicated in his name at Riverside Racquet Complex. He continues to give back to the community that gave so much to him, through his Children’s Foundation. Fish was inducted into the USTA Florida Hall of Fame this year for his playing accomplishments and his contributions to Florida tennis.   At the 2024 Miami Open, local artist, SURGE, created a mural honoring the legacies of past Florida champions Serena, Fernandez, Evert, Fish, Courier, and Roddick. Collectively, these tennis legends along with many more who have come through Florida have paved the way for future generations to come.   By ML Staff. Content/Image courtesy of USTA Florida. Support the USTA Florida by becoming a member today.

As The Florida Junior Tour fall season kicks into high gear, Sugar Mill Country Club proved to be a great test for some of the state’s best junior golfers. After the final scores were tallied, Samuel Ha and Hannah Hall were crowned Champions. Boys (16-18) Players looked to take advantage of the calm winds and soft conditions due to the heavy rain in the week leading up to the event. And they did just that. Samuel Ha got the flat stick hot early and often. Starting on the back nine, Ha birdied his opening hole, then would eagle the par-5 15th. He followed up with a birdie on 16 to go out with a 4-under 32. His closing nine would consist of steady ball striking and stellar wedge play. He added one birdie on hole 8 to fire a bogey-free 67. Ha looked to take a commanding lead over the field. However, Noah Ochab looked to chip into that lead. Also starting on hole 10, Ochab birdied two of his first three holes, but dropped a shot with a bogey on 13. He bounced right back with a birdie on 15 to post a 2-under 34 on his opening nine. The Bernardsville, NJ native looked to get the front nine going strong with a birdie on the first hole. He would drop a shot on hole four, but bounced back with an eagle on 8. After another 2-under 34 on the front nine, Ochab sat just one off the lead.  Carson Whitehead, Nolan Hyatt, Wylie Inman, and Nicholas Pisarski all put themselves within striking distance at 2-under par. It looked to be anyone’s game come Sunday.  Round two came and went, and it continued to be Samuel Ha’s tournament. Ha’s rollercoaster of a round started off with back-to-back bogeys to start the round. That did not stop him from carding seven birdies total in the final round, enough to offset his five bogeys. In a pure show of dominance, Samuel Ha won by four strokes, even with bogeying two of his last three. In a tie for second, Nicholas Pisarski continued his steady play with a final round 71, while Gabriel Hull fired a final round 69 to move up six spots to second. Girls (16-18) The Girls Division provided great scores and a tight leaderboard after round one. After a victory and solo second in her two previous events, Hannah Hall showed no signs of slowing down in round one. Hall’s opening nine was consistent from start to finish. She carded four pars to start but would bogey the par-3 fifth hole. She got that shot back with a birdie on 7 to go out with an even par 36. After a bogey on eleven, the 2026 grad from Rockledge would show great poise and immediately made birdie on twelve. She added one more birdie and another bogey to finish at even par for the day.  We saw even more steady play from Mara King and Charlize Peterson. King went out with a 1-over 37 and looked to make up ground on the back nine. She would strike the ball well and made some big putts to finish her round at 1-over par. Competing in her first ever FJT Charlize Peterson carded a 3-over 39 on her opening nine, but made three birdies and one bogey coming in to sit tied with King at 1-over par and put herself in contention.  The shot of the day belonged to Taylor Dytkowski, who holed out from 115 yards on hole seven for an eagle two! Round two proved to be a challenge in the girls division, with only one score being under par. That score belonged to overnight leader Hannah Hall, who fired the only under par score of the tournament. After a front nine score of three under, Hall was able to put it into cruise control to fire 71 and win by two shots. In second place Mara King fired a final round score of even, while Angelina Pacheco rounds out the podium with a third place finish. By ML Staff. Content/Image courtesy of FSGA

Mini-Me Science  is a monthly program at Frost Science designed for you and your little one (ages two to five). You’ll share experiences that engage the senses while promoting exploration and discovery through hands-on activities that are specifically designed for early learners. Learn more at frostscience.org/mini-me . Location: Phillip and Patricia Frost Museum of Science 1101 Biscayne Blvd Miami, FL 33132 Time and Date September 15, 2024 at 10:30 AM - 11:30 AM Sunday, September 15: Discovering Dinos Mini paleontologists will explore what the world was like millions of years ago and learn how scientists find dinosaur fossils and imprints. Continue learning at home with this Science Store pick ! Mini-Me Science sessions last approximately 60 minutes, with a 30-minute hands-on activity followed by a 30-minute guided museum exploration in one of our exhibitions. All children must be accompanied by an adult. Cost : $25 for one child (ages two to five only) and one adult. Cost for every additional child is $20. Cost for every additional adult is $10. Museum admission must be purchased separately to participate. Older siblings may participate for an additional registration fee or $20 per sibling.  By ML Staff. Courtesy of Phillip and Patricia Frost Museum of Science

Part retro, part contemporary, the Fiftysix collection is rooted in Vacheron Constantin's heritage. Its inspiration is twofold: on the one hand, 1950s’ aesthetics, particularly Reference 6073 created by the Maison in 1956; on the other, the Manufacture’s Maltese cross emblem, whose outline discreetly graces several details distilled across various models in the collection. The Fiftysix aesthetic is thus at the confluence of styles and eras, expressed through multiple variations in pink gold or steel and driven by a self-winding movement in a complete calendar version or with day, date and power-reserve indication.  A variation in pink gold with a black dial   The new Fiftysix self-winding opts for an original, contrasting combination of gold, black and anthracite tones. Harmoniously extended by lugs evoking a Maltese cross, its 40 mm round 18K 5N pink gold case frames a sector-type dial typical of watches produced in the 1950s. For the first time in the collection, it is black toned, with double finishes, opaline in the centre and sunburst on the surrounding chapter ring, offering an elegant play on light and shade with the warm shimmer of pink gold. The contrast continues with the applied 18K 5N pink gold Roman numerals, along with the hour-markers and hands coated with luminescent material ensuring enhanced legibility in the dark. The dial aesthetics are further enhanced by the box-type sapphire crystal topping the bezel, in the style of post-war watches. This retro-contemporary aesthetic is matched by an anthracite nubuck calfskin leather strap with ecru stitching.    On the reverse, the Calibre 1326 self-winding movement reveals its Côtes de Genève finishing through the sapphire crystal caseback. The pink gold oscillating weight is openworked and adorned with a Maltese cross, the symbol of Vacheron Constantin's watchmaking excellence for nearly 270 years.   A powerful 1950s-inspired identity   The personality of the Fiftysix is rooted in the 1950s, the golden age of round, elegant timepieces and more specifically in Reference 6073 presented by Vacheron Constantin in 1956. The fact that this watch occupies a special place within the Maison’s heritage is because it was one of its very first timepieces to feature a self-winding movement, at a time when most were still powered by hand-wound mechanisms. In addition to its technical features ensuring precision and reliability, it also features strong character and retro elegance. Fiftysix watches borrow their streamlined design from their predecessor, reinforced by lugs whose design is inspired by the branches of the Maltese cross. Like the vintage models, they also feature a box-type crystal that dominates the bezel, a sector-type dial and harmoniously alternating Arabic numerals and baton-style hour-markers characteristic of the 1950s.  ML Staff. Courtesy of Vacheron Constantin

Katy Perry’s new song and music video for ‘Women’s World’ attempts to communicate a feminist message, but stumbles in its execution. After a five-year hiatus, Katy Perry recently relea sed her new single and music video, Women’s World , in advance of her upcoming seventh studio album, 143 . Perhaps inspired by the success of her previous singles, Roar and Firework , Perry’s song and video seem to attempt to communicate a feminist message, with her posing as Rosie the Riveter , waving a vibrator and talking about the feminine divine . However, online and media commentators have argued that both the song and the video perpetuate misogynistic and stereotypical representations of women . Perry has also been blasted for working with Dr. Luke , a producer who has been accused of predatory sexual behaviour. In response to these critiques, Perry has insisted the video is meant to be satirical. But Perry’s audience isn’t buying that argument — and neither do we. As scholars who explore the intersection of gender and media, and as unrepentant fans of mainstream pop music, we have much to say about the song, video and these debates. Success hinges on authenticity The release of Woman’s World placed Perry alongside, and in competition with, Billie Eilish, Taylor Swift and Chappell Roan, whose images and personas are marketed around transparency and authenticity. Eilish used her new single, Lunch , to open up about her queer identity . Fans frequently dissect which of Swift’s songs are about which of her lovers. Roan’s videos offer explicit moments of queer joy as she delightedly represents both gender and sexuality as places of play. The success of these artists suggests that relevance and success in the current pop music scene hinges on authenticity, and a lack of separation between personal and professional lives. Perry’s previous hits, such as I Kissed a Girl, Teenage Dream , and California Gurls , draw from a toolkit of fun, impersonal, surface-level references to empowerment and liberation. Rather than offering authenticity and inviting her fans into her life, this latest single reproduces and in fact exaggerates the same persona that fuelled her earlier success. When effective, satire subverts cultural norms by revealing their absurdity. Does Perry accomplish this? We think not. Rather than revealing the absurdity of patriarchal tropes, the video suggests that the only way for women to be empowered is to adopt them. Tired of outdated tropes In the video for Women’s World , women are shown working on a construction site in short shorts, holding bedazzled power tools, drinking “women’s” whisky, using urinals and pulling monster trucks. These women appear to conform to masculine norms from an imagined “man’s world.” But Perry fails to offer an alternative to these tired tropes, and as a result, perpetuates them. In contrast, both Roan’s Pink Pony Club and Swift’s The Man disrupt the same tropes, revealing not only their absurdity, but making it clear that women have other means of liberation and empowerment than the “master’s tools .” Set in what appears to be a biker bar or strip club populated by older men, the video for Pink Pony Club challenges the audience to acknowledge and disrupt their expectations. Roan appears on stage in a short, fringed teddy and rhinestone jacket. With the eyes of several older men on her, we expect her to undress. But this doesn’t happen. Instead, halfway through the video, drag performer Victoria “Porkchop” Parker comes on stage for a guitar solo. As our view of the nightclub expands, we see that Roan’s character is not dancing for, but rather with a club full of queens and leather daddies , revelling in queer joy and acceptance. The absurdity of our expectations, and the norms that underpin them, is revealed. In Swift’s The Man , the singer imagines how she might move differently in the world as “Tyler Swift.” The video satirizes and highlights the absurd double standard that celebrates problematic behavior in successful men while scrutinizing the very idea of a successful woman. There are no such reveals in Women’s World . Rather, it suggests we are trapped in a world where things always stay the same. This is disappointing given the video’s potential for the kind of self-exploration, authenticity and subversion that other artists achieve in their work. Mid-way through the video, Perry is crushed flat by an anvil and revives herself, perhaps symbolizing her attempt to reinvigorate her career with this song and video. This moment could have been an opportunity for Perry to reinvent herself, to offer fans an alternative narrative of empowerment rather than the outdated tropes that worked decades ago. Changing pop culture landscape Other stars have seen the writing on the wall signalled by the popularity of artists like Swift, Roan and Eilish. Eminem and Donald Glover have released new albums that involve them grappling with their former selves and alter egos. These artists, both similar in age to Perry, have sought relevance in a changed pop culture landscape by literally killing off the well-loved public personas Slim Shady and Childish Gambino that made them famous. Maybe Perry should follow their cue. Instead of reviving her old persona, she could use this moment to move on from her “Teenage Dream” era and present a more authentic version of herself. She could, for instance, share her experiences as a parent and a partner, how she is balancing her music career with domestic life or simply reflect on entering her 40s, her changing body, and moving beyond the concerns of youth. Perhaps she could find inspiration from the peers who are offering a plethora of thoughtful — and actually satirical — ways of finding power in aspects of lived experience habitually degraded in the “man’s world” Perry presents as inevitable. Instead of relying on outdated stereotypes and fantasy, Perry could embrace change and difference as sources of power rather than shame, and leave the power tools and bad satire behind. In doing so, she might just find the authenticity that today’s fans are after. By ML Staff. Courtesy of Michele Byers Professor of Women, Gender & Sexuality Studies, Saint Mary’s University, Lindsay Macumber Assistant Professor, Religious Studies, Saint Mary’s University. Special thanks to The Conversation .

Seth Strickland took control over the final two rounds to seal the victory at the Forty and Over Championship. The Miami Shores native took the outright lead after the second round and never gave it up. Strickland has won the GCSAA Championship six times, so he is no stranger to the spotlight, however, this marks his first FSGA Championship victory. Strickland began his final round with a one stroke lead over the field. William Dukes, Will Peterson, and defending champion, Abbie Valentine, all shared second place at two-under-par. The final pairing included Strickland, Dukes, and Peterson, and the round started out steady for the soon-to-be champion as he made pars on the first five holes. In the meantime, Dukes had two birdies in the first four holes to take charge of the lead early on. However, on the sixth hole, the tides started to change in Strickland’s favor. He hit a three wood into a bunker and then proceeded to hole out for eagle. This gave Strickland his one stroke lead back heading into the final nine. Yet, the Miami Shores native did not slow down as he only gained momentum with consecutive birdies on the tenth and eleventh holes to get to seven-under-par and extend his lead even further. He stated, “I holed out a 60-yard bunker shot on the 6th with a lob wedge and it just got the juices flowing.” It was certainly a battle as Dukes also birdied the tenth and the twelfth hole to remain close with Strickland. However, Dukes fell victim to a double on the thirteenth and even though he fought back with a birdie on the next hole, it was still not enough to catch Strickland. The champion ended his round in style with a birdie on the eighteenth hole and his first FSGA championship victory.   Defending champion, Abbie Valentine, finished tied-for-second with William Dukes with a tournament total of four-under-par. Another notable round included, Daniel DeBra, who finished tied-for-fifth and fired the only other four-under-par, 68 of the day. All in all, it was another great championship with a well-deserved champion. Strickland played three fantastic rounds of golf and he spoke about what this mean wins to him, “It feels incredible, I can’t believe it. It’s been a long time coming. I put a lot of work in to prepare for this tournament I played very well.” The Piper Course at Lakewood National was in excellent condition despite a lot of heavy rain. It provided a great test of golf for all the players. By ML Staff. Content/Image courtesy of FSGA

In this exclusive interview with Miami Living Magazine , we are thrilled to spotlight Megan Mae Stevens, a distinguished Miami-based entrepreneur whose outstanding work is reshaping the swimwear and beauty industries. Originally from Bay City, Michigan, Megan Mae embarked on a transformative journey that took her from earning a degree in Sports and Exercise Science at 19 at the University of Central Florida in Orlando, to making Miami her homebase and becoming a pivotal figure in Miami’s entrepreneurial landscape. Since then, Megan Mae has emerged as a trailblazer in female empowerment and sustainable fashion through her brand - Megan Mae Miami Swimwear - and her recent venture into eco-conscious suncare products. Megan Mae’s work has earned her features in major publications like Sports Illustrated and the New York Post , and her designs have been showcased at prestigious events such as Miami Swim Week and New York Fashion Week . Join us as we uncover the vision and drive behind Megan Mae’s achievements and her influential role within our city’s dynamic landscape. ML: Hi Megan, it’s so great to have you with us! To kick things off, can you tell us a bit about what first sparked your interest in pursuing entrepreneurship and how you ended up in Miami? Megan Mae: I come from a family of entrepreneurs, and I was always drawn to the idea of having my own business. Miami is a thriving community that contains a rich texture of cultures and ideas. I think it’s a great place for people who are interested in creative design projects that can lead to entrepreneurial goals. ML: You initially explored careers in real estate and personal training before finding your passion in swimwear modeling and fashion. What led you to pivot towards the world of swimwear? Megan Mae: I had been a swimwear model for a while and noticed opportunities to introduce new combinations of fabrics and styles for the modern woman. I strong believed that there was room for higher quality construction in women’s swimwear, and that is the path we pursued. ML: Megan Mae Miami Swimwear is known for its inclusivity and unique designs. What inspired you to prioritize these elements in your brand? Megan Mae: At Megan Mae Miami , we believe that there’s room on the runway for a variety of styles and colors that fit different wants and needs. Women’s swimwear can be designed for a variety of different body types and wardrobe tastes. ML: Your swimwear line features premium recycled Italian fabric made from ECONYL. How did you identify this niche for sustainable luxury in swimwear, and why is sustainability so important to your brand? Megan Mae: Sustainability has been a foundational trend in women’s apparel for years now. Women’s swimwear has adopted this cause. At Megan Mae Miami we were pleased to find a luxury Italian fabric woven using a fiber made from recycled fishing nets and waste plastics found in the ocean. We are proud to offer enticing designs and fabrics that embrace environmental cleanliness. ML: In June 2024, you expanded into the beauty industry with an eco-conscious suncare line. What inspired you to create this new product line? Megan Mae: We felt that sun care is a logical product line extension to add to women’s swimwear. We wanted to introduce a line of luxury sun care products that would complement every woman’s sun protection needs. ML: There are quite a few suncare lines on the market today. Why should someone purchase yours? Supporting a local entrepreneur is obviously a good reason, but tell us more. Megan Mae: Our sunscreens are all mineral-based with no chemicals added, and they are enriched with luxurious anti-aging skin moisturizers to promote the health of your skin all day long in the sun. They can also be applied under make-up for everyday use even if you are not at the beach. ML: I would like to ask the same question about your swimwear brand. What sets your brand apart from others in the market? Megan Mae: Our swimwear products are made from the highest quality Italian fabrics and manufactured right here in the U.S.A. by a group of highly skilled apparel industry veterans. This has allowed us to maintain the highest standards of quality control throughout the manufacturing process. ML: Beyond your business ventures, you actively engage in speaking events and nationwide initiatives that uplift and inspire women. Can you share a memorable experience from one of these events and how it has impacted your advocacy for female sovereignty? Megan Mae: Speaking on the Beauty panel at the Modern Day Wife event, I noticed there was a large number of women who were favorably impacted by my message. This world needs more people who are willing to talk about shining your own light, honing in on your unique qualities, and living by your own rules. ML: You’ve got a fascinating interest in neurolinguistics—do you ever find yourself using that knowledge in your personal life? And does it play into your professional activities as well? Megan Mae: The answer is yes. NLP skills have become part of who I am, and using them is now second nature for me. It helps me to structure my thoughts in a productive way that enables me to communicate clearly and effectively. Communication skills are vitally important in the business world, and using the language patterns and problem-solving skills of NLP has allowed me to lead my team successfully. ML: With all the hustle and bustle of running a business, how do you manage to find time for yourself? Do you have any fun hobbies or routines that help you de-stress and recharge? Megan Mae: Yes I do! I love to play the piano and sing on a weekly basis. I also make time to read and meditate. This allows me to de-stress and maintain a clear mind despite a hectic schedule. ML: Miami is such a lively city with so much to offer. What are some of your favorite spots or things to do in our Magic City? Megan Mae: I love exploring new restaurants in the city. Two of my newest favorites are Casa Neos and Catch Miami . I also love going for runs in different areas. The boardwalk at South Pointe Park is super fun, and you can’t beat the dramatic sunsets in the evening. ML: Your career has evolved so much over the years. What’s one of your favorite memories or milestones from this incredible journey so far? Megan Mae: One of my best memories of my time in Miami has been being able to walk as a model and designer of my own swimwear line four years in a row in Miami Swim Week . It was also surreal to appear on a billboard in Times Square, New York, as well as to have my swimwear exhibited on the Sports Illustrated runway. ML: Finally, we would love to get your personal advice for anyone looking to become an entrepreneur, not only in the area of fashion and beauty, but in any field. What are the top 5 virtues and qualities that you feel can help someone succeed in today’s competitive landscape? Megan Mae: I believe that the top five qualities needed to succeed in today’s competitive marketplace are: strong leadership skills; effective communication; problem-solving ability; emotional intelligence; and the hunger to innovate and improve. Keep up with Megan Mae and her line of luxury swimwear: Website: www.MeganMaeMiami.com Follow her on Instagram @ meganmaemiami and @ meganmaestevens YouTube: youtube.com/meganmaestevens ML Staff. Images courtesy of Megan Mae

With a focus on texture and understated luxury, Thom Sweeney’s AW24 collection develops on its  signature wardrobe staples, elevating them with new fabrics, perfected cuts, and meticulous attention  to detail. Understated, refined and comfortable, the collection embodies the tailored elegance  synonymous with the brand since its inception over fifteen years ago.   Texture is key for this season, and there are a number of new fabrics that feature. Working  collaboratively with the finest mills in Italy and Japan, these are most prevalent on the newly revised  knitwear offering.  Felted wool cashmere is found in the crew neck and zip-through sweater. Knitted with a loose weave,  the fabric has an uneven texture and an incredibly soft handle that hints at its handmade finish. Pushing  the boundaries of knitwear design further is the new brushed cashmere silk polo shirt. Cut with long  sleeves and a tailored fit, it looks like a regular knitted polo, yet up close the soft, nappy cashmere silk  fabric gives it a vintage look that works with jeans or trousers.  Elsewhere, for a sportier take on the polo, our heavy Japanese wool transforms the casualwear staple,  with its unique, perforated texture and chunky weight. At a thinner gauge is our knitted Merino wool, a  new knitwear offering that takes the lightweight, breathable softness of Merino and combines it with  the texture and look of pique cotton.  The colour palette has been further refined this season, with earthy hues of camel, brown and taupe  featuring heavily, with pops of powder blue occasionally breaking things up. For the first time, black is  seen across the range, injecting a sleek, monochrome look into signature tailoring and knitwear. The  black corduroy, single breasted suit is a particular highlight with its soft, velvety texture that makes it  perfect for nights out in the city.  Alongside tailoring, outerwear remains a strong focus for AW24. Unstructured overcoats can be seen  alongside more technical pieces in Japanese nylon, while suede and shearling lend a luxurious edge to  utilitarian designs.  Pushing the envelope of texture and craftsmanship, the autumn winter 2024 collection introduces new  fabrics and styles alongside updated Thom Sweeney staples, cementing the house as a one-stop  destination for the contemporary wardrobe.  To learn more visit www.thomsweeney.com   By ML staff. Images courtesy of Thom Sweeney.

Co-chair Salma Hayek Pinault, Dakota Johnson, Jessica Chastain, Julia Garner and Raye wore Gucci to the Third Annual Caring For Women Dinner at The Pool on September 9, 2024 in New York City.   Salma Hayek Pinault wore a Gucci custom black gown embellished with vertical leather stripes and embroidered with black strass and a custom black Blondie clutch Dakota Johnson wore a Gucci custom ivory cady gown with silver crystal bustier and a mini Jackie Notte in silver. Jessica Chastain wore a Gucci custom silver and green silk georgette gown with all over degradé sequins embroideries and a Gucci Bamboo 1947 mini in silver. Julia Garner wore a Gucci custom green lined flower lace gown all over embroidered with Flora pattern and velvet details and a beaded black mini Jackie Notte. Raye wore a Gucci Ancora Notte black chiffon sheer dress with beaded fringe embroidery and lace details. By ML Staff. Image courtesy of Getty

Miami HEAT announced that they will hold their 2024 Training Camp, presented by Baptist Health, at Baha Mar in the Bahamas from Tuesday, October 1 through Saturday, October 5, 2024. Following Media Day on Monday, September 30, at Kaseya Center, the HEAT will travel to the Bahamas and will conduct two-a-day practice sessions Tuesday through Friday at the award-winning luxury resort’s Convention, Arts and Entertainment Center. The team will conclude training camp on Saturday with a practice session open to invited guests before returning to Miami on Saturday evening.  Media availability will take place following the first daily practice session only, with a viewing time updated each day. A media workroom will be set up within the Baha Mar Convention Center in the Baha Mar Grand Ballroom. Media should enter through the resort side entrance of the convention center. Training camp will not be open for public viewing. Opened by Grand Hyatt, the Baha Mar Convention Center is one of the largest event venues in the Caribbean, designed to be the ultimate event destination. The 200,000-square-foot indoor and outdoor convention facility features state-of-the-art courts for players, elevated seating experiences for viewers, and leading technology for film and broadcast training. “We are thrilled to welcome The Miami HEAT back to Baha Mar as they gear up for an exciting 2024-25 NBA season," said Graeme Davis, President of Baha Mar. "As the leading luxury resort in The Bahamas, we look forward to providing an exceptional training camp experience that exceeds their expectations.” By ML Staff. Courtesy of NBA. For Miami HEAT tickets click here .

At the 2024 US Open, the USTA recognized and honored Champions of Equality from around the country. This award, part of the second annual event celebrating women who have championed equality in the sport, recognizes Rita Dotson’s dedication and influence across multiple levels of tennis.  “There are so many others worthy of this recognition, and I am so humbled to have been chosen by USTA Florida for this prestigious honor,” she said.  The Champions of Equality was first awarded in 2023, where Billie Jean King received a Lifetime Achievement Award and Venus Williams with the first US Open Billie Jean King Champion of Equality Award. Former USTA Florida President, Dana Andrews, was one of 16 women from the USTA Sections who also was honored for her contributions to grassroots tennis.  Hailing from Pensacola, Dotson’s journey in tennis has been both inspiring and impactful. A Certified Teaching Professional (PTR) and USPTA Elite, she has dedicated her entire adult life to teaching and promoting tennis. Her passion for the sport began in high school, where her talent earned her a scholarship to play JUCO tennis. Over the years, she has transitioned from being an athlete to a mentor and leader, making significant contributions to the Florida tennis community.  Currently, Dotson is the Director of Junior Tennis at the Roger Scott Tennis Center in Pensacola and the Founder and President of Tennis-4-Everyone, which is a nonprofit organization that provides year-round tennis instruction and academic tutoring throughout the school year for free.   “Tennis has afforded me countless opportunities on and off the court. As a player, I have developed many lasting friendships,” she said. “As a teaching professional, and non-profit President [Tennis-4-Everyone] I have been able to utilize my teaching skills to reach various populations. As a volunteer, I have realized that no task is too big or too small. In giving, I have received much more than I could’ve ever imagined.”  Her commitment to tennis extends beyond the court, as she is serving in her third term on the USTA Florida Board of Directors. Through her involvement with the board, Dotson remains deeply connected with USTA members locally and nationally, using her platform to give back to the community, especially with Special Olympics.  Dotson’s work with Special Olympics and Junior Team Tennis has been particularly meaningful. She was a coach for Team Florida at the 2022 USA Games Special Olympics, an experience that profoundly influenced her perspective on tennis. “My greatest source of inspiration has come from working with Special Olympics athletes,” Dotson said. “It has opened my eyes and heart to see that tennis is truly a sport for everyone.”  Through her non-profit, Tennis-4-Everyone, Dotson has expanded her outreach to underserved communities, including children in foster care, at-risk youth, individuals on the autism spectrum, and plans to create a wheelchair program for both youth and adults. Her dedication to inclusivity is evident in her commitment to ensuring that tennis remains accessible to all, regardless of background or ability.  Dotson’s impact on her students is undeniable. She remembers the joy she has witnessed as students achieve milestones like hitting their first ball or completing a successful rally. “There are so many special moments I can recall, realizing there are no limitations to what they can accomplish. My most recent memory is of one of my Love to Learn, Love to Play students who, after completing the courses, wrote me a special note of thanks. She ended with a special quote that I will carry with me forever, ‘Behind every tennis player that believed in themselves is a coach who believed in them first.’ Dotson is an amazing volunteer, coach, and person in the Florida tennis ecosystem, and it’s no surprise to everyone that knows her, that she is now a Champion of Equality.  By ML Staff. Content/Image courtesy of USTA Florida. Support the USTA Florida by becoming a member today.