Jaeger-LeCoultre is delighted to present the third edition of The Collectibles, a meticulously curated collection of rare and sought-after timepieces created by the Manufacture during the 50-year ‘golden age’ of 20th-century watchmaking (1920s-1970s). Comprising 10 exceptional timepieces for men and women, this third capsule collection will be unveiled in Singapore in October 2024. After presenting the first collection in the Vallée de Joux and the second in Los Angeles, Jaeger-LeCoultre brings the third edition of The Collectibles to Singapore in appreciation for the strong watch collecting community in that country. Key facts: A meticulously curated collection of 10 rare and sought-after models for men and women Complemented by the definitive reference book about the ‘golden age’ of 20th-century watchmaking Launching a new Collectibles capsule in Asia for the first time The Collectibles programme: exceptional timepieces and a master reference book Introduced to coincide with the 190 years of the Manufacture, The Collectibles was conceived for collectors wishing to acquire one of La Grande Maison’s most emblematic timepieces and enthusiasts seeking to deepen their knowledge of a period that was highly significant not only for the advances made by the Maison but also for the development of watchmaking as a whole. Complementing the capsule collection of watches presented for sale, The Collectibles coffee-table book is the definitive reference to the 17 most significant models produced by the Manufacture between the 1920s and 1970s. All watches offered under The Collectibles programme are drawn from among the 17 models represented in the book. Celebrating the pioneering spirit that has always driven La Grande Maison, The Collectibles shines the spotlight on such ground-breaking innovations as the Duoplan, Reverso, Memovox, Futurematic and Geophysic. A full chapter is devoted to each of the 17 models and includes such essential data for collectors as the years of production for each reference; the movements used; case metals employed; dial variations and more. This is supplemented by detailed and informative photography, and copies of historic documents from the Manufacture’s archives. Along with providing indispensable data for collectors, The Collectibles book includes background stories that place the watches in the historical and cultural context in which they were born, offering a broader understanding of the evolution of the modern mechanical watch over the course of half a century. A collection of 10 timepieces from the 1920s to the 1970s  The third capsule collection, comprising 10 watches, includes a wide variety of pieces for both men and women, ranging from rarely seen interpretations of the Reverso and Memovox with eye-catching dials to classic examples of highly sought-after models such as the Master Mariner Deep Sea from 1970 and a Triple Calendar from 1945. Among the pieces is an early example of the Powermatic, and it is the first time that an example of this ground-breaking model has been offered through The Collectibles. Dating from 1949, the year of the Powermatic’s launch, the watch is equipped with Calibre 481 featuring a ‘bumper’ automatic winding system and an integrated power reserve indicator (invented and patented by Jaeger-LeCoultre). Renowned in its day for its reliability, the Powermatic became the Maison’s emblematic watch immediately after its launch. For women, three outstanding pieces epitomise La Grande Maison’s commitment to marrying technical sophistication with great design: from 1933, a Duoplan Coulissante features the two-level Duoplan calibre (which enabled an unprecedented degree of miniaturisation) in a gold case with a cover that slides to conceal or reveal the dial. A ladies’ Reverso from 1934 features a rare and eye-catching chocolate dial in a steel case; and a 1938 Calibre 101 model on an articulated gold bracelet sets one of the world’s smallest hand-wound mechanical movement in an avant-garde design that marked the transition from Art Deco to the more sculptural forms that came to define the 1940s. Other high-design pieces include a Memovox Polaris II from 1970, with a turquoise dial and bezel, and a 1969 Memovox nicknamed ‘Brownie’ after its distinctive brown lacquer dial, which has acquired a patina resembling tortoiseshell. Fully authenticated and restored to preserve its historical nature Every piece is thoroughly vetted by Jaeger-LeCoultre’s historical experts, restored and fully serviced by the specialised watchmakers of the Manufacture’s restoration workshop. Currently numbering 10 experts, the restoration team can go through the Manufacture’s archives and find the blueprint of every piece ever made, and in some cases also find original spare components. If there is no component to hand, there is a stock of some 6,000 swages or stamps that they can use to make an identical component from scratch. Because the Manufacture is fully integrated, the entire process can be carried out in-house. While the mechanical restoration may, in some cases, be significant, the intervention on the case and dial must be kept to a minimum, since too much work would alter the historical nature of the piece for collectors; therefore, Jaeger-LeCoultre’s acquisitions team seeks watches that are as close as possible to their original condition. Each Collectibles timepiece is presented with an extract from the Jaeger-LeCoultre archives and a complimentary copy of The Collectibles book, as well as a new strap chosen to complement the style of each watch. In addition, when available, the original box and papers, as well as original strap or bracelet will be included. The third edition of The Collectibles was be launched in Singapore on October 11, 2024 with a panel discussion led by Matthieu Sauret, Jaeger-LeCoultre’s Product Marketing and Heritage Director. The collection were presented, along with The Collectibles book, at the Jaeger-LeCoultre boutique at Marina Bay Sands from 13–23 October 2024. The timepieces will be available to purchase through jaeger-lecoultre.com , as well as during the Singapore presentation. ML Staff. Courtesy of Jaeger‑LeCoultre

The Grand Season Opening promises an exquisite musical journey, beginning with Dvořák’s Symphony No. 7 in D minor, followed by Maurice Ravel's enchanting "Piano Concerto in G major," showcasing the remarkable talents of pianist Andreas Boyde. The concert will culminate with Ravel's mesmerizing "Bolero," under the masterful direction of conductor Eduardo Marturet. Don't miss this unforgettable night of exceptional performances. Dates November 3, 2024 at 6:00 PM   Venue Knight Concert Hall   Run Time TBD   Parental Guide All ages   Price $40 - $140 Miami Symphony Orchestra Andreas Boyde , piano Eduardo Marturet , conductor Program: DVOŘÁK Symphony No. 7 in D minor RAVEL Piano Concerto in G major RAVEL Bolero Buy tickets here By ML Staff. Courtesy of Adrienne Arsht Center for the Performing Arts

For over 36 years, Palace Bar has reigned supreme on Ocean Drive in South Beach. The iconic drag revue serves up more than just food and drinks. It has earned its reputation as a must-visit spot with jaw-dropping drag performances that captivate large crowds of tourists, often seen spilling onto the street. But under the leadership of General Manager AJ Prasaguet, today’s Palace experience has evolved into something even more vibrant and unforgettable than ever before. Brought in by owner Thomas Donall to breathe new life into Palace, Prasaguet’s extensive background in hotel management, hospitality, and event planning has made a significant impact on the bar and restaurant. In just three years, he has transformed Palace into a cutting-edge hotspot that not only celebrates its drag roots but elevates the overall guest experience with world-renowned DJs, recording artists, and a completely revamped food and cocktail menu. “We’ve always been famous for our drag shows, but now, we’ve expanded that magic beyond entertainment,” Prasaguet confirms. “The food and drinks are just as good as the performances — it’s a full sensory experience!” One of the most exciting additions is Palace’s spectacular rooftop, which has become a hub for events featuring top-tier DJs and live music acts. “Our rooftop events are the perfect combination of stunning views, great music, and the kind of inclusivity Palace has always been known for,” Prasaguet explains. For those that prefer a more low-key setting, Palace’s renovated, state-of-the-art lounge offers a space where guests can enjoy fine dining alongside drag performances. The lounge’s sleek, modern design creates a luxurious atmosphere that complements the energy of South Beach. But what truly sets Palace apart these days is its refined menu. Newly appointed executive chefs Guerline Charles and Carlos Duque have crafted a full food and cocktail menu that elevates Palace’s dining experience to rival the best restaurants in Miami. From the Churrasco, a 10oz skirt steak served with roasted potatoes and chimichurri, to the Tuna Steak — seared Ahi tuna paired with mango salsa, grilled avocado, sweet chili ponzu, and sesame seeds — the food is designed to please any palate. The Bolo Pasta, made with fresh pappardelle and a rich Bolognese sauce, delivers comforting flavors that are hard to resist. For those craving something more casual, the homemade Alfredo pasta and the Palace Burger are flavorful options. And the drinks? Prasaguet makes it clear: “Our new cocktails are crafted with the same flair and creativity as our drag shows — bold, colorful, and unforgettable.” Chefs Carlos Duque and Guerline Charles Standout cocktails are the Palace Tea, Rose on Ocean, and Sweetie Darling; all reflect the vibrant spirit of the venue. Also of note, the SoBe Vespa. It brings a refreshing twist with Hendrick’s gin and house-made cucumber syrup. For dessert, the Cheesecake Brûlée with a berry sauce and the decadent Molten Lava Cake, served with a scoop of vanilla ice cream, are not to be missed. “The drag shows will always be the heartbeat of Palace, but now our guests are getting even more — amazing food, unbeatable cocktails, and an atmosphere that’s just electric,” Prasaguet sums up. For the perfect midweek escape, Palace also offers Ladies Who Lunch specials Tuesday through Thursday each week from 12-3 pm. Palace Bar is located at 1052 Ocean Drive, South Beach Miami. Visit:  palacesouthbeach.com By Tom Teitjen. Images courtesy of Palace Bar Miami

Join an unforgettable evening at the Ravinia Festival on   Saturday, October 26, at 7:30 p.m., featuring Shelly Berg, dean of the Frost School of Music and four-time Grammy-nominated pianist, performing music from his acclaimed trio project Alegría. Known for its “bustling and approachable” sound (All About Jazz), Alegría blends Berg’s original compositions with jazz classics, delivering an energetic and emotive experience.   Berg will be joined by Carlitos del Puerto on bass and Dafnis Prieto on drums—two renowned musicians in Afro-Cuban jazz. Together, they promise a dynamic, soulful performance. Date and Time Saturday, October 26, 2024 7:30pm Location Ravinia   Tickets are available for purchase here , but hurry - we're offering complimentary tickets on a first come first served basis! To claim your complimentary tickets, please fill out this form . Secure your spot now! By ML Staff. Courtesy of University of Miami

The Dolphins last took the field at Hard Rock Stadium on Monday, September 30. With two road games bookending the bye week, being back under the South Florida sunshine is a welcome sight. So is the return of quarterback Tua Tagovailoa, who makes his return to the lineup for the first time since September 12 during the Week 2 game vs. Buffalo. Here's what the Dolphins are saying ahead of the Week 8 matchup with the Arizona Cardinals. Tua's Return Head Coach Mike McDaniel – "It will be a big deal considering he's the captain and leader of this franchise. The franchise QB that, without question when the players are voting for the captains, he has the most votes. That to me is the best way to establish an indicator of who they feel is their leader. He had tremendous growth each year, particularly this year, in terms of that and being a leader and what that means and growing into that." Wide receiver Tyreek Hill – "He looked great. Felt like old times, me and him connected on a few deep shots today and that kind of got me feeling good today. I missed that and I missed him. I told I've got to take him and his wife to dinner because I missed him so much … (It) almost made me cry today like just having him in the lineup, having him call the plays, having him direct the offense, like just hearing his voice." Quarterback Tua Tagovailoa – "I don't think for myself I put any pressure on myself coming back and having to save the team. I think what we have to do is we've got to look at this past game, all 11 guys on the field, were we given an opportunity with the plays that were called to score on every drive? And if we can say yes, then we can look at ourselves and see what we can do to get better moving forward." Run-Game Rollin' Running back Raheem Mostert on offensive balance – "We have to play complementary football, that's something that's been harped on since I've gotten here and that's what we're going to continue to do. Just having Tua back just gives us an extra boost of morale and confidence within the offense because he has a great understanding of it and he's also connected with the receivers as well. So all of that stuff goes hand in hand." McDaniel on different routes to victory – "You try to have a football team that is able to do whatever it takes to win the game. We have found the ability to run the ball with the way we kind of forecasted our evolution into Year 3. That's hugely important when you're talking about down the stretch, matchups and when you have a game that it's win or go home, which invariably everyone does. You don't get to pick, 'Well we like passing the ball.' Is your advantage running it? Well you better be able to run the ball that game because their pass rushers are unbelievable and if you put yourself in known passing situations, you're going to have four turnovers." For more on the Dolphins, download the Drive Time Podcast with Travis Wingfield, available wherever you get your podcasts. By ML Staff. Content/Image courtesy of Miami Dolphins

Your Miami HEAT officially begins broadcast coverage of their 37th regular season campaign on their new home for local television coverage – FanDuel Sports Network.  Known formerly as Bally Sports Sun, the newly rebranded FanDuel Sports Network Sun will kick off their 80-game slate of regular season games with a special one-hour edition of HEAT Live pregame prior to the HEAT hosting their intrastate and division rivals from Orlando. The show will feature an exclusive two-part interview with HEAT president, Pat Riley, and legendary HEAT announcer, Eric Reid. The Hall of Fame HEAT coach and executive will be honored in a court dedication ceremony, which will be covered live on the network at halftime. Reid, who is now the second longes-tenured NBA television play-by-play announcer in the league behind only Detroit’s, George Blaha, enters his 37th season as part of the HEAT’s broadcast team and his 34th as its esteemed play caller. Former HEAT point guard, John Crotty, begins his seventh season as the team’s television analyst and his 20thoverall as a radio and television broadcaster with the organization Emmy-award winning host, Jason Jackson, enters his 21st season with the HEAT and will once again team with studio analyst, Amy Audibert, to bring fans pre and postgame editions of HEAT Live before and after every home game. The first head coach in HEAT history, Ron Rothstein, returns for his 11th season on the broadcasts and his 45thoverall as a member of the NBA, providing insightful commentary at halftime and in postgame during “Ron’s Rewind” segments on home games. The HEAT’s sideline reporter and halftime hosting responsibilities for all home games will be split amongst a trio of established talent. WPLG lead sports anchor, Will Manso, joins the broadcasts for his 12th season.  In addition to his role as a reporter at home games, he will host all of the studio programs for HEAT road games from the FanDuel Sports Network studios in Ft. Lauderdale alongside Audibert.  Miami native, Kelly Saco, joins the HEAT for her third season of coverage.  A fixture on Marlins broadcasts since 2018, Saco was recently nominated for an Emmy as a sports talent for the third straight season, having won the award in each of the last two seasons. Jeremy Tache, host of the locally produced podcast Miami Mic’d Up, also enters his third season as a passionate host and reporter. Highlights of the 80-game regular season schedule include all four scheduled meetings with the defending NBA champion, Boston Celtics, all three games vs. the new-look New York Knicks, and a pair of games each vs Olympic Gold Medalists LeBron James (2 vs Lakers), Stephen Curry (two vs. Golden State Warriors), and Kevin Durant (two vs. Phoenix Suns). FanDuel Sports Network will also provide coverage of the team’s third trip to Mexico City to take on the Wizards on November 2nd.    In addition to their opening night coverage, the HEAT will also offer extended pre-game coverage for their 15th annual Kids’ Day Broadcast on December 8th and during the Carnival Scholarship Ceremony on March 21st.    The team’s award-winning broadcasts have been repeatedly recognized for excellence, as most recently evidenced by their acknowledgment for a third straight season of nomination by the Suncoast Chapter of the National Academy of Television Arts & Sciences for live season-long sports coverage – an award they have won in each of the last two seasons. The HEAT’s G-League affiliate in Sioux Falls, the Skyforce, will also have their games broadcast locally in South Florida for the third straight season.  All home games of the Skyforce will air live on either FanDuel Sports Network Sun or Florida beginning in November.  Veteran Skyforce announcer, Dan Peters, returns for the call of all the action from the Sanford Pentagon in Sioux Falls, South Dakota. The viewing experience should be a seamless one for fans who previously enjoyed the team on the Bally Sports platforms. All channel numbers across cable and satellite providers will remain the same and the user experience within the app will be familiar to previous users.  The Bally Sports app has become the FanDuel Sports Network app and  fanduelsportsnetwork.com  is the new web home for the network.  Fans can access streaming coverage in app and via website by authenticating through their pay TV provider or by subscribing directly to FanDuel Sports Network. Complete radio coverage of every HEAT game during the 2024-25 season can be found on the team’s flagship station in English, AM 560 WQAM and FM 99.2 HD2.  (The October 26th game at Charlotte and all pre and postgame programming for that game will be broadcast on Audacy’s Power 96.5 FM) The versatile media duo of Jackson and former University of Miami center Audibert will team up for their third straight season on all home radio games, while Jackson handles the call of each contest for the fourth year in a row. Veteran HEAT Radio Network host, Tommy Tighe, enters his 16th season with the team and is joined for the third straight campaign by local WQAM personality Alejandro Solana for extended pre and post-game coverage. The longest-tenured Spanish language broadcaster in the history of the NBA, La Voz—José Pañeda—begins his 36thseason of calling the action in Spanish as HEAT Basketball returns to Radio Mambí 710 AM and the Latino Media Network radio family. Joining Pañeda in his 27th season with the team is long-time partner, the versatile Joe Pujala, who adds pre, half and postgame duties to his responsibilities as a game analyst.    The HEAT en Español coverage will switch to 1140 WQBA at the start of the Marlins season on March 27th. Radio Coverage in both English and Spanish is presented by Morgan and Morgan, America’s largest injury law firm. By ML Staff. Courtesy of NBA. For Miami HEAT tickets click here .

Imagine a grand house on a hill, after dark on an autumn night. As the door opens, an organ pierces through the thick silence and echoes through the cavernous halls. The tune that comes to many minds will be Johann Sebastian Bach’s Toccata and Fugue in D minor, BWV 565 , an organ work composed in the early 18th century. Most people today recognize it as a sonic icon of a certain type of fear: haunting and archaic, the kind of thing likely to be manufactured by someone – a ghost, perhaps – wearing a tuxedo and lurking in an abandoned mansion. Listen The iconic intro to Bach's Toccata and Fugue in D minor Bach could not have thought that his nearly 9-minute organ piece would become so strongly associated with haunted houses and sinister machinations. As a musicologist whose current research is focused on the musical representation of mystery, I see the story of this song as a classic example of how the meaning, use and purpose of music can change over time. 30 seconds of sheer suspense Bach was a technically skilled musical craftsman and a scholar of composition. In his work, he sought to dutifully serve his employer, whether that was a Lutheran church, a royal court or a town council. He wasn’t like the famous composers of later eras – Mozart , Haydn , Liszt – who used their talents to build fame and increase their influence. As Bach scholar Christoph Wolff has pointed out , Toccata and Fugue belongs to the repertory of virtuosic show pieces that Bach created to exhibit his own prowess as an organ player. For Bach, who left no documents pertaining to this piece, the work would have been merely functional, a way to show the abilities of the organ and to put his talent to good use – not indicative of emotions, stories or other ideas. The music of Bach’s Toccata and Fugue owes much of its spookiness to the drama it employs: Harmonically, it is set in a somber minor mode that is generally aligned with more negative emotions such as sadness, nostalgia, loss and despair. Within this minor mode, a striking melodic contour is unleashed. The piece’s first pitch is the fifth scale degree instead of the first pitch of the scale. The unexpected note creates uncertainty. Then there’s a quick descent down the D minor scale after the initial flickering ornament. Add to this the silent background and the pregnant pauses between musical phrases, and the first 30 seconds are sheer suspense. A heavily contrasting texture – with lots of notes stacked up on each other – follows, introducing sonic clashes and rich harmony that swell with power. The piece moves quickly after this arresting beginning, relentlessly following a pattern of solo figures interspersed with massive, pounding chords. The organ’s haunting effect The sounds of the pipe organ further enhance the piece’s spooky sound. During the Baroque era – roughly 1600 to 1750 – the organ reached the height of its popularity . At the time, it was one of humankind’s most technologically advanced instruments, and musicians routinely performed organ music during church services and in concerts held at churches. But as musicologist Edmond Johnson has explained , many instruments preferred in the Baroque era, such as the organ and the harpsichord , had become out of fashion by the 19th century, stashed in storage rooms where they gathered dust. When music historians and ancient music revivalists first brought these instruments out for public performances after more than a century in storage, the now unfamiliar instruments sounded archaic and creaky to audiences. Musicologist Carolyn Abbate has argued that music can be “sticky,” collecting new meanings as contexts change and time passes. You can see this in the way Schubert’s famous “Ave Maria” – originally written as accompaniment to the words of Walter Scott’s poem “Lady of the Lake” – became associated with Catholic devotional music. Or the way Tchaikovsky’s “The Nutcracker” morphed from an underappreciated neo-Romantic ballet in 19th-century Russia to a popular annual Christmas tradition in the U.S. A song that stuck So how did the piece become associated with Halloween? One landmark film likely contributed to the impression that Bach’s Toccata and Fugue portends something nefarious: the 1931 release of “Dr. Jekyll and Mr. Hyde.” Rouben Mamoulian’s famous adaptation of Robert Louis Stevenson’s novel uses Bach’s Toccata in the opening credits. The piece sets a tone of suspense and suggests the depths of evil that Dr. Jekyll will encounter in his experiments. In the film, Dr. Jekyll is portrayed as an amateur organist who enjoys playing Bach’s music, so it is easy for a listener to apply the dramatic, suspenseful and complex nature of the Toccata to Dr. Jekyll and his alter ego. Since then, the music has also been used in other spooky films and video games, including “ The Black Cat ” (1934) and the “Dark Castle” video game series. Though Bach himself would not have thought of Toccata and Fugue in D minor as spooky, its origins as an innocuous concert piece won’t prevent it from sending a shiver down people’s spines every Halloween. By Magon Sarno Assistant Professor of Music, University of Texas at Arlington Images courtesy of The Conversation.

In the vibrant tapestry of creativity, two remarkable souls come together to weave stories that resonate deeply with the heart. Fernando Siqueira and Fernando Grostein Andrade, the duo behind Cosmic Dog Studio, are on the brink of unveiling their innovative “Necklace” Project—an artistic journey that blends film, music, and live performance into a celebration of vulnerability and connection. Their short film “NASA Connection,” which recently achieved the historic milestone of sending a signal into deep space, beautifully captures themes of interconnectedness and showcases stunning visuals from Brazil.  With their upcoming self-titled EP, FernandoS, they invite listeners to explore the intimate landscapes of introspection and healing. Hailing from the bustling streets of São Paulo and now calling California home, this passionate pair infuses their work with authenticity and a commitment to social justice. Join us as they share their inspiring love story and the creative vision that drives their mission to foster open conversations through the magic of art. Miami Living (ML): Welcome, the FernandoS! It’s a pleasure to have you here. Your journey from the streets of São Paulo to the canyons of California is captivating. Can you share a bit about yourselves and what brought you both together in this creative partnership? FernandoS: Thank you, it’s great to be here! Our journey has always been about seeking connection—whether through music, film, or storytelling. We both grew up in São Paulo, where art was a way to navigate the chaos of the city, and that’s where our paths first crossed. We realized early on that we shared not just artistic goals, but a deep desire to create work that reflects who we are and where we come from. When we moved to California, we carried with us the heart of São Paulo and the spirit of constant exploration. That’s what brought us together: the understanding that art can bridge worlds, and it can tell stories that resonate across cultures and experiences. ML: Can you tell us more about the birth of Cosmic Dog Studio? Curiosity strikes: how did you come to choose that unique name, and what is the studio’s mission? FernandoS: Cosmic Dog Studio was born from a love for storytelling and psychology. We both believe that creativity is like this wild, cosmic force—it’s untamed, full of possibility, and always pushing boundaries. The name “Cosmic Dog” reflects that feeling of being on a creative journey, a bit like a dog chasing something unknown across the stars. It’s about embracing the unpredictability of the process. Our mission with the studio is to create work that not only entertains but sparks conversations, dives into deeper meanings, and highlights the stories of those who often go unheard. We want to merge art and impact, creating a space where creativity and purpose can run free. ML: The "Necklace" Project is quite ambitious with its film, album, EP, and series of live show productions. Having been described as a multidimensional undertaking, can you tell us what inspired the concept behind the project? FernandoS: The concept of  Necklace  grew from our personal experiences with trauma, healing, and mental health. We wanted to create something that wasn’t bound to one medium but could use film, music, and live performance to explore the complexities of human emotion in a way that feels real and immersive.  Necklace  is about confronting the invisible struggles we all face—whether mental health challenges or unresolved pain—and using art as a way to make those struggles visible and relatable. It’s a project that combines our love for storytelling with our passion for music and visual arts, showing that these different forms of expression can intersect to open deeper conversations. ML: As you prepare to launch the "Necklace" Project, what are you most excited about sharing with your audience? Is there a particular theme or element that feels especially close to your hearts? FernandoS: We’re most excited to share the honesty and vulnerability that runs through every part of  Necklace.  This project comes from a very personal place, especially in terms of dealing with mental health and the resilience needed to face those battles. One of the core elements is the exploration of trauma—not in a dark or defeating way, but as a force that can lead to growth and strength. As queer artists, we’ve also infused our own stories into this project, especially the struggles we’ve faced with identity and belonging. We hope that this resonates with anyone who feels unseen or misunderstood, and that it sparks conversations about mental health and healing. ML: Your self-titled EP, FernandoS, seems to encapsulate your individual journeys. Is this your first album production and what themes do you explore in the music of this EP? FernandoS: Yes, it’s our first album production, and it’s been such a meaningful process for both of us. The EP explores themes like longing, identity, and self-discovery. The music reflects our personal journeys, from growing up in São Paulo to navigating life in the U.S., to the exploration of love and identity along the way. It’s raw and reflective but also filled with moments of hope and empowerment. We want listeners to feel like they’re on a journey with us, discovering something new with each track. ML: Can you share the inspiration behind 'NASA Connection' and how it reflects your vision of connection—not just between people, but also with the universe? What does it mean to you that your film is now traveling beyond our planet? FernandoS:  Our short for the DSOC Mission was inspired by the idea that everything in the universe is deeply interconnected—people, places, emotions, and even the vast, cosmic elements that seem distant from our daily lives. We wanted to explore the theme of connection in its many forms, not just between individuals, but between humanity and the universe itself. This project allowed us to push that vision to an entirely new level by collaborating with NASA and utilizing cutting-edge technology that enables communication across such incredible distances. The fact that our film is now traveling beyond our planet is both humbling and exhilarating. For us, it’s a moment of reflection on how far technology and storytelling can take us. As Brazilian immigrants and artists, this achievement is a powerful statement about crossing boundaries—whether they’re physical, cultural, or even planetary. Having our short film transmitted via laser technology into deep space during NASA’s Psyche mission is a literal and symbolic representation of how art and science can come together to transcend limits. It’s an incredible honor to participate in a project that not only advances space exploration but also highlights the beauty and importance of human connection in a vast, interconnected universe. ML: As you blend your artistic talents, what’s the most rewarding aspect of collaborating with each other? How do you support one another in both your creative and personal endeavors? FernandoS: The most rewarding aspect of working together is how our individual strengths complement each other. One of us might be more focused on the big picture while the other dives into the details, and that balance has allowed us to create work that feels whole and complete. Personally, we support each other by giving space to process things in our own way but always coming back together to push each other forward. Our collaboration is built on trust, and that’s what allows us to keep creating fearlessly. ML: Looking back on your journey as LGBTQ immigrants, what advice would you give to other young artists navigating similar paths, and how do you hope to inspire them through your work? FernandoS: Our biggest piece of advice is to stay true to yourself and your story. It’s easy to feel like you have to fit into a mold, especially when navigating spaces where you might not always feel seen or heard. But there’s power in authenticity, in owning who you are, and that’s what we want to inspire in other artists. Your journey is valid, and your voice matters, no matter where you come from or your sexual orientation. Through our work, we hope to show that it’s possible to create meaningful art while also staying grounded in who you are, even when the road gets tough. ML: And last but not least, what are you most looking forward to in the next chapter of your creative journey together? FernandoS: We’re really looking forward to seeing how Necklace evolves as it connects with different audiences. Each time we perform or share a part of this project, we feel it grow and take on new meaning. We’re also excited to keep exploring the intersection of music, film, and live performance. We are also writing and developing true crimes, documentaries and fiction films. There’s so much we want to experiment with, and the idea of blending different art forms to tell stories in new ways is something that will continue to drive us forward. This is just the beginning. Fernando Grostein Andrade Socials: Instagram:  @grosteinandrade    Fernando Siqueira’s Socials: Instagram:  @fernandoosiqueiraa   More on The Necklace Projects: Instagram:  @Fernandos.presents.necklace By ML Staff. Images courtesy of Ryan Bradford

NYC’s only nonprofit provider of medically tailored meals and nutrition services for individuals living with severe illness—hosted their 18th annual Golden Heart Awards at the historic Cathedral Church of St. John the Divine. The night kicked off with a cocktail hour. The evening was produced and directed by Erich Bergen.   Kristen Chenoweth began the night with opening remarks. God’s Love We Deliver President & CEO David Ludwigson welcomed guests and introduced the organization’s new  video featuring the voices and stories of their clients.   Michael Kors presented Sarah Jessica Parker with the Michael Kors Award for Outstanding Philanthropy. Sarah delighted guests by then offering her award to God’s Love longtime staff member Pat Costello for her more than 30 years of outstanding service to God’s Love We Deliver and their clients.   During the auction, conducted by The Fundraising Guy, Harry Santa-Olalla, guests bid on program items to support God’s Love, such as vans for delivery, sponsoring a family of 5 for a year, and more.   Attendees were then seated for a dinner curated by Melba Wilson, the visionary behind Melba’s Restaurant in Harlem and God’s Love Board member.   Desiree Perez of Roc Nation Records presented Megan Thee Stallion with the genLOVE Award for Outstanding Philanthropy, honoring her work on behalf of housing, education, and health in her hometown. Actor Chloe Fineman presented Cole Escola with the Golden Heart Award for Special Achievements in the Arts.   The evening concluded with a special performance by Sam Smith, who brought the house down with “Stay with Me,” “Unholy” and a cover of “Time After Time”.   The evening raised more than $4 million, including a surprise $1 million match by Sam and Dena Lombardo. In total, the event funded more than 400,000 nutritionally tailored meals for the clients and families of God’s Love We Deliver. Michael Kors Award for Outstanding Philanthropy: Sarah Jessica Parker genLOVE Award for Outstanding Philanthropy: Megan Thee Stallion Golden Heart Award Special Achievements in the Arts: Cole Escola   Special performance by: Sam Smith   Honorary Chairwoman: Anna Wintour   Co-Chairs: Michael Kors, Blaine Trump, and John D. Idol   Notables in attendance:  Zoey Deutch, Kristin Davis, Nicole Ari Parker, Cynthia Nixon, Kristin Chenoweth, Chloe Fineman, Kaitlyn Dever, Cole Escola, Bee Shaffer, Renee Elise Goldsberry, Huma Abedin, Brynn Whitfield, Sai De Silva & Luann De Lesseps.   Since 1985, God’s Love We Deliver has been cooking and home-delivering medically tailored meals to individuals living with severe and chronic illness, with demand for services up 50% in the last two years. While the number of individuals served by God’s Love We Deliver increases, the organization continues to innovate. This year, God’s Love expanded services for people with sickle cell disease. This important enhancement to services is in addition to recent innovations by God’s Love, with new programs for pregnant people with gestational diabetes and our CONNECTED program, for U.S. Military Veterans living with PTSD and other diagnoses. Fundraising events like the Golden Heart Awards allow God’s Love to continue growing and innovating to provide free, life saving services to New Yorkers affected by severe and chronic Illness.   Golden Heart Awards Director: Erich Bergen Michael Kors is pleased to announce that the following people wore Michael Kors Collection to the 18th Annual God’s Love We Deliver Golden Heart Awards on Monday, October 21, 2024, in New York City.   Sarah Jessica Parker wore a black floral lace bustier dress from the Spring/Summer 2025 Michael Kors Collection.   Megan Thee Stallion wore a custom black crepe sculpted halter dress from Michael Kors Collection.   Cole Escola wore a cappuccino-and-black jaguar-print calf hair balmacaan from the Fall/Winter 2024 Michael Kors Collection, with a black hand-embroidered sequin turtleneck bodysuit and wool pleated trousers, both from Michael Kors Collection.   Zoey Deutch wore a pearl cashmere tunic and matching maxi skirt, both from the Spring/Summer 2025 Michael Kors Collection.   Kristin Davis wore a midnight crushed charmeuse dress from the Fall/Winter 2024 Michael Kors Collection.   Cynthia Nixon wore a banker wool flannel boyfriend blazer and gunmetal floral lace slip dress, both from the Fall/Winter 2024 Michael Kors Collection.   Kaitlyn Dever wore a black double crepe sablé blazer and matching tuxedo trousers, both from the Fall/Winter 2024 Michael Kors Collection.   Chloe Fineman wore a silver silk georgette shift dress with hand-embroidered sequins from the Fall/Winter 2024 Michael Kors Collection.   Nicole Ari Parker wore a black wool gabardine carved blazer and matching side-slit skirt, both from the Fall/Winter 2024 Michael Kors Collection.   Kristin Chenoweth wore a silver sequined one-shoulder dress from Michael Kors Collection.   Renée Elise Goldsberry wore a maritime sequined boyfriend blazer and matching Carolyn trousers, both from the Spring/Summer 2025 Michael Kors Collection.    Huma Abedin wore a derby mélange wool-and-silk shirt with the matching skirt, both from the Spring/Summer 2025 Michael Kors Collection. By ML Staff. Image Courtesy of Michael Kors

The Paris-born, New York-based interior designer Robert Couturier  is known for blending traditional French elegance and imaginative colours, textures and materials to create sumptuous yet timeless interiors. Over the course of his lengthy career, Couturier has collaborated with clients all over the world, and his work has been featured in The World of Interiors , Vogue and Town & Country . He has been added to Architectural Digest ’s AD100 Hall of Fame and Elle Decor ’s A-List of Titans. The salon of Robert Couturier’s house in Normandy, where artworks and furniture include Portrait of a woman traditionally identified as Elizabeth Dormer, by a follower of Anthony van Dyck (estimate: €20,000-30,000), which hangs above a Louis XV giltwood bed (€5,000-8,000) and a pair of Louis XVI giltwood bergères (€4,000-6,000); George Romney (1734-1802), Portrait of Ann Morley née Barlow (€15,000-25,000), on the wall to the left, above a Régence ormolu-mounted Rio rosewood commode attributed to Etienne Doirat (€25,000-40,000); and, flanking the small round table, a pair of Louis XV giltwood armchairs stamped by Nicolas Heurtaut (€15,000-25,000). All offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online Couturier’s sources of inspiration are wide-ranging, from the palaces of Rajasthan to 18th-century French decorative arts. He has a deep appreciation for the architecture and setting of a space, he says, but believes, above all else, that interiors should reflect the interests, taste and personality of those living in them. His 17th-century manor house in Normandy in France is a case in point. Ludolf de Jongh (1616-1679), Portrait of a child holding a kestrel, full length. Oil on canvas. 149.5 x 113 cm (58⅞ x 44½ in). Estimate: €40,000-60,000. Offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online A patinated terracotta sculpture of Europa and the bull by Alfred Auguste Janniot (1889-1969), circa 1955 (estimate: €7,000-10,000) on a neoclassical giltwood console table, probably northern European, dating from the late 18th to the early 19th century (€20,000-40,000). Both offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online The interiors combined an eclectic mix of pieces from all over the world, most notably from his native France. The formal salon, for instance, was richly furnished with 18th-century French furniture and decorative arts, including a pair of Louis XVI bergères and a Louis XV daybed upholstered in green silk. Central to the display of pictures was a full-length portrait, believed to be of Elizabeth Dormer , by a follower of Sir Anthony van Dyck. The informal sitting room also featured pieces spanning periods and styles. Complementing the 18th-century French furniture was an assorted collection of European and English pictures and 20th-century lamps, chairs and tables. Couturier’s private suite was decorated in the same vein. In the intimate library, for instance, a mirror in the Louis XVI style hung above a stone fireplace, in front of which stood a straw marquetry four-leaf folding screen by Jean-Michel Frank dating from around 1930. The two larger paintings in the sitting room are, on the left, Portrait of a man, full-length, with a landscape in the background, by an artist in the circle of Thomas Gainsborough (estimate: €20,000-30,000), and, on the right, Gilbert Jackson (circa 1595/1600-1648), Portrait of a man, perhaps a member of the Poulett family (€30,000-50,000). Between them hangs Portrait of a man with a hat, half-length, by a follower of François-Xavier Fabre (€10,000-15,000). The three works on the wall to the left are: Portrait of a man traditionally identified as Rudd Lucas, by an artist in the circle of Johan Zoffany (€15,000-25,000); Jean-Baptiste Nicolas Le Prince (1734-1781), Russian peasants playing papegai near a river (€10,000-15,000); and Portrait of a boy with a ruff and a white vest, half-length, Anglo-Flemish school, circa 1600 (€15,000-25,000). All offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online Couturier is now parting with the 17th-century property and all its contents. Offered online in Collections: Including the Property of International Interior Designer Robert Couturier (16-29 October 2024) will be more than 150 pieces from the decorator’s Normandy home, including French furniture, Old Master paintings, 20th-century design and European decorative arts. The objects represent some of the great artists and designers of the 18th, 19th and 20th centuries, from Etienne Doirat and Jean Gourdin to Jean-Michel Frank. Paintings in the drawing room include Gilbert Stuart (1755-1828), Portrait of Eleanor Gordon, sitting in a white dress, reading music (estimate: €40,000-60,000), Portrait of a woman with a ruff and a pearl necklace, bust-length, attributed to Rodrigo de Villandrando (€15,000-20,000) and a pair in the manner of Nicolas Lancret, Autumn and Winter (€6,000-10,000). Beneath them is a 20th-century scale model of the column at Place Vendôme in Paris (€500-800) on a Louis XV ormolu-mounted kingwood commode stamped by Louis Delaitre and Pierre Migeon (€12,000-18,000). All offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online Cornelius Jonson van Ceulen (1593-1661), Portrait of a woman with a ruff and a black dress, bust-length, in trompe-l’oeil architecture . Oil on panel. 77 x 61 cm (30⅛ x 24 in). Estimate: €20,000-30,000. Offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online Notable lots offered for sale include a Régence ormolu-mounted rosewood commode attributed to Etienne Doirat, and a pair of Louis XV armchairs stamped by Jean Gourdin from around 1755. Paintings include a portrait of Eleanor Gordon by the American artist Gilbert Stuart and a George Romney portrait of Ann Morley née Barlow . Ahead of the sale, we spoke to Robert Couturier about his inspirations, his philosophy and his approach to decorating his Normandy home. How would you describe your design philosophy? I don’t like repeating anything, so for each new client I try to create something that is personal to them and reflects their tastes and interests. I aim to create something that is exclusively theirs and often something that they are not expecting. I always ask my clients for inspiration images, which can be taken from books or magazines, and often ask them to circle what they don’t like. What one doesn’t like is more telling than what one does like. The dining room, with Portrait of a woman in a black dress holding gloves in her left hand, Dutch school, 1634 (estimate: €7,000-10,000), above the fireplace, and Cornelis de Cocq (1815-1889), Still life with a coloquinte, a lemon and a Venetian-style carafe, 1844 (€3,000-4,000), to the right. On and around the table and elsewhere in the room are a set of 12 silver-gilt menu-holders for Hermès, Paris, 20th century (€1,000-1,500), a set of 10 Louis XIV walnut and beechwood chairs and one armchair (€4,000-6,000), and against the wall is a Régence giltwood console, circa 1720 (€10,000-15,000). All offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online What makes a house a home? Only the person living in the house can tell you what makes it a home. What makes a house a home for you, for example, may not be what makes it a home for me, because what you like may be different from what I like. People worry so much about what others will say that they often limit themselves to what is the accepted norm of good taste. That’s why so many houses look the same and as if nobody lives in them. Where did you train to become an interior designer? I was trained at the Ecole Camondo in Paris, but I have always had a great interest in decoration, architecture and the decorative arts, specifically those from 18th-century France. I am particularly drawn to the inventive freedom and spirit of the age. I still remember the great exhibition organised in Paris on the style of Louis XV [ Louis XV, un moment de perfection de l’art français at the Hôtel de la Monnaie in 1974], which was accompanied by a remarkable catalogue covered in blue Morocco leather. I still have the book and always look at it with the same pleasure. English school, circle of Gilbert Jackson, Portrait of Sir Richard Broke (c. 1600-c. 1640), full-length, 1622. Oil on canvas. 200 x 113 cm (78¾ x 44½ in). Estimate: €15,000-20,000. Offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online Above the library fireplace hangs a 19th-century Louis XVI-style mirror (estimate: €1,000-1,200), and in front is a straw marquetry four-leaf folding screen by Jean-Michel Frank, circa 1930 (€30,000-50,000). Both offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online What are your major sources of inspiration? When I was growing up, I would often go to museums alone, and I also looked with great curiosity at the private worlds in which my friends lived. I was lucky enough to travel a lot, which is why my inspirations are so varied, from the palaces of India to the splendid hôtels particuliers in Paris, including of course the Hôtel de Camondo and the Petit Trianon in Versailles , which remain for me absolute perfection. You have spent your professional life decorating the homes of your clients and sometimes those of your friends. Is that different from decorating your own home? All my clients have become friends, and many of my friends have become clients. No project is ever easy, and working for yourself can be even harder, because there is no harsher critic than yourself. That said, I take the same pleasure in working for others as for myself. Why did you choose to purchase this 17th-century manor in Normandy? I fell in love with the manor and its garden as soon as I saw it. I later discovered that my grandmother’s house was just a few kilometres away, which shows that fate and chance play a part in our actions and decision-making. Laurens Craen (1620-1663/1670), Still life with a passglass and a roemer surrounded by vine tendrils set on a draped ledge next to a brazier, tobacco, a lemon and a pewter plate on which oranges and a pipe are arranged . Oil on panel transferred to canvas. 63 x 71 cm (24⅞ x 28 in). Estimate: €10,000-15,000. Offered in Collections: Including the Property of International Interior Designer Robert Couturier , 16-29 October 2024 at Christie’s Online When you began furnishing and decorating the manor, what was the guiding principle? I restored and decorated it instinctively, drawing on all my previous experience. I used all the furniture and paintings that were in my previous house. Everything fell into place effortlessly. Maybe the best decoration is instinctive! What is the key to successful decor? There is no key to successful decor. The scale and proportion of certain objects mean that they work in some places better than others. But overall, you have to let yourself go and enjoy the process of creating a place in which you will be happy for as long or as short a time as that may be. The decor of this house is classic. Does the location of the collection determine, in your opinion, the choice of works inside it? Collections can go wherever you want them to go, whether that be in a castle or a cottage. Collections are ephemeral — they will live where they are loved, and then elsewhere once dispersed. I love the life of objects and their stories, but I have never wanted to be limited by them… an object is just an object. What role can classic furniture and decorative arts play in interior design today? I like to mix objects from all eras and origins. For me, the memory of the past and its history are essential to understanding the present. I would like antique objects and period furniture to find a place of honour in all collections. ML Staff. Content/image courtesy of Christies. Click here  for the latest Christies auctions

Formula 1® and Mattel, Inc. revealed a new global licensing partnership that will create F1-themed Hot Wheels® products to bring the thrill of F1 racing to 1:64 scale. The partnership will kick off this year with the release of a one-of-a-kind F1 car, before the full Hot Wheels® range is released in 2025. The limited edition die-cast car, launched today on Mattel Creations , has a special Hot Wheels racing livery to celebrate the partnership, and includes interchangeable tyres, full-metal body chassis and bespoke F1 casting. The car also features Hot Wheels’ iconic number ‘68’ on the nose, giving a fun nod to the year the brand debuted. The full range, which will launch in 2025, will feature cars from F1 Teams and include products designed to connect with F1’s growing young audience, as well as items that will appeal to adult collectors. Formula 1 will also welcome the Hot Wheels brand to Grands Prix, with fan-focused activations and retail opportunities that will bring families together and celebrate the partnership at select events across the 2025 season and beyond. Available in more than 150 countries, Hot Wheels’ Single 1:64 Assortment was the number one item sold across all toys globally in 2023*. More than 8 billion of the iconic cars have been sold over half a century.   Emily Prazer, Chief Commercial Officer of Formula 1, said: “This exciting collaboration with Mattel will bring together the adrenaline of motor racing and the excitement of toy cars and provide opportunities to see the fine details that go into an F1 car, all in the palm of your hand. It’s more than just a partnership; it’s a celebration of speed, creativity and innovation that will bring fans a new way to engage with the sport.” Roberto Stanichi, Executive Vice President, Hot Wheels & Head of Vehicles and Building Sets at Mattel, said: “Hot Wheels has always been about nurturing the challenger spirit, so the partnership with Formula 1 is a natural and exciting fit. It will bring two of the largest global fan communities together to share their passion for cars and racing. In collaboration with Formula 1, we have put together a program that allows kids to replicate the thrill of F1 racing where they can drive like the pros and engages with our loyal communities on a global scale. Like Hot Wheels, F1 is all about thrill and car performance, and the broad collection we’ve created will take F1 fandom to the next level along with additional consumer touchpoints like digital and retail activations.” *According to Circana, Hot Wheels Single Assortment was the #1 toy sold in the US in 2023 based on units. Source: Circana/Retail Tracking Service/G12/JAN-DEC 2023/Total Toys/Projected Units By ML Staff. Content/image courtesy of Formula 1

The 2024 Bobby Curtis Doubles Junior State Championships for the 16s and 18s divisions took place at the USTA National Campus, showcasing some of Florida’s most talented junior tennis players.   While players battled hard on the clay courts, the weather conditions forced USTA Florida to end the tournament on Monday, October 7, at 10 AM. Mixed Doubles divisions, along with the 3rd/4th place and many consolation matches were unable to be played. Despite this setback, the competition was fierce, and many exciting matches were played before the early conclusion.  Bobby Curtis Doubles Results   Boys 16s  In the Boys’ 16s, it was the duo of Mikaeel Alibaig and Rafael Bote, who teamed up and showed great chemistry the whole weekend. The two didn’t drop a set as they secured a spot in the finals against Caleb Chow and Dhakshish Aryan, the top seed of the event. The championship delivered fireworks as the two teams went back and forth. Caleb and Dhakshish took the opening set, but Makel and Rafael battled back to force a tiebreaker. This was super intense, and it came down to just two points, where Mikaeel and Rafael edged out a 10-8 win.  Championship: Mikaeel Alibaig (Boca Raton)/Rafael Bote (Boca Raton) d. Caleb Chow (Miami)/Dhakshish Aryan (Parkland) 4-6, 6-2, 10-8  Third/Fourth Place: Jose Vasquez (Boca Raton)/Lucas Zhang (Lantana) & Paul Bower (Coral Springs)/Juan Benito (Weston) *Match was not played   Girls 16s   Over in the Girls’ 16s it was pure domination as Emma Prose and Vanessa Kruse went on for a game record of 48-14 over the course of four matches. This dynamic duo couldn’t be stopped as they earned the title of Bobby Curits Champions. In the finals, they took down Gabriella Alonso and Raya Dittfurth, who also had an impressive weekend. Unfortunately for them, they ran into the hottest duo on the courts, finishing second at the event.  Championship: Emma Prose (Cooper City)/Vanessa Kruse (St. Augustine) d. Gabriella Alonso (Plantation)/Raya Dittfurth (Loxahatchee) 6-1, 6-1  Third/Fourth Place: Audrey Dussault (Kissimmee)/Nikol Davletshina (Boca Raton) & Luciana Chica (Miami)/Isabella Porto (Key Biscayne) *Match was not played   Boys 18s   In the Boys’ 18s, Maddox Bose looking to improve upon his fourth-place finish from a year ago, teamed up with Stefan Correa. The duo found their stride early and relied on their teamwork to propel them into the finals. Their semifinal match was intense, where they went to a third-set tiebreaker against Zach Friedland and Benjamin Saltman. Maddox and Stefan pulled out a narrow 11-9 win to book their spot against Nathan Germino and Noah Bayon for the title. Coming off the close win, Maddox and Stefan were determined to finish what they started, and they rode the hot hand in the match, winning it and becoming first-time champions.  Championship: Maddox Bose (Winter Haven)/Stefan Correa (Miami) d. Nathan Germino (Valrico)/Noah Bayon (Gainesville) 6-3, 6-4  Third/Fourth Place: Zach Friedland (Hollywood)/Benjamin Saltman (Winter Haven) & Rush Slivjanovski (Riviera Beach)/Kyle Chesman (Port St. Lucie) *Match was not played   Girls 18s  Finally, in the Girls 18s, Isabella Aguiar was eager to take the courts as she looked to avenge her second-place finish from a year ago. This time around, she partnered up with Sabrina Jaramillo. The two found themselves in a hole during their semifinals against the sister pair of Catherin and Camila Cardona-Carballosa. The girls traded the first two sets and, in the tiebreaker, it was neck-and-neck. Eventually Isabella and Sabrina found their groove and won a few points in a row to book their spot in the finals against Lyla Messler and Maria Navarro. Lyla got second place in the 16s division a year ago, and Maria won the consolation draw, so that was a dream team eager to make a run. However, with experience in the 18s under their belt, Isabella and Sabrina were able to take the match and cement themselves as Bobby Curtis champs.  Championship: Isabella Aguiar (Wellington)/Sabrina Jaramillo (Orlando) d. Lyla Messler (Largo)/Maria Navarro (Palm Beach Gardens) 6-3, 6-4  Third/Fourth Place: Catherin Cardona-Carballosa (Miami)/Camila Cardona-Carballosa (Miami) d. Julia Chesman (Port St. Lucie)/Samantha Chesman (Port St. Lucie) Wd (Inj.)  The USTA Florida team is currently monitoring Hurricane Milton and will have an update later this week regarding the Bobby Curtis Doubles 12s/14s Championships.  By ML Staff. Content/Image courtesy of USTA Florida. Support the USTA Florida by becoming a member today.