The unexpected arrival of approximately 50 Colombian and Venezuelan migrants on Martha’s Vineyard, Massachusetts, on Sept. 14, 2022, has prompted legal questions about how and why, exactly, Florida Gov. Ron DeSantis chartered planes to drop them in this unlikely destination. An immigrant mother and child stand outside a church on Martha’s Vineyard on Sept. 15, 2022. Jonathan Wiggs/The Boston Globe via Getty Images The move is part of a broader campaign by Republican politicians to transport large numbers of migrants to liberal states and cities. Since then, Massachusetts Gov. Charlie Baker has activated 125 National Guard members to help distribute food and other necessities to the migrants, now living at a Cape Cod military base. And a Texas county sheriff announced Sept. 20 that he was launching an investigation into allegations that a Venezuelan migrant was paid to recruit the other migrants for the trip. Lawyers for 30 of the migrants have been asking for a legal investigation into what they call a “political stunt.” Many of the migrants said they were falsely promised housing, jobs and expedited work permits if they boarded planes in Texas set for Massachusetts – a likely preferred alternative to the San Antonio shelter where they were temporarily staying. As an immigration law professor, I think it is important to understand that the answer to whether it is legal to move migrants potentially against their will and transport them across states is complicated and depends on several unknown factors. Many of the 50 Venezuelan and Colombian migrants who were left on Martha’s Vineyard are asylum seekers, lawyers say.Jonathan Wiggs/The Boston Globe via Getty Images The intent behind the drop-off First, there is an open question of whether the migrants were illegally staying in the United States at the time they were transported to Martha’s Vineyard. There is a federal law, called 8 U.S.C. § 1324, that criminalizes transporting an undocumented migrant anywhere within the U.S. if the migrant has entered the U.S. unlawfully or remains in the country without a visa or other documentation. This law also prohibits someone from even helping or planning to transport undocumented migrants. But someone who is found guilty of this law must have also known – and disregarded the fact – that the migrants were in the U.S. without legal paperwork or other permission from immigration officials. Transporting consenting migrants who have the paperwork to be in the U.S. is legal. But certain factors – like DeSantis’ intent and knowledge of the migrants’ immigration status – could create potential civil and criminal liability. The migrants might legally be in the U.S. One key issue, then, is whether the migrants are legally authorized to be in the U.S. – and if not, whether DeSantis, his team and the charter airplane company helped the migrants illegally stay in the U.S. by flying them to Martha’s Vineyard. Some of the migrants are reportedly asylum seekers and not “illegal immigrants,” as DeSantis’ office has said. Generally, a migrant who is seeking asylum in the U.S. is not violating immigration law. That is because immigration asylum law authorizes migrants to enter the U.S. and apply for asylum – meaning that they ask for the legal right to stay in the U.S. because they have legitimate fears of returning to their own countries. Asylum seekers are allowed to temporarily stay in the U.S. while they await an immigration judge’s decision on their asylum application. Migrants might also get temporary permission to stay in the U.S. for other humanitarian reasons. It is unknown how many of the migrants flown to Martha’s Vineyard were authorized to remain in the country or have pending asylum applications. Moving migrants within the US Another major question is whether transporting migrants could somehow help or promote their potentially undocumented immigration status. In 1999, for example, a U.S. federal court of appeals determined that an individual transporting two undocumented migrants from New Mexico to Colorado in search of employment violated immigration law, since the move advanced the undocumented migrants’ unlawful presence in the U.S. Perhaps there is evidence that DeSantis, or members of his team, helped or advanced the migrants’ unlawful entry or continued illegal presence in the U.S. by transporting them to a sanctuary location within Massachusetts. Ultimately, DeSantis’ decision to fly migrants to Massachusetts likely frustrated the Biden administration’s immigration law enforcement. Randomly moving migrants across states makes it harder for the government to process asylum applications and to deport migrants who are not eligible for asylum. A volunteer hugs a Venezuelan migrant outside of a church on Martha’s Vineyard on Sept. 16, 2022.Carlin Stiehl for the Boston Globe via Getty Images The known unknowns Other factors could determine whether DeSantis potentially violated human trafficking laws, as some immigrant advocates have said. This includes what the migrants were told – and by whom. Deceiving people and then moving them from one place to another could constitute kidnapping. Falsely promising available work permits is also illegal. Human trafficking, according to U.S. law, must include exploitation resulting in some kind of material gain. While there is nothing to indicate that DeSantis received compensation for flying the migrants to Massachusetts, the private airplane charter company did receive money to transport them. The identities and knowledge of the government officials involved in the entire Martha’s Vineyard scheme have not been publicly released. A formal investigation into the migrants’ individual circumstances – and an examination of those involved with the flight to Martha’s Vineyard – could determine whether this incident resulted in legal violations of civil or criminal laws. Words By Jean Lantz Reisz Supervising Attorney, USC Immigration Clinic and Adjunct Assistant Professor of Law, University of Southern California . Special thanks to The Conversation for republishing permission.

After a three-year hiatus due to the global pandemic, the National Association for the Advancement of Colored People (NAACP) of Miami-Dade County returns with their eagerly anticipated annual Freedom FUNd Gala on Saturday, Oct. 1, 2022 at 7 p.m., hosted by HOT 105’s Jill Tracey, themed “It’s Not Over: Our Voice. Our Future. Our legacy”, at the Perez Art Museum Miami, 1103 Biscayne Blvd, Miami, Fl., 33132. To put the FUN in FUNd, attendees are encouraged to dress in formal/semi-formal wear, complimented with their best sneakers to represent the continued march to equity and social justice. Jill Tracey In 2022, NAACP of Miami Dade commemorates the 34th year of service which exemplifies the collective advocacy work in the fight for freedom, civil rights, equality, and justice. This year’s Freedom FUNd will also recognize those who made a significant impact towards advancing the mission of the NAACP. “This year’s Freedom FUNd Sneaker Ball is a time for us to reflect, recognize and reaffirm our commitment towards the fight for freedom and equality for all. For the last 34 years we have fought the fight. There is absolutely too much at stake for us to stop now. It’s not over!” states NAACP Miami Dade President, Daniella Pierre. Congresswoman Frederica Wilson Mayor Daniella Levine Cava Teri Williams HT Smith Daniella Pierre Anita Petteway The gala will honor beloved U.S. Congressman Frederica Wilson for her contributions to Education, famed attorney H.T. Smith for Advocacy & Litigation, Internal Medicine Specialist Dr. Anita Petteway, for her contributions to the Health & Well Being of our community, Teri Williams, President of OneUnited Bank, for her contributions to the business community and activist and organizer Valencia Gunder for her advocacy for the less fortunate. Tickets are just $125 and available now at www.miamidadenaacp.com or Eventbrite By ML Staff. Images courtesy of NAACP

Co-Chair Salma Hayek Pinault wore a custom Gucci black silk georgette all-over black and silver degrade crystal and sequin embroidered strapless gown with a black silk ruffled organza boa and black silk ruffled organza bag. Jodie Turner-Smith wore a Gucci tangerine orange draped chiffon gown with gold metallic leather high heel platform sandals and a gold metallic leather clutch. She completed her look with a Gucci High Jewelry Hortus Deliciarum necklace in yellow gold with garnets, beryls, tourmalines, enamel and diamonds. Christy Turlington wore a Gucci black silk cloqué sleeveless gown embroidered with mother of pearl flowers and fan-pleated chiffon flounces with black leather high heel sandals with Interlocking G with crystals and a black felt clutch with cut-out eye detail embellished with crystals and pearls. Ed Burns wore a Gucci black two button satin peak lapel tuxedo with a white evening shirt, black silk bowtie and black leather lace-ups Jeremy O. Harris wore a Gucci pink satin evening jacket with looping Interlocking G motif, dark pink velvet shawl lapel and striped corded piping with a white pleated evening shirt, beige pants, pale pink grosgrain bowtie and black leather lace-ups. He completed his look with a brown leather Gucci Horsebit 1955 medium top handle bag with ‘Gucci Orgasmique’ print. Bethann Hardison wore a Gucci Love Parade black long sleeve stretch jersey gown with lace details. Auctioneer Lydia Fenet wore a Gucci black and gold multicolor printed silk long sleeve dress with red sequin floral detail and self-fabric belt with gold metallic leather mid-heel sandals. By ML Staff. Images Courtesy of Gucci/Getty Images

With a cookie crust, silky chocolate pudding center and pillowy whipped cream topping, this pie is a chocolate lover’s dream. My dad was a serious chocoholic. This chocolate cream pie was his all-time favorite dessert, and I used to make it for him every year on Father’s Day. My 19-year-old son, Zach, took after my dad in the dessert department, and has requested this pie for his birthday since he was a little boy. Needless to say, the pie is a family favorite and shows up in a lot of our family photos! With its chocolate cookie crust, silky chocolate pudding center, and pillowy whipped cream topping, it is truly a chocolate lover’s dream. The crust is made with Nabisco chocolate wafers, which aren’t always easy to find. Oreo thins make a great substitute (and there’s no need to remove the filling). Be sure to plan ahead because the filling needs at least eight hours to set up before serving. WHAT YOU’LL NEED TO MAKE CHOCOLATE CREAM PIE STEP-BY-STEP INSTRUCTIONS Begin by making the crust. Combine the chocolate wafers, sugar and butter in bowl of food processor fitted with the blade attachment. Pulse until the cookies are finely crushed. Pour the crumbs into a pie pan. Press the mixture firmly into a 9-inch pie pan (spread some of the crumbs up the sides first, making the crust just shy of 1/4-inch thick, then press the remaining crumbs onto the bottom; use a the bottom of a measuring cup or glass to even out, if you like). Bake for 10 minutes until crisp. Combine the sugar, cornstarch and salt in a heavy medium saucepan. Whisk gently until combined. In a bowl or large measuring cup, whisk together the milk and egg yolks. Add the mixture to the saucepan in a slow and steady stream, whisking until the mixture is smooth. Cook over medium-high heat, whisking frequently, until the mixture starts to bubble and thicken, 6-8 minutes. Immediately turn the heat down to a simmer and cook — whisking constantly, especially around the edges — for one more minute until thick. (The constant stirring and low heat prevents the eggs from scrambling. Be sure to scrape the whisk against the bottom and edges of the pan where the mixture is more likely to overheat.) Turn off the heat, then immediately add the chopped chocolate, butter and vanilla extract. Whisk until smooth. Pour the filling into the crust and smooth the top. Press a piece of saran wrap directly over surface of the filling to prevent a film from forming; chill in the refrigerator for at least 8 hours or overnight. Up to three hours before serving, place the heavy cream in chilled mixing bowl. Using an electric mixer, whip on medium-low speed until the whisk or beaters begin to leave tracks in the cream. Add the sugar and whip until the cream holds medium, silky peaks. Go slowly towards the end; if it gets grainy or curdled, you’ve gone too far. Spoon the whipped cream over the filling. Spread the whipped cream, leaving some of the chocolate filling showing around the edges. Sprinkle with the grated chocolate and refrigerate until ready to serve. Chocolate Cream Pie With a cookie crust, silky chocolate pudding center and pillowy whipped cream topping, this pie is a chocolate lover’s dream. Servings: 8-10 INGREDIENTS FOR THE CRUST 28 Nabisco Chocolate Wafers (or 1½ cups finely crushed crumbs)* ⅓ cup sugar 4 tablespoons unsalted butter, softened FOR THE FILLING ⅔ cup sugar ¼ cup cornstarch ½ teaspoon salt 4 large egg yolks 3 cups whole milk 5 ounces bittersweet chocolate, best quality such as Ghirardelli 2 ounces unsweetened chocolate, best quality such as Ghirardelli 2 tablespoons unsalted butter 1 teaspoon vanilla extract FOR THE TOPPING 1 cup chilled heavy whipping cream 1 tablespoon sugar 1 ounce bittersweet chocolate, grated or shaved INSTRUCTIONS FOR THE CRUST Preheat the oven to 375 degrees. Combine the chocolate wafers, sugar and butter in bowl of food processor fitted with the blade attachment and pulse until the cookies are finely crushed. Press the mixture firmly into a 9-inch pie pan (spread some of the crumbs up the sides first, making the crust just shy of ¼-inch thick, then press the remaining crumbs onto the bottom; use a the bottom of a measuring cup or glass to even out, if you like). Bake for 10 minutes until crisp. FOR THE FILLING Combine the sugar, cornstarch and salt in a heavy medium saucepan. Whisk gently until combined. In a bowl or large measuring cup, whisk together the milk and egg yolks. Add the milk mixture to the saucepan in a slow and steady stream, whisking until the mixture is smooth. Cook over medium-high heat, whisking frequently, until the mixture starts to bubble and thicken, 6-8 minutes. Immediately turn the heat down to a simmer and cook -- whisking constantly, especially around the edges -- for one more minute until thick. (The constant stirring and low heat prevents the eggs from scrambling. Be sure to scrape the whisk against the bottom and edges of the pan where the mixture is more likely to overheat.) Off the heat, immediately add the chopped chocolate, butter and vanilla extract; whisk until evenly combined. Pour the filling into the crust and smooth the top. Press a piece of saran wrap directly over surface of the filling to prevent a film from forming; chill in the refrigerator for at least 8 hours or overnight. FOR THE TOPPING (Up to 3 hours before serving) Place the heavy cream in chilled mixing bowl. Using an electric mixer, whip on medium-low speed until the whisk or beaters begin to leave tracks in the cream. Add sugar and whip until the cream holds medium, silky peaks. Go slowly towards the end; if it gets grainy or curdled, you’ve gone too far. Spread the whipped cream over the filling, leaving some of the chocolate filling showing around the edges. Sprinkle with the grated chocolate and refrigerate until ready to serve. *Nabisco cookies available in the cookie aisle at most major supermarkets. Sometimes they can be hard to spot. At my local Giant, they’re on the top shelf near the Oreos. If you can't find them, crushed Oreo thins make a good substitute. NUTRITION INFORMATION Per serving (10 servings) Calories:663 Fat:43 g Saturated fat:24 g Carbohydrates:67 g Sugar:49 g Fiber:3 g Protein:9 g Sodium:367 mg Cholesterol:172 mg Special thanks to Jennifer Segal, for the recipe and images. You can support Jennifer by purchasing her cookbook, "Once Upon a Chef, the Cookbook," featuring over 100 delightful recipes.

Thierry Goldberg is pleased to present Shoulder Reader an online exhibition of works by Anna Wehrwein. The exhibition runs from September 16 - October 15, 2022. Tiptoeing into rooms, stealing glances, and slipping seemingly unnoticed behind, the viewer in Anna Wehrwein’s Shoulder Reader holds a position and weight of their own. Unaware, but not necessarily unwelcoming, Wehrwein's subjects appear in domestic settings, deeply engrossed in their actions. In turn, the viewer wanders through each scene as one would rooms of a house, haphazardly stumbling upon moments that hang heavy with quiet absorption. Memory serves as the driving force behind Wehrwein’s candid imagery. Similarly to a deck of cards, Wehrwein thumbs through a pack of color-aid paper, taking into consideration aspects of temperature and luminescence. In February (2021), the deep red of the color-aid paper pervades the work. Barefoot upon a Persian rug a man solitarily strums a guitar. There is a moodiness to this work, a darkness that optically seems to contradict the initial heat exuded by the large exposed areas of red. Intimacy expressed through depictions of closeness and touch add a sensory aspect to the works -- from the materiality of the color-aid paper itself, and its resistance to friction, to her subjects’ hands which grasp at the environment and people surrounding them, touch represents a tangible act of nurturing in Wehrwein’s work. In Care (2022), the subject is fully engaged in the act of watering plants. The plants seem to take over the composition seductively diverting attention from the figure. Wehrwein cleverly positions the act of care, the nurturing involved in watering plants, to become the subject turning both the caregiver and the plants into the action. In Within Reach (2022), a man lies in bed, his body turned away from the viewer as it stretches the length of the composition. Broad gestural marks of disordered limbs and rumpled bed sheets expose a sense of spontaneity. The rich blue of the color-aid paper seeps through the multitude of mediums and marks that have been built upon the surface, lending to the overall disposition... blue. The viewer stands at the corner of the bed with the subject's left foot dangling precariously close. The work seems to ooze vulnerability and trust. The subject sleeps unbothered by the presence of the viewer in the room. The viewer consecutively watches the subject sleep, knowing that no matter how close their connection may be there are parts of a person that remain introspective and untouchable. Wehrwein’s brightly hued subjects exude their individuality through personal actions which cannot be divorced from their character. The narratives Wehrwein weaves are personal and the viewer becomes a confidant, sharing in these “behind closed doors” moments. Relishing in the serendipitous acts of privacy Wehrwein generates fluid compositions that ripple with sentiments of intimacy, vulnerability, nurturing and care. Anna Wehrwein (b. 1990 Albany, New York) lives and works in Columbia, MO. She received her BS in Art and BA in English/Creative Writing from the University of Wisconsin-Madison and her MFA in Drawing and Painting from the University of Tennessee. Werhwein has had solo exhibitions at Blue Spiral I, Asheville, NC; Apothecary Gallery, Chattanooga, TN; and Ewing Gallery, Knoxville, TN. Her work has been featured in group exhibitions at Collar Works, Troy, NY; AUTOMAT Collective, Philadelphia, PA; The Warbling Collective, London, UK; and The Mint Museum, Charlotte, NC among others. This is Wehrwein’s first show with Thierry Goldberg Gallery. By ML Staff. Images Courtesy of Anna Wehrwein

For the second year in a row, Fort Lauderdale's Wonder Paws Rescue is putting on the paw-tastic benefit Par for the Paws to help abandoned pets and find adopters who will provide loving homes. The annual charity golf tournament will take place on Saturday, October 15 from noon to 8 p.m. at the Jacaranda Golf Club, where participants will experience various golf games, delicious food and opportunities to give to a dog-gone good cause. Those excited to take part in the community affair must register in advance, with multiple options to putt, party, sponsor or underwrite. Participants can make their way around the event like a golf ball across the green. Par for the Paws has a handful of tournaments planned, such a $100,000 shootout for four players and a special putt to win a seven-night resort stay. On the big day, golfer check-in starts at noon alongside a Welcome BBQ and Open Bar, followed by a shotgun scramble at 1:30 p.m. Par for the Paws will provide complimentary beverages during the play to players. The day ends with a banquet party for all guests at 5:30 p.m., featuring food and drink, a live DJ, raffles and a silent auction. Wonder Paws Rescue is an independent nonprofit 501(c)(3) organization dedicated to the rescue, rehabilitation and adoption of dogs and cats throughout the South Florida community. All proceeds from Par for the Paws will go to the rescue. In 2021, proceeds from the tournament helped Wonder Paws Rescue with over $200,000 in medical expenses to give care to needy pets. This year, all donations up to $25,000 will be matched by an angel donor. Check out Par for the Paws website for more information. Written by ML Staff. Photos courtesy of Wonder Paws Rescue.

Five years after Hurricane Maria wreaked havoc on Puerto Rico, Hurricane Fiona has killed at least four people, caused widespread flooding and left hundreds of thousands of residents without water or power. Maria caused extensive damage to Puerto Rico’s power grid in 2017 that left many residents without electricity for months. Rebuilding it has been hampered by technical, political and financial challenges. Carlos A. Suárez and Fernando Tormos-Aponte are social scientists who study Latin American politics and environmental justice. They explain some of the factors that have hindered efforts to recover from Maria and prepare for subsequent storms on this island with a population of 3.2 million people. Failed promises from privatization Carlos A. Suárez Carrasquillo, Associate Instructional Professor, Political Science, Center for Latin American Studies, University of Florida In less than a century, Puerto Rico’s electricity system has gone full circle from private provision of electric power to a state-led effort to democratize access to power, and then back to a public-private partnership with a strong neoliberal ethos. Yet Puerto Ricans still face daily challenges in obtaining affordable and efficient electricity services. When the island’s electric power system was created in the late 1800s, private companies initially produced and sold electricity. During the New Deal era in the 1930s, the government took over this role. People came to see electric power as a patrimonio, or birthright, that the government would provide, at times by subsidizing power for lower-income residents. In the 1940s, Puerto Rico launched Operation Bootstrap, a rapid industrialization program that sought to attract foreign investments in industries such as textiles and petrochemicals. One important element was reliable and cheap electricity, provided by the state through the Autoridad de Energía Eléctrica, a public corporation known in English as the Puerto Rico Electric Power Authority, or PREPA. Damage from Hurricane Fiona, which dropped over 30 inches of rain on Puerto Rico, has set back post-Hurricane Maria recovery efforts. Many interests coalesced around PREPA, including elected officials, labor unions, the domestic oil importers and, most importantly, the Puerto Rican public. Patronage and party politics often influenced the company’s hiring, contracting and financial decisions. PREPA took on significant debt, often at the request of elected officials. For example, in 2011, then-Speaker of the House Jennifer González legislated for the company to obtain a line of credit from the Banco Gubernamental de Fomento in order to reduce power bills ahead of the 2012 elections. Gov. Alejandro García Padilla and Puerto Rico’s Financial Oversight and Management Board imposed austerity policies in 2012-2017 that subsequent governors have kept in place. This left PREPA with limited resources to prepare for Hurricane Maria or make repairs afterward. In 2021, Puerto Rico’s government and the financial control board privatized power delivery on the island. PREPA continued to generate electricity, but LUMA Energy, a U.S.-Canadian consortium, received a 15-year contract to transmit and deliver power to customers.' LUMA is at the center of many controversies. It has resisted recognizing the largest and most powerful union in Puerto Rico as its employees’ exclusive representative. Many consumers’ monthly electric bills have increased significantly. LUMA was supposed to upgrade Puerto Rico’s grid, with billions of dollars in federal support, but outages continued. Critics have called the company secretive and corrupt. Labor groups, environmentalists and academics have offered comprehensive alternatives, such as Queremos Sol, a proposal to install distributed solar power across the island, to reduce Puerto Rico’s dependence on fossil fuels and what they see as incompetent private administration. But the changes needed to address Puerto Rico’s energy crisis are inherently political. Enacting them will require support from the federal fiscal oversight board and Puerto Rican politicians. I believe the public will have to mobilize and rally to convince authorities that the PREPA of old and LUMA today are antiquated organizations that are unable to meet Puerto Ricans’ current needs. Who gets disaster aid? Fernando Tormos-Aponte, Assistant Professor of Sociology, University of Pittsburgh Disaster aid has been slow to come to Puerto Rico. Five years after Hurricane Maria, the U.S. government is channeling funds to rebuild and harden the archipelago’s energy infrastructure. But only a few of the planned multimillion-dollar projects have been even partially approved. In addition to privatization of the power system, residents have also contended with bureaucratic obstacles and the use of disaster resources for political gain. Damage assessments after Maria were rough estimates because the storm was so destructive. The U.S. government ultimately calculated total damage to Puerto Rico and the U.S. Virgin islands at US$90 billion. Now, Hurricane Fiona has caused further damage, which will require even more significant investments. No government authority has sufficient resources on the ground in Puerto Rico to conduct such an assessment, let alone react swiftly to the disaster. Local elected officials are often eager to claim responsibility for securing funding. However, investments in disaster preparedness, such as improving the electric grid, have less impact on public perceptions of government performance than recovery funds that are disbursed shortly after a disaster strikes. Federal Emergency Management Agency Associate Director Anne Bink describes how experience from Hurricane Maria will shape the response to Hurricane Fiona. I expect that the Biden administration will seek to respond faster and more substantively to Hurricane Fiona than the Trump administration did after Hurricane Maria – but not necessarily out of compassion. Presidents tend to use disaster resources to gain electoral advantage, reward supporters and portray themselves as capable disaster managers. And they typically are more vulnerable in election years. Maria hit Puerto Rico during Donald Trump’s first year in office. Puerto Rican voters lean Democratic when they move to the U.S. mainland – as a commonwealth, the archipelago does not cast electoral votes – so Trump likely did not perceive Puerto Ricans as important to his election. The Trump administration engaged in deliberate efforts to delay disbursing Hurricane María recovery aid and denied the real toll of the disaster. In contrast, Joe Biden relied more heavily on minority support for his 2020 presidential victory, and Hurricane Fiona has struck just two months before the 2022 midterm elections. Responding offers Biden an opportunity to prove himself a capable disaster manager and attract votes. People wait in their vehicles to collect water in San Pedro, Puerto Rico, on Oct. 19, 2017, nearly one month after Hurricane Maria.Mario Tama/Getty Images Even if the Biden administration is better organized and more responsive, however, marginalized communities often are hampered by administrative burdens when they try to access government resources. For example, I have interviewed mayors in Puerto Rico who issued contracts to local providers to address urgent needs after the Federal Emergency Management Agency promised reimbursement. To this day, FEMA has not paid some of these mayors back, and the mayors fear that local vendors will not want to do further business with their governments. Identifying and applying for U.S. government grants is a complex and tedious process that requires training. Access to that training is uneven, and language barriers often keep communities from seeking grants. After Hurricane Maria, few Puerto Rican communities had the resources and support needed to cope with these barriers. In my view, governments must prioritize marginalized communities in their response to Hurricane Fiona to avoid reproducing the inequalities that marked the Hurricane María recovery. Elected officials must demand transparency and accountability from those tasked with distributing aid, while holding themselves to the same standards.\ Words By Carlos A. Suárez Carrasquillo Senior Lecturer in Political Science, Center for Latin American Studies, University of Florida & Fernando Tormos-Aponte Assistant Professor of Sociology, University of Pittsburgh . Special thanks to The Conversation for republishing permission. Top image by Unsplash

On Saturday September 24, 2022, 11:00am, at the Signature Grand, 6900 W. State Rd 84, Davie, FL 33317, the North South Institute will present its 2022 graduating class of veterans from the Veteran Small Farm & Business Incubator Program, an initiative that provides practical training and support to Florida Veterans who are interested in launching their own agribusiness operations or gaining full time employment in agriculture or allied services like solar powered systems, nursery and landscaping, golf course operations, small engine and equipment repairs, farm operation, and construction equipment and machinery, digital and social media marketing, and other skills. This project helps veterans access several career paths and employment opportunities by bridging existing skill gaps. Guest Speaker, Ginger Miller, is a native New Yorker and former homeless service-disabled Navy veteran turned White House Champion of Change for Women Veterans and President and CEO of the Women Veterans Interactive Foundation. In September of 2021, President Joe Biden appointed Ms. Miller to the Board of Governors of the USO and in February of 2021, she was appointed as an Honorary Commander for the 316th Operations Group at Joint Base Andrews. Dr. Samuel Scott, Director of the North South Institute, stated “It gives me immense pleasure to congratulate our graduates on their successful completion of the AgVets Program, with distinction. The goal this year was to expand the recruitment of veterans by building their capacity and competence in farm operation, marketing and risk management, that will lead to becoming engaged in a career and skill building in allied and farming industries, as well as other small businesses. We see this as promoting agriculture/agribusiness to become the main driver in creating jobs, employment, and investments for those who have given so much to this country. We are honored and humbled to serve our veterans.” The 2022 graduates represent the 5 & 6th cohort of veterans in this innovative program, created in 2019 by Broward based North South Institute, with funding provided by the United States Department of Agriculture (USDA)/ National Institute for Food and Agriculture (NIFA)/ AgVets Program. The program targets the underserved veteran population, who are mainly Black and Hispanic and hail from all over the State of Florida from Miami, Orlando, Tampa, Gainesville, Jacksonville and Tallahassee. “What I do is reach out to veterans throughout the state of Florida who are looking for a program that will help them launch and enhance their business or just need to find employment opportunities that are rewarding and fulfilling. There is a famous quote ‘never have so many owed so much to so few.” The meaning of this quote embodies each aspect of this program. The graduation rate is very high and the impact on each participants’ life has made me proud to know that we still respect and honor our veterans. To each veteran I thank you for your service”, said Captain William (Bill) Hester, M.S., Veteran Support Case Officer. Since 2002, the North South Institute has supported the development of veterans in agriculture. Over time it became apparent that because of the discipline acquired during their military service, veterans are more successful in developing their businesses, farms and ranches, consistently outperform other groups. For more information on the AgVet Program at https://www.nsied.org/programs--projects.html By ML Staff. Image courtesy of AgVet Program

The 27th Annual InterContinental® Miami Make-A-Wish® Ball, taking place on Saturday, November 5, held its official Kickoff Party at InterContinental® Miami with an over-the-top event to announce the Ball’s “SUPERNATURE” theme and thank its donors. The invitation-only event was hosted by Glenn Sampert, General Manager of InterContinental® Miami and Gala Host of the InterContinental® Miami Make-A-Wish® Ball; Shareef Malnik, Chairman Emeritus of Make-A Wish® Southern Florida, Gala Chair of the InterContinental® MiamiMake-A-Wish® Ball for the past 17 years, and Chairman of the Make-A-Wish® Capital Campaign; and Norman Wedderburn, President and CEO of Make-A-Wish® Southern Florida. Making a special appearance was Gabrielle Anwar, award-winning actress and filmmaker, and Celebrity Emcee of the Ball. Special Guests included “Family Karma” cast members Vishal Parvani and Amrit Kapai, and entrepreneur Fabian Basabe, Candidate for FL House of Rep, District 106. The festive party echoed the magical theme of the upcoming November 5th Ball: SUPERNATURE, an otherworldly realm of fantasy flora and fauna created by the Ball’s Creative Director Maxwell Blandford. Surreal food and cocktail stations – including a giant “Metamorphosis” chocolate egg painted in swirls of frosted lilac and verdant green – were curated by InterContinental® Miami Executive Chef Jhonnatan Contreras and his talented team. A “Alice in Wonderland”-themed dance performance to the iconic Jefferson Airplane song “Go Ask Alice” was presented by the Ball’s event producer DECO Productions. The highlight of the Kickoff Party was 17-year-old Wish Kid Jared Besen, who shared his story of being cancer-free for six years and how being granted a Wish by Make-A-Wish® Southern Florida helped give him and his family hope for the future. By ML Staff.Images Courtesy of Manny Hernandez/InterContinental® Miami Make-A-Wish® Ball

By ML Staff. Images courtesy of Channel/Carlo Scarpato

The Museum of Contemporary Art, North Miami (MOCA) is proud to announce its Fall 2022 and Miami Art Week programming: Didier William: Nou Kite Tout Sa Dèyè, Leah Gordon Kanaval, and Chire “VantaBlack” Regans: To What Lengths. The exhibitions, which open throughout the Fall, will also be celebrated during Miami Art Week with a public opening December 1, as well as additional programming (full list below). Didier William, Mosaic Pool, Miami, 2021 Acrylic, collage, ink, wood carving on panel, 68 x 104 inches “We are pleased to showcase these impactful and timely exhibitions during Miami Art Week, when the eyes of the global art world are focused on our community,” said Chana Sheldon, Executive Director of MOCA. “Each of these artists aligns with the museum’s mission to offer fresh perspectives, which challenge established narratives and connect diverse audiences to underexplored artists and ideas.” Debuting on November 2, 2022, Didier William: Nou Kite Tout Sa Dèyè (through April 16, 2023) is the largest retrospective of Didier William’s career. Translated as “We’ve Left That All Behind,” the show presents an in-depth look at the Haitian-born, North Miami-raised artist’s career and memory among the very neighborhood where he once grew up. Curated by Erica Moiah James, Ph.D, the exhibition will feature over forty works spanning multiple mediums, and including some of his newest paintings. Complementing the painted work, and speaking to the close relationship of painting and printmaking in William’s practice, are new drawings and artist books. The show also includes William’s first monumental sculpture: a 12-ft.-tall wooden body emblematic of a religious column present in Haitian worship rituals. In a blend of personal reflections, biographical anecdotes, and art historical moments, some of the works in the show recontextualize historical iconographies and ideas, stripping them of their “known” truths and transforming each into something entirely new. By doing so, William playfully and unapologetically reclaims autonomy over a fragmented record of history, engaging his personal connection to the complexity of immigrant narratives and queer identity to create opportunity for investigation and redemption. “I want the audience to be involved in that complexity that sometimes will resolve and sometimes won't resolve,” said William. “For which sometimes there might be a translation and other times there might not be a translation. Those moments of failed translation are just as important for me and just as powerful.” In conjunction with the exhibition, the museum will partner with ten-time Emmy award-winning producer and director Marlon Johnson to produce a documentary highlighting the artist and will partner with a vast network of scholars to present a series of public programs. The museum will also publish an accompanying exhibition catalogue. Opening November 6, 2022 is Kanaval, a retrospective by photographer, filmmaker, curator, and writer Leah Gordon that documents twenty years of Carnival in Haiti. Curated by MOCA Curator Adeze Wilford, the exhibition consists of a series of black-and-white photographs taken on a mechanical medium format camera. The images are contextualized by a series of oral histories relayed by various troupe leaders, who also oversee the design of the costume and generate the narratives surrounding Carnival.Their stories reflect the wealth of invention, fable, and self-generated mythology prevalent in much of Haitian culture. The photographs will be accompanied by a new feature-length documentary on the carnival providing a kinetic counterpoint to the portraits. “I’m excited to bring Kanaval to MOCA,” said Adeze Wilford, MOCA Curator. “For decades Leah has documented and helped to platform a people’s history of Haiti through her photographs. This exhibition brings that practice further through her new film that provides an incredible perspective to an intergenerational conversation about tradition that is ever evolving.” Also on view will be VantaBlack’s To What Lengths, which will be open to the public on MOCA Plaza from October 14, 2022 through Jan. 20, 2023. Selected in MOCA’s 2022 Open Call to artists for its “Art on the Plaza” series, To What Lengths will showcase a key component of VantaBlack’s artistic practice by reflecting on legacy building and preservation as foundational to Black culture and other diasporic peoples. The South Florida-based artist will explore how ideas about legacy are woven into everyday actions by activating five palm trees on the MOCA Plaza with large-scale braids, adorned with beads, metal, and artificial sunflowers and gardenias. The braids of each tree will follow stylings representative of the women in VantaBlack’s family. “Hair grooming through different braiding techniques has been passed down through the matriarchs of my family,” said VantaBlack. “It is a vehicle for sharing oral history, bond building between generations, and a form of caregiving, amongst many other traditions. The positioning of one body between another creates a space of vulnerability. Valuable memories are created and exchanged through this process which also helps develop a lifelong skill.” Miami Art Week Programming and Schedule MOCA will celebrate the exhibitions with a Miami Art Week reception on Thursday, Dec. 1 to include a VIP reception (invitation only) from 6–8 p.m., and open to the public from 8–10 p.m. The museum will also hold an Artist and Curator-led Exhibition Tour on Saturday, Dec. 3 at 11 a.m. The museum will also offer extended hours throughout the week. In MOCA’s continued efforts to include diverse voices and perspectives, the exhibitions will be accompanied by a robust series of educational and public programming. The museum’s extended hours for Miami Art Week: Sunday, Nov. 27 – Tuesday, Nov. 29: 10 a.m.–5 p.m. Wednesday, Nov. 30.: 10 a.m.–7 p.m. Thursday, Dec. 1: 10 a.m.–5 p.m. (Open Hours), 6 p.m.–8 p.m. (VIP Reception by invitation), 8 p.m.–10 p.m. (Public Reception) Friday Dec. 2-Sunday, Dec. 4: 10 a.m.–5 p.m. Saturday Dec. 3: 11 a.m. (Artist and Curator-Led Exhibition Tour) General admission is $10 for adults; $5 for seniors, students and visitors with disabilities; and free for MOCA Members, City of North Miami residents and children under 12. About the Museum of Contemporary Art North Miami MOCA North Miami presents contemporary art and its historical influences through exhibitions, educational programs, and collections. Inspired by its surrounding communities, MOCA connects diverse audiences and cultures by providing a welcoming place to encounter new ideas and voices and nurturing a lifelong love of the arts. MOCA developed from the Center of Contemporary Art which was inaugurated in 1981. The establishment of the permanent collection coincided with the institution’s move into their current building designed by Charles Gwathmey of GSNY in 1996. Under the direction of Executive Director Chana Sheldon and a newly installed Board of Trustees, MOCA showcased My Name is Maryan curated by Alison Gingeras during Miami Art Week in 2021, which will travel to the Tel Aviv Museum of Art in late 2022. An accompanying exhibition catalog highlighting key works will be published, along with other archival imagery and critical essays. The museum also premiered AFRICOBRA: Messages to the People during Art Basel Miami Beach in 2018. AFRICOBRA: Nation Time, the next chapter of the exhibition, was selected as an official Collateral Event of Biennale Arte 2019 in Venice, Italy. Other original exhibitions include: Michael Richards: Are You Down? co-curated by Alex Fialho and Melissa Levin (2021), Raul de Nieves: Eternal Return and The Obsidian Heart curated by Risa Puleo (2020), and Alice Rahon: Poetic Invocations curated by Teresa Arcq (2019). About Didier William William earned his BFA in painting from The Maryland Institute College of Art and an MFA in Painting and Printmaking from Yale University, School of Art. His exhibitions include the Bronx Museum of Art, the Museum of Latin American Art, the Museum at the Pennsylvania Academy of Fine Arts, and Crystal Bridges Museum of American Art. William was a 2020 recipient of the Joan Mitchell Foundation Painters & Sculptors Grant, and a 2021 Pew Fellow at The Pew Center for Arts and Heritage. He has taught at several institutions including Yale School of Art, Vassar College, Columbia University, University of Pennsylvania and SUNY Purchase. He is currently Assistant Professor at Rutgers University. About Leah Gordon Gordon is the co-director of the “Ghetto Biennale in Port-au-Prince, Haiti” and was a curator for the Haitian Pavilion at the 54th Venice Biennale. She was also the co-curator of “Kafou: Haiti, History & Art” at Nottingham Contemporary, UK, and was on the curatorial team for “In Extremis: Death and Life in 21st Century Haitian Art” at the Fowler Museum, UCLA. Gordon first collaborated with MOCA as co-curator of “PÒTOPRENS: The Urban Artists of Port-au-Prince,” presented at MOCA in 2019. About VantaBlack Chire Regans aka VantaBlack was born in Saint Louis, Missouri and works in Miami, Florida. VantaBlack received a Bachelor’s degree from Florida A&M University in (2005). Her work responds to urgent societal concerns and functions as a critical platform to amplify the voices of the communities she engages with. Selected solo exhibitions include “A Reflection of the Times” (2021), Bakehouse Art Complex, Wynwood, Florida. “I felt your gaze upon me, I knew you were watching”, (2021), Hollywood Art & Culture Center, Hollywood, Florida. She received the Home & Away Residency at Anderson Ranch (2021), the Inaugural Ellies Social Justice Award (2020), and the Racial Equity Initiative Award (2021). Support: MOCA North Miami is generously funded by the North Miami Mayor and Council and the City of North Miami; the John S. and James L. Knight Foundation; the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners; and the State of Florida, Department of State, Division of Arts and Culture and the Florida Council on Arts and Culture (Section 286.25, Florida Statutes). MOCA is supported in part by an American Rescue Plan Act grant from the National Endowment for the Arts to support general operating expenses in response to the COVID-19 pandemic. Additional support is provided by the Fine & Greenwald Foundation; The Nathan Cummings Foundation; and the Sol Taplin Charitable Foundation. Founding support for the MOCA Sustainability Fund provided by the Green Family Foundation Trust. Major support provided by Shirley and William M. Lehman, Jr. We also thank our Board of Trustees, Curator’s Circle, and MOCA Members for their meaningful support. “Art on the Plaza” is presented by MOCA, with major support from the North Miami Community Redevelopment Agency. Didier William: Nou Kite Tout Sa Dèyè is made possible with major support from the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, and The Wege Foundation. Additional support was provided by the Funding Arts Network and the Harpo Foundation. We thank the University of Miami School of Communication, the University of Miami Center for Black Global Studies, and Beth Rudin DeWoody for their generous support. We are also grateful to Kes and Laura Narbutas. Leah Gordon: Kanaval is made possible with support from Victoire and Owsley Brown and MOCA Visionaries. By ML Staff. Images Courtesy of MOCA

Segway partnered with streetwear designer Tommy Bogo for New York Fashion Week at LaGuardia High School of Performing Arts in Manhattan. The “last-mile” transportation electric vehicle company is merging innovation with fashion to drive home how much scooters have become a staple in a sustainable and urban lifestyle. The show served as a time machine back into the halls in celebration of academia, the arts, the groups and communities, and the student body and classes that followed their passions. “For the Truant & the Fluent'' reflected on the various characters and personalities in high school – from the jock to the artsy student – and Segway’s deep line-up of vehicles was able to compliment every persona. Integrating Segway scooters into the show was an organic collaboration. “Like Segway, sustainability sits at the core value of TOMBOGO’’s men’s fashion brand and often incorporates repurposed and recycled materials into their fashion looks and collections,” said Alex Huang, SVP of Global Business at Segway. For the debut of his Fall 23 collection, Bogo created a rebellious classroom setting at LaGuardia High School of Performing Arts in Manhattan where models emerged on exclusive custom Segway scooters, rocking futuristic ensembles featuring varied patterns, textiles, and space-like backpack accessories. For the show, Segway debuted the soon-to-be-launched Segway-Ninebot P100S and P65, with self-healing all-season 10-inch tires for a lux commute; a Ninebot F40 with a seat attachment and storage pouch; and last but not least, a scene-stealing eMoped E110A. Also on hand was a custom-designed E110A and autonomous eScooter T on display, adding to the scenic elements of the space. Unisex ensembles were a major feature of this season’s men’s collection, pushing boundaries with beautiful men in long-fitted skirts and pants alike. Models scrolled down the runway at LaGuardia High on innovative Segway scooters, navigating the classroom setting created by the TomBogo creative team. Notable guests included SMINO, Duckwrth, Isaiah Rashad, Paloma Ford, and Tiana Parker. Alex Huang, SVP of Global Sales at Segway, says, “[a]t Segway, our core mission is Simply Moving. How we choose to move people is through our technology: like self-balancing scooters, e-Kick Scooters, and e-Mopeds. Several of Segway’s products are composed of magnesium-alloy, the most eco-friendly and sustainable metal in the world. This material is 100% recyclable and dissolves naturally without leaving a trace. Our newly launched Segway eMoped C80 is composed of 100% eco-friendly Polypropylene plastics, it is equipped with a Regenerative Anti-Lock Braking System. This system recoups energy to the battery to extend the range and take riders further!” Data shows that electric scooter owners ride an average of 4 days per week and 7 miles per day. This translates into 1,456 miles per year and by riding an electric kickscooter you would reduce your carbon footprint by 1,318 lbs per year. By incorporating electric kickscooters in your daily commuting, you reduce emissions from transportation, the leading sector contributing to carbon pollution, in addition to improving public health and providing fuel and maintenance savings. This year, Segway is also introducing its new e-Scooter E110A at New York Fashion Week. This state-of-the-art e-Scooter differentiates itself from the smart RideyGo! System – a simple yet highly efficient user interface. The features include a keyless airlock; seat sensors to detect if someone is sitting or riding the vehicle; an Attitude & Heading Sensing System with industry-leading 6-axis sensors to detect movements and send a notification via the user app; and aSegway developed battery containing over 20 smart protection and safety measures. More on Segway-Ninebot Segway-Ninebot is a global enterprise in the fields of intelligent short-distance transportation and service robots. In 1999, Segway was established in Bedford NH, US, which is the world leader in commercial-grade, electric, self-balancing personal transportation. Ninebot is an intelligent short-distance transportation equipment operator integrating R&D, production, sales, and service, established in Beijing, in 2012. As Segway and Ninebot completed a strategic combination in 2015, Segway-Ninebot came into being. At Present, the company’s businesses are all around the world and have subsidiaries in Beijing, Seattle, Bedford, Los Angeles, Amsterdam, Seoul, Singapore, Munich, Changzhou, and Tianjin, selling products in more than 80 countries and regions. With world-renowned intellectual property, Segway-Ninebot will create more products that will lead the users and the entire industry into the future. For more information, please visit http://www.segway.com More on TOMBOGO Tommy Bogo is a designer from Oakland, CA, currently residing in Los Angeles. TOMBOGO is Tommy Bogo’s way of learning and growing through experiences during the process of design, and then sharing his findings with the world in a tangible form of clothing and products. TOMBOGO has shown at New York Fashion Week as part of the CFDA’s official fashion week program for two seasons now, and the brand has amassed a following among celebrities including J Balvin, Kid Cudi, Kehlani, and Lizzo. TOMBOGO’s products have expanded into intricate and technical apparel with a range of t-shirts, hoodies, trousers, hats, sunglasses, and bags. The brand’s signature focus is functional and sustainable utility-inspired pieces made using intricate and experimental design techniques. As a direct-to-consumer brand, all pieces are available on a newly designed e-commerce website at www.tombogo.com. By ML Staff. Images Courtesy of TOMBOGO