Category: Community

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Emerging Raw Talent: Jihanna Bresset.

Sketches from Book #6 (2026). Bresset, J. Pencil on paper, paint pens on paper. 9” x 6”.

“Less is more” is one of those profound truths that reveals itself only to people who know how to look. Jihanna Bresset, just 15, is one of them. On a family trip to St. Augustine, a town that seems to curate itself through understatement and intentional simplicity, she recognized this familiar rhythm. It is this way of seeing that defines J. Bresset’s movement through the world. She observes, distills, and removes the unnecessary. In her art, simplicity becomes a discipline. Yet, the surprising part is that the work it produces often appears anything but simple. Her choices, rather, feel intentional, grounded in a sensitivity that exceeds her years, revealing an artist who understands that restraint can be its own form of power.

J. Bresset has always been a natural observer. Her instinct for noticing detail has shaped not only her talent but the way she communicates. Entirely self‑taught, she continues to expand her range, her work becoming more dynamic as she stretches into new subjects. This natural creativity has also influenced her academic life as she enters the 10th grade, where her excellence positions her to graduate among others at the top of her class.

A Parkland native, J. Bresset currently attends Marjory Stoneman Douglas High School. Her first exhibition took place at the ArtServe Impact Awards in Fort Lauderdale this past April, where she donated two recent works: Perspective, created with a piece of charred wood from a campfire, and Unfinished, a contrasting work that questions whether anything is ever truly complete. The reception to her work revealed something important: viewers responded not only to her technique but to the emotional intelligence embedded in her choices. Her ability to communicate feelings through material suggests an artist already thinking beyond the surface.

Her artistic integrity, however, has been with her since kindergarten. She began by drawing only people, and by fourth or fifth grade, her attention shifted toward anime. By middle school, that phase dissolved as she stepped away from any single influence, choosing instead to explore a style that felt entirely her own. Today, she is immersed in mythological figures—studying classical statues, comparing interpretations, and reading multiple versions of Homer’s Iliad to form her own point of view on ancient narratives. Her curiosity is not passive; she actively interrogates how stories evolve across time and why certain themes endure, developing a personal visual language rooted in both research and intuition.

Her sketchbooks—volumes #1 through #6—read like a visual autobiography. Each marks a distinct chapter in her development, and together they reveal the arc of an artist growing in real time. They show how her simple approach has unfolded into a more layered, complex visual language without losing its essential directness. Even her earliest pages show a sensitivity to proportion and expression that now feels like a signature. These books also reveal her discipline; page after page of studies, experiments, and revisions that demonstrate a young artist already committed to refining her craft.

Though she favors the basic pencil and paper, J. Bresset does not limit herself. She has explored acrylics, watercolors, oils, charcoals, paint pens, ceramics, and even digital art on the iPad. Her willingness to experiment suggests a creative maturity that will only deepen as she continues to pursue her artistic development.

Windy. (April 2, 2026). Bresset, J. Acrylic on canvas. 10” x 8”.

In Windy, J. Bresset’s technique shows her command of gesture and constraint, using long, wind‑swept strokes to anchor the figure while lighter marks drift across the surface with atmospheric ease. She creates depth through contrast using transparent washes beside opaque gestures, allowing the composition to feel dimensional without becoming heavy. The quick‑drying acrylic preserves the immediacy of her confidence. The visible brush drag, directional movement, and subtle irregularities animate the portrait. True to her minimalist instinct, J. Bresset achieves layered emotional complexity with remarkably few marks, letting simplicity open into something richer and more alive.

III. (est. summer 2025). Bresset, J. Mixed media, watercolor marker and acrylic. 12” x 9.5”.

IIIbrings a fictional portrait to life, infused with a sense of ease as J. Bresset shapes the figure through sweeping, multicolored passages that feel almost buoyant. The subject’s gentle expression, eyes at rest, conveys quiet optimism, as though wrapped in a moment of inner brightness. Around them, the hair unfurls in vibrant ribbons of color that guide the viewer inward, centering the face as the heart of the composition. Floating, confetti‑like tones reinforce the uplifting mood, allowing the piece to emanate emotional warmth and openheartedness. Softly washed areas enhance the facial features, creating contrast that lets the surrounding space breathe, while textured strokes across the shirt introduce a tactile counterpoint—an implied environment that curves around her before dissolving— as if suggesting the character exists within her own imagined “safe space.”

Diana. (est. January 2026). Bresset, J. Oil and paint markers. 14” x 11”.

This work is an instant reminder of J. Bresset’s unwavering commitment to figurative discipline and her emerging sense of narrative. Through assertive linework and vibrant, directional strokes, the figure appears in confident contours that define posture and intent. Behind her, saturated colors rise like ascending steps into an imaginative atmosphere. The scene feels playful yet boldly expressive. Cool complementary blues soften depth while outlining scale, sharpening the character’s purpose and guiding the viewer’s eye along her stance and gesture. The result is a composition of fluidity in a graceful sweep of narrative whim, reinforcing the presence of a guardian rendered with both elegance and story‑driven intention.

“If it happens, it happens,” J. Bresset explained of her process. “You can’t really make a mistake.” Her strength in figures makes drawing animals and other subjects feel effortless. In August of 2025, after injuring her shoulder, her first question was, “When will I be able to draw again?” That devotion speaks for itself—and hints at what her talent may become.

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New museum takes visitors into the world of jellyfish

The Jellyfish Museum is the first of its kind in the U.S.—a museum dedicated solely to showcasing the world of jellyfish, with more than 20 species from seas and oceans around the world on display.

The museum was founded by Yana Yanovska and Alex Yanovskyi and is their second museum dedicated to jellyfish. They established the first in Kyiv, Ukraine’s capital city, in 2018. When the Russian-Ukraine War forced them out, they recreated their dream in Pompano Beach.

Walking into the museum is an experience in itself. Between the dark walls and colored lighting, the entryway feels like it’s leading you into a nightclub. But once inside, the glowing displays and immersive light projections will have you feeling like you’re in an ethereal underwater wonderland.

There are 21 tanks on the main level of the museum, illuminated by neon-esque shades of pink and turquoise. “Some of the jellyfish are so clear, you can’t see them, so we have to put lighting behind them,” explains Jessica Eisenbarth, community relations manager.

While the showcasing of these unusual creatures is stunning—there’s even a heart-shaped tank filled with moon jellyfish that has a hole in the middle where you can stick your head for a photo surrounded by jellyfish—the tanks require careful, 24-7 monitoring to ensure that the jellyfish survive. “The currents in their tanks, the water pH, and salinity all have to mirror their ocean environment,” explains Eisenbarth.

The Jellyfish Museum offers a meditative experience if you let it. One of the rooms is outfitted with bean bag chairs where you can sit and observe the jellyfish, a surprisingly relaxing experience. They have a slow, fluid way of moving, similar to the colored blobs in a lava lamp, only much more fascinating. “We want people to slow down,” says Eisenbarth. “There’s a calmness and an immersive experience that we hope everyone feels when they’re here.”

There’s also a lot to learn about jellyfish, both through watching them and through the educational and scientific displays the museum offers. “They have no brain, eyes, or central nervous system,” says Eisenbarth. And while most people associate them with being underwater nuisances that sting, jellyfish have a significant impact on the environment. “When you find large blooms of jellyfish, it’s actually an indicator that there’s changes in the ecosystem like water temperatures rising and lower oxygen levels,” explains Eisenbarth. “When you find it, it’s very important for scientists to take a look at why it’s happening.”

Because jellyfish have short lifespans of between 3 months and 1 year, depending on the species, the museum updates the ones on display every few months. When jellyfish first arrive at the museum, they go into quarantine in the laboratory on the second floor. Some, like the Japanese Sea Nettle, have been flown in from the far reaches of the Pacific.

One of the newest additions to the museum is the Fried Egg Jellyfish (aptly named, as it resembles a fried egg), which spent about a month in quarantine before going on display. These unique creatures are primarily found in the Mediterranean, Adriatic, and Aegean seas.

Also on display right now are the Upside Down Jellyfish, which are found in South Florida. These creatures spend most of their time on their back (hence the name). They need ultraviolet (UV) light to survive because they have an algae that grows inside of them, and the jellyfish need the algae to survive. This partnership works through mutualistic symbiosis, where both organisms thrive together. The algae provide almost all of the jellyfish’s nutritional needs, which is why they rest upside down to soak up the sun. At night, the team turns down the UV lights to mimic the natural rhythm of nature. These jellyfish are a favorite meal for sea turtles, which can eat their weight in jellyfish on a daily basis.

While a stunning visual display, the museum’s primary focus is education, especially for school groups. “We work very hard to make this an educational facility so that you learn about the biology, the anatomy, how they affect our oceans, how they affect us, and how they contribute to science,” says Eisenbarth. She emphasizes that while jellyfish are over 500 million years old and have survived four mass extinctions, we still don’t know that much about them.

The museum is working with scientists from the Smithsonian to help generate a curriculum that can be distributed to teachers after school-group visits. It also collaborates with researchers. One of those researchers is biochemist Dr. Angel Yanagihara, who developed “Sting No More,” a patented zinc gluconate–based formula that neutralizes box-jellyfish venom. “It works on all jellyfish stings that have been tested,” says Eisenbarth. The museum plans on carrying this jellyfish-sting antidote in its gift shop. “It works on fire-ant stings as well,” she adds.

Since opening in late March, the Jellyfish Museum has welcomed plenty of visitors and plans on expanding its reach through new social events, including magic shows, romantic evenings, and wellness events, such as sound healing. The 20,000-square-foot space is also available for private events.

The Jellyfish Museum is open seven days a week between 10 a.m. and 7 p.m. It offers discounted admission for Florida residents, senior citizens, children, active-duty military and veterans, first responders, medical personnel, and educators.

For more information, visit www.jellyfish-museum.com.

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Meet the all-female band rocking South Florida

When Astrid Voxx was a kid, she wanted to play the drums. But she was told, “Girls don’t play the drums.” Today, not only does she play the drums, she also leads an all-female rock tribute band that proves women can do much more than just keep time—they can own the stage.

For Voxx, one of the biggest thrills still happens before a show.

“When I come in hauling the drums, and the men see me, they’re like, who’s that for?” says Voxx. But once the entire band has assembled, realization dawns. “Then they realize we’re not the girlfriends, we’re the band. For me, that’s a thrill. I love it.”

The Bango Bango’s was formed in 2016 with a mission that remains at the heart of the group today: celebrating women in rock music. Named after two of the most iconic all-female bands of all time, the Bangles and the Go-Go’s, the group was inspired by a Go-Go’s concert attended by Voxx’s daughter, Alexi.

After the show, Alexi was so excited that Voxx asked if she would ever want to be part of something similar. She said yes. Voxx began building the band, fulfilling a lifelong dream in the process. After turning 21, Alexi Go-Go officially joined the group.

Today, the Bango Bango’s features drummer Voxx, lead singer Go-Go, guitarist Lana Wise, and bassist Lenore Goldman. Together, they bring decades of musical experience and a diverse range of talents to the stage.

Voxx also plays guitar, has been singing since she was 5 years old, and toured with Jimmy Buffett. Wise is a sound technician who also plays piano and violin. Goldman began playing piano and drums in fourth grade before eventually picking up the bass.

Offstage, the women have developed a bond that feels more like family than coworkers. “They’re the sisters I never wanted,” jokes Wise. That camaraderie translates into an energetic stage presence that has become one of the band’s trademarks.

The Bango Bango’s perform an 80-song repertoire spanning female rock hits from the 1960s to today. While Go-Go serves as the primary lead vocalist, each member takes center stage throughout the performance, allowing audiences to experience the full range of talent within the group.

Voxx’s expressive vocals shine through songs by Tina Turner, Four Non Blondes, the Cranberries, Sheryl Crow, and Fleetwood Mac. Go-Go takes the lead on favorites by No Doubt, the Go-Go’s, the B-52s, and Cyndi Lauper. Wise’s powerful, rock-forward voice is featured on songs by Pink, Joan Jett, Carrie Underwood, Avril Lavigne, and the Bangles. Goldman leads a crowd-pleasing rendition of Nancy Sinatra’s classic “These Boots Are Made for Walkin’.”

The result is a high-energy show that pays tribute to generations of female artists while keeping audiences singing and dancing from start to finish.

“We always have fun,” says Voxx, a statement that becomes obvious within minutes of watching the band perform.

“No matter how tired or sick we may be, when we get up on that stage, it all goes away and we manage to have fun,” adds Go-Go.

Part of that fun comes from the band’s willingness to bring the show directly to the audience. Thanks to wireless equipment, members often leave the stage mid-song and weave through the crowd, instruments in hand, turning spectators into participants.

Their engaging performances have landed them at a wide variety of venues, including country clubs, bars, theaters, festivals, and community events throughout Florida. The band currently performs between four and six shows each month and has appeared at the Wellington Amphitheater, the Miami-Dade Youth Fair, Galuppi’s, the Ritz Theater in Sanford, and Marina 84 in Fort Lauderdale.

“Marina 84 is one of the first venues that saw our potential,” says Voxx. “They gave us a shot, and we proved that we can do it.”

As one of the few all-female bands in the region, the Bango Bango’s have also been invited to perform at events that carry a deeper sense of purpose, including a fundraiser for Leap for Ladies, a Miami-based nonprofit dedicated to helping incarcerated women rebuild their lives.

“It was very emotional listening to their speeches,” says Go-Go. “We got to listen to all the women talk about how their lives were changed for the better.” Those experiences—ranging from packed bars and festivals to meaningful community events—reflect the band’s wide-ranging spirit both on and off stage.

Their unofficial motto, coined by Goldman, perfectly captures the energy of the band: “Any excuse for a party.”

Whether they’re performing during the NBA Finals, the World Cup, Father’s Day, a birthday celebration, or a holiday weekend, the Bango Bango’s find a way to turn every event into a celebration.

For Voxx, however, the band’s mission extends beyond entertainment. “Having an all-female band is very dear to my heart,” she says. “There’s not too many of us.”

“I’ve seen a few other all-female bands, but we’re the only ones who pay tribute to women in music,” says Wise. “Our primary focus is women in rock.”

“It’s a platform for women to hear their voices, and to know that little girls can play instruments,” says Voxx. “And be rock stars,” adds Go-Go.

The group takes particular pride in the example it sets for younger audiences.

“We’re role models,” says Voxx. “When we play up in Wellington, it’s a thrill for all of us to see the little girls wide-eyed actually seeing we’re playing instruments.”

“For me, the most touching part is when I see little boys enjoying our performance,” says Go-Go. “It teaches boys to be respectful and recognize that women can do everything they can do.”

Behind the scenes, the band members credit much of their success to the support systems that make their busy schedules possible.

“We’re very lucky that we have very supportive spouses,” says Voxx of herself, Wise, and Goldman. “That’s very important and makes or breaks a band.”

Wise’s husband, who is also a musician, serves as the band’s sound technician and is a familiar face at performances, cheering them on while capturing photos and videos.

Looking ahead, Voxx is writing original material she hopes to eventually incorporate into the band’s performances. The group would also like to expand into larger venues and new markets, including Orlando and Florida’s west coast. Still, Voxx believes the tribute aspect of the band remains essential.

“As a fan, as an audience member, I always wanted to see this,” says Voxx. “Female musicians doing a tribute to our voices and our inspirations.”

The Bango Bango’s upcoming shows include July 11 at Luv’n Oven in Sunrise, July 1 at Packy’s Sports Pub in Lighthouse Point, and July 31 at Marina 84 in Fort Lauderdale. For more information, visit thebangobangos.com.

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“That’s Entertainment”

Japanese prints and the art of leisure, at Norton Museum of Art

Utagawa Kunisada: Kabuki actor Ichikawa Danjūurō VIII (1823–1854) as the Ghost of Seigen with poem by Ariwara no Narihira (825–880). From the series “Witty Comparisons of Actors with the Thirty-Six Poets” (“Mitate sanjūrokkasen no uchi”), 1852, woodblock print, ink, and color on paper (14 9/16 x 10 in.).

In the bustling streets of Edo, Japan (1603–1868), centuries before movie posters or mass‑market lithographs appeared in the West, Japanese audiences encountered their favorite celebrities in a different form: woodblock prints. These vivid sheets sold for the price of a bowl of noodles and captured the drama, glamour, and emotional intensity of kabuki theater, with a level of detail that still astonishes viewers today.

Far from being simple souvenirs, these prints were the beating heart of a sophisticated entertainment economy. They were advertisements, fan merchandise, fashion guides, and narrative snapshots all at once. Moreover, they were produced through a process as intricate as the performances they depicted.

Unlike Western printmaking traditions, where the artist often worked alone, Japanese woodblock printing was a collaborative craft involving four specialists: the designer (Eshi), the block carver (Horishi), the printer (Surishi), and the publisher (Hanmoto). Each role was a discipline in itself, honed over years of apprenticeship.

Furthermore, in Japanese traditions, woodblock printing was the engine behind the ukiyo‑e, or “pictures of the floating world.” This world depends on exceptionally delicate papers, noting that their delicacy is not a weakness. In fact, it is the very reason that mokuhanga (the fully hand‑crafted, water‑based printing system that produced the ukiyo‑e prints) can achieve its signature luminosity, crisp detail, and atmospheric softness. These papers, also known as washi, are among the most-refined printing surfaces ever developed. Thus, their delicacy is the reason the Norton Museum of Art has held them in its archives for decades, now and only for the first time exhibiting them to the public. In fact, Norton’s very special exhibit, “That’s Entertainment,” consisting of donated works from Asian art history, is on view until July 5.

Utagawa Kunisada: Kabuki actor Ichikawa Hige no Ikyū, from the kabuki play “Yukari no sukeroku,” 1860, woodblock print, ink, and color on paper (15 1/2 x 10 in.).

Detail was everything. The finest ukiyo‑e lines—such as strands of hair, the shimmer of silk, or even the glint of a sword—were carved with a single knife, and guided by a hand trained to breathe consistently with the wood. Each color chosen required its own block, and sometimes dozens, each aligned with pinpoint accuracy. The printer then coaxed the image to life using water‑based pigments, brushed onto the blocks and transferred to handmade washi paper with a handheld baren. These pigments, such as the mineral blues, safflower reds, and soot blacks—as seen throughout the exhibition—were transparent, luminous, and capable of the soft gradations known as bokashi, a hallmark of Japanese print aesthetics that resulted in a world suspended between line and color.

Utagawa Kunisada: Kabuki actor Iwai Kumesaburō III (1829–1882) as Shirai Gonpachi and an unidentified actor as a kamuro, from the series “Matches for Thirty-six Selected Poems with Kabuki Plays” (Mitate sanjūrokku sen), 1856, woodblock print, ink, and color on paper (13 5/8 x 9 1/8 in.).

Utagawa Kunisada (Japanese, 1786–1864), also known later as Toyokuni III, was the most commercially successful and prolific ukiyo‑e printmaker of 19th‑century Edo, producing more than 20,000 designs across his lifetime. He worked across nearly every major ukiyo‑e genre, from actor portraits to the kabuki scenes (theatrical compositions).

But to understand why his world was so visually abundant, one only needs to look at the prints of the “47 Rōnin,” the legendary tale that became kabuki’s most beloved blockbuster. The play unfolds across 11 acts, each with its own emotional temperature inclusive of political intrigue, secret vows, snow‑covered night attacks, tragic sacrifices, and the final, cathartic act of revenge. No single print could contain all of this in one illustration, so artists did not try. They instead exploded the story outward, scene by scene, moment by moment, and across hundreds of different illustrations shared with the public.

Like the kabuki play, “Toki ni minna minobu no goriyaku” (1857), Norton’s exhibition frames its unique collection within a broader story about how visual culture shaped everyday life in Edo. By bringing together actor portraits, bijin‑ga, festival scenes, and rare textiles, the works form a vivid panorama of entertainment itself in an ancient world where artistry, storytelling, and spectacle were inseparable from the rhythms of city life.

Utagawa Kunisada: Kabuki actors Nakamura Fukusuke I (1831–1899) as Princess Shichiri and Ichikawa Danzō VI (1800–1871) as Saint Nichiren, from the kabuki play “Toki ni Minna Minobu no Goriyaku,” 1857, woodblock print, ink, and color on paper (14 1/2 x 9 5/8 in.).

Also on display are other notable artists of woodblock prints, including Ishikawa Toyonobu and Toyohara Kunichika. Both were major ukiyo‑e print designers, but each lived a century apart and represents a distinct era of Japanese woodblock printing. Bridging these historical works to the present is the 21st‑century “Kabuki Costume for the Role of a Kamuro,” an embroidered silk piece on loan from the U.S. kabuki Ken Kyu Kai.

Today, these prints remain some of the most recognizable images in global art history. They are windows into a world where entertainment, craftsmanship, and mass culture intertwined with remarkable sophistication.

The works presented in portraits by masters like Kunisada and dramatic kabuki scenes are not just historical artifacts but the ancestors of modern visual media, in which the first posters, the first celebrity portraits, and the first mass‑produced art were created that people bought simply because they loved them. The woodblock prints are, in every sense, the theater on paper.

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DELICIOUS DINING

Our local guide to some of the best specialty foods in our area

Juicy steakhouses around town

Steakhouses have always been about more than just steak. They are where birthdays are celebrated, deals are made, families gather, and date nights feel a little more special. There are plenty of local places to enjoy a great cut of meat without turning to the typical chain restaurant. Some feel classic and old school, while others are lively, modern, or tucked right into the neighborhood. Whether you like a filet, ribeye, porterhouse, or prime rib, these local steakhouse favorites are worth a reservation.

NYY Steak – Coconut Creek

Located inside Seminole Casino Coconut Creek, NYY Steak brings a bold, upscale energy to north Broward. With its New York Yankees–inspired atmosphere, premium steaks, seafood, and lively casino setting, it’s ideal for a night out that feels a little more exciting than the usual dinner reservation. Whether you’re starting with cocktails, ordering a signature cut, or making it part of a bigger evening, NYY Steak offers a polished steakhouse experience while staying local.

Malbec Grill – Parkland

Right on the border of Parkland and Boca Raton, Malbec Grill brings a warm, flavorful twist to the local steakhouse scene. With Argentine-inspired touches, juicy steaks, empanadas, chimichurris, seafood, and a welcoming neighborhood feel, it’s a strong choice for those who want something elevated but not overly formal. It feels both special and comfortable. It’s the kind of place that locals can return to for date night, family dinners, or a relaxed evening with great food close to home.

New York Prime – Boca Raton

For those who like their steakhouse with energy, New York Prime is a Boca classic. The atmosphere is lively, the service is polished, and the menu focuses on USDA Prime steaks, seafood, cocktails, and steakhouse staples done with confidence. It’s the kind of restaurant that feels made for celebrations and special occasions, and very much a “night out” destination. If you’re looking for a steakhouse with personality, New York Prime delivers.

Tropical Acres – Fort Lauderdale

A true South Florida institution, Tropical Acres has been serving steakhouse classics in Fort Lauderdale for generations. Known for its old-school charm, hearty portions, prime rib, steaks, seafood, and welcoming service, it offers a nostalgic dining experience that feels increasingly rare. This is the place for those who appreciate tradition—a classic steak dinner, a comfortable dining room, and the feeling that you’re stepping into a piece of Broward dining history.

Steak 954 – Fort Lauderdale

For a steakhouse with a view, Steak 954 at the W Fort Lauderdale brings oceanfront style to the table. With its sleek design, beachfront setting, seafood selections, premium cuts, and signature jellyfish aquarium, it feels more like a full evening experience than just dinner. It’s a strong choice for date night, visitors from out of town, or anyone looking to pair a great steak with one of Fort Lauderdale Beach’s most memorable settings.Image

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Alice’s Teapot Cafe

A feast for the eyes as well as the stomach

My friend Susan and I recently stepped into a rabbit hole. I mean, an “Alice in Wonderland”–inspired café of whimsy and enchantment!

Part “Alice” fairy tale, part “Enchanted Forest,” and part High Tea destination, Alice’s Teapot Cafe in Delray Beach is a delight. “Welcome to the immersive world of Alice’s Teapot Cafe, where reality disappears and every tea tells a story.” Their quote is a good introduction to this cute café/bakery/tea-and-coffee shop, located in a large shopping center near the bustling, noisy intersection of Atlantic Avenue and Military Trail. But once you get inside this cozy venue, it’s an entirely different environment. Beautifully decorated from floor to ceiling—and be sure to look up at the gorgeous ceiling art!—it’s a sight for sore eyes.

The whimsically themed backdrops at Alice’s Teapot Cafe make you feel as if you’ve stepped into a lushly illustrated storybook. And it is more than just a charming restaurant—it’s billed as an immersive dining and entertainment experience. Alongside its signature high tea and brunch that’s served all day, this unusual eatery offers visitors a magical ambiance filled with madcap décor, regal seating, interactive moments, and musical waitstaff.

“Our restaurant is meant to be a respite from the outside world. To take the bricks off your shoulders and help you escape from reality,” says Christine Prestininzi, founder of Alice’s Teapot Cafe, a family-run business. “If I can help one person, I’m happy to do it.”

“The heart behind Alice’s Teapot Cafe has always been simple—to offer a gentle escape from a world that can often feel harsh, judgmental, and unkind,” according to Prestininzi’s daughter, Alice (and, yes, that’s her name). “We set out to create a retreat from reality.”

Soothing “Bridgerton”-style music played in the background at lunchtime while Susan and I sipped on our chai tea and nibbled on finger sandwiches, melt-in-your mouth scones with berry preserves, and a delicious assortment of desserts. The hot tea was served in individual colorful teapots, and the savories and sweets were artfully arranged on an elegant, three-tiered service tray. Our servers were warm and accommodating.

After we’d been there a little while, the live entertainment began. The hostess came out and spoke to us all about Alice’s Teapot, then broke into song—“Heaven, I’m in heaven, and my heart beats so that I can hardly speak…”—sounding very good.

On a table near the front was a lovely display of handmade frosted cookies for sale, created in a tea-party theme by an art teacher at Riverglades Elementary School in Parkland. Her business is called Icing Meets Cookie. Also, along a wall by the entrance was a colorful assortment of fancy lady’s hats and fascinators. If you’d like to dress up but didn’t bring anything, you are welcome to borrow a hat or other prop for your special time there. It also makes for some fantastic photos.

In the evening, you can expect Broadway-style serenades, themed dinners, sing-alongs, and guests joining in the fun—“because here, dinner is part theater, part tea party, and completely unforgettable,” as they advertise. This venue is available for event space rentals, making it a great spot for special gatherings. While we were there, two separate parties of women were celebrating someone’s birthday, and in quite a festive mood.

Other activities at Alice’s Teapot Cafe include creative events and workshops such as art classes, “Alice in Wonderland” glow-in-the-dark painting, watercolor classes, “Dinner and Decoupage,” parents’ night out, sip and paint, adult crafts, and a flower social club.

Whether you’re planning a fun ladies’ night out, looking to dress in your finest for high tea, wanting to partake in the arts, putting together a little girl’s birthday bash, or just looking for something different and adorable for your Instagram, this is the place to be. Maybe you’ll meet the Mad Hatter!

For more information, go to www.aliceteapot.com. Photography by Susan Tutwiler.

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Feeding your body, feeding your brain

Being healthy means taking care of your brain as well as your body. This is especially important as we age because the risk of dementia increases over time. While Alzheimer’s disease is the most common cause of dementia for adults, affecting more than 6 million Americans ages 65 and older, it isn’t the only type.

Other illnesses and conditions, such as Parkinson’s disease, alcoholism, stroke, multiple sclerosis, amyotrophic lateral sclerosis, and traumatic head injury, also can cause dementia. Additionally, diabetes, high blood pressure, and heart disease can increase the risk of dementia, so managing these conditions is important.

Making healthful lifestyle choices—including getting regular physical activity, socializing, limiting alcohol intake, and not smoking—can help to reduce your risk for dementia. Scientific evidence has shown that eating patterns such as the Mediterranean diet and the MIND diet may be beneficial to your body as well as your brain, helping to protect against cognitive decline. Certain nutrients are especially important for brain health and may help maintain and improve cognitive function. These include the following:

Omega-3 Fatty Acids. About 60% of the brain is composed of polyunsaturated fatty acids. The most abundant type is docosahexaenoic acid, an omega-3 fatty acid. Some research suggests that diets rich in omega-3s, combined with a low saturated-fat intake, may lower the risk of cognitive decline.

B Vitamins. B vitamins, including B6, B12, and folate, are known for their role in metabolizing homocysteine, one of the amino acids in protein. High levels of this amino acid are considered a risk factor for cognitive impairment, such as dementia and Alzheimer’s disease. B vitamins are involved in many other aspects of brain function, and deficiencies may affect mental health and lead to cognitive decline. However, research on B vitamin supplementation and cognitive function remains unclear.

Antioxidants and Phytonutrients. The brain is particularly susceptible to damage caused by free radicals, which are substances that attack healthy cells. Vitamins C and E, as well as the mineral selenium and phytonutrients such as lycopene, are antioxidants and are known to help minimize the damage caused by chronic stress and free radicals. Other well-known phytonutrients—such as anthocyanins, which give certain fruits and vegetables their color—are thought to have a positive effect on brain function.

Vitamin D. Vitamin D is found in nearly every cell in the body, so it’s no surprise that this vitamin is present in brain cells. Vitamin D is believed to have protective effects against cognitive decline, and research has suggested that low blood levels of vitamin D may affect brain health.

Choline. Choline is an essential nutrient required for fat transport and metabolism. It is necessary for normal brain and nervous system function, muscle control, and other functions.

Focusing on an overall healthy eating pattern that includes these nutrients from foods is important for good health. You can get these nutrients from a variety of fruits, vegetables, whole grains, protein foods, and healthy fats:

  • Berries, including strawberries and blueberries, citrus fruits, grapes, and watermelon
  • Dark, leafy greens such as spinach, kale, collard greens, and broccoli
  • Whole-wheat bread, oats, quinoa, and other whole grains
  • Seafood, including shellfish and fish such as salmon, mackerel, tuna, sardines, and herring
  • Nuts and seeds such as chia, flaxseeds, walnuts, and almonds
  • Beans and lentils, including chickpeas, black beans, and lima beans
  • Whole eggs, skinless chicken, and turkey
  • Sources of unsaturated fat such as avocados and olive oil

Remember: While making healthful food choices is a vital part of a healthy lifestyle, other important factors that contribute to overall health include getting enough sleep, managing stress, staying hydrated, and adding regular physical activity to your daily routine.

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From rescue to release: The work of Busch Wildlife Sanctuary

For more than 40 years, Busch Wildlife Sanctuary has been a leading voice in wildlife rehabilitation, conservation, and education. Set on 20 acres in Jupiter, the sanctuary features a state-of-the-art animal hospital and rehabilitation center and is home to approximately 150 native wildlife species, including otters, black bears, bobcats, foxes, cougars, and pelicans.

Each year, the hospital treats around 5,000 patients, and it’s equipped to handle complex cases with a computed tomography machine, blood diagnostic equipment, a laboratory, and a surgical suite. Busch Wildlife has a full-time veterinarian on staff, along with two rotating veterinary interns and a network of experienced veterinarians who generously donate their time.

That network can make all the difference. When Grayson, one of the sanctuary’s resident foxes, was diagnosed with a thyroid tumor and needed surgery, the staff veterinarian estimated the complicated procedure would take two hours. “We have a veterinarian in the area who is a retired orthopedic veterinary surgeon, so we reached out to him. He came over and had it done in 15 minutes,” recalls Amy Kight, CEO of Busch Wildlife Sanctuary, who is celebrating 22 years with the organization.

Busch Wildlife can only accept and treat native wildlife species, which presents a unique challenge in Florida, where invasive species such as iguanas, pythons, and Muscovy ducks are widespread. Kight estimates that 10% to 15% of the cases brought in are invasive species that the sanctuary cannot treat, though staff always provide referrals rather than turning people away.

Of the native species admitted, about 30% can be successfully rehabilitated and released back into the wild. For animals that recover but cannot be released and are deemed suitable for captivity, the sanctuary follows a thoughtful and collaborative placement process.

“We have a joint committee of animal welfare and animal placement where, each month, our veterinarian, our head of animal care, our education director, and other key staff sit down and go through the list to figure out a placement.” In some cases, animals are placed with other organizations. Disney’s Animal Kingdom, for example, has taken in raptors, opossums, and snakes for its education program.

This time of year—baby season—brings a surge in activity. The sanctuary often takes in about 50 new patients per day and fields calls from concerned residents who encounter baby birds, squirrels, opossums, and other wildlife in their neighborhoods.

“It’s a lot of chaos and education,” says Kight. “People tend to see a baby animal and think they have to go rescue it, which gives us the opportunity to say, ‘Please don’t do that.’ We have to first determine whether this animal really needs us, or whether it’s just a youngster trying to make its way in the world and we’re interrupting that life cycle.”

Some of these situations are preventable. During hurricane preparation, for example, tree trimming can inadvertently disturb nests where young animals live. The sanctuary emphasizes education around proper tree-trimming practices and encourages residents to consider whether displaced animals can be safely renested nearby.

Other cases are unavoidable, such as when a mother squirrel is killed by a car, leaving orphaned babies behind. “To get a squirrel from eyes still closed back to the wild takes 4 months,” explains Kight.

When orphaned animals—whether squirrels, owls, opossums, or others—require long-term care, staff take careful steps to ensure they are raised as naturally as possible. This helps prevent them from becoming habituated to humans, which is critical for successful release.

Precautions include wearing ghillie suits—specialized camouflage designed to resemble foliage—using puppets for feeding, and placing animals with foster mothers when possible, a method that has proven especially successful with owls and opossums. “Opossum moms are great,” says Kight. “As long as she’s producing milk, she’ll raise other babies.”

While the rehabilitation center itself is not open to the public, the sanctuary welcomes visitors seven days a week from 10 a.m. to 4:30 p.m. Admission is by donation, with no set fee.

Each year, Busch Wildlife Sanctuary draws tens of thousands of visitors through its gates. Its education programs include daily offerings such as Conservation Conversations in the amphitheater, as well as school field trips, guided tours, summer camps, Junior Naturalist programs, outreach presentations, and interactive exhibits designed to inspire curiosity and conservation action.

“We want people to really know what lives in their environment and how they can coexist with it,” says Kight of the educational programming. Rather than overwhelming visitors with large-scale environmental issues like global warming and microplastics, the sanctuary focuses on simple, actionable steps—such as planting native species instead of exotics that can harm local ecosystems. “You gotta start small,” says Kight. “Otherwise, when you start thinking about all the things encroaching on our environment, it starts to feel impossible.”

A walk through the sanctuary offers visitors the chance to meet its permanent animal residents. Among them is Freddie, a 40-year-old alligator who has lived at the sanctuary her entire life.

When Freddie was still developing, a child cracked her egg open prematurely. The child’s parents brought the egg to Busch Wildlife, but because of the early opening, Freddie never fully developed and cannot open her mouth all the way. Unable to survive in the wild, she has since become an ambassador for her species, giving visitors an up-close look at a Florida alligator.

Another resident, Charlie the California cougar, has a cross-country story of his own. Declawed on all four paws and sold as an illegal pet, Charlie was first taken in by Conservation Ambassadors, a California-based sanctuary. From there, Kight and COO Christen Mason personally transported him to Florida. “We just got up one Saturday morning, grabbed Starbucks and a van, and got to California Monday afternoon,” recalls Kight. “Tuesday, we loaded Charlie in a kennel on our van, and it was 44 hours straight back to Florida. We timed it so we got back right when the staff was getting in on Thursday morning, so they could help us get him set up.”

At the time, Charlie was overweight and would have had to be transported as cargo if by airplane—an option the team wasn’t willing to consider. “It would have been too stressful,” explains Kight. “Also, you’re talking about an apex predator, so there were too many things that could go wrong. It was safer to have him in our hands.”

California cougars and Florida panthers are the same species, considered geographically separated. Charlie—despite being about 30 pounds heavier than a Florida panther—serves as a representative who helps teach visitors about conserving the Florida panther.

While long known as a family-friendly destination, the sanctuary has recently expanded its offerings to appeal to adults as well. New events include Wine Down with Wildlife, Yoga in the Wild, and music concerts. The next Yoga in the Wild session is scheduled for Saturday, May 16, at 9 a.m.

For more information, visit www.buschwildlife.org.

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The quiet evolution of Mother’s Day

Mother’s Day doesn’t look the same for everyone. For some moms, the day starts early with little feet running into the room, handmade cards in hand, and the kind of excitement that can’t be planned. There might be breakfast in bed, even if it is slightly messy, and a full day built around celebrating Mom.

For others, the day is quieter. It might be a phone call in between classes, a text sent during a work break, or plans that have to fit into already busy schedules. And sometimes it is not a full day at all, but a few moments carved out of a busy schedule. Neither version is better than the other. They simply reflect different stages of the same role.

When kids are little, motherhood fills up everything. It’s the school drop-offs, the packed lunches, the practices and games, the constant reminders, the routines you repeat every day without thinking about it. It’s hard to miss, and Mother’s Day in those years usually carries that same kind of energy.

As children grow, life naturally shifts. They begin to build their own schedules, their own responsibilities, and their own lives outside the home. Time together is no longer automatic. It becomes something that has to be planned, or at least intentionally chosen. Because of that, Mother’s Day begins to change too.

For many moms, it becomes less about big gestures and more about effort. It’s rarely about gifts or anything elaborate. Instead, it is about whether someone took the time to think ahead. Whether the call feels rushed or if it lasts a little longer than usual. Whether there is a moment where everyone is fully present.

A short message that feels thoughtful can mean more than something expensive. A visit, even if brief, can matter more than a perfectly planned day that feels forced. It’s not about how much is done, but how intentional it feels. Across all stages of motherhood, that need to feel seen and appreciated does not go away—only the way that it shows up changes.

For some, that might bring a sense of pride. Watching children grow into independent people is the goal, after all. At the same time, it can also come with a quiet awareness that the closeness of earlier years does not exist in quite the same way anymore.

Not worse. Just different.

And that’s really what Mother’s Day reflects. It isn’t about perfection or scale. It’s not about creating a picture-perfect moment that looks a certain way. It’s about acknowledgment. About taking a pause, no matter how brief, to recognize everything that this role has required over the years.

Whether that comes in the form of a crayon card, a last-minute phone call, or a simple “Thinking of you,” the meaning behind it stays the same. It doesn’t have to be big. It just has to be thoughtful. Because in every stage of motherhood, being remembered is what matters most.

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12 local artists + 12 local nonprofits = BFA Artwalls Mural Fest at History Fort Lauderdale

It was pouring rain upon arriving at History Fort Lauderdale that Sunday. Luckily, each artist had their workspace covered under their tarped tent. “I’m used to working with the elements,” said Sergio “Surge” Quiñonez, a South Florida artist, who pointed out the “teal wash”among his media.

Surge is just one of 12 local artists matched with 12 nonprofits for this year’s Mural Fest. In his recent collaboration with the Hollywood Art & Culture Center, the wash gave an extra layer of authenticity apart from the exterior and spray paints commonly used for creating mural works. While Dali had not yet been given his mustache, Surge’s illustrative hand shows a level of talent that blends symbolic portraiture and surrealist exaggeration. Upon completion, the work will be found at the Center.

Stephanie “Steph” McMillan is another artist painting permanence at the Mural Fest. Her work is for Fort Lauderdale’s Museum of Discovery and Science. The mural will be found in the permanent collection of the new nature exhibition, “Nature Explore,” which showcases Broward County’s wildlife and ecosystems while promoting conservation and biodiversity.

PriVer & Murals is a collaborative duo, painting an artwork for the nonprofit New City Players. The theater is dedicated to fostering human connection through productions that bring people together in a shared space. The mural reflects this mission through a visual language of psychological duality and emotional simultaneity, while capturing the infinite spectrum of energies that coexist within one shared world.

Nate Dee, a Miami artist, is painting for the Stonewall National Museum and Archives. His work delivers cultural “awesomeness” as he blends portraiture, social narrative, and street‑art chromatics into a single, declarative visual language. Dee bridges contemporary muralism and the museum’s mission: “art as testimony, art as presence, art as a public record of lived experience.”

Ivan Roque paints the pompano fish in smooth, densified color for the Pompano Beach Arts Foundation. The mural reads as a vibrant, site‑specific celebration of Pompano Beach’s coastal identity, sharing the energy of the city’s waters and the creativity of its arts community.

Luis Valle, also known as El Chan Guri, paints for the Inside Out Theater Company. He takes almost an Aborigine approach, surrounding the focal point in infrared-choice combinations. His composition radiates outward in concentric pulses of color, as though the figure is generating her own field of emotional frequency. The mask is like an ornate interface between inner life and public performance, while the dotted halos echo communal ritual, ceremony, and the shared rhythms of spectatorship.

Gabby Shepherd, painting for the Old Davie School Museum, shifts the focus beyond the Everglades to the wider story of Davie’s heritage. The warm side of the panel highlights native plants and citrus while the cool, watery side nods to the surrounding wetlands. By letting the local heron transform between these environments, Shepherd shows how the museum preserves a fuller history.

BK Foxx’s work is grounded in portrait realism, but it’s pushed into a cinematic register specific to the Florida Children’s Theater. The mural’s monochromatic purple palette mirrors the theater’s role as a space where imagination is distilled. Foxx echoes how theater uses lighting and mood to guide an audience’s attention toward the inner transformation of a character rather than the literal world around them.

Michael Andress, aka Mongo, also uses monochromatic themes to deliver his message. Painting for the South Florida Pride Band, Andress takes his “psychedelic-abstract” style to bring fun to the surface. By limiting the palette, he amplifies rhythm and movement, allowing the character’s energy and musicality to take focus.

Samara, creating for the South Florida Chamber Ensemble, folds its mission directly into her portrait, turning listening itself into an act of natural transformation. A blue jay anchors the piece as a symbol of generational growth, while the subtle textures of layered trash bags add a quiet reminder of resilience, voice, and the courage to evolve.

Stefan Smith, a South Florida muralist whose work channels vibrant, uplifting energy into an exploration of nature and culture, shares his vision for the Developing Dreams Foundation. The mural binds crisp energetic detail that reflects Smith’s direct, high‑impact approach. It is a sharp, stylized portrait built from bold complementary colors that captures the figure in motion.

Ashlee Sanford paints a symbolic timeline of movement for the Art Prevails Project, syncing colors with the flow of creative growth. Her palette of purples, golds, and deep blacks becomes a current that carries the viewer from academic achievement to dance, theater, music, and community arts.

“Mural” of the story, it turned out to be a bright and sunny day at the fest. Finally, artist Orla Ananda, of Miami, painted a permanent mural behind Howl at the Moon, Fort Lauderdale, specifically for the Business of the Arts of Broward at History Fort Lauderdale.

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Light and beauty

Mariko Kusumoto, Take Akari sculptures grace the Morikami

Mariko Kusumoto, “Light as Air,” fiber-based, translucent, and crafted through tsumami‑zaiku techniques.

The buoyant sculptures of Mariko Kusumoto. Occupying the Morikami Museum and Japanese Gardens’ main gallery through April 5, expect an immersive, contemplative experience where light and proximity matter integrate. Fine detail is prevalent and parallels the authentic, methodical organization characteristic of a kimono. When viewed closely, the work is consuming.

Mariko Kusumoto. This Japanese-born artist is known for her delicate, floating fabric sculptures that blend traditional Japanese craft with contemporary installation. She creates whisper‑light fabric sculptures that seem to hover between craft and contemporary artistry. Raised in a 400‑year‑old temple as the daughter of a Buddhist priest, Kusumoto developed a keen attunement to subtle light, tactile surfaces, and the hush of carefully ordered space.

Mariko Kusumoto, “Ethereal Garden,” mixed-media sculpture (polyester and wire), 2024.

Kusumoto’s “Ethereal Garden” is an intricate, modular installation evoking underwater ecosystems through fabricated coral, sea anemones, and marine flora. The work explores themes of biodiversity, emotional fragility, and poetic buoyancy through textile manipulation and sculptural choreography.

Kusumoto’s practice is intensified by time‑honored Japanese handicrafts, especially the delicate folding and pinching of tsumami zaiku, with modern sculptural thinking. From tiny, exacting manipulations, she builds larger, translucent forms that evoke drifting blossoms, jellyfish, or underwater plants, inviting viewers to watch how shifting light and gentle motion reshape surface, depth, and perception.

Marine biodiversity as emotional landscape. While inspired by real marine life, Kusumoto’s forms are not literal replicas. Instead, they’re imaginative hybrids, blending both botanical and anatomical references, color radiation and molecular symmetry, as well as subatomic weight and poetic buoyancy where fantasy meets biology.

Mariko Kusumoto, pencil cases, 2011, mixed-media sculpture (hinged human‑form containers with embedded objects).

Mixed-media sculpture. Kusumoto, who is also a metalsmith and former printmaker, celebrates her earlier works with this sculpture, which features two hinged, human-shaped forms filled with miniature objects, including a clock, a ruler, a vanity, a flower, and cut‑out figures. They are arranged as internal “compartments” that explore themes of identity, memory, time, and personal ritual. It is a striking example of her narrative container series, where the body becomes a vessel for memory, identity, and symbolic layering.

Psychologically, the body represents a container for time, memory, and ritual. It is sociocultural, objectively gendered as a commentary on formation and subjective narrative—each of which, an artwork demonstrates a chapter in a personal or objective story.

Mariko Kusumoto, “Bamboo Garden,” mixed-media installation (polyester and wire), 2025.

A bamboo-inspired aesthetic. In “Bamboo Garden,” a vertical arrangement of vibrantly colored bamboo stalks of green, yellow, blue, and orange is presented as an immersive sculptural display. The work explores repetition, texture, and chromatic variation, transforming natural forms into stylized patterns that evoke both serenity and visual rhythm. Handcrafted by Kusumoto, whose signature practice involves delicate textile manipulation and organic sculptural forms, it’s an originally crafted, site‑specific installation for Tiffany’s. Kusumoto was inspired by Kabuki theater for Tiffany’s six‑story flagship in Ginza, Tokyo. It is an elegiac homage to Kabuki, one of Japan’s most stylized and dramatic performance traditions. Kusumoto has also collaborated with other notable names, such as Elizabeth Arden, Jean Paul Gaultier, and La Mer, and is represented in several museums around the world, including the Victoria & Albert Museum in London and the Smithsonian American Art Museum.

Take Akari: Bamboo Lights. The Morikami’s “Take Akari: Bamboo Lights” exhibit features expansive, glowing bamboo sculptures curated by Akihiro Mashimo, celebrating tradition, craft, collaboration, and sustainable management. Mashimo, a master bamboo artisan known for revitalizing community‑based illumination festivals in Japan, brings a contemporary sensibility to this centuries-old material practice. He is a leading figure in contemporary bamboo craft and is recognized for his large‑scale light installations that merge artisanal technique with ecological awareness and community engagement. Mashimo’s practice centers on hand‑carved bamboo illumination and collaborative making, which has helped shape the modern Take Akari movement through his commitment to sustainable harvesting and local participation.

The Morikami Museum first debuted “Bamboo Lights” on July 7, 2024. Following the exhibition, the museum commissioned the illuminated bamboo installations crafted by Akihiro Mashimo for long‑term stewardship and preservation within its collection.

Tanabata is Japan’s Star Festival, celebrating the once‑a‑year meeting of the lovers Orihime, the weaver princess (Vega), and Hikoboshi, the cowherd (Altair). Vega and Altair are the two stars at the heart of the Tanabata legend. Legend has it that they fall deeply in love, neglect their duties, and then are separated by the sky deity (the Milky Way) as punishment. Moved by Orihime’s sorrow, the deity allows them to reunite once a year, on the seventh day of the seventh lunar month. This reunion is the heart of the Tanabata festival mythology. It is marked by hanging colorful wish‑strips on bamboo and local festivals held between July and August.

“Take Akari” literally means bamboo light. It uses cut and drilled bamboo tubes fitted with candles or LEDs to create patterns of light and shadow across gardens and public spaces. Take Akari began as a grassroots response to abandoned bamboo groves and the social need to bring communities together. Makers harvest overgrown bamboo, carve decorative perforations, and light the pieces to form “lightscapes” that are both aesthetic and civic.

This practice has grown into community festivals and site-specific installations that celebrate local craft, reconnect people with nature, and draw attention to bamboo forest management issues.

Visitors can experience the world of illuminated bamboo at the Morikami Museum.

Akihiro Mashimo. Born in 1977 in Yokohama, Mashimo is a Japanese bamboo craftsman and artisan recognized for his mastery of takezaiku, traditional bamboo craft. He grew up in Nagaoka, Kyoto Prefecture, where bamboo was a constant presence. He was formally trained at the Traditional Arts School of Kyoto, graduating in 1998. Mashimo is known internationally for demonstrations, workshops, and collaborations in the U.S., Italy, and the U.K., where he promotes sustainable bamboo practices and contemporary applications of traditional techniques.

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A beach day in the shadow of the pier

The longest pier in Broward County, at 976 feet, is the Deerfield Beach International Fishing Pier, considered the crowning jewel of the beach, a landmark that attracts thousands of sightseers and anglers annually. I went there recently with my son Jacob—not to fish, but to walk the pier and take photos, to view wildlife, and to stroll along the beach.

We started with lunch at JB’s on the Beach, a nice seafood-focused restaurant overlooking the ocean. They have valet parking there, but we were planning to spend several hours at the beach that day, so we ended up parking in a parking garage just off A1A, not far away, and leaving the car there all day. Street and lot parking is at a premium in this area.

After lunch, Jacob and I walked the short distance over to the fishing pier, stopping to look at the screen for Spinner the Sea Cam, the city’s live underwater camera, at the entrance to the long pier. The sign next to the sea-cam screen says that Spinner is located at the end of the pier, 30 feet below the surface of the water. You can watch fish swim right up to it. It’s known as a fun, quirky local highlight showcasing the personalities and activities of the pier’s fish residents.

“Welcome to the amazing views of Deerfield Beach,” according to the city website. “Whether you are watching the early morning sunrise, a fisher on the pier fighting a feisty barracuda, or King Benny the Blenny yeeting sharks—we hope these awesome wonders will help serve as a reminder that we all have a responsibility to take care of the ocean and everything in it and around it.” (For more information and to watch a live feed of the sea-cam, visit DFB.city/beachcams.)

The iconic Deerfield Beach International Fishing Pier has been loved for generations. It stretches well into the ocean with great views, has a well-stocked concession stand for fishing amenities (fresh and frozen bait, rod and tackle rentals), and carries a storied history, including a dedication by President Gerald Ford in 1976. The pier serves as a symbol of the town, and the area around it provides a community gathering hub and entertainment spot, including hosting special events like “Pier Under the Stars.” Visitors can take scenic walks along the Atlantic in the clean sand, walk on the (not-so-sandy) green turf that runs just behind it, or go up on the “boardwalk” that runs along the back of the restaurants. For some, it’s the quintessential Florida beach experience. 

The first wooden Deerfield fishing pier was reportedly built in 1951–52. Because it was low and close to the water, it was a place for community members to gather and fish. In 1956 it changed hands, and new management built a restaurant, tackle shop, and chum machine. This all  brought fishermen flocking to the pier. Then in September 1960, Hurricane Donna wiped out the pier, destroying the wooden structure and sending planks floating away; the pier was rebuilt by 1963 through a city bond issue. Through the years different people leased the pier, though it was hard to turn a profit. The last lessee turned the pier back over to the city and became the pier manager, organizing events like fishing contests.

Today, it is a bustling pier, filled with several people fishing and cutting up their catch on tables while we were there, and others just watching the pelicans and other wildlife and taking in the ocean breezes. Jacob and I walked to the end of the pier and enjoyed the scenery. The cost to enter the pier is typically $2 for sightseers and $4 for those there to fish.

After we left the pier, we strolled along the boardwalk and listened to a pair of musicians playing at one of the restaurant patios; took a walk on the turf on the other side of the pier, taking in the sights there; and finally walked barefoot along the surf until we found a good place to set up our towels and enjoy the beach. From there, we could see the pier jutting out in the distance—it was a lovely day at the Atlantic.

For more information, go to www.deerfield-beach.com/1420/International-Fishing-Pier.

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