Indian Creek Island Road is the only road on Indian Creek Google Maps

When you’re rich, the only information on your driver’s license that really matters is your address. Real estate says everything, and there’s no more exclusive street to have on that ID in the entire United States of America than Indian Creek Island Road right here in Miami-Dade. Zillow crunched the numbers and found that the average home on the street is worth $21.4 million dollars.

That’s considerably more expensive than second place Beverly Park Circle out in Beverly Hills, California where celebs likes Eddie Murphy and Denzel Washington live in a comparative shanty town where the average home is only worth $16.2 million.

Of course, its not exactly a secret that the island village of Indian Creek right off of Miami Beach is a multi-millionaire and billionaire haven. Billionaire businessmen like Norman Braman and Carl Ichan call it home, as do both Iglesiases, Julio and Enrique, and Sabado Gigante host Don Francisco. In fact, four of America’s 500 richest people have homes (or at least second homes) on the island.

If you want a peek at an example of a typical home on the island, here’s a look at one that sold for $47 million back in 2012. It broke records as the most expensive residential real estate transaction in Miami-Dade history.

Arvida Parkway is the main road in the Gables Estates neighborhood Google Maps

Though, it’s not the only Miami-Dade street in Zillow’s top ten. Arvida Parkway in Coral Gables comes in at 10th place with an average home price of $11.2 million. That’s the main road through the Gables Estates, and is apparently much fancier than its nearly parallel sister street Leucadendra Drive. Former Miami Heat player Alonzo Mourning and Heat President Pat Riley use to own homes on the street but have sold them in recent years. Other resident’s names aren’t quite as A-List, but they probably prefer it that way tucked all the way down there in Coral Gables.

Nearby Tahiti Beach Island Road, also down in Coral Gables, came in 14th. Homes there go for $10.3 million. Residents there include NFL player and University of Miami alum Jonathan Vilma and equity fund manager Bruce Berkowitz.

No other Florida streets were in the top ten.

Carlos Miller is suing to fight a Jacksonville judge’s restrictive media definition. Courtesy of Carlos Miller

For the past eight years, Carlos Miller has operated the Miami-based website Photography is Not a Crime (PINAC), a nationally-known free speech and media advocacy blog with roughly a million visitors a month. But recently a Jacksonville judge ruled the organization couldn’t film the trial of its own correspondent because the site doesn’t fit the court’s definition of a media organization.

Now PINAC is fighting back by filing a lawsuit to get the right to film in courtrooms.

“The laws are very clear,” Miller tells New Times. “But now, in this case, the judge does not want us to record…because they don’t like our organization.”

The case revolves around the trial of Michale Hoffman, a reporter for PINAC who is being charged with trespassing, a misdemeanor, for holding signs outside a local airport.

At Hoffman’s first hearing last October, another PINAC reporter requested to film the court proceedings and was allowed. But for a subsequent court date, Miller says, the court threw in a hurdle, forcing PINAC to apply for media credentials, then repeatedly denying its application.

In March, Judge Mark Mahon finally issued an order outlining a narrow definition of what constitutes media: traditional print and broadcast organizations that “reach or influence people widely”; and digital media that posts original news, has an editor review all stories, and can prove it has regular online visitors.

All kinds of blogs, or citizen journalists, would be effectively excluded, especially PINAC — even though the website’s viewership numbers roughly compare with those of the top news sites in Jacksonville, where the trial is taking place, Miller says. Throughout the process, Miller says, PINAC has repeatedly tried to comply with the requirements, but the judge keeps “moving the goal post” — adding in restrictions like a nonsensical mandate that to be authorized to cover the judicial system an organization has to have already covered the judicial system for six months. “He’s just trying to put all kinds of obstacles in front of us,” Miller says.

But Miller is confident the law is actually on his side. In Florida, he says, in order to bar the filming of a trial the court in effect has to prove there’s a good reason for a camera not to be present, which usually is that it compromises a fair trial for the defendant. But in this case the party seeking to film is also the defendant, so the argument is ridiculous. And the judge’s restrictive media definition, Miller contends, will also ultimately be swiftly thrown out.

“The First Amendment says there’s freedom of the press,” Miller says. “It doesn’t say, ‘there’s freedom of the press if you run a newspaper.'”

Fireworks and ravers at Bayfront Park during Ultra Music Festival. Photo by George Martinez/gmartnx.com

Bayfront Park is polluted. There is lead, arsenic, and other toxins in the soil. This contamination was actually discovered during last year’s survey of the City of Miami’s 112 public parks, which followed the discovery of poison ash in Coconut Grove at the former site of the Old Smokey municipal trash incinerator, since used as a training center for the fire-rescue department. But now, finally, the cleanup is being planned.

Opened in 1925, Bayfront was created by filling a 62.5-acre piece of land with mud pumped up from the bottom of Biscayne Bay. This is perhaps how the tainted dirt ended up at park. However, it had been previously used as a shipyard by the Florida East Coast Railway for years. And there was also a landscaping redesign in the 1980s that could have brought toxic soil to downtown Miami’s most prominent green space. But at no time in the 20th century was the earth tested, and city officials have no idea how it became polluted.

Of course, Bayfront, now 32 acres, is only one of Miami’s so-called “poison parks.” As the city has surveyed its green spaces, lead-, arsenic-, and barium-laced toxic ash from Old Smokey and other toxins have been found in the dirt of many other parks, including Blanche Park and Merrie Christmas Park, as well as Douglas, Curtis, Southside, Brothers to the Rescue, and Billy Rolle Domino parks. Even the former Bicentennial Park, now the location of the Pérez Art Museum Miami and once the site of Port Miami docks, was discovered to be contaminated in 2010.

So far, cleanup of Miami’s parks has cost millions of dollars. And money is predictably the major point of contention in the current negotiations between Miami-Dade County environmental regulators, the City of Miami, and the Bayfront Park Management Trust over how — and even whether — to remove Bayfront’s lead- and arsenic-tainted soil.

The Bayfront Park Management Trust makes much of its yearly revenue from Ultra Music Festival. Photo by George Martinez/gmartnx.com

At a meeting this week of city officials and the trust, the Miami Herald reports, the price of cleaning up Bayfront (as estimated by consultants from SCS Engineers) was said to be several hundred thousand dollars to over $1 million. The most expensive method would be total removal of the tainted dirt. This sort of approach took 18 months and $1.2 million at Merrie Christmas Park in Coconut Grove.

The Bayfront Park Management Trust, the controlling agency responsible for all Bayfront-related business, insists it has neither the funds, nor the time for a pricey and lengthy cleanup. The trust is also perturbed about paying the bill on its own without contributions from the city.

“The whole issue has been moving along extremely slowly,” trust chairman and Miami city commissioner Frank Carollo said, according to the Herald. “The only city park that the city has not been paying for any of the work, and where there is no plan for the remediation, is Bayfront Park. This is expensive, especially for an organization that doesn’t receive any money from the city of Miami.”

Certain trust board members, including Carollo, even suggested the removal of the toxic soil is unnecessary, because the pollution is low enough to not actually pose a public health risk.

As quoted by the Herald, trust member Nathan Kurland said: “You would have to literally ingest the dirt to get sick. I want the park to be a safe place for people to be. But we’d like to see some kind of sanity involved in this.”

(Found in lower concentrations than at other Miami parks, based on the results of city tests, Bayfront’s lead and arsenic is present in soil along Biscayne Boulevard between NE First and Second streets, an area that’s currently restricted and cordoned off.)

Still, despite the trust’s objections and the seemingly less dangerous levels of contamination at Bayfront, city officials insisted on a cleanup and threatened to close the park, just as the since-reopened Merrie Christmas was shut down, if the trust refused to cooperate.

In the end, Carollo, Kurland, and the other dissenting trust members relented, voting to contract consultants for a cleanup plan. The fee for those services will be $100,000.

Another, probably more serious cost concern for the Bayfront Park Management Trust is the potential loss of funds generated over the coming year from leasing the park to event organizers.

The Bayfront Park Amphitheater was just recently rebooted by Live Nation, which announced an ambitious spring/summer schedule featuring eight major concerts by acts like Nicki Minaj, Smashing Pumpkins and Marilyn Manson, and the Culture Club. But it seems unlikely that any cleanup would interfere with these live-music shows, because the polluted patch of dirt is all the way on the other side of the park.

However, with 11 months till Ultra 2016, the trust’s most lucrative weekend of the year may be at risk. And that’s why, as board members even admitted to the Herald, they really can’t afford an 18-month cleanup.

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From Herring’s Raku demonstration during the Innovation and Engineering Weekend at the Patricia and Phillip Frost Museum of Science. Courtesy of James Herring/World Red Eye

Miami has no shortage of artists and creative types. While there are a lot of homegrown talents living and working here, there is also a large community of transplants looking to evolve artistically in this newish mecca for the arts. With many high-profile events and institutions taking place and hold within this community, it’s easy to lose focus on the nurturing aspects of the arts and the basic elements of creation. “Makerspaces” anyone?

“What we are trying to do here with this collaboration between Miami Industrial Arts and MADE at The Citadel, is nurture creative thinking,” explains master potter James Herring. “These two groups are formed to bring together artists, designers, engineers, craft practitioners, programmers, and makers of every level from amateur to professional in an environment that will foster collaboration, creativity, innovation and entrepreneurship.”

Herring, the exhibition manager at the Patricia and Phillip Frost Museum of Science, is a well-known practitioner and advocate for pottery. As a man who has worked artistically and professionally with his hands, he understands the necessity for a makerspace in Miami.

A makerspace is an easy solution for those, amateur and professionals alike, who are looking to get back to basics, but can’t afford the tools and hardware that creation necessitates.

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James Herring at the wheel during the Innovation and Engineering Weekend at the Patricia and Phillip Frost Museum of Science. Courtesy of James Herring/World Red Eye

“Experiencing the joy of creating is clearly as fundamental to being human as is eating and sleeping,” says Miami Industrial Arts (MIA) founder Paul Thomas. “All across the United States, a revival of the maker identity is taking place. [..]Makerspaces are public workshops, where you can have access to tools and machinery, as well as the knowledge and skills to fuel your learning and creativity.”

MIA is the first makerspace in South Florida and as such is leading this charge with its 6,000 square feet warehouse housing a fully equipped wood shop, metalworking tools, ceramics area and instructional space for workshops and demonstrations.

What makes a makerspace unique and an attractive option is the ready-made infrastructure that it provides. With membership packages ranging on a dependence on time commitment, MIA offers a great yearlong membership for $110 a month with prices increasing to $150 per month depending on monthly commitment. Even at $150 for a month, the access to tools in a rent-free space is a mere pittance.

MIA’s goal to provide the community a fully operational and funded makerspace can only occur through membership fees and fundraisers. Many in the community have already come aboard and made donations, like Swampspace’s Oliver Sanchez who donated woodturning chisels, and MADE at the Citadel who have joined in creating a Raku evening benefitting the fledgling ceramics studio within MIA.

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From Herring’s Raku demonstration during the Innovation and Engineering Weekend at the Patricia and Phillip Frost Museum of Science. Courtesy of James Herring/World Red Eye

“This Raku night is a way to introduce people to ‘learning through making,’” says Herring. “Raku is a traditional Japanese glazing and firing technique first devised in the 16 century to satisfy the needs of the tea masters to the Shogun who was the de facto leader of that nation. The Japanese Tea Ceremony was designed to focus the attention of the participants on the beauty of everyday objects and to remove class distinctions.”

The  Raku lead event will help fund the ceramics department.There will be ready-made pots for purchase at $15 (or two for $25) that will be glazed, raku-ed and ready to take home that night.

As introduction to the benefits of a makerspace in a community, I’m hard-pressed in thinking of a better one that marries artistry and neighborhood empowerment with the grace of the collaborative spirit; ensuring Miami’s continued vitality as a nest and destination for creative types at any skill level.

Herring puts it best into perspective, “this is a way of bringing people to the space, to raise some funds for the ceramics program and maybe have someone walk away with an object they actually helped create. Often people just need something to get them past the idea that they are incapable of making anything.”

Raku Night at 6:30 p.m. on Friday, May 1, at Miami Industrial Arts, 300 NW 73rd St., Miami. Call 305-772-5043.