PUREHONEY 83

GLAM BAM BURLESQUE Burlesque runs the gamut of outlandish ideas in its dedication to keeping an audience rapt and celebrating the seductiveness of the female form. Some troupes even have “Star Wars”-themed events where wookies and storm troopers shimmy to cantina music. And while that schtick may be a fun way to attract people who wouldn’t normally venture to a burlesque show, there’s something about the vintage, smoky, jazz-club incarnation that is timeless, and a tad tawdry, that keeps burlesque relevant.

These days sex, sexuality and nudity in all forms are available at the touch of a screen. Call up anything you want on that smartphone; it’s nobody’s business but yours. However, you may find there’s more satisfaction and reward in going to an actual venue and being titillated by skilled GLAM BAM BURLESQUE performers who have put time, money, energy and sheer creativity into choreographing their show.

Glam Bam! Burlesque has just such a treat in store. Based in southwest Florida, the Glam Bam! crew specializes in the neoclassic tease and the old-school bump and grind. The art of cheesecake may seem, to some, a — pick your indictment — lowbrow/backward/depraved/ pursuit. But that kind of sanctimony misses the point. Burlesque promises a bit of the mystery and joie de vivre our everyday lives tend to lack, and it delivers with more art, humor and gameswomanship than the thumping, dollar-powered entertainment at strip clubs.

Burlesque is about smoking, drinking, dancing and being bad, but not so bad that the vice squad will round you up and toss you in hoosegow with everyone else who got collared at the speakeasy. It’s badness of the type you find in characters in John Waters films, where kink itself is the protagonist. American striptease burlesque traces as far back as the late 19th Century. Its canon of performers ranges from Josephine Baker to Gypsy Rose Lee to Blaze Starr to Dita Von Teese.

There is no unredeemable sin in scantily, inventively clad ladies dancing for your enjoyment. So bring the Gitanes and order a martini, and don’t be such an L7! This will be a night to party like it’s 1929.

Glam Bam! Burlesque performs on July 20 at Voltaire in West Palm Beach. glambamburlesque.com ~ Tim Moffatt

DAS ICH at respectables Europe is a hodgepodge of cultures and, as the “Old Continent,” suffers from a long and complicated history in which some of its individual parts shine brighter than the rest. In many ways, and usually for vastly different reasons, Germany’s role in the arts and music is overshadowed, or clouded by stereotypes of stuffiness and rigidity.

Notwithstanding, the Germanic DAS ICH contributions include Bauhaus (the design ethic, not the British band), Neue Sachlichkeit (New Objectivity) in visual art, Neues Sehen (New Vision) in photography, and the Sturm und Drang (Storm and Stress) literary movement. There are some definite ideas out there about the attributes of German music, most derived from krautrock and Kraftwerk. But artists that banded together starting in the late ‘80s to create Neue Deutsche Todeskunst — New German Death Art — have continued to challenge the notion of “Germanic” music.

Of these, Das Ich take the lead with their 1991 sophomore album, the aptly titled “Die Propheten” (“The Prophets”), a fusion of classical music ideology with gothic rock and darkwave, all manifesting as an industrialist Freudian “ego” — the titular “Ich.” Ever since, vocalist Stefan Ackermann and programmer/ synths/keys helmsman Bruno Kramm have pushed deeper into the possibilities arising and evolving from the NDT movement.

Conceptual and theatrical, Das Ich are a visual and aural experience.

Symbiotic in its internal relationships, their work is as independently danceable as it is visually arresting. As influencers and pioneers of German electro-industrial music, Das Ich have been instrumental in organizing the genre into a viable enterprise with their label, Danse Macabre Records and have harnessed the properties of the digital-viral age for more than just creation and propagation of music. Kramm is active politically and has been affiliated with the Pirate Party Germany and most recently, Alliance 90/The Greens, a centre-left European Green Party.

Since Ackermann’s recovery from a brain hemorrhage in 2012, Das Ich have taken a more visceral and eccentric approach to music and live performance.

Though based on the concept of the ego, they’re feeding human frailties into a turbo-charged superego product that seems to exist beyond the mere battles of the human psyche.

Das Ich perform July 5 at Respectable Street in West Palm. ~ Abel Folgar

GLASS ANIMALS play fillmore How many times have the British invaded America? From Beatlemania and the Stones, on through Bowie, Elton John, the Spice Girls and Oasis, the Brits have been steady hitters of American ears since the mid-1960s. For Queen and Country, with the might of alldevouring ear worms, British popular music has done much to repay the influences it absorbed and shape the global musical landscape.

With the first and second invasions now known as musical eras, and the crux of an ambiguous third wave still resonating, how does a GLASS ANIMALS British band get ahead to make an impact? For Oxford’s Glass Animals, it is a matter of embracing the sensibilities and technologies that really “pop” in today’s music climate.

Formed in 2010 by school chums Dave Bayley (vocals/guitar), Drew MacFarlane (guitar), Edmund Irwin-Singer (bass) and Joe Seaward (drums), Glass Animals boast a handful of charting singles, a pair of EPs, two full-lengths and, on top of that, a mobile video game: “S02E03.”

Part of a “digital first” marketing campaign for their 2016 sophomore album, “How To Be a Human Being,” the video game accompanied a wholesale digital recreation of the ephemera that used to surround physical releases — liner notes, clever cover art, lyrics sheets, etc. Like two negatives creating a positive, this inversion was an acknowledgement that the majority of the band’s fan base came from streaming on Spotify.

It’s a cheeky way of going about things, especially with the album’s mission statement. “How To Be a Human Being” presents an interesting conceptual possibility. There’s a bizarre sense of balance when taken as a complete experience. The album, inspired by the many people Glass Animals met on the road after touring for their first record, “Zaba,” is presented as a set of distinct personality sketches — a catalog of human experience, digitized for consumption.

In the two years since the release of “How to Be a Human Being,” one can’t help but wonder how the band will absorb and distill its latest encounters, and whether their impact on American listening might influence the course of pop music. Stay tuned. Download the game. Avoid the “deliciously dangerous” Mayo Monster at all costs.

Glass Animals performs July 25 at the Fillmore in Miami Beach. ~ Abel Folgar

ROBOT BREWING CO: Robot Comedy, Hennessy Williams WPB WATERFRONT: Catabella & the Latin Group, Afin-K2 BREWHOUSE GALLERY: Isaiah Dominguez Band DADA: Zoo Peculiar SUNDAY, JULY 8 KILL YOUR IDOL: Karaoke with Shelley Novak VOLTAIRE: Medicine Hat

THURSDAY, JUNE 28

VOLTAIRE: SWEET SWEET 5 songwriter nite!

Hosted by Ella Herrera w Jonny Himsel, Lindsey TUESDAY, JULY 10 Mills, Jamie Craig, Destiny Lopez, Travis Lambert BREWHOUSE GALLERY: Photography Critique & Geek VOLTAIRE: Symbols, Firstworld, Oddly Strange FUNKY BUDDHA: The Broken Sound Band, Solar Reef

FRIDAY, JUNE 29

VOLTAIRE: Pin Up Party

DADA: AnastasiaMax HULLABALOO: Markis Hernandez Trio FUNKY BUDDHA: Captain Pigg & Friends BREWHOUSE GALLERY: Bree & Jose Perez THE KELSEY THEATER: Dr. Bacon

SATURDAY, JUNE 30

DADA: HVY CRM KILL YOUR IDOL: The Wire FUNKY BUDDHA: Pavlov’s Bell, Arborealis, Chapters CULTURE ROOM: Killer Queen BREWHOUSE GALLERY: BSide Band THE KELSEY THEATER: Little Ozzy CWS: D O’MALLEY’S: Have Mercy, Kississippi, Gleemer, Super Whatevr

THURSDAY, JULY 12

SUNDAY, JULY 1

FRIDAY, JULY 13

VOLTAIRE: Joey George CWS: Brendan O’Hara

SEMINOLE HARD ROCK: Cheap Trick, Poison KELSEY THEATER: Hellzapoppin POMPANO AMP: Boy George & Culture Club, B-52s

THURSDAY, JULY 5

VOLTAIRE: Church of Dub ft The No Name Ska Band, Kelly Blanx CWS: Fusik

RESPECTABLE STREET: Das Ich, Astari Nite, Alpha Quadrant ROBOT BREWING CO: Opposite States, Castafellas, Supergold BREWHOUSE GALLERY: Open Mic Night

FRIDAY, JULY 6

VOLTAIRE: Sonic Graffiti, Thoughts, Red Light Motel, Bitter Blue Jays RESPECTABLE STREET: GreyMarket, Yardij, Space Coast Ghosts, Migrate THE FILLMORE MIAMI: Erasure

CWS: Marcus Amaya STACHE: Bonn E Maiy, Tasty Vibrations ROBOT BREWING CO: Xotic Yeyo, Metropolitan, Beach Head BREWHOUSE GALLERY: Acoustic Soul KELSEY THEATER: Rebirth Brass Band

SATURDAY, JULY 7

VOLTAIRE: Jazz Sushi Sessions ft TCHAA followed by Red, White & You Fashion Show, Patrick M, Marco Paez RESPECTABLE STREET: The Muggles CWS: Tasty Vibrations STACHE: DJ Kent Lawlor, DJ Lindersmash

VOLTAIRE: Somatic

CWS: Rockin’ Jake BREWHOUSE GALLERY: Open Mic Night

VOLTAIRE: Hell & Hollar, Toridian, The Basement Presents, Jordan Foley REVOLUTION LIVE: Stokeswood CWS: Diogo Das Virgens Band STACHE: Fusik ROBOT BREWING CO: Helius KELSEY THEATER: Bryce Allyn Trio

SATURDAY, JULY 14

VOLTAIRE: Jazz Sushi Sessions ft Markis Hernandez 3, Michael Mayo, Pilato & Faraz

CWS: JL Fulks STACHE: DJ Kent Lawlor ROBOT BREWING CO: Fount, Thoughts, Austin Mann BREWHOUSE GALLERY: The String Assassins KELSEY THEATER: Rocky Horror Picture Show O’MALLEY’S: Secrets, Natsuki, Acaedia, Ocean Beast

SUNDAY, JULY 15

VOLTAIRE: Psychic Ghost

CWS: Marcus Amaya BREWHOUSE GALLERY: Nip & Tuck

THURSDAY, JULY 19

VOLTAIRE: The Funktion ft Reclaim Brass Band hosted by Public Sounds ROBOT BREWING CO: Citizen Badger, Mona Lisa Tribe, Humble Waters BREWHOUSE GALLERY: Open Mic Night

FRIDAY, JULY 20

VOLTAIRE: Glam Bam Burlesque

CWS: Bonn E Maiy, Marijah & the Reggae All Stars

SEMINOLE HARD ROCK: KC & THE SUNSHINE BAND STACHE: Tasty Vibrations

ROBOT BREWING CO: Sonali, Phase 1, Jessica Morale BREWHOUSE GALLERY: Summer Gill CORAL SKY: Chicago, REO Speedwagon

WEDNESDAY, AUGUST 1

SATURDAY, JULY 21

THURSDAY, AUGUST 2

VOLTAIRE: Jazz Sushi Sessions ft Jesse Ricca Project followed by Viviana Toscanini, Rita Valenti, Michael Mayo

SEMINOLE HARD ROCK: Steve Miller Band, Peter Frampton O’MALLEY’S: I Set My Friends On Fire ROBOT BREWING CO: Robot Comedy Night w Mike Herlihy BREWHOUSE GALLERY: Spider Cherry

SUNDAY, JULY 22

VOLTAIRE: Midnite Johnny

CWS: Tasty Vibrations KELSEY THEATER: Casey James

MONDAY, JULY 23

CORAL SKY: Counting Crows, LIVE

VOLTAIRE: Church of Dub w Kelly Blanx

FRIDAY, AUGUST 3

VOLTAIRE: Spam Allstars POMPANO AMP: OAR

SATURDAY, AUGUST 4

VOLTAIRE: Champagne Superchillin’, TBA, Michael Mayo, Val Verra

SUNDAY, AUGUST 5

VOLTAIRE: Steel Brothers w Kilmo CORAL SKY: VANS Warped Tour

O’MALLEY’S: The Faceless, Lorna Shore and more

FRIDAY, AUGUST 9

WEDNESDAY, JULY 25

CORAL SKY: Imagine Dragons

THE FILLMORE MIAMI: Glass Animals, Knox Fortune

THURSDAY, JULY 26

VOLTAIRE: SWEET SWEET 6 hosted by Josh Miles followed by Johan Danno, Souljam, Desse ROBOT BREWING CO: SKB BREWHOUSE GALLERY: Open Mic

FRIDAY, JULY 27

VOLTAIRE: Indigo Dreamers, Mona Lisa Tribe, Ella Herrera THE FILLMORE MIAMI: Janelle Monae

CWS: Bobby Lee Rodgers ROBOT BREWING CO: Spiral Light, Grateful Dead Tribute BREWHOUSE GALLERY: Eve & Papero

VOLTAIRE: Row Jamah

FRIDAY, AUGUST 10

VOLTAIRE: Millionyoung, Sreeym Hctim, Popparazzi

SATURDAY, AUGUST 11

VOLTAIRE: Jazz Sushi Sessions ft Nathan Skinner Trio followed by Black Tantra, Michael Mayo THE FILLMORE MIAMI: Bomba Estereo HARD ROCK LIVE: American Football

SUNDAY, AUGUST 12

VOLTAIRE: The Harden Project

THURSDAY, AUGUST 16

VOLTAIRE: The Funktion ft The Savants of Soul, Public Sounds

FRIDAY, AUGUST 17

THE FILLMORE MIAMI: Umphrey’s McGee, Spafford VOLTAIRE: Johnny Dangerously’s Birth Bash w.

DJ Storm, Exzakt, BFX! CORAL SKY: Wiz Khalifa

SATURDAY, AUGUST 18

VOLTAIRE: Jazz Sushi Sessions followed by Bruno Pozzo, Michael Mayo, Val Verra CORAL SKY: Evanescence, Lindsey Stirling

SUNDAY, AUGUST 19 SATURDAY, JULY 28

VOLTAIRE: Blues Crusaders

THURSDAY, AUGUST 23 VOLTAIRE: Jazz Sushi Sessions ft Markis Hernandez 3 followed by One Night in Havana w. VOLTAIRE: Zigtebra DJ Lance Desrouleaux, DJ Chino Dread Lion CWS: Spred the Dub ROBOT BREWING CO: Del Pelson, Toledo BREWHOUSE GALLERY: RoXout

SUNDAY, JULY 29

HARD ROCK: KC & THE SUNSHINE BAND VOLTAIRE: JM & the Sweets

SATURDAY, AUGUST 25

VOLTAIRE: Jazz Sushi Sessions followed by Tim Baresko, Michael Mayo CORAL SKY: Jeff Beck, Paul Rogers

SUNDAY, AUGUST 26

VOLTAIRE: JM & the Sweets

SONIC GRAFFITI at voltaire Rock ’n’ roll is a bastard beast and it is nothing new for musicians to tap into its innermost troubled childhood and mine for more. It’s a deep pit that keeps yielding finds. Yet few of these diggers dare to go public with what they collect.

Increasingly, musicians want credit for their bold experimentalism without having the courage to share its results.

SONIC GRAFFITI

Not so for Gulf Coast trio Sonic Graffiti.

“A lot of our songs have room for improv so they are different every time we play them,” guitarist/vocalist Drew Giordano tells PureHoney. “Sonic is a punk band at heart, but I kinda just stick to the three J’s for musical inspiration: James Brown, Jimi Hendrix and Joe Strummer.”

As the name suggests, their attack is multilayered — an accumulation that gives a painterly texture to the sound. They are exactly what punk rock needs to be in 2018. Formed in 2013 by Giordano after a prior band imploded, now filled by Jasmine Deja on drums and Chris Cardon on bass, Sonic Graffiti is returning attention to the Tampa/St. Pete scene.

“They’re probably Florida’s most anti-hipster rock band who still accidentally look like hipsters. Make no mistake though, Sonic Graffiti are no hipsters. For jam sessions, harmonicas and mandolins are not in a hipster’s arsenal,” wrote TuffGnarl.com’s Chuck Livid back in 2013. That appraisal still applies, but the band has evolved. After a lackluster experience recording their eponymous sophomore effort, and looking to recapture the raw lysergence of their 2014 debut, “Friendly. Unit. Creation. Kit.,” the band reverted to basics for 2017’s “Loner.”

“We came to the conclusion we’ll never go to anyone to record again. We can do it all by ourselves and it’ll be a million times better,” says Giordano. “We did it all ourselves at our house. The freedom, independence and no time limit opened us up to write songs which stretched all across the musical spectrum.”

Currently at work on several more records, Sonic Graffiti are hungry to create newer amalgams of rock ’n’ roll under their punk rock banner. They are the sons of no one; bastards of the young.

Soundbite presents Sonic Graffiti July 6 at Voltaire in West Palm Beach w Thoughts, Red Light Motel and Bitter Blue Jays. ~ Abel Folgar

HELL & HOLLAR ALBUM RELEASE Four barrels, four speeds, dual exhausts — the pervasive rumble of the American muscle car embodies a bygone era of can-do dispositions, no-dreamis-too-small spirits and fuck-withme-you’re-fucking-with-the-best attitudes. A show of muscle is what it is; thick-necked, rippling violent potential humming along at top speeds.

Radio Birdman might’ve glammed the “455 SD,” but Delray Beach’s Hell & Hollar has the 442 market cornered. “My father sold Oldsmobiles his whole life,” guitarist and vocalist Blake Burns tells PureHoney. “I grew up around cars and my dad and I have always had a soft spot for the Olds Cutlass 442.”

HELL & HOLLAR

Rounded out by Nate Largent on drums and backing vocals and Johnny Dusko on bass, H&H have been a’rumblin’ in South Florida for some time now and will be rolling out their own machine with a debut EP, “442,” which promises a “swinging new kind of excitement” and delivers with six tracks that blow right past the full-tank metaphor and go straight to nuclear.

The band modifies its blues and stoner-rock influences with parts from multiple genres. “We generally all have ideas we come up with at home,” Burns says of their process. “For us, the magic happens when we cut loose and just jam together. Let the universe come through our extremities. We will mic the entire room and hit record and just go off.”

Recorded at Nashville’s Lust For Tone Studio with producer Chris Condon, “442” clocks in at a little over 20 minutes, but the rubber is permanently burned onto the asphalt. Breezy in a way that creates the feeling of flight, heavy in the way a gut punch smarts and spreads to other organs, and tempered by chops and chemistry, “442” feels like an audio incarnation of the engineering care that went into its namesake.

Normally, the advice would be to not sleep on a band like this, but Hell & Hollar won’t mind if you do provided you’re just resting up for your next thrill ride — down your street, late at night, revved-up and hollerin’ like all Hell’s gotten loose.

Hell & Hollar perform July 13 at Voltaire in West Palm Beach. hellandhollar.com ~ Abel Folgar

CHEAP TRICK & POISON Poison is a band whose members’ work in reality television may surpass their musical output in silliness, but only by a hair. Yet the legend parties on, despite or possibly because of the band’s outsized boob tube persona.

Rikki Rocket, Bobby Dall, Bret Michaels and CC DeVille spent the late ’80s and early ’90s on top of the world, living what would become the caricature of the glam-rock L.A. lifestyle. Of course, all things must end and grunge did for Poison what Elvis did for big bands. But never fear: Where there’s a ship with no steam, a bold wind blows in — hello, nostalgia marketing. A greatest hits compilation reintroduced a band that CHEAP TRICK’S RICK NIELSEN had fallen out of the public eye just long enough for the masses to develop a hangover from grunge, and voila!

Poison was back in business. The fellas resumed touring and recording, and their frontman even starred in “Rock of Love with Bret Michaels,” a VH1 datinggame show that ran for far too long. But we all watched, so no excuses.

Cheap Trick, on the other hand, never took a break. Defying age, fatigue and pat classification, they’re the power-pop/rock band with a dash of glam and punk that kids and parents alike could enjoy. The seemingly billion-selling “Live at Budokan” record has been heard by nearly everyone; even the Beastie Boys sampled it.

Sometimes described (or damned) as a precursor to bands of Poison’s ilk, Cheap Trick stepped into the ’80s with “Dream Police,” a song so catchy you’re probably humming it in your head as we speak (go on, finish the chorus).

They exited the decade with a template power ballad, “The Flame.” (Poison answered with “Every Rose Has Its Thorn.”)

The mismatch of handsome rocker boys Robin Zander and Tom Petersson with misfits Bun E. Carlos and Rick Nielsen has endured, in its way, too, even with Carlos currently estranged from his old mates: Nielsen’s progeny, Daxx Nielsen, is Carlos’ replacement on drums. It’s fun to see where they take it as the core trio gets older and everyone’s looks start to even out. Long live power chords in major keys.

Poison with special guest Cheap Trick play July 1 at the Hard Rock Event Center in Hollywood seminolehardrockhollywood.com ~ Tim Moffatt

UNSANE PLAY GRAMPS Noise rock is gloriously difficult to describe. Take the Melvins, Cows, Jesus Lizard and Butthole Surfers — now try to explain what they sound like to the person next you. You might hit on one point that captures a moment in time for each, but generally they defy a single explanation.

Unsane is one of those bands.

Their breakthrough album, “Scattered, Smothered and Covered,” released in 1995 on Amphetamine Reptile Records, helped bring noise to the masses while maintaining the integrity and unpredictability of their music. The skate-punk massacre video for “Scrape,” the album’s flagship single, was a breakthrough, too — basically MTV’s “Jackass” and DIY YouTube mayhem several years ahead of schedule.

UNSANE

There was a time when punks and metalheads couldn’t agree on much: Motorhead maybe? D.R.I.? But the aforementioned noise rockers, and specifically Unsane, stirred heavy riffage and bad attitudes into a stew everyone interested in extreme music could lap up.

Unsane have taken breaks but have never really quit being Unsane. They keep building on and improving their sound. The band’s newest, “Sterilize,” released in September, is a killer slab of tone and dissonance, seething with adrenaline and bad intentions. It’s not a nice album, but it’s a great album. It may be the perfect record for this time in American history: dark, foreboding and brutal; the aural equivalent of a well-deserved punch in the nose that’s been a long time coming. Listen to it while you stare at the dirty street watching the blood flow, contemplating your life choices.

Unsane have made the rounds of most of the record labels that release, frankly, awesome stuff. This time around Southern Lord Records has the distinction issuing Unsane, and closing the five-year gap between “Sterilize” and its predecessor, “Wreck,” on Jello Biafra’s venerable Alternative Tentacles label. With bands such as Jesus Lizard and Unsane returning to the studio, and with insurgents like METZ, Young Widows and Pissed Jeans cribbing from the ’90s noise-rock playbook, perhaps that noise renaissance is right around the corner? We may just be in luck for a good time of heavy sounds. Watch the horizon for the destruction.

Unsane and Wrong play July 25 at Gramps in Miami. gramps.com ~ Tim Moffatt

KC & THE SUNSHINE BAND FADSFASF

KC and the Sunshine Band have a history made for the movies: Blue eyed-soul singer from the mean streets of Hialeah finds a kindred spirit at the local recording studio where they both work, and they decide to lay down some sweetass funky disco. The music hits, stardom arrives, and frontman Harry Wayne Casey — KC himself — is an international idol. The “Miami sound” — pre-Gloria Estefan — is a thing exported the world over by a little Hialeah record label, TK, that is punching massively above its weight. In short order, KC and the KC & THE SUNSHINE BAND Sunshine Band are demonstrating Beatles-like chart dominance with serial No. 1’s that feed a craze and become defining tracks of an era.

But Casey and collaborator Richard Finch fall out, disco goes bust and the band breaks up. Casey is seriously hurt in a car wreck, and must relearn how to walk.

He records a new song (“Give It Up”) that charts, revives the band and embarks on his second act.

That gets us to about the mid-’90s.

For as much flack as disco takes, chances are good you probably know the rest of this lyric: “Shake, shake, shake/shake, shake, shake/shake your ___ .” I imagine you even went “Owww!” afterwards. KC and the Sunshine Band wrote that, as well as “Boogie Shoes,” “I’m Your Boogie Man,” “Keep it Comin’ Love,” “That’s the Way (I Like It),” and “Get Down Tonight.” Basically, the soundtrack to the ’70s and the music that many of us were conceived to.

Nowadays Casey is licensing his classic tracks for things he might never have imagined: the Dance Dance Revolution video game series; and movies including “Blow,” “Boogie Nights” and “Roll Bounce.” Horror-rock disco lord Rob Zombie covered “I’m Your Boogie Man,” clearly adapting the song to its true dark and schlocky purpose.

Meanwhile, the band plays on. What else are you going to as the ambassador since forever of booty-shaking boogie? If Casey never gets his epic biopic, he’ll always have his episode of VH1’s “Behind the Music.” Now how about an honorary doctorate in body movement?

KC and the Sunshine Band play July 20 at the Hard Rock Event Center in Hollywood. ~ Tim Moffatt

KILL YOUR IDOL RAD SHOWS, ALCOHOL, ETC. OPEN TIL 5AM DAILY

222 ESPANOLA WAY MIAMI BEACH