A corridor is a system before it is a district
This reference accompanies the interactive map that enhances Street Economics® Detection #1, Studios Without Stages. The detection's sequence is the map's spine: studios without stages; therefore no documented local performance circuit; expose the infrastructure; make the case for the stage; the stage summons the scene; the scene is the thing to build with. The map is step three made literal. The second step is stated as the record shows it: the corridor has production infrastructure and no documented public stage system inside its ring, which is not the same as no scene. A scene can run through rehearsal rooms, studios, churches, schools, house shows, promoters without a room and stages elsewhere in the county, and this method sees only what leaves a public trace. The detection page carries the argument; this map and this document are the evidence layer it links to.
Every node is a studio, a room, an era of the anchor, a person, an artist, a landmark record, a label, a school, a shop, a venue, a development project or a jurisdiction. People appear when they make a connection legible: the engineer who leaves the anchor and opens a room on the same highway, the producer whose credits tie a 1969 label to a 1978 number one, the owner whose purchase renames the building, the developer whose filing changes the block. Institutions have equal standing with the studios because the project treats a corridor as the whole system that gets a record from a rehearsal room to a listener, and a scene from a studio to a stage.
Connections come in three weights. Solid lines are people, ownership and lineage: worked at, founded or owned, became, spawned, produced or engineered, mentored. The single dashed line is a documented suggestion: Eric Clapton sending the Bee Gees to Criteria in 1975. Dotted lines are records made or mixed at a studio, label relationships, physical adjacency on the corridor and the CRA plan. Records are edges, not nodes: an album recorded at a studio is a line from artist to studio with the album and year in its note, so the graph stays about people and institutions. Thirteen records that carry the story are kept as nodes with an amber ring, and each carries a credit scope: sole studio; recorded at, several studios; partial recording; or completed and mixed. The selection rule is in the Landmark records section.
Inclusion rules. The detection's rule governs: is it open, and does it feed or support this cluster. Miami-Dade Local Business Tax receipts are the floor. A studio is on the map when a public listing, a tax receipt or its own site confirms a current address and activity; a studio that closed is kept with an end year, because closures are part of the corridor's history. A historical Criteria session is on the map when a label, artist or discography reference records the album and year, and where the record shows a partial or mix only credit the map says so; several widely repeated Criteria credits are stated as partial for that reason, and several others are left off and listed under open items. Live music venues are identified by booking evidence, a calendar or a listing that shows shows, exactly as the detection does, and the count within a mile and a half is computed from this dataset. Development projects are cited to planning filings and worded as proposed, approved or delayed, never as built. Nothing is included to make a case.
Hub is the jurisdiction the pin falls in. Every node with an address is geocoded and assigned to North Miami, North Miami Beach, Miami Shores, Biscayne Park or unincorporated Miami-Dade by point in polygon against the county's municipal boundary layer, not by the postal city on the tax receipt. Two results follow. The parcel at 1755 NE 149th Street sits in unincorporated Miami-Dade a few dozen metres west of the North Miami line, while its neighbours on the same block are in North Miami: the anchor of the corridor is inside no city at all. And the ring falls across four cities and county land in proportions no one of them can see. Venues elsewhere in the county keep their true pins under a sixth hub, Elsewhere in Miami-Dade; people, artists, records and labels without a corridor address sit under a seventh, offshore on the Cities view, so they are not mistaken for a place.
Timeline placement. On the lineage view and in the Play animation a studio, school, shop or project enters at its founding or filing year and a person at their first documented activity, taken from the earliest dated relation on the map. A node with no recorded founding year enters at the first year the map documents it and never earlier; the interactive panel labels these under Placed at, and the Nodes sheet carries the basis in its Place year basis column. A node with no dated link at all enters at the cutoff year. The map starts in 1958, so Criteria enters alone and the ring forms around it.
People on the map. Each person carries a relationship class: personnel connector, moved between two or more mapped studios, labels, artists or records; founding or core member, the owners, founders and staff of one room, shop or school; or institutional connector, the label executives, developers and officials where a documented act exists. Guest support does not apply on this map. Producers and engineers are its personnel connectors the way musicians are on the metal maps: Tom Dowd, the Albert brothers, Karl Richardson, Albhy Galuten and Bill Szymczyk, with the studios, labels and records they moved between.
Network interpretation. Node size on the map and the centrality figures in this document are computed on this dataset with every edge type weighted equally and parallel edges counted separately. They describe position in the map, not importance: the anchor is the largest node because everything documented on the corridor connects to it, and a room with one tax receipt and one adjacency is small however busy it is. The ranked tables and the counting method are in the Network metrics section.