The challenge: can north-west Ireland match Canada and New Zealand for an epic adventure? After surfing, riding and kayaking, our writer found the answer on a sea-stack climb
The conversation started at the indoor climbing wall – an attempt to list the world’s wildest and most adventurous destinations. New Zealand and British Columbia were contenders, as was Newcastle on a Friday night. Then Tim, who runs an ethical outdoor gear company called Gather Outdoors, suggested Ireland. I thought about that one. “Ireland can be wild,” I said, “but it’s not adventurous.”
If you’re going to be famous and have upwards of a million followers on social media, then you might as well own the spotlight. For celebrities this week, that meant going above and beyond to pronounce their presence on a stage or red carpet. Therefore, it was a seven days filled with supermodel …
http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News
Ezinma mixes hip-hop and classical music to send a bold message about blackness
The hype of Beyoncé’s 2018 Coachella performance was palpable even as I watched via grainy cell phone video. Millions of eyes fell on Queen Bey that night — but as the opening medley dipped into a poignant place with Beyoncé crooning the Black National Anthem “Lift Every Voice and Sing,” her musicians stole my focus. Eight string players framed her center stage. And they were all women of color.
As most of Bey’s army burst into fiery, marching band-inspired choreography, the string players maintained steady bow strokes and graceful swaying, anchoring the poignant hymn’s emotional core. One of the violinists that night was Ezinma: situated front-right, she stared boldly ahead as Beyoncé held a long note, thrusting her bow overhead like a torch. She told me earlier that the fact that she played among fellow musicians of color — when she herself did not meet any black string players until age 13 — was not lost on her.
“Up until then, I had never seen anyone who looks like me playing the violin,” she said of a pivotal summer music camp. “I didn’t realize how bizarre it was to not see anyone who looks like you when you’re doing something that you love so much.”
Like many New York City-based musicians, Ezinma’s art took her underground — literally. The first time I browsed her YouTube videos and found one shot on the W train, I gasped. As a former New Yorker, my initial question was, “How did she find an empty subway car?” Quickly, my focus veered elsewhere. Standing in the middle of the car, Ezinma (pronounced Eh-ZEE-ma) balanced as the train sped out of Canal Street station. The stunning violinist took four steps forward, gazed into the lens with a piercing swagger, and brought her instrument to her chin. Against a hypnotic beat, she performed a cover of Post Malone’s hip-hop banger “Rockstar.” It’s a surprising twist to hear the lyrics “I’ve been fuckin’ hoes and poppin’ pillies / Man, I feel just like a rockstar” replaced by Ezinma’s honeyed violin lines. As the song built, she seethed with a quiet, simmering energy. The butterscotch coils gathered atop her crown bounced with her movement; her painted fingernails flew across the strings. However, perhaps the most striking thing about Ezinma is her sound.
There’s a confidence to the violinist, producer, and composer’s performances that took root early on. “You don’t see a lot of little black girls playing the violin,” she told me. She spoke on a bus on the way back to Coachella for its second weekend, her voice low yet warm over the phone. “I think a part of me always felt a little bit detached, or as if I didn’t quite fit in.” Ezinma began violin at age four. Like me, she learned via the Suzuki Method, an international music curriculum designed with young children in mind. “I loved that I would put in the work and see results,” she recalled. Her biracial heritage exposed her to an eclectic world, like mine did. Growing up, cultural aspects from either side of my bloodline mingled as one; I didn’t realize for years that it was unnatural for Filipino lumpia to share a plate with Scandinavian kringle and sarmice, Serbian cabbage rolls. Born in Lincoln, Nebraska to professor parents — a black Guyanese father and a German-American mother — Ezinma cultivated passions for seemingly disparate music types. She played in school and youth orchestras and competed in junior classical competitions. But she also entered bluegrass fiddling contests. Her father, a big music fan, immersed her in funk, reggae, jazz, and Caribbean soca. Elsewhere, she soaked up hip-hop and trap, taking to artists like A$ AP Ferg and Beyoncé.
I grew up in the San Francisco Bay Area, where being mixed-race is far from rare. For Ezinma, where the only other Guyanese person she knew just happened to live next door, things were different. “Especially being from Nebraska, I didn’t encounter very many non-white or non-Asian violinists until I was a teenager,” she told me. Ezinma said she often felt the need to defend her blackness. Some people — both black and white — were perplexed by her presence in an orchestra. There was a sense that this wasn’t “what black people do.”
One middle school experience was a pivotal lightbulb moment. As in most orchestras, one’s chair placement is important; stronger players sit closer to the conductor. After discovering that her teacher made her third chair, Ezinma was confused. “I went home and I was like, ‘Dad, I know I’m better than them,’” she said. Her father’s response opened her eyes: “People are not going to see you for what your talent is. People are going to see you for the way that you look…Because of that, you have to work so much harder than everyone else.” This convinced her to dispute her position. Discovering that her orchestra had a system for contesting such placements — à la the college marching band movie Drumline — she challenged the second chair to a blind test. They recorded themselves playing the same piece on cassette tapes. After, their peers judged and voted. “I won unanimously,” Ezinma said. She added that the process was positive; the girl she surpassed is still a friend. From there, she also challenged and won the first chair.
“I learned there is so much discrimination in ways that I wasn’t aware of as a kid. I was pretty naïve,” she said.
This assertive spirit drives much of Ezinma’s music-making today. At its core is a bold expression of her identity. There’s also a sense of declaring her right to create the music she wants — which, at first, is not quite what it seems. A closer listen to Ezinma’s hip-hop covers reveals that they’re not just string versions of Drake songs, but intricate arrangements born from classical training. Like her own identity, they blend myriad elements. In one video, she plays a catchy mashup of “Despacito” and “Shape of You,” nimbly switching between the first’s infectious Reggaeton melody and the second’s samba-inflected syncopation. In another, she revamps “Bodak Yellow” with an elegant lilt; the fierce jam becomes a lush orchestration. Like more musicians these days, where versatility is a smart career move, Ezinma is used to switching hats. She’s performed with Stevie Wonder, British pop group Clean Bandit, and Mac Miller. A conservatory graduate, she also plays plenty of classical gigs, and has performed at Carnegie Hall and Lincoln Center.
Visibility is vital in classical music. While more crossover artists and musicians of color are emerging, there is still a gulf. According to a 2016 report by the Sphinx Organization, which aims to increase arts diversity, only 4.3% of American orchestra members are black or Latino. When Ezinma does youth outreach to schools and communities of color, she gives young players references, mentioning other artists to check out. It’s something she didn’t receive herself growing up. “At the time, I don’t think there was an awareness of how isolated a young person of color who’s learning a string instrument might feel,” she said.
With this lack of diversity in classical music, there’s a line wedged between classical and hip-hop. While it’s more common for chart-topping hits to meld several genre elements — folk, pop, funk, or dance — Ezinma still observes bewilderment and discomfort from some classical music fans about hip-hop, and vice versa. Tired stereotypes still exist: that classical music is “stuffy” or “boring,” while hip-hop is a “low-brow,” un-elevated art form — still marginalized in mainstream media. The divisions are ironic, Ezinma added, especially since hip-hop tracks that sample classical pieces can work on a sonic level. “It’s like, ‘Wow! This is such a proper, big orchestral sound,’” she said, citing artists like J. Cole and Meek Mill. “It just sounds epic.”
Ezinma makes a point to happily bridge what others view as separate, so it’s no surprise that her debut album, out August 11th, arose from her duality. Key of Black Minor opens a door between classical and hip-hop. In doing so, it’s also a symbolic declaration of Enzima’s biracial identity (“It’s really a celebration of my blackness,” she said). She sounds excited as she speaks, which is something I relate to. As someone who is often referred to in segments — as “half-Filipino” or “half-white,” as if I comprise only fragments of an identity — it’s affirming to see being biracial presented as an alloy. There isn’t a partition between my two “halves.” Despite the attention her YouTube trap covers have garnered, Ezinma said it was important to present this idea within her own compositions. Don’t expect classical spins on trap songs — she posited that fans may be surprised at how classical-heavy the 11 tracks are. “Putting out an album of covers might be more popular, but I think that the first thing that you present the world should be your own and yourself,” she said.
Ezinma’s two co-producers are Anthony Barfield and Orrin Wilson of Velocity Music. Like her, they are classical conservatory trained. Ezinma largely conceived and co-produced several tracks in hotel rooms while on tour, the three collaborating to create an organic hybrid. The album’s lodestone is her composition “Black Minor Symphony.” A nod to tradition, it follows the structure of a four-movement violin concerto. But it interweaves plenty of trap beats and unusual sounds. The last movement is a key example: It opens with a tempest of trilling violins and includes playful Mozart references. However, a hip-hop beat underpins everything. Another track is an homage to her “bluegrass head” mother. It’s a free-flowing fiddle piece galvanized with high-hats and 808s. The fusion makes it gel both in clubs and traditional concert venues, Ezinma insisted. Fans of one genre could leave with an appreciation for the other. Her music fusion is an ever-evolving process: she hopes to visit Guyana one day and explore its folk tunes to deepen her connection to her father’s side.
More than a doorway between classical and hip-hop, Ezinma hopes her work is a racial conduit, too. It’s a place to ruminate on what it means to be mixed — a niche where listeners can explore the sound as not two genres coming together, but as an entirely new form. As a biracial woman, the declaration that being mixed is a valid whole entity — and not something defined only by its disparate parts — is powerful. “It was really important to just declare my voice,” Ezinma told me. “It’s a completely open lane.”
In our polarized world of “cable carnival shoutfest” and intransigent partisanship, Michael Smerconish is an increasingly exotic and refreshing voice. A prominent Sirius XM radio and CNN television host, he has been a regular contributor to the Daily News from November 2001 until 2007 and after that, a Sunday Philadelphia Inquirer newspaper columnist until the present day.Clowns to the Left of Me, Jokers to the Right is Smerconish’s seventh book. It brings together a representative selection from the 1,047 columns he has written over the past 17 years that cover politics, profiles, life, and miscellanea.
A good number of these columns have stood the test of time. A few others Smerconish probably wishes he had never written. The columns he has included in this book are reprinted here as they appeared in the original form, with an afterword from the author that provides, in his own words, “an update on facts and feelings.” They make for enjoyable reading and remind us that journalism properly practiced requires a good deal of nerve, honesty, and insight, along with openness to dialogue and the determination not to live in a bubble.
Smerconish’s columns offer a representative slice of 21st century American life with all its ups and down, real heroes, and controversial characters. He writes with plain words and communicates his feelings in a straightforward manner. We get to meet here not only the likes of David Duke and Rush Limbaugh but also the sober voices of Arlen Specter, Tim Russert, and Jack Kemp. An inveterate admirer of Ronald Reagan, who he met in his youth, Smerconish does not shy away from applauding, when necessary, the rhetorical skills of President Obama. Nor does he avoid taking to task one of the politicians he respects, Senator John McCain, for failing to put forth an inspiring vision for the country in 2008.
Positioned in the crosshairs of a ‘violence in videogame’s debate that somehow still looms in 2018, a sexual harassment scandal leveled at its creators and accusations of clumsy and heavy-handed alignment with social causes of the era, it’s been far from a smooth marketing campaign for upcoming PS4 exclusive — Detroit: Become Human.
Developed by Quantic Dream under the watchful gaze of divisive auteur David Cage (creator of Heavy Rain and Beyond: Two Souls), Detroit is the latest addition to the portfolio of a creator who strives to produce ‘games with meaning’. A noble cause, for sure. But does Detroit actually live up to its makers’ admirable ambitions?
So far, Quantic Dream’s output has largely amounted to a souped up take on the mechanics of eighties arcade, and later laserdisc, staple, Dragon’s Lair. Like this 80s classic, Heavy Rain is a game that you’d drag your friends over to gawk at the beauty of, but where the actual gameplay didn’t extend much beyond hitting a button at a crucial moment.
Games like The Last Of Us, Life Is Strange, even the Bioshock series, could never be dismissed as unmeaningful, and they had the immersive gameplay to match their ambitious narratives. After these forward-thinking approaches to storytelling in video games, now the parallels Heavy Rain holds with Dragon’s Lair, seem more robust than ever.
Yet, before we dig into whether Detroit: Become Human moves Cage’s vision on, let’s address the horde of elephants in the room. The charges of excessive, inappropriate violence in the game – concerning a quick time event in which a scumbag father physically abuses his young daughter – have been latched onto by tabloid newspapers and even publicly derided by British politicians. Yet, books tackling these themes don’t receive such criticism. Films don’t receive such criticism.
All we can hope is that one day, games become so part of the fabric of our culture that the people who comment on such societal concerns, understand the art form.
Unbelievably, this scene isn’t the only controversial cloud hanging over Detroit. As well as criticisms of the game’s content, there have been claims of real-world sexual harassment over at Quantic Dream too. While deeply troubling, such claims would be more useful being dealt with by the authorities, not here.
Amid all this mess, it would be easy to hate Detroit then. Yet, despite all the difficulties surrounding it, somehow, Cage’s latest is shaping up to be a refreshingly bold and thoughtful step forward for narrative-led games.
And most importantly — one that’s genuinely fun to play.
Art Imitating Life
Where some criticism of Detroit: Become Human is justified though, is based on THAT trailer from E3 2017. Loosely speaking, this is a game about an android awakening – there’s nods to Blade Runner, Westworld and perhaps most notably, Channel 4’s excellent Humans TV series. Said trailer opens with an African spiritual hymn, appearing to align the suffering of slave-race-androids to the struggles of the civil rights movement, and, more offensively, suggests that for-androids (read, black people), they merely need to ‘rise up’, and not doing so is what creates their suffering, not, y’know, racism.
Oh, and it’s set in Detroit, a city with a history that is woven into the black cause.
In 2017, Cage told Eurogamer he’d “never make a racist game”, something that a man who sees the world through the eyes of a race he isn’t depicting, can never truly promise. Cage later backtracked amid the furious backlash to the trailer, saying the game was just that – a game! – not a comment on world events. What was done to the title between there and now we don’t know, although the then promised release period being pushed back suggests something was.
And yet, unlike the fence sitting Far Cry 5, refreshingly the game that we’ve seen here is very much a game about the state of our world, while not solely being the Androids Lives Matter race allegory the trailer suggested.
Melding Science Fiction With Reality
“There’s a sci-fi conception at the heart of the story“, says the games’ head writer, Adam Williams, “in that we imagine androids as everyday technology. That allows us to explore all kinds of themes. We ask ourselves, if an android can think and feel, has it become human? If it has become human, what does it mean to be human? We were going back to Isaac Asimov and H.G. Wells, but we wanted to use the sci-fi to ask questions about social division, prejudice, the division in power between those who have it, and those who had not.
As well as doing that, the vessel of sci-fi allowed us to create a kind of underclass, a persecuted class, that didn’t resonate with one group in society, but serves as a general metaphor for those who are treated that way in any culture. For the player coming to the game, they’ll see different resonances…”
This might sound like backtracking. Perhaps there was some reverse engineering. But as we played the game, we were happy to see that big and broad questions are asked about society throughout. The truth is, it is a game about racism, and E3’s highlight real presented that vision in a clunky, offensive way. But what you didn’t see is a game about the rise of AI, about spirituality, about economics, about environmentalism (three hours into the game, you haven’t seen any living animals. What does that mean?), about what it means to be human…
“I’ve had people say to me, ‘the game is clearly about sexism’,” says Adam. “It’s about the eyes you see it through. I’ve had people say, ‘you clearly started writing this after Trump was elected’, but that’s not true [the game was born out of the 2012 PS3 tech demo, Kara, whose story is continued in Detroit]. We’re trying to tell a universal story that will relate to different people in different tiers of any society, wherein players can bring their own perspective to it.
David [Cage] wanted this to be the most interactive story there could be, where peoples choices dictated how the story would play out, so it had to be open to interpretation. It meant the story had to be a kind of mirror to how the player came at it….”
If the game struggles, it does so because of its ambition. It’s trying to say a lot. Sometimes it says it well, sometimes it says it in a way that would be best left in high school philosophy classes. Games may want to deal with such big themes, but to do that needs precise insight; easier done with linear narratives rather than via decision trees.
But, and it’s important this, Detroit is infinitely more fun to play than any other Quantic Dream title. The Detroit the studio have created weeps with colour and imagination, it makes Japan look a bit like Grimsby on a wet Bank Holiday, while the nuance of the story and the decision-making makes you feel like the choices you make have legitimate consequences in a way the studios preceding games didn’t.
Basically, it doesn’t so much feel like you’re in a story, here, you’re writing one.
How’s Detroit: Become Human Shaping up?
Detroit: Become Human isn’t a game where you just have to press a button at the right time. There’s a degree of sleuthing and compiling information that is crucial to the gameplay experience. It’s a game where exploration is key. Cutscenes play out with you in them, not watching them. It’s a game that forces you to make decisions and actually live with them. We’re going to have to live with it longer before deciding whether it’s truly great, but it’s certainly not a curio.
What it is, is a game set in an evocative world that is both terrifying and wonderous. You’ll most likely find your time in it deeply rewarding.
Not so long ago, many homeowners steered clear of black paint, considering it too heavy and overpowering. But the dark shade has recently become a go-to interior design choice, popping up everywhere from living room mantels to kitchen cabinets to bathroom walls. Intrigued? Check out these 9 boldly black rooms, which may inspire you to pick up a paintbrush. Bob Vila : Trusted Home Renovation & Repair Expert
Looking for a few spots to take some chances on that bracket? Well, don’t advance any of the nine ACC teams to the Final Four or any of the SEC teams to the second weekend. Oh, and get ready for one last show from Trae Young. www.espn.com – TOP
SPECIAL SPORTING UPDATE:
Max Pacioretty heading out West? Erik Karlsson dealt to a contender in the East? The Golden Knights … standing pat? We identify an impact move for every franchise ahead of Monday’s trade deadline. www.espn.com – NHL
Which teams will fail in the bidding war for Kirk Cousins? Who will sign Jimmy Graham? Will the Steelers re-sign Le’Veon Bell? NFL Nation reporters make projections for big moves in the coming months. www.espn.com – TOP
SPECIAL SPORTING UPDATE:
This is the final ensemble post of 2017 and we’re ending with a celebration. One real outfit, and one imaginary one, and everyone can participate. I wore my real one last week. I felt like wearing bright colours from head to toe. To some they would be clashing, but to my eye they are harmonious. I combined orange pants with a burgundy turtleneck, belt, booties and bag. I was going to wear my navy or cream coat, but topped the lot off with my shocking pink man coat instead. I also added an orange pom-pom to the bag. The collection below shows the exact items from my wardrobe.
The second outfit is the imaginary one I would wear to the YLF ball. I asked my Fairy Godmother for a long-sleeved classic tomato red ballgown so that I could make a statement with colour without feeling cold. I completed the look with a multi-strand pile of vintage Chanel pearls, a cream faux fur shawl, and a gold clutch. My Fairy Godmother added sky high gold pumps to keep me from tripping on my train. I can of course, magically walk in the four inch pumps just for the night.
Over to you. What was your boldest outfit of the year, and what are you wearing to the YLF ball? Remember that your Fairy Godmother can make any ball outfit happen. Feel free to post your bold and beautiful outfits on our forum. ‘Tis the season to be festive!
Focusing heavily on plaid and leopard-printed comfy staples like sweatpants, the collection combines comfort with the bright colors ESPRIT is known for. Puffer jackets, sweaters and hoodies make up the range’s outerwear, all boasting a variety of bright patterns. Without catering to masculine or feminine cuts, the line is essentially genderless, aided by the loose-fitting outerwear and oversized jackets.
The collection is available through Opening Ceremony and ranges in price from $ 30 USD to $ 475 USD.
Jesse Paris Smith remembers the exact day she became a climate activist. Late on a school night, in a Manhattan deli, frantically skimming the New York Times to finish a last-minute homework assignment in 10th grade.
"I loved nature, so these words like global warming, greenhouse gases, fossil fuels struck me," Smith, 30, says while sitting in a Midtown Manhattan conference room.
In recent years, the Emmys have become a predictive affair, with the same shows and actors winning again and again. With Game of Thrones ineligible for this year’s awards (expect it to take home many trophies next year), there’s an opportunity for new (and deserving) nominees to take home the trophy.
Here are five bold predictions for Sunday night’s show.
The Handmaid’s Tale Wins Best Drama
Game of Thrones has dominated this category. Look for The Handmaid’s Tale — Hulu’s series about a dystopian future where a totalitarian government forces the few remaining fertile women to breed against their will — to contend for a win. Given the political tone awards shows have taken since the election, this may be a way for Emmy voters to send a message against government policies restricting women and their reproductive rights. Netflix’s Stranger Things — with its exuberant young actors — may be a dark horse in this category, and while we loved it and its cast, its time may have past.
Elisabeth Moss Wins For Best Actress, Drama
There are many strong actors in this race, including last year’s winner Claire Foy and Oscar winner Viola Davis, but Elisabeth Moss may be poised to win her first Best Actress Emmy (she was previously nominated for her work in Mad Men). Moss plays the besieged handmaid Offred in The Handmaid’s Tale with such strength and vulnerability. Evan Rachel Wood is nominated from another genre show — Westworld — but Moss’ performance and the political push gives her an edge.
Millie Bobby Brown Wins For Outstanding Supporting Actress in Drama
While Stranger Things may be shut out of the big prize, Millie Bobby Brown — who plays the telekinetic Eleven — may take home supporting actress honors. Brown showed range well beyond her 13 years (especially considering she was pre-teen when the series was filmed) and voters love rewarding emerging stars. If she wins, she will be the youngest Emmy winner in history.
Black Mirror Wins Outstanding Television Movie
The British sci-fi anthology series Black Mirror has become a bit of a cult favorite, and for good reason: powerful performances and thought-provoking plots. The nominated show — “San Junipero” — is essentially and LGBT love story with a sci-fi twist; the lovers meet in different time periods. Without spoiling too much, it’s both uplifting and sad. And deserving of a win.
While not necessarily a genre show (though it has many components — including alternative voices, imaginative costumes and fantasy-driven challenges), RuPaul’s Drag Race has a strong fandom. RuPaul took home his second consecutive hosting Emmy last week, so the show is on a roll. It’s definitely worth of “condragulations.”
The Primetime Emmy Awards air Sunday night on ABC. Who do you think will win? Cast your votes below.
This week in sartorial sightings, celebrities enjoyed the final moments of summer in ab-bearing, brightly hued ensembles. Those that made our best dressed list opted for the runway’s (and Instagram’s) most pronounced trends, namely: cheery yellow frocks, silky robes cinched at the waist, polka-dot …
There's nothing quite like a good country murder ballad, especially if it's one with a unique spin on the classic construct. And Little Bandit's "Platform Shoes," about a working girl (of the Pretty Woman variety) who meets her untimely end, keeps this tradition alive with singer Alex Caress' dynamic, silky vocals and heavy, honky-tonk-goes-gospel twang. Watch the video of the song from
Suggestions include price controls on drugs and hospitals and doctors, importing drugs from other countries healthfinder.gov Daily News
SPECIAL NEWS BULLETIN!-http://www.acrx.org -As millions of Americans strive to deal with the economic downturn,loss of jobs,foreclosures,high cost of gas,and the rising cost of prescription drug cost. Charles Myrick ,the President of American Consultants Rx, announced the re-release of the American Consultants Rx community service project which consist of millions of free discount prescription cards being donated to thousands of not for profits,hospitals,schools,churches,etc. in an effort to assist the uninsured,under insured,and seniors deal with the high cost of prescription drugs.-American Consultants Rx -Pharmacy Discount Network News-
Listen up, mortals. The street-style lip-color gods have spoken, and their commandments are as follows: The first rule of bold lip color is to be brave! Be outrageous! Be bold! The second rule is—obviously—wear a pair of enormous sunglasses. The latest from allure.com
Have a bowl of pasta, maybe a nice green salad, and wash it down with a glass or two of wine. Hell, throw in dessert. Because for the next few hours, you are going to give up eating, drinking, kissing, and—for the love of all that is holy—anything with olive oil. Welcome to the era of jaw-dropping, gorgeous, totally doable lip art. The latest from allure.com MillionaireMatch.com – the best dating site for sexy, successful singles!
This Summer tote features a faux leather design, bold color design, including a triangle imprint, shoulder handles, interior pockets and compartments, finished with a zipper closure. Approximately 14 in width, 12 in length, and 5 in depth.
List Price: 24.99 Price:
Use the correct bright colors this summer with this cute satchel featuring bold colors, faux leather, interior zipper compartments, removable shoulder strap, finished with magnet button closure. Approximately 9 in width 7 in length, and 4 in depth.
List Price: 29.99 Price:
Be bold with the Samsonite Cruisair Bold and go anywhere you want, any time you want. This tough fortress is ready for a Guatemalan bus ride or a walk across the bumpy stone roads of Rotterdam, Germany.A mix of lightweight appeal, spinner mobility and durable convenience sets this bag apart from the rest of the pack. Cruising on 360deg easy-glide wheels that conquer the twists and turns of travel, this bag offers incredible packing flexibility with a fully-lined interior that features a zippered compartment, cross straps and an ultra-protective frame.The Samsonite Cruisair Bold is one of the few lightweight series that is 100% polycarbonate and uses a more secure frame to withstand impact in cold or hot temperatures. The 21-inch hardside carry-on rolls with ease on it’s double-set of high grade spinner wheels that turn the case in 360 degrees. If you’ve seen the legions of airport travelers breezing around the parking lot, the terminal, or in and out of ticket lines, you are right for thinking they sure look comfortable. It’s true, it is easier to wheel in crowded spaces and tight corners with a hardside spinner like the Samsonite Cruisair Bold.Cruisair takes 100% polycarbonate design to the next level and allows you travel with four wheels and zero effort. Multi-directional spinner wheels allow 360 degree upright rolling in multiple directions. The spinner design rolls upright so there is no weight on your arm even in the mega airports of today. And once you’re on board the airplane you’ll love the ease in which you can wheel down the aisle of an airplane without knocking fellow passengers around by turning the spinner sideways as you stroll to your seat.Eight independent wheels roll over the roughest terrain with ease and when you go to lift the piece out of your trunk, off the bed, or away from the luggage carousel you’ll love the top and side carry handles. Interior cross straps minimize shifting of contents during travel. Large, self-mending, number 10 coil zippers provide flawless closure.Expect the best from Samsonite, the luggage maker who invented hardside luggage and who perfected the spinner design. The Cruisair Bold embodies Samsonite’s best efforts.
List Price: $ 204.95 Price: $ 204.95
Be bold-a mix of lightweight appeal, spinner mobility and durable convenience sets this bag apart from the rest of the pack. Cruising on 360º easy-glide wheels that conquer the twists and turns of travel, this bag offers incredible packing flexibility with a fully-lined interior that features a zippered compartment, cross straps and an ultra-protective frame. 10-year warranty.
‘Tis the season for oversized sunglasses, floppy hats and… suspenders?
Yes, you heard us right. This week, Hollywood kept us on our toes when it came to summer accessories. While many stars stepped out wearing classic warm-weather pieces like strappy shoes and statement clutches, others took a more adventurous route.
Whether you want to take a style risk this weekend or play if safe, you’ll find plenty of inspiration from our favorite accessories of the week.
Kate Bosworth’s Bionda Castana heels
These ladylike heels complement her floral dress perfectly.
Karolina Kourkova’s Giuseppe Zanotti purse and shoes
Nothing amps up a LBD like a pair of badass gold shoes and a matching clutch.
Nicole Richie’s Chanel suspenders
Suspenders may have you thinking of Steve Urkel, but not when they are Chanel and on Nicole Richie.
Heidi Klum’s sunglasses
Babe alert! These oversized sunglasses make Klum’s plain jeans and blazer outfit just fashion-forward enough.
Kate Hudson’s scarf
Scarves aren’t just for winter. In fact, a lightweight kerchief is perfect for summer and a little unexpected, so you can bet that you’ll stand out from the crowd.
Dramatize your look with a shocking and unique new style. Effortless and precise; Effet Faux Cils Felt-Tip Eyeliner draws a precise black line with ultimate intensity. Its calligraphy-like tip and water-based formula glides on smoothly for easy application and the carbon black pigment ensures you get the blackest black color! 12-hour wear. No flaking. Water-resistant.
List Price: $ 34.00 Price: $ 34.00