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Braless Samie Elishi sets pulses racing in a plunging gold crochet dress as she soaks up the sun on holiday after that steamy kiss with Sam Thompson

Braless Samie Elishi sets pulses racing in a plunging gold crochet dress as she soaks up the sun on holiday after that steamy kiss with Sam Thompson

Daily Mail​5 days ago

Samie Elishi looked sensational in a plunging gold crochet maxi dress as she posed for sizzling Instagram snaps during a sun-soaked holiday on Tuesday.
The Love Island star, 25, jetted off to an unknown sunny location with fellow show star Sophie Piper and Maura Higgins for a brand trip with Space NK.
And Samie posed up a storm in the glamorous backless number which boasted a halter neckline and daring cut out down the front.
Styling her dark tresses in a neat sleek do, the reality star accessorised with a chunky pair of gold drop earrings.
The TV personality was in good spirits as she posed for the stunning snaps before heading out for dinner, she penned: 'golden'.
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Hours earlier, Samie set pulses racing as she posed in a skimpy lilac bandeau bikini while eating ice cream.
She looked incredible in the ribbed Hunza G lilac two-piece, which featured a twist bandeau top and low-rise bikini bottoms.
Samie could be seen sporting a matching hair scrunchie on her wrist as she enjoyed a scoop of ice cream in the sun.
The sun-soaked getaway comes weeks after Samie was pictured sharing a steamy kiss with presenter Sam Thompson.
Samie has since broke her silence on her new romance with Sam, after the couple attended the swanky celebration held at Bacchanalia in London's Mayfair where they confirmed the romance by packing on the PDA outside the venue.
Samie about the blossoming relationship for the first time during an appearance on the podcast Chloe Mediumship.
The show is hosted by a psychic medium and in the episode, Samie revealed how she's previously had negative gut feelings in past relationships.
She explained: 'I've had gut feelings with guys before. I've had a couple of relationships where I've known it was never it. Like this is gonna come to an end, I'll have something telling me every day it's coming to an end, this isn't for you.
Styling her dark tresses in a neat sleek do, the reality star accessorised with a chunky pair of gold drop earrings
'You put it to the back of your mind and then you start noticing the chaos increase. It's like the universe saying I'm gonna blow you both up if you just do not seperate. Then I'm like if I only I listened all those months ago when I got that first message.'
Then, host Chloe asked: 'Obviously, you don't have to talk about it too much but the guy you're currently speaking to, do you have that gut feeling? Like do you think it's gonna be really good?'
Keeping her cards close to her chest, the former Love Islander replied: 'There's been no bad stuff at the minute so yeah I suppose it is all positive right now. It's early days.'
Sam first met Samie, who appeared on Love Island in 2023 and returned to the All Stars series this year, through his presenting role on spinoff, Aftersun.
But following his breakup from Zara McDermott, the pair started exchanging flirty messages over Instagram before hitting it off in person.
A source told MailOnline: 'Sam and Samie are really getting along and if early signs are anything to go by, this could turn into a long-term relationship. It may be early days still, but they do really like each other.
'Sam is already introducing Samie to Chelsea by showing her off on the King's Road over the Easter weekend and given how popular he is in the area, it meant a lot that he wasn't hiding her away.'
Sam and his ex-girlfriend Zara split in January, with Zara quickly moving on with One Direction star Louis Tomlinson.
On his Staying Relevant podcast with Pete Wicks, Sam also revealed he's gone on his first date since his split from Zara, after he reportedly spent a romantic Easter weekend with Samie
On his Staying Relevant podcast with Pete Wicks, Sam also revealed he's gone on his first date since his split from Zara, after he reportedly spent a romantic Easter weekend with Samie.
Hinting towards his heartbreak over Zara, he said he'd gone through a 'pretty tough time', but that he was finally 'comfortable in my own skin again'.
He told Pete: 'I feel like I'm ready to get out there. I feel like I'm at a stage now where I feel confident enough that I can start approaching females.

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Stolen motorbikes worth £350k found at Tilbury thanks to tracker
Stolen motorbikes worth £350k found at Tilbury thanks to tracker

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Stolen motorbikes worth £350k found at Tilbury thanks to tracker

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‘Yes, there was a riot, but it was great': Cabaret Voltaire on violent gigs, nuclear noise – and returning to mark 50 years
‘Yes, there was a riot, but it was great': Cabaret Voltaire on violent gigs, nuclear noise – and returning to mark 50 years

The Guardian

time39 minutes ago

  • The Guardian

‘Yes, there was a riot, but it was great': Cabaret Voltaire on violent gigs, nuclear noise – and returning to mark 50 years

Fifty years ago, Cabaret Voltaire shocked the people of Sheffield into revolt. A promoter screamed for the band to get off stage, while an audience baying for blood had to be held back with a clarinet being swung around for protection. All of which was taking place over the deafening recording of a looped steamhammer being used in place of a drummer, as a cacophony of strange, furious noises drove the crowd into a frenzy. 'We turned up, made a complete racket, and then got attacked,' recalls Stephen Mallinder. 'Yes, there was a bit of a riot, and I ended up in hospital, but it was great. That gig was the start of something because nothing like that had taken place in Sheffield before. It was ground zero.' Mallinder and his Cabaret Voltaire co-founder Chris Watson are sitting together again in Sheffield, looking back on that lift-off moment ahead of a handful of shows to commemorate the milestone. 'It is astonishing,' says Watson. 'Half a century. It really makes you stop, think and realise the significance.' The death in 2021 of third founding member Richard H Kirk was a trigger for thinking about ending things with finality. 'It'll be nice if we can use these shows to remind people what we did,' says Mallinder. 'To acknowledge the music, as well as get closure.' It's impossible to overstate how ahead of their time 'the Cabs' were. Regularly crowned the godfathers of the Sheffield scene, inspiring a wave of late 1970s groups such as the Human League and Clock DVA, they were making music in Watson's attic as early as 1973. Their primitive explorations with tape loops, heavily treated vocals and instruments, along with home-built oscillators and synthesisers, laid the foundations for a singular career that would span experimental music, post-punk, industrial funk, electro, house and techno. 'There was nothing happening in Sheffield that we could relate to,' says Mallinder. 'We had nothing to conform to. We didn't give a fuck. We just enjoyed annoying people, to be honest.' Inspired by dadaism, they would set up speakers in cafes and public toilets, or strap them to a van and drive around Sheffield blasting out their groaning, hissing and droning in an attempt to spook and confuse people. 'It did feel a bit violent and hostile at times, but more than anything we just ruined people's nights,' laughs Mallinder, with Watson recalling a memory from their very first gig: 'The organiser said to me after, 'You've completely ruined our reputation.' That was the best news we could have hoped for.' Insular and incendiary, the tight-knit trio had their own language, says Mallinder. 'We talked in a cipher only we understood – we had our own jargon and syntax.' When I interviewed Kirk years before his death, he went even further. 'We were like a terrorist cell,' he told me. 'If we hadn't ended up doing music and the arts, we might have ended up going around blowing up buildings as frustrated people wanting to express their disgust at society.' Instead they channelled that disgust into a type of sonic warfare – be it the blistering noise and head-butt attack of their landmark electro-punk track Nag Nag Nag, or the haunting yet celestial Red Mecca, an album rooted in political tensions and religious fundamentalism that throbs with a paranoid pulse. Watson left the group in 1981 to pursue a career in sound recording for TV. Mallinder and Kirk invested in technology, moving away from the industrial sci-fi clangs of their early period into grinding yet glistening electro-funk. As the second summer of love blazed in the UK in 1988, they headed to Chicago instead – to make Groovy, Laidback and Nasty with house legend Marshall Jefferson. 'We got slagged off for working with Marshall,' recalls Mallinder. 'People were going, 'England has got its own dance scene. Why aren't you working with Paul Oakenfold?' But we're not the fucking Happy Mondays. We'd already been doing that shit for years. We wanted to acknowledge our connection to where we'd come from: Black American music.' This major label era for the group produced moderate commercial success before they wound things down in the mid-1990s. But in the years since, everyone from New Order to Trent Reznor has cited the group's influence. Mallinder continued to make electronic music via groups such as Wrangler and Creep Show, the latter in collaboration with John Grant, a Cabs uber-fan. Watson says leaving the group was 'probably the most difficult decision I've ever made' but he has gone on to have an illustrious career, winning Baftas for his recording work with David Attenborough on shows such as Frozen Planet. He recalls 'the most dangerous journey I've ever made' being flown in a dinky helicopter that was akin to a 'washing machine with a rotor blade' by drunk Russian pilots in order to reach a camp on the north pole. On 2003 album Weather Report, Watson harnessed his globetrotting field recording adventures with stunning effect, turning long, hot wildlife recording sessions in Kenya surrounded by buzzing mosquitoes, or the intense booming cracks of colossal glaciers in Iceland, into a work of immersive musical beauty. When he was at the Ignalina nuclear power plant in Lithuania with Oscar-winning composer Hildur Guðnadóttir, recording sounds for the score to the 2019 TV series Chernobyl, he couldn't help but draw parallels to his Cabs days. 'It was horrific but really astonishing – such a tense, volatile, hostile environment,' he says. 'But it really got me thinking about working with those sounds again, their musicality and how it goes back to where I started.' Sign up to Sleeve Notes Get music news, bold reviews and unexpected extras. Every genre, every era, every week after newsletter promotion Mallinder views Watson's work as a Trojan horse for carrying radical sounds into ordinary households. 'The Cabs may have changed people's lives but Chris is personally responsible for how millions of people listen to the world,' he says, with clear pride. 'And one of the things that helped make that happen was the fact that he was in the Cabs, so through that lens he opened up people's ears.' Watson agrees, saying Cabaret Voltaire 'informed everything I've ever done'. Watson's field recordings will play a part in the upcoming shows: he'll rework 2013 project Inside the Circle of Fire, in which he recorded Sheffield itself, from its wildlife to its steel industry via football terraces and sewers. 'It's hopefully not the cliched industrial sounds of Sheffield,' he says, 'but my take on the signature sounds of the city.' These will be interwoven with a set Mallinder is working on with his Wrangler bandmate Ben 'Benge' Edwards as well as longtime friend and Cabs collaborator Eric Random. 'We've built 16 tracks up from scratch to play live,' says Mallinder. 'With material spanning from the first EP' – 1978's Extended Play – 'through to Groovy …' Mallinder says this process has been 'a bit traumatic – a very intense period of being immersed in my past and the memories that it brought, particularly of Richard. This isn't something you can do without emotion.' Mallinder and Kirk were not really speaking in the years leading up to his death, with Kirk operating under the Cabaret Voltaire name himself. 'Richard was withdrawn and didn't speak to many people,' says Mallinder. 'And I was one of those people. He wanted to be in his own world. It was difficult because I missed him and there was a lot of history, but I accepted it.' There will be no new music being made as Cabaret Voltaire because, they stress, tsuch a thing cannot exist without Kirk. Instead, it's a brief victory lap for the pair, a tribute to their late friend, as they sign off on a pioneering legacy with maybe one last chance for a riot. 'Richard would probably hate us doing this but it's done with massive respect,' Mallinder says. 'I'm sad he's not here but there's such love for the Cabs that I want to give people the opportunity to acknowledge what we did. You can't deny the music we made is important – and this is a way to celebrate that.' Cabaret Voltaire play a Forge Warehouse, Sheffield, 25 October, then tour the UK from 17 to 21 November. Tickets on sale 10am 6 June

Riding a polo pony — how hard can it be?
Riding a polo pony — how hard can it be?

Times

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Riding a polo pony — how hard can it be?

Polo may be the only sport in the world more sensibly played on elephants. Cannoning round a field on a horse, swinging a croquet mallet the wrong way round, is like driving a Formula 1 car one-handed while using your other arm to practise your serve. In India, they play polo on elephants. Elephants are generally more inclined to lumber than speed, and come with their own elephant whisperer to steer. Alas, I'm in southwest London not Rajasthan, it's decades since I sat on a horse, and I've never had a riding lesson in my life. Nevertheless, I arrive for my first ever polo lesson well prepared. I am wearing cowboy boots and two bras. I am invincible. For one hour only, Nube is my horse. She lives at Ham Polo Club and looks at me doubtfully, as well she might. 'Her name is Spanish for 'cloud',' says my teacher, Manuel, stroking her nose. I sign a waiver promising that any calamity that befalls me will be entirely my fault. I look at Nube, wonder what the Spanish is for 'oh shit', then haul myself into the saddle and very nearly straight over the other side. When I'm safely installed, they insist that Nube is placid and small, even though the ground seems a long way down. But she is also a polo pony, and polo has always struck me not as placid but borderline lethal. We clippety-clop to the training ground and I hope for the best. • Read more luxury reviews, advice and insights from our experts Ham is a rural idyll near the A3, a place of vast green polo lawns, broadleaf trees and little white clubhouses stacked with catering company chairs. Traditionally, summer in England isn't summer without the royals being photographed at a polo match, from Charles and Camilla in the 1970s to William and Harry in the 2000s. Just once, there was Meghan and Kate at the Guards Polo Club in 2019, back when everyone was playing happy families, but no more. These days, Charles is too old, William's too busy, Harry plays furiously in Santa Barbara or Florida, and Kate's always been allergic to horses anyway. Polo, though, is still indelibly associated with the royals. Chestertons, the estate agents, sponsors the annual Polo in the Park weekend in central London, in a bid to combine the sporting and the social with diversity (not just posh people), inclusivity (not just country types) and, presumably, selling houses. Described as the world's biggest polo festival, Polo in the Park is a veritable melting pot at the Hurlingham Club in Fulham, where the Princess of Wales used to bring George and Charlotte for tennis lessons when they were little. Back at Ham, Nube and I are bonding, a bit. She makes it clear with every snort and toss of her head that I am an idiot and she knows best, and she is not wrong. Polo ponies are trained to be extremely responsive, I am told, but the flipside of that is that they need to be told exactly what to do. This is difficult when your main focus is not falling off. I hold the reins in my left hand, as Manuel's shown me, and grip the front of the saddle with my right, to his consternation. I'm used to saddles with pommels, I tell him. The last time I got on a horse was when I lived on Vancouver Island in my twenties, and over there the saddles have pommels. A couple of times a week, I'd pick up a toffee-coloured horse called Rocky from the local stable after work and we'd head off fearlessly into the forest to explore. That was then, I was 24 and Rocky, bless him, was a Ford. Nube is a Ferrari. How I sit, and lean to swing the mallet, how I hold the reins, where and how I kick and with which part of my heel are all carefully calibrated parts of the equation geared to getting her to do what I want. Get any part of it wrong and Nube will effectively shrug, take the path of least resistance and do what she wants, which is stop. Manuel is an Argentinian professional polo player who's been riding since he could walk. He makes cannoning round a field swinging a mallet look as easy as falling off a log, or indeed a horse. From my reassuringly stationary position at the side of the pitch, I watch him demonstrate a rising trot. 'Now your turn,' he says, with an encouraging smile. I rack my brains for diversionary polo-related small talk. 'Is Prince Harry any good at polo?' I ask. He considers this with the seriousness all things polo deserve. 'He's a decent amateur,' he replies. 'Now lift the reins so she knows to move forward and kick your heels. Keep kicking so she knows to keep going.' 'And Prince William?' I ask, exhausting my supply of polo-related small talk quicker than I'd hoped. 'Probably a bit better,' he says, adding that he didn't like Harry's Netflix programme Polo at all. It concentrated on the social side, not the sport itself, he complains, so he watched two episodes and gave up. The gist of his conversation is that polo is about adrenaline and sportsmanship and manly excitement, not royals, or blondes necking bubbly on the sidelines. 'Your turn!' he says cheerfully. 'I'll come too!' So off we set. I go bounce, bounce, bounce and start to worry for Nube's spine and my own. Manuel confirms that he has had a bad back for years, which is discouraging, but we persevere. My steering seems OK even though my rein handling is deemed erratic — 'lift the reins, don't pull! She thinks you want her to stop! Kick!' — but the bouncing improves sufficiently that we try a figure of eight round two traffic cones, with success if not aplomb. I grasp my mallet, activate my core, and lean over to hammer the ball two, maybe even as far as three feet ahead. I swear under my breath, Nube snorts and soon I'm getting cross. I want to be good at this, but I'm not. I want to look at ease in the saddle, but I don't. I could ride a bit when I was younger, and had a pommel, so why can't I do it now? I read Black Beauty as a child. I know my Jilly Cooper. I watched Rupert Campbell-Black canter elegantly across my TV screen in Rivals and honestly, how hard can this be? Every so often Nube and I find our rhythm and I get a tantalising glimpse of just how wonderful riding must be. Then it's gone and I'm bouncing around in the saddle like a double bra'd jack-in-the-box. After my lesson, I walk bow-legged back to the clubhouse. The polo ponies look down their noses at me from their stalls. Nube is led away without so much as a disdainful backward glance. In the distance, real polo players gallop across the pitch with languid grace, turning on a dime and belting the ball to kingdom come. Rocky would have been good at this, I think, if he'd ever got the chance, but next time I think I'll try elephant polo. Anyone can ride an elephant. How hard can it be? Chestertons Polo in the Park is at Hurlingham Park on June 6, 7 and 8.

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