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Why South Africa Is the Best Country to Visit If You Have Digestive Issues
All products featured on Condé Nast Traveler are independently selected by Condé Nast Traveler editors. However, when you buy something through our retail links, Condé Nast may earn an affiliate commission. Getty Images After visiting all seven continents, I've concluded there are two types of anxious travelers: those who need to know where to find the closest emergency exit and those who need the location of the nearest restroom. I'm the latter. For me and my fellow passengers living with inflammatory bowel disease (IBD)—a group of digestive conditions including Crohn's disease and ulcerative colitis—going to the bathroom is the emergency. At age 17, when I should have been on a senior class trip, I was in the hospital getting a colonoscopy. I opened my college acceptance letter while camped out on the toilet in my parents' bathroom at our farm in Montana. It's hard to celebrate receiving a full-ride scholarship to your dream school in New York City when you're not sure you'll be well enough to go. But, fortunately, with the help of modern medicine, I made it to the Big Apple. In fact, living in Queens—where more than 800 languages are spoken—inspired me to become a travel writer. Crohn's disease may be a life sentence, but I haven't let my diagnosis rule my life. If anything, getting diagnosed with a chronic condition was the catalyst I needed to realize I couldn't count on tomorrow. When it comes to travel, as long as I'm in remission, today is the day. In the last four months, I've zip-lined in Costa Rica, logged 20,000-step days in Paris, skied in the Italian Alps, swam with manta rays in the Maldives, and spent a week on a wine farm in South Africa—which I consider the best country to visit if you have a digestive disorder. In fact, I've traveled to South Africa so often in the past 10 years that immigration is starting to give me some serious side-eye. I even convinced my mom, who also has Crohn's disease but hates to travel, to spend two weeks with me in Cape Town and Kruger National Park. She loved it. That's because out of all 70-something countries I've visited, no country welcomes Crohnies—or anyone with IBD—quite like the Rainbow Nation. South Africa can swallow nearly three Californias. When I talk about the country, I'm referring to Cape Town and Johannesburg, as well as safari camps, wine country, and other traveler-friendly destinations. The first thing I love about South Africa is I've never had to pay to use a public toilet. Meanwhile, in Norway, I averaged at least $20 a day on bathroom breaks at public toilets that only opened with a credit card swipe. I did just read that a Durban shopping center is implementing a new restroom fee but it's just 2 ZAR (about 10 cents). I don't know of any Cape Town shopping centers or malls that charge. Plus, the city maintains more than 75 public restrooms, mostly found along the promenade and in tourist areas. That said, I usually just duck into a shopping center, a petrol station if I'm road-tripping, or a restaurant where I know there will be toilet paper and soap. Currently, the US dollar remains strong in South Africa, and I can afford to patronize eateries multiple times per day just to use their facilities. Food is also inexpensive, and it's easy to find gut-friendly options. I'd trade a kidney for the recipe for the homemade gluten-free, dairy-free chocolate brownies sold in the Picnickery at Spier Wine Farm. Yes, South Africa is so idyllic they have picnickeries where you can purchase freshly baked bread (some made with 'celiac-certified flour'), vegan cheese you'd never guess was made from nuts, and organic Sauvignon Blanc. Although she doesn't condone drinking, my gastroenterologist says dry wines, which are low in residual sugars, are best for people with irritable bowel diseases like ulcerative colitis and Crohn's. For fast food, I hit up Kauai, a wellness-themed franchise featuring burgers, wraps, bowls, and salads. Look for the flagship locations, because they have make-your-own menus where you can customize your meal. That said, I've never had a waiter give me side-eye in South Africa when I asked for a substitution. And unlike in some cultures, where it's considered rude to decline food offered to you by a local, here they don't get too offended. For example, I like to support the country's ethical township tours, which bring visitors to settlements formed under the apartheid government to enforce segregation. But I usually don't eat the food offered to me. As tempting as it may be, I just can't afford to take any chances while on the road. I won't sugarcoat it: I've gotten sick in South Africa. I was there in 2021 when Omicron was discovered. But every time I've had to see a doctor there, I've been pleasantly surprised. Private hospitals and clinics offer good health care at great prices. While I pay $200 for a consultation with a gastroenterologist and $8,000 for a colonoscopy stateside, I can get the same service and procedure for just $100 and $800, respectively, in Cape Town. I've also found a family-owned pharmacy in Sea Point willing to refill my prescriptions when I run out, and the plastic surgeon who gives me Botox in Green Point is happy to write a prescription for metronidazole, an antibiotic that treats both bacteria and parasitic infections when I can't outrun the runs. If you're going on safari in South Africa, there's no need to worry about the bathroom situation. 'Watering a tree' is a rite of passage on any game drive. If nature's call requires going number two, simply use a 'wag bag,' a portable toilet in a pocket-size pouch you can buy on Amazon and at most outdoor retailers. Usually, your guide will check behind the tree (and up in it) first to make sure there are no dangerous animals enjoying its shade. Safari camps also pride themselves on offering guests a loo with a view. At Royal Malewane, in the Limpopo Province, I watched giraffes and baboons from my porcelain throne. And at its sister property, The Silo Hotel, floor-to-ceiling pillowed-glass windows in the bathroom boast panoramic vistas of Table Mountain's iconic peaks and the dramatic Atlantic coastline. Cape Town International Airport's best-kept secret, meanwhile, is this unisex corner stall in the business lounge, where you can watch planes land and take off while taking your time on the toilet. Can the pilots or passengers on the planes see you? I'm not sure. But even if they can, why feel embarrassed? No one gets through life without going number two. Just sit back, relax, and enjoy the view. Originally Appeared on Condé Nast Traveler The Latest Travel News and Advice Want to be the first to know? Sign up to our newsletters for travel inspiration and tips Stop Counting the Countries You Visit How Safe Is Flying Today? 5 Things Experts Want Travelers to Know The Best Places to See the Northern Lights Worldwide
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Miley Cyrus Releases New Album Something Beautiful : Listen and Read the Full Credits
All products featured on Pitchfork are independently selected by Pitchfork editors. However, when you buy something through our retail links, Condé Nast may earn an affiliate commission. Miley Cyrus in 'Easy Lover,' directed by Miley Cyrus, Jacob Bixenman, and Brendan Walter Miley Cyrus has released her new album, Something Beautiful. The follow-up to 2023's Endless Summer Vacation boasts contributions from a slew of notable musicians, including Foxygen's Jonathan Rado, Alabama Shakes' Brittany Howard, and the War on Drugs' Adam Granduciel. Cyrus executive-produced Something Beautiful with Shawn Everett, who also plays a number of instruments on the album. In addition, Everett mixed and mastered the LP at his own Subtle McNugget Studios in Los Angeles. Listen to Something Beautiful, see the new music video for 'Easy Lover,' and find the full list of album credits below. Something Beautiful is really filled with big names. Here are some more: Bibi Bourelly, Nick Hakim, Alvvays' Molly Rankin and Alec O'Hanley, Tobias Jesso Jr., Kenny Segal, bassist Pino Palladino, saxophonist Joseph Shabason, Yeah Yeah Yeahs' Nick Zinner, Model/Actriz's Cole Haden, BJ Burton, the Lemon Twigs' Brian D'Addario, Red Hot Chili Peppers' Flea, Atoms for Peace's Joey Waronker, high-profile songwriters Tyler Johnson, Kid Harpoon, Ryan Beatty, and Emile Haynie, Miike Snow's Andrew Wyatt, Haim's Danielle Haim, Sad Sax of Shit's Nelson Devereaux, and Money Mark. Plus, Cyrus samples Marie Davidson's 'Work It (Soulwax Remix).' Cyrus announced Something Beautiful back in March; the album arrives with a companion film directed by Cyrus, Jacob Bixenman, and Brendan Walter. The film will get a theatrical release in June. Cyrus released the singles 'Prelude,' 'Something Beautiful,' 'End of the World,' and 'More to Lose' ahead of the record. Cyrus has said that Something Beautiful was inspired by Pink Floyd's The Wall. 'My idea was making The Wall, but with a better wardrobe and more glamorous and filled with pop culture,' she said in an interview with Harper's Bazaar. Writer: Miley Cyrus, Maxx Morando, Cole Haden, Shawn Everett, Jonathan Rado, and Michael Pollack Producer: Miley Cyrus, Maxx Morando, Shawn Everett, Jonathan Rado, and Michael Pollack Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios (Los Angeles, CA) with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineers: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez Synth and Drum Programming, SFX and Foley: Shawn Everett Bass: Pino Palladino, Jules Levy, and Eric Shetzen EMS Synthi, Barr-Fox Wurlitzer Theater Organ programming, MS 20, Fairlight CMI, Moog System 55, SFX and Foley: Jonathan Rado OB6, ARP Solina String Ensemble, Minimoog, and Drum Programming: Maxx Morando Saxophone: Henry Solomon Fairlight CMI Programming and Moog System 55 programming: Tim Curtis Barr-Fox Wurlitzer Theater Organ Programming, SFX, and Foley: Ian Gold SFX and Foley: Pièce Eatah Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Organ: Ty Woodward Leader and Arranger: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineer: Harry Risoleo Writer: Miley Cyrus, Maxx Morando, Max Taylor-Sheppard, Michael Pollack, and Ryan Beatty Producer: Miley Cyrus, Maxx Morando, Max Taylor-Sheppard, Shawn Everett, Jonathan Rado, and Michael Pollack Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche, Ben Miller, and Alisse Laymac Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums, Bass, Pulsar-23 Drum Machine, and Electric Guitar: Maxx Morando Electric Guitar: Adam Granduciel Omnichord: Kenny Segal Bass: Pino Palladino Piano, EMS Synthi, CS 80, Lexicon Prime Time, Mellotron, Vibraphone, SFX, and Foley: Jonathan Rado Modor NF-1, Prophet 10, Hammond B3: Max Sheppard Tenor Saxophone: Adam Schatz Alto Saxophone and Solo: Josh Johnson Baritone Saxophone: Jon Natchez Rhodes and Moog Model D: Nick Hakim Vocals: Xoco Everett SFX and Foley: Shawn Everett, Ian Gold, and Pièce Eatah Writer: Miley Cyrus, Michael Pollack, Gregory Aldae Hein, Shawn Everett, Jonathan Rado, Molly Rankin, and Alec O'Hanley Producer: Miley Cyrus, Shawn Everett, Michael Pollack, Jonathan Rado, Maxx Morando, Max Taylor-Sheppard, Molly Rankin, and Alec O'Hanley Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche, Alisse Laymac, and JC Chiam Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums, Bass, OB-6: Maxx Morando Bass: Pino Palladino Teenage Engineering Choir Programming, Drum Programming, and Claps Programming: Shawn Everett CP 80, Yamaha CP70, Mellotron, EMS Synthi, Six String Bass, Juno 106, LinnDrum, Acoustic Guitar, High Strung Acoustic Guitar, Electric Guitar, Glockenspiel, Bass, and Percussion: Jonathan Rado Juno, Electric Guitar, ARP, Prophet, Various Synths, Acoustic Guitar, Piano, and Emulator: Alec O'Hanley Vocals: Molly Rankin Rhodes Piano, and OB-6: Max Sheppard Violin, Transcription, Arranger, and Orchestration: Maxwell Karmazyn Violin: Adam Millstein Viola: Molly Rogers Cello: Dennis Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Writer: Miley Cyrus, Michael Pollack, and Autumn Rowe Producer: Miley Cyrus, Shawn Everett, Michael Pollack, Jonathan Rado, and BJ Burton Engineer: Shawn Everett, Ian Gold, BJ Burton, and Pièce Eatah Assistant Engineer: JC LeResche and JC Chiam Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Vocal Loop Pad: Miley Cyrus Drums, Acoustic Guitar, Electric Guitar, EMS Synthi, Choir Sample Programming, Hammond B3, Marxophone, Piano, Vibraphone, Fender Rhodes, Tubular Bells, Tape Loops, Treatments, SFX, and Foley: Jonathan Rado Bass and Fretless Bass: Pino Palladino Vocal Loop Pad Programming: Shawn Everett Saxophone Programming, Violin Programming, and Modular Piano: BJ Burton Saxophone: Nelson Devereaux Violin: Bed Gaunt Piano, Wurlitzer 200a, Choir Sample Programming, and Harpsichord: Michael Pollack Harpsichord and Hammond B3: Larry Goldings and Drew Erickson Harp: Sara Kawai Choir Vocals: Sarah Barthel SFX and Foley: Ian Gold and Pièce Eatah Rhythmic Programming: Nate Smith Writer: Miley Cyrus, Maxx Morando, Max Taylor-Sheppard, Shawn Everett, Jonathan Rado, and Michael Pollack Producer: Miley Cyrus, Maxx Morando, Shawn Everett, Max Taylor-Sheppard, Jonathan Rado, and Michael Pollack Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios (Los Angeles, CA) with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineer: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez Drums: Bob Everett Guitar, Bass, Drums, Moog DFAM, Pulsar 23, and Tascam PortaStudio 424 MK2: Maxx Morando Bass, Drums, Waldorf Quantum, Kurzweil K2000, Modor NF-1, and Prophet 10: Max Sheppard Bass: Pino Palladino Synth programming, SFX, and Foley: Shawn Everett Vibraphone, Synth Programming, Fairlight CMI, Moog System 55, EMS Synthi, SFX and Foley, and Treatments: Jonathan Rado Alto Saxophone, Baritone Saxophone, Clarinet, and Bass Clarinet: Henry Solomon Bass: Charlie Anastasis Guitar: Sam De La Torre Fairlight CMI Programming and Moog System 55 Programming: Tim Curtis SFX and Foley: Ian Gold and Pièce Eatah Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Bass: Jules Levy and Eric Shetzen Leader and Arranger: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineering: Harry Risoleo Writer: Miley Cyrus, Michael Pollack, Ryan Tedder, and Omer Fedi Producer: Miley Cyrus, Shawn Everett, Michael Pollack, and Jonathan Rado Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Fiddle Engineer: Tim Reitnouer Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums: Justin Brown Bass: Pino Palladino Guitar, stomps, SFX, and Foley: Jonathan Rado Fiddle: Sara Watkins Pedal Steel: Matt Pynn Stomps and Wurlitzer 200a: Michael Pollack Stomps, String Synths, Programming, SFX, and Foley: Shawn Everett Electric Guitar: Brittany Howard Stomps, BG Vocal FX, SFX, and Foley: Ian Gold Background Vocal FX: Bronte Araghi SFX and Foley: Pièce Eatah Writer: Miley Cyrus, Maxx Morando, Shawn Everett, Jonathan Rado, and Michael Pollack Producer: Miley Cyrus, Maxx Morando, Shawn Everett, Jonathan Rado, and Michael Pollack Engineer: by Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios (Los Angeles, CA) with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineer: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez OB-6, Prophet 5, Minimoog, Pulsar 23 & PERKONS HD-01, and Overstayer Modular Channel: Maxx Morando Synth Programming, SFX, and Foley: Shawn Everett Barr-Fox Wurlitzer Theater Organ Programming, Vibraphone, Fairlight CMI, EMS Synthi, Moog System 55, Treatments, SFX, and Foley: Jonathan Rado Saxophones and Clarinets: Henry Solomon String Programming, SFX, and Foley: Ian Gold SFX and Foley: Pièce Eatah and JC LeResche Fairlight CMI Programming, and Moog System 55 Programming: Tim Curtis Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Bass: Jules Levy and Eric Shetzen Organ: Ty Woodward Leader and Arranger: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineering: Harry Risoleo Writer: Miley Cyrus, Michael Pollack, Shawn Everett, Jonathan Rado, Bibi Bourelly, and Tobias Jesso Jr. Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, and BJ Burton Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums: Joey Waronker Bass: Pino Palladino MS 20 Bass, Acoustic Guitar, EMS Synthi, Hammond B3, CS 80, Wurlitzer 200a, Vibraphone, Electric Guitar, Tape Loops, and Treatments: Jonathan Rado Drum Programming and Ambient Sculpture: Shawn Everett Electric Guitar: Nick Zinner Violin, Transcription, Arranger, and Orchestration: Maxwell Karmazyn Violin: Adam Millstein Viola: Molly Rogers Cello: Dennis Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Motorcycle: Fabienne Grisel SFX and Foley: Ian Gold and Pièce Eatah Writer: Miley Cyrus, Maxx Morando, Michael Pollack, Shawn Everett, Brittany Howard, and Jonathan Rado Producer: Miley Cyrus, Shawn Everett, Michael Pollack, Jonathan Rado, and Maxx Morando Additional Production: Brittany Howard Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche and JC Chiam Vocal Engineer: Pièce Eatah, Shawn Everett, and Ian Gold Tape Operator: JC LeResche Drums, Bass, Electric Guitar, and PERKONS HD-01: Maxx Morando Bass: Pino Palladino MS 20, Electric Guitar, CS80, Waldorf Wave, JP 8000, Synth Programming, Clav, JP 8000, JV1080, ARP Quartet, Juno 60, and Treatments: Jonathan Rado Drum Programming, Synth Programming, and TB 303 Bass Programming: Shawn Everett Clav: Money Mark Electric Guitar: Danielle Haim Juno 60, Waldorf Wave, ARP Quartet: Michael Pollack Vocals and Electric Guitar: Brittany Howard Synth: Alec O'Hanley Syndrum and Vermona DRM-1: Jay Rudolph Writer: Miley Cyrus, Maxx Morando, Gregory Aldae Hein, Michael Pollack, Andrew Wyatt, Emile Haynie, Shawn Everett, and Jonathan Rado Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, and Maxx Morando Additional Production: Kenny Segal Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche and Nick Hodges Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drums, OB-6, and Electric Guitar: Maxx Morando Bass: Pino Palladino Omnichord and Sampler: Kenny Segal Electric Guitar: Adam Granduciel Wurlitzer 200a, Moog System 55, CS 80, Acoustic Guitar, Slide Guitar, MS 20, and Marxophone: Jonathan Rado Drum programming and MS 20 Programming: Shawn Everett Writer: Miley Cyrus, Michael Pollack, Shawn Everett, Jonathan Rado, Marie Davidson, David Dewaele, Stephen Dewaele, and Pierre Guerineau Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, and Ian Gold Engineer: Shawn Everett, Ian Gold, and Pièce Eatah Assistant Engineer: JC LeResche, Ben Miller, and Nicole Schmidt Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Strings and Organ recorded at Bandrika Studios with the Barr-Fox Wurlitzer Theater Organ 1st Assistant Engineer: Harry Risoleo 2nd Assistant Engineer: Joyie Lai and Tristan Curbishley Studio Assistant: Teo Suarez Drums: Joey Waronker and Kane Ritchotte Bass: Pino Palladino and Flea LinnDrum Programming, MPC Programming, Electric Guitar, Wurlitzer 200a, Melodic Bass, TR-808 Programming, Fairlight CMI, Moog System 55, MS 20, Elka Synthex, and ARP Quartet: Jonathan Rado LinnDrum Programming, Drum Programming, Vocoder Programming, and TB 303 Programming: Shawn Everett Wurlitzer 200a, ARP Quartet, and MS 20: Michael Pollack Cristal Baschet and Ondes Martenot: Thomas Bloch Spoken Words: Naomi Campbell Saxophone: Henry Solomon Oberheim DMX, and Synths: Alec O'Hanley Vocals: Molly Rankin Saxophone: Joseph Shabason Bass Sample: Soulwax Fairlight CMI Programming and Moog System 55 Programming: Tim Curtis TR-808 Programming: Ian Gold Violin I: Alyssa Park, Luanne Homzy, Ben Jacobson, Wynton Grant, Molly Rogers, and Andrew Kwon Violin II: Jessica Guideri, Maya Magub, Aiko Richter, Stephanie Yu, Eun Mee Ahn, and Clayton Penrose-Whitmore Viola: Luke Maurer, Zach Dellinger, Rita Andrade, and Drew Forde Cello: Jake Braun, Charlie Tyler, Caleb Vaughn-Jones, and Christine Kim Bass: Jules Levy and Eric Shetzen Organ: Ty Woodward Leader, Arranger, Transcription, and Orchestration: Maxwell Karmazyn AFM Contractor: Jules Levy - Savage Music Productions Conductor: Tim Davies Admin: Haji Goto Lead Orchestrator, Librarian, and Copyist: Niall Ferguson Orchestrator, Librarian, and Copyist: Alex Williams Barr-Fox Wurlitzer Theater Organ Engineering: Harry Risoleo Contains a sample from 'Work It (Soulwax Remix)' as performed by Marie Davidson. Written by Marie Davidson (SOCAN), David Dewaele, Stephen Dewaele, and Pierre Guerineau (SOCAN). Published by Just Isn't Music Ltd. (PRS) & Third Side Music Inc. / Strictly Confidential Rights (SABAM), admin. by Ruminating Music c/o Wixen Music Publishing, Inc. Used courtesy of Ninja Tune Records. Writer: Miley Cyrus, Gregory Aldae Hein, Michael Pollack, Maxx Morando, Max Taylor-Sheppard, Shawn Everett, Jonathan Rado, Ethan Shevin, and Ian Gold Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, Maxx Morando, Max Taylor-Sheppard, and Ethan Shevin Engineer: Shawn Everett, Ian Gold, Ivan Wayman, and Pièce Eatah Assistant Engineer: JC LeResche, Ben Miller, and JC Chiam Vocal Engineer: Pièce Eatah and Shawn Everett Tape Operator: JC LeResche Drum Machine and K2000: Maxx Morando Drums: Bob Everett and Kane Ritchotte Bass: Pino Palladino MS 20, Oberheim, Trem Synth, CS 80, Wurlitzer 200a, EMS Synthi, Electric Guitar, ARP Quartet, Lexicon Prime Time, Mellotron, Akai Filtering, Vibraphone, Acoustic Guitar, and Treatments: Jonathan Rado Yamaha Portasound: Michael Pollack Drum Machine, NF-1, K2000, and Prophet 10: Max Sheppard Drum Machine, K2000, and Prophet 10: Ethan Shevin Synth and Electric Guitar: Alec O'Hanley Minimoog: Miley Cyrus New Melody, Drum Programming, TB 303 Bass programming, TR-909 Programming, Choir Instrument, Synth Programming, SFX, and Foley: Shawn Everett Vocal Contractor: Alexander Lloyd Blake Singer: Michael Lichtenauer, David Morales, Luc Kleiner, Dermot Kiernan, Eric Lyn, and Matthew Broen Choral Coordination: Jules Levy - Savage Music Productions Arranger, Transcription, and Orchestration: Maxwell Karmazyn TB 303 Bass Programming, TR-909 Programming, Choir Instrument, Juno 106, and Wurlitzer 200a: Ian Gold Writer: Miley Cyrus, Tom Hull, and Tyler Johnson Producer: Miley Cyrus, Shawn Everett, Jonathan Rado, Michael Pollack, Kid Harpoon, and Tyler Johnson Engineer: by Shawn Everett, Ian Gold, Pièce Eatah, and Kid Harpoon Assistant Engineer: JC LeResche, Alisse Laymac, Nick Hodges, Claudia Iatalese, and JC Chiam Vocal Engineer: Kid Harpoon, Pièce Eatah, and Shawn Everett Tape Operator: JC LeResche Bass: Pino Palladino Acoustic Guitar, MS 20, Timpani, Tubular Bells, EMS Synthi, Fairlight CMI, Marxophone, and Electric Guitar: Jonathan Rado Screech Horns, Choir Programming, Guitar Programming, and String Programming: Shawn Everett Trumpets, Violins, Guitarron, Vihuela, Harp, and Acoustic Guitar: Mariachi Los Camperos Violin, Viola, Shoulder Cello, Transcription, and Orchestration: Maxwell Karmazyn Theremin: Randy George Flute, Bass Flute, Clarinet, Oboe, and Tin Whistle: Ashley Jarmack Clarinet and Bass Clarinet: John R. Walters Alto Saxophone and Baritone Saxophone: Patrick R. Posey Cristal Baschet and Ondes Martenot: Thomas Bloch Double bass, AFM Contractor: Jules Levy - Savage Music Productions Cello: Niall Taro Ferguson Sitar and Electric Sitar: Andrew Synowiec Prepared Piano: Nick Hakim Nylon String Acoustic Guitar: Brian D'Addario Drum Programming, 12 String Acoustic Guitar, and Bass: Kid Harpoon Cymbal and Bell Percussion: Ian Gold Fairlight CMI Programming: Tim Curtis Executive Producer: Miley Cyrus and Shawn Everett Mixed and Mastered by Shawn Everett at Subtle McNugget Studios (Los Angeles, CA) Mix Assistant: Ian Gold $33.00, Rough Trade Originally Appeared on Pitchfork
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3 days ago
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June Tarot Card Reading: Tarot for Each Zodiac Sign
All products featured on Teen Vogue are independently selected by Teen Vogue editors. However, when you buy something through our retail links, Condé Nast may earn an affiliate commission. Nestea06 June is a transitional month: the first 20 days are taken by the Gemini sun and spring, while the remaining 10 are marked by summer and the Cancer sun. As we ebb and flow through seasons, the cosmos changes the tune of June, allowing us to evolve and grow with the influx of new energy. What better way than a tarot card reading to help you figure out how to navigate the shifting seasons? Romantic Venus enters sensual Taurus on June 6, urging us to embrace decadence and love. Two days later, communication planet Mercury splashes into Cancer on June 8, infusing intuition and creativity with communication. Expansive Jupiter dives into Cancer, its favorite placement on June 9, making our emotions more fluid and our ideology expansive. The Strawberry Full Moon in Sagittarius on June 11 brings exciting and novel philosophies. Action planet Mars softens our approach to drama when it enters Virgo on June 17. The Sun begins to do the crabwalk when it increases into Cancer on the 20th, the same day as the seasonal shift — the Summer Solstice on the 20th ushers in the longest day of the year as summer months commence. The New Moon in Cancer on June 25 helps us begin fresh hopes and goals. Mercury leaps into Leo on the 26th, upping our rizz. Here's your tarot card reading by zodiac sign: Aww…look at you, getting reflective and sentimental this month. Since summer is in full swing, you should seek adventure with your squad. Going to an old hangout will spark memories and allow you to reminisce. You might even shed a tear by the bonfire and singing your favorite songs with your crew (thanks to this wonderful and cute jukebox speaker) will bring you closer (and make great TikTok video keepsakes). It's gonna be a hot op summer because rivalries are heating up the air! Don't let the cordial competition create issues with others. If you feel the urge to trick a peer, it's vital to pause and rethink your motives before karma gets you. Cheating has many consequences, and your actions affect you in many ways. Winning isn't worth downgrading your morals. Remember, what goes around comes around. Sometimes, it's challenging to let go of a toxic situation, no matter how hard you try. Since you always want to make others happy, you don't want to rock the boat by speaking up and drawing attention to the issue. Know that you hold the key to your happiness, so when you're ready to disengage, these sneakers are made for running. On your mark, get set, go! Onward and forward! Life is amazing. Perhaps it is too good for comfort. As a result, you're waiting for the other shoe to drop. While enjoying the first days of summer, your worries about what can happen keep you up at night. Tossing and turning in bed with nervousness is alarming and exhausting. Tools like a fidget, talking to someone you trust, and being present are helpful when feeling uneasy about the future. There is a lot of ambiguity about what you wish to pursue next. You might be feeling a tad lost in the mix and process of figuring it out. Before letting the situation get the best of you, know you're not alone. Many people in your realm are in the same boat. Self-admiration and confidence will help decision-making, so take a long look in the mirror to embrace your fabulousness. You've been crushing and opening your heart to peeps, but none have been living up to your standards. Now that you've set your sights on someone new, you should ensure they're at your level before tumbling down the rabbit hole and getting caught up in them. Set boundaries ahead of time to maintain your sense of self and to let them see that you aren't available to them 24/7. Instead of remaining still and waiting for life to happen, take charge and manifest them. If you want to head to the beach or pool for a fun adventure, pack a bag and head out with your pals for the day. Even if you go solo and meet up with your besties later, it'll be worth the effort and wait. Stop making excuses about not partaking, and do it. YOLO! Making an impression is important to you — especially when it involves settling the score with an ex to let them see what they're missing when they are out with their current boo. You want to catch their eye and stir the pot with jealousy. Therefore, an appearance must be made in an LBD. Yes, this is petty. But it'll help you get your groove back, so it's fair game. Consider whether an argument is worth your energy before inserting yourself into it. You might find that the person you're debating facts with doesn't want to hear the truth, so it may be best to walk away. Not having the last word will be annoying, so you should express yourself in your 'Burn Book.' Just keep it hidden under lock and key to ensure no one but you reads it. It feels like there are more haters than peace in your social circle. In reality, you're surrounded by mostly positivity, except for a few stragglers. You have to cut out the people who neg you and don't maintain your best interests before they do irreparable harm behind your back. Blocking out the shade by wearing a pair of sunnies offers a unique perspective on how to bring in good vibes. Loving yourself is easy because you're beautiful. Spend time bringing a smile to your face by satisfying and pleasing yourself in whatever way you see fit. Do you this month by indulging in self-gratification. You walk to the beat of your drum, so you should get off to your awesome attributes. Put on some of your favorite tunes and lay on a comfy pillow to reach maximum fulfillment. Sometimes, you have to know when to hold and fold 'em. Understand that most situations are temporary and that you should walk away from things that aren't pleasurable. Seasonal social endeavors allow you to relish the mundane. Whether watching a movie or going out for a picnic with friends, the objective is to find solace in everyday ventures. Doing so adds pep and vibrancy to your aura and energy levels. Originally Appeared on Teen Vogue
Yahoo
4 days ago
- Business
- Yahoo
Wired's editor tells me how she got 62,000 new subscribers in two weeks
News publishers weren't expecting a new "Trump Bump" in 2025 — they figured consumers had news fatigue. So how did Wired sign up 62,000 subscribers in two weeks in February? Katie Drummond, who took over Wired in 2023, explains. I write lots of depressing stories about the fate of media companies. Let's switch it up: Did you hear the one about the publisher who figured out how to find tens of thousands of new paying subscribers? That publisher is Wired, Condé Nast's tech site (and print magazine). And the strategy Wired used to find new subscribers is both super simple and very hard to pull off: Become a source for news lots of people want, and can't find anywhere else. That's the way Katie Drummond, who took over Wired in 2023, tells it. Drummond says she positioned Wired to specialize in breaking news — and then, when Donald Trump and Elon Musk joined forces after the 2024 election, she had plenty of news to break. On the one hand, that narrative makes plenty of sense. What Musk and his DOGE team tried to do to the federal bureaucracy was something we've never seen before. And Musk's chainsaw efforts affected millions of American workers and people who depend on those workers. So that's a big audience. On the other hand, lots of publications got a boost the first time Donald Trump was in office, for similar reasons. And the conventional wisdom was that it wouldn't happen again this time — news consumers were burned out on politics, and had already subscribed to everything they were going to subscribe to. So how did Drummond do it? You can hear my entire conversation with her on my Channels podcast — she's a great talker and well worth listening to in full. But you can get a sense of her strategy and tactics in this edited excerpt: Peter Kafka: In February, you guys said you'd added 62,500 subscribers in two weeks. At first I thought that number was a typo — publications just don't grow that fast. But apparently you really were. What happened? Katie Drummond: The answer is that our politics coverage — and specifically the coverage we started doing around the so-called Department of Government Efficiency and Elon Musk and his involvement in the Trump administration — drove colossal audiences to Wired. I've never seen anything like what we saw in February and March. That was where the subscription boom came from. Lots of publishers saw interest in Trump spike in 2016, 2017. But lots of wise people said media companies wouldn't see a "Trump Bump" this time around. Were you surprised to see that level of interest? We weren't expecting it. I've worked in digital media long enough to just always expect the worst, or just the status quo. Where the real surprise for me came from was that when we started covering DOGE, we started covering it really hard — like several stories a day, every single day, seven days a week, week after week. And after a week, I looked around, and was like, "where is everyone else? Why aren't other news organizations covering this?" I think that us having first-mover advantage on that story meant that for a lot of people, just out there in the world, trying to figure out what was going on, they saw Wired doing this coverage — and they looked at everybody else and sort of felt like, "where is the rest of the media on this?" A lot of the feedback we got from readers was "thank you so much for doing this coverage that nobody else seems willing to do. I'm now a subscriber." Did you feel that some of your new subscribers were doing something similar to people who subscribed to places like the Times in 2017? "You are fighting the good fight. I am signaling with my credit card that I like what you're doing. And I am against Donald Trump/Elon Musk." I think it was people looking for answers and trying to understand what is going on inside of these federal agencies: "This seems really wild and really troubling and really disturbing." Of course, we get anti-Trump sentiment in our inboxes. But it was less about anti-Trump and more, "Thank you for giving me information about what is happening inside the government of my own country. I appreciate that." On the one hand I can see why you guys would be positioned for this coverage: Elon Musk is a big tech guy; you're a tech publication. But Wired wasn't a place I would turn to to learn what's going on inside government agencies. How did you end up positioned for that? When I took the job in September 2023, I looked ahead at 2024. There was going to be a very consequential US federal election. There was also a record number of elections being held around the world. Elon Musk was not top of mind for me then. But generative AI was top of mind. Misinformation was top of mind. Everyone was worried we'd see replays of 2016, 2020, and that the platforms weren't going to be ready for it. Exactly. And the potential for more hacking and foreign interference in elections. It felt to me like, "There are so many different intersections with technology and with what we cover — we need to position ourselves now." I made a pitch to [Condé Nast] that I needed to build out a politics team. They were very receptive, very supportive. So by the end of 2023, we had that team in place. We started doing the coverage, and then midway through 2024, our focus changed when Trump was grazed in the ear by a bullet, Elon Musk endorsed him and it very quickly turned into a very different kind of story. One where we were able to bring a lot of expertise to bear around Elon Musk and the tech industry — how they think, how they operate. And with DOGE… I remember Zoe Schiffer, our director of business coverage — she wrote a book about what happened when Elon Musk bought Twitter. And she said: "This is going to be the Musk playbook — when he goes into a company, this is what he does. I think this is what we're about to see inside the federal government." So we positioned ourselves to cover it through that lens. Tesla stock is down and Elon Musk is much less visible than he was at the beginning of the year. DOGE doesn't seem to command the same kind of attention it used to. If people gave you money in February because they cared about DOGE, how do you keep them engaged in May and October? It's something that we think about and talk about all the time. The audience numbers on those stories now are not revolutionarily good — but they're still very good. And our mandate is to continue covering that as long as it is a consequential beat. We're going to stay on it. There will be more really big stories and really consequential stories to come out of what they are doing inside these agencies. But in terms of the community that we've built and all of those subscribers that we've added, now the challenge for us is to introduce them to the rest of Wired and what we have to offer. And to create new opportunities for them to really get to know Wired and get to know our journalists. So we're working on all sorts of things. We have been experimenting since late last year with livestream AMAs with Wired journalists, where subscribers can ask them questions. Thousands of people sign up and join those. This was the idea before the DOGE reporting really took off — to build Wired subscribers into more of a community and create less sort of a transactional back-and-forth. How is churn? I assume people who were signing up in February are more likely to stop subscribing than someone who's been with you for a while. Interestingly, our conversion rates are still way higher than they were last year and the year before. But our churn has gone way, way, way down. Among new subscribers, we're seeing churn rates that are vastly, vastly lower than what we were seeing in subscribers who signed up a year ago. Which is interesting. But again, it's only May. So we need to give that time. Sounds like you solved the whole thing. You solved publishing. I wake up every day assuming that I have not. Which I think is a pretty safe way to operate in 2025. Read the original article on Business Insider
Yahoo
4 days ago
- Entertainment
- Yahoo
Demi Lovato's Wedding Nails Are Not What We Expected
All products featured on Allure are independently selected by Allure editors. However, when you buy something through our retail links, Condé Nast may earn an affiliate commission. Getty Images Congratulations, Demi Lovato! The singer tied the knot with Jordan 'Jutes' Lutes on May 25 in California and looked absolutely stunning from head to toe. But one element of her wedding-day immediately look stood out as a bit of a surprise: the bridal manicure! Lovato is known for her edgy style—think lots of leather, tattoos, and sleek silhouettes. Instead of a shiny black manicure, a deep and romantic red, or gray chrome, which is what we would have predicted for Lovato's wedding set, the musician chose a classic soft, barely there polish for the big day. Lovato worked with longtime manicurist Natalie Minerva on two similar-but-not-identical sets for the wedding weekend. For the first evening, the two landed on a combination of OPI's Nail Lacquer in Passion, a sheer neutral pink, and For the Fill of It, a pro-only warm pink shade. On the wedding day, Lovato chose Pearl-Clutching Behavior, which Minerva describes as a 'softer, more milky nude.' Minerva shaped the star's nails into medium-length rounded almonds and painted a few delicate coats of color atop the nails for a sweet, whisper-light set that looked so good with Lovato's Vivienne Westwood gown and sparkling diamond ring. Minerva came prepared for the occasion with an entire lineup of nail options in a similar palette, including OPI's beloved Bubble Bath, and also gave the groom a wedding-day manicure. Many brides choose nearly naked or milky nails on their wedding day as it's a timeless look that suits a variety of bridal styles. When we polled nail pros for their favorite 2025 wedding manicure trends, they spotlighted soft matte sets, pearl-studded French manis, and all-white nails, perfect for a neutrals-with-a-twist vibe. Nude and blush-pink styles may reign supreme for walking down the aisle, but if you're more of a color person, you could also try an on-theme baby blue (as the 'something blue,' of course) or cherry red, similar to Lovato's sheer 'cherry Jello nails' from earlier this spring. Either way, you, like Lovato, will be headed for a happily ever after! More wedding beauty tips: These Natural Wedding Makeup Trends Will be Everywhere in 2025 19 Wedding Nail Ideas That Look Stunning In Photos 11 Tips for Picking a Wedding Hairstyle You'll Love Forever Now, watch Nicole Kidman revisit her best onscreen looks: Follow Allure on Instagram and TikTok, or subscribe to our newsletter to stay up to date on all things beauty. Originally Appeared on Allure
