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Chicago Tribune
2 days ago
- Entertainment
- Chicago Tribune
Today in Chicago History: Union Stock Yards close after 106 years on city's South Side
Here's a look back at what happened in the Chicago area on July 30, according to the Tribune's archives. Is an important event missing from this date? Email us. Weather records (from the National Weather Service, Chicago) 1850: Fire broke out at Rice's Theater — the city's first permanent theater near Dearborn and Randolph streets — during the second act of a performance of Vincenzo Bellini's 'La Sonnambula,' which was the first opera performed in Chicago. Theater owner John B. Rice apparently told patrons, 'Sit down. Sit down. Do you think I would permit a fire to occur in my theater?' They paused until someone else confirmed the theater was on fire. The building was totally destroyed. O'Hare International Airport: From farm to global terminal1943: The first C-54 Skymaster (then the U.S. Army's largest transport plane) built in the Douglas Aircraft factory at Orchard Place (then the world's largest cargo plane factory) took its maiden flight. 1957: Chicago-born Frank A. Crossley received U.S. patent No. 2,801,167 for titanium alloy. Though he never worked directly for NASA, Crossley's ingenuity — creating metals that were stronger than steel but much lighter — would be vital in the crafts used for space exploration, according to 'We Could Not Fail: The First African Americans in the Space Program.' Vintage Chicago Tribune: Inventions and innovations by Black ChicagoansBut before his patents were in the planning stage, the Chicago-born DuSable High School graduate completed a rare trifecta of accomplishments: He was the first African American officer in the U.S. Navy; the first person to earn a Ph.D. in metallurgical engineering at the Illinois Institute of Technology; and the first person of African ancestry in the world to earn a doctorate in the field, according to Illinois Tech. 1961: Illinois native Jerry Barber, a 5-foot-5, 135-pound, 45-year-old father of five, sank putts of 20, 40 and 60 feet on the last three greens to tie Don January and force a playoff in the PGA Championship at Olympia Fields. Barber went on to beat January in the playoff and became the oldest PGA champ at the time. 1971: The Union Stock Yards closed on the city's South Side. Called 'Union' for the seven separate stockyards that contributed to build it, the stockyards opened on Christmas Day 1865 on more than 300 acres of swamp land purchased from two-time Chicago Mayor 'Long' John Wentworth. More than 18.6 million head of cattle, hogs and sheep were marketed at its peak in 1924. A massive fire, which took out nearly 90% of the stockyards, erupted at the site in 1934. Fifty firefighters were injured in the blaze and hundreds of cattle were killed. 'Hog butcher for the world'But the stockyards had moments of glory, too. Research laboratories funded by the packers turned animal byproducts into everything from medicine to cosmetics. From 1900, there was a yearly International Live Stock Exposition as well as a 4-H Club show. In 1952, the Republicans and Democrats held their presidential nominating conventions at the International Amphitheatre, an exposition center located in the stockyards complex. All that remains of the stockyards is its gate, which includes a sculpted version of a prize-winning steer. 1974: At noon, Illinois Lottery tickets were sold for the very first time in the state at 7,500 outlets. Anyone 18 years and older could buy them from a licensed vendor (though chances of being struck by lightning were much better than winning the money). The first one was sold by John Hucko, a news vendor in the State of Illinois Building, to Gov. Dan Walker's daughter, Roberta. After almost 7.5 million tickets had been sold, the first drawing took place on Aug. 8, 1974. 1977: Chicago Bears running back and 'Kansas Comet' Gale Sayers was inducted into the Pro Football Hall of Fame. 'Reaching this point is not as great as striving to get there,' Sayers said. 'It's not enough to settle for yesterday's triumphs.' 1995: Saying he had lost 'the desire to compete at this level,' Chicago White Sox designated hitter John Kruk got a hit in his final at-bat then abruptly retired. The longtime Philadelphia Phillies player underwent surgery to remove a testicle on March 8, 1994, and was back in the lineup in the seventh game of the season. When the Phillies didn't want Kruk back in 1995, he decided to retire, but changed his mind and signed with the White Sox on May 12, 1995. After being sidelined briefly by a heel injury, Kruk returned to the lineup. Anthony Rizzo, Kris Bryant and Javier Baez — three core members of the 2016 Chicago Cubs World Series team and featured in this iconic photograph from Game 7 — were sent to other teams before Major League Baseball's trade deadline in July 2021. (Chicago Tribune)2021: Just one day after sending first baseman Anthony Rizzo to the New York Yankees, the Chicago Cubs traded Kris Bryant (San Francisco Giants), shortstop Javier Baez (to the New York Mets in exchange for prospect Pete Crow-Armstrong) and closer Craig Kimbrel (Chicago White Sox). 'I'm happy for them. But outside of the manager side, I feel like I'm losing some friends for a minute and I think that's difficult for me personally,' Cubs manager David Ross said. Subscribe to the free Vintage Chicago Tribune newsletter, join our Chicagoland history Facebook group, stay current with Today in Chicago History and follow us on Instagram for more from Chicago's past.
Winnipeg Free Press
24-07-2025
- Entertainment
- Winnipeg Free Press
Will Crutchfield's Teatro Nuovo revives Verdi's ‘Macbeth' with period instruments
NEW YORK (AP) — Verdi can be played on original instruments, too. While historically informed performances of Baroque music are not surprising, Will Crutchfield and Teatro Nuovo are using period pieces for the rarely heard initial version of 'Macbeth.' 'You wouldn't think that architecture from the mid-19th century would resemble the architecture of today,' cellist Hilary Metzger said. 'The instruments and the way they had to make music back then were very different.' 'Macbeth' and Bellini's 'La Sonnambula' were presented by Teatro Nuovo last weekend at Montclair State's Kasser Theater in New Jersey and repeated this week at New York City Center. 'La Sonnambula' will be performed Thursday. 'I feel like I'm in Scotland,' said soprano Alexandra Loutsion, the Lady Macbeth. 'Modern instruments have a sharpness to them and a pristine quality that period instruments don't.' Crutchfield, 68, was a music critic for The New York Times in the 1980s. He established Bel Canto at Caramoor in Katonah, New York, in 1997, then launched Teatro Nuovo as general and artistic director in 2018, showcasing scholarship and furnishing foundations for singers. 'I got bitten with the bug of historical recordings, and I realized very early on, oh, we think are doing traditional Italian opera nowadays but really what we call traditional means the 1950s,' he said. 'What they were doing in the 1900s was totally different, radically just night and day different from the 1950s. … and that just made me really curious. OK, if it was that different in 1910, what was happening in 1880, what was happening 1860?' Verdi emerged from Bel Canto era Crutchfield noted Bellini, Donizetti, Rossini and Verdi all were born from 1792 to 1813, and early Verdi is in the Bel Canto manner. 'The only reason we think of Verdi as belonging to another era is because he was still composing in his 80s and writing masterpieces after the others were long gone from the scene,' Crutchfield said. 'He is based on the same tradition. He learned his craft from hearing their operas.' 'Macbeth' premiered at Florence's Teatro della Pergola in 1847, just before Verdi's middle-period masterpieces. Verdi and librettist Francesco Maria Piave revised it for a run at Paris' Théâtre Lyrique in 1865 that was performed in French. The latter version, translated into Italian for Milan's Teatro alla Scala later that year, is the most common score used. Jakob Lehmann conducted the original version from the University of Chicago/Casa Ricordi critical edition. At Wednesday night's performance, Loutsion sang a high-octane 'Trionfai! Securi alfine,' a coloratura showpiece that Verdi replaced with the more dramatic 'La luce langue,' and baritone Ricardo José Rivera was menacing and mellifluous in 'Vada in fiamme,' which ended the third act and was dropped in 1865 for a duet between the Macbeths. 'The lady is a bit more unhinged in this one,' Loutsion said. 'It's basically about how she's gotten everything that she wants and she's triumphed, and nothing's going to stop them now.' Orchestra seated in early 19th century arrangement First violins were seated with backs toward the audience, facing the second violins, whose backs were to the stage. Cellos, double basses and brass were split on sides of the woodwinds in a seating Crutchfield adopted from Naples' Teatro San Carlo. 'Back in Verdi's day, the first violins were the teachers and the second violins were their students,' Metzger said. Double basses have three strings instead of four, string instruments use gut instead of metal, woodwinds are made of wood and brass have no valves. 'There's a certain clarity to it and there's a certain specificity,' chorus master Derrick Goff said. 'The English horn and the oboe sound even more plaintive to me. You can really hear the way that the composers had to write very specifically for those instruments.' An orchestra of about 53 was used for 'Macbeth' and 47 for 'Sonnambula,' accompanied by a chorus of 28, and the pitch was lower than used by modern orchestras. Men in the cast wore mostly tuxedos and women were dressed in black on a stage with a screen showing projections. Majority of money comes from donors, not ticket sales Two performances of each opera cost a total of about $1.4 million, according to general manager Cindy Marino. Ticket sales generate roughly $160,000, with the remainder raised from donors. 'We obviously want bigger choruses. We want a little bit larger orchestra,' Marino said, 'but we know financially we are trying to take it easy on increasing what we need to raise and not just jumping half a million dollars in order to grow the company.' Orchestra rehearsals started about four weeks out. The cast worked intensively on the period techniques. 'Now that I'm leaving here, I feel like I have a whole other color palette,' Loutsion said. 'The luxury of being able to dig in and all of us nerd out is awesome.'
Hamilton Spectator
24-07-2025
- Entertainment
- Hamilton Spectator
Will Crutchfield's Teatro Nuovo revives Verdi's ‘Macbeth' with period instruments
NEW YORK (AP) — Verdi can be played on original instruments, too. While historically informed performances of Baroque music are not surprising, Will Crutchfield and Teatro Nuovo are using period pieces for the rarely heard initial version of 'Macbeth.' 'You wouldn't think that architecture from the mid-19th century would resemble the architecture of today,' cellist Hilary Metzger said. 'The instruments and the way they had to make music back then were very different.' 'Macbeth' and Bellini's 'La Sonnambula' were presented by Teatro Nuovo last weekend at Montclair State's Kasser Theater in New Jersey and repeated this week at New York City Center. 'La Sonnambula' will be performed Thursday. 'I feel like I'm in Scotland,' said soprano Alexandra Loutsion, the Lady Macbeth. 'Modern instruments have a sharpness to them and a pristine quality that period instruments don't.' Crutchfield, 68, was a music critic for The New York Times in the 1980s. He established Bel Canto at Caramoor in Katonah, New York, in 1997, then launched Teatro Nuovo as general and artistic director in 2018, showcasing scholarship and furnishing foundations for singers. 'I got bitten with the bug of historical recordings, and I realized very early on, oh, we think are doing traditional Italian opera nowadays but really what we call traditional means the 1950s,' he said. 'What they were doing in the 1900s was totally different, radically just night and day different from the 1950s. ... and that just made me really curious. OK, if it was that different in 1910, what was happening in 1880, what was happening 1860?' Verdi emerged from Bel Canto era Crutchfield noted Bellini, Donizetti, Rossini and Verdi all were born from 1792 to 1813, and early Verdi is in the Bel Canto manner. 'The only reason we think of Verdi as belonging to another era is because he was still composing in his 80s and writing masterpieces after the others were long gone from the scene,' Crutchfield said. 'He is based on the same tradition. He learned his craft from hearing their operas.' 'Macbeth' premiered at Florence's Teatro della Pergola in 1847, just before Verdi's middle-period masterpieces. Verdi and librettist Francesco Maria Piave revised it for a run at Paris' Théâtre Lyrique in 1865 that was performed in French. The latter version, translated into Italian for Milan's Teatro alla Scala later that year, is the most common score used. Jakob Lehmann conducted the original version from the University of Chicago/Casa Ricordi critical edition. At Wednesday night's performance, Loutsion sang a high-octane 'Trionfai! Securi alfine,' a coloratura showpiece that Verdi replaced with the more dramatic 'La luce langue,' and baritone Ricardo José Rivera was menacing and mellifluous in 'Vada in fiamme,' which ended the third act and was dropped in 1865 for a duet between the Macbeths. 'The lady is a bit more unhinged in this one,' Loutsion said. 'It's basically about how she's gotten everything that she wants and she's triumphed, and nothing's going to stop them now.' Orchestra seated in early 19th century arrangement First violins were seated with backs toward the audience, facing the second violins, whose backs were to the stage. Cellos, double basses and brass were split on sides of the woodwinds in a seating Crutchfield adopted from Naples' Teatro San Carlo. 'Back in Verdi's day, the first violins were the teachers and the second violins were their students,' Metzger said. Double basses have three strings instead of four, string instruments use gut instead of metal, woodwinds are made of wood and brass have no valves. 'There's a certain clarity to it and there's a certain specificity,' chorus master Derrick Goff said. 'The English horn and the oboe sound even more plaintive to me. You can really hear the way that the composers had to write very specifically for those instruments.' An orchestra of about 53 was used for 'Macbeth' and 47 for 'Sonnambula,' accompanied by a chorus of 28, and the pitch was lower than used by modern orchestras. Men in the cast wore mostly tuxedos and women were dressed in black on a stage with a screen showing projections. Majority of money comes from donors, not ticket sales Two performances of each opera cost a total of about $1.4 million, according to general manager Cindy Marino. Ticket sales generate roughly $160,000, with the remainder raised from donors. 'We obviously want bigger choruses. We want a little bit larger orchestra,' Marino said, 'but we know financially we are trying to take it easy on increasing what we need to raise and not just jumping half a million dollars in order to grow the company.' Orchestra rehearsals started about four weeks out. The cast worked intensively on the period techniques. 'Now that I'm leaving here, I feel like I have a whole other color palette,' Loutsion said. 'The luxury of being able to dig in and all of us nerd out is awesome.'
Associated Press
24-07-2025
- Entertainment
- Associated Press
Will Crutchfield's Teatro Nuovo revives Verdi's 'Macbeth' with period instruments
NEW YORK (AP) — Verdi can be played on original instruments, too. While historically informed performances of Baroque music are not surprising, Will Crutchfield and Teatro Nuovo are using period pieces for the rarely heard initial version of 'Macbeth.' 'You wouldn't think that architecture from the mid-19th century would resemble the architecture of today,' cellist Hilary Metzger said. 'The instruments and the way they had to make music back then were very different.' 'Macbeth' and Bellini's 'La Sonnambula' were presented by Teatro Nuovo last weekend at Montclair State's Kasser Theater in New Jersey and repeated this week at New York City Center. 'La Sonnambula' will be performed Thursday. 'I feel like I'm in Scotland,' said soprano Alexandra Loutsion, the Lady Macbeth. 'Modern instruments have a sharpness to them and a pristine quality that period instruments don't.' Crutchfield, 68, was a music critic for The New York Times in the 1980s. He established Bel Canto at Caramoor in Katonah, New York, in 1997, then launched Teatro Nuovo as general and artistic director in 2018, showcasing scholarship and furnishing foundations for singers. 'I got bitten with the bug of historical recordings, and I realized very early on, oh, we think are doing traditional Italian opera nowadays but really what we call traditional means the 1950s,' he said. 'What they were doing in the 1900s was totally different, radically just night and day different from the 1950s. ... and that just made me really curious. OK, if it was that different in 1910, what was happening in 1880, what was happening 1860?' Verdi emerged from Bel Canto era Crutchfield noted Bellini, Donizetti, Rossini and Verdi all were born from 1792 to 1813, and early Verdi is in the Bel Canto manner. 'The only reason we think of Verdi as belonging to another era is because he was still composing in his 80s and writing masterpieces after the others were long gone from the scene,' Crutchfield said. 'He is based on the same tradition. He learned his craft from hearing their operas.' 'Macbeth' premiered at Florence's Teatro della Pergola in 1847, just before Verdi's middle-period masterpieces. Verdi and librettist Francesco Maria Piave revised it for a run at Paris' Théâtre Lyrique in 1865 that was performed in French. The latter version, translated into Italian for Milan's Teatro alla Scala later that year, is the most common score used. Jakob Lehmann conducted the original version from the University of Chicago/Casa Ricordi critical edition. At Wednesday night's performance, Loutsion sang a high-octane 'Trionfai! Securi alfine,' a coloratura showpiece that Verdi replaced with the more dramatic 'La luce langue,' and baritone Ricardo José Rivera was menacing and mellifluous in 'Vada in fiamme,' which ended the third act and was dropped in 1865 for a duet between the Macbeths. 'The lady is a bit more unhinged in this one,' Loutsion said. 'It's basically about how she's gotten everything that she wants and she's triumphed, and nothing's going to stop them now.' Orchestra seated in early 19th century arrangement First violins were seated with backs toward the audience, facing the second violins, whose backs were to the stage. Cellos, double basses and brass were split on sides of the woodwinds in a seating Crutchfield adopted from Naples' Teatro San Carlo. 'Back in Verdi's day, the first violins were the teachers and the second violins were their students,' Metzger said. Double basses have three strings instead of four, string instruments use gut instead of metal, woodwinds are made of wood and brass have no valves. 'There's a certain clarity to it and there's a certain specificity,' chorus master Derrick Goff said. 'The English horn and the oboe sound even more plaintive to me. You can really hear the way that the composers had to write very specifically for those instruments.' An orchestra of about 53 was used for 'Macbeth' and 47 for 'Sonnambula,' accompanied by a chorus of 28, and the pitch was lower than used by modern orchestras. Men in the cast wore mostly tuxedos and women were dressed in black on a stage with a screen showing projections. Majority of money comes from donors, not ticket sales Two performances of each opera cost a total of about $1.4 million, according to general manager Cindy Marino. Ticket sales generate roughly $160,000, with the remainder raised from donors. 'We obviously want bigger choruses. We want a little bit larger orchestra,' Marino said, 'but we know financially we are trying to take it easy on increasing what we need to raise and not just jumping half a million dollars in order to grow the company.' Orchestra rehearsals started about four weeks out. The cast worked intensively on the period techniques. 'Now that I'm leaving here, I feel like I have a whole other color palette,' Loutsion said. 'The luxury of being able to dig in and all of us nerd out is awesome.'
Forbes
11-04-2025
- Forbes
Luxury Travel Experts Reveal Their Ultimate Off-The-Beaten-Path Trips
Robert Reiger I love roundups. I enjoy curating them for this publication and I enjoy reading others' selections as well. However, if you follow luxury travel lists for trip suggestions, you may have noticed that certain properties appear repeatedly. While these lists are excellent starting points, there are countless under-the-radar gems that offer world-class experiences but often don't make the lists. To cut through the noise and provide fresh perspectives on must-visit destinations you might not have heard of—yet should—I reached out to three industry-recognized luxury travel professionals: Andrew Chen, Sarah Dandashy, and Scott Eddy. Each of them has a unique niche and spends most of the year traveling the globe in search of extraordinary experiences. They've shared their top three destinations that every discerning traveler should consider, along with their reasons why. Andrew Chen Chen, whose professional roots are based in luxury fashion, is a global travel expert, advisor, and founder of My Inspire Project, a luxury travel concierge and media platform, and spends 200 days a year traveling—typically staying in one region for several months before moving to the next. 'Over the years, I've personally reviewed and experienced hundreds of luxury properties—from discreet hideaways to iconic landmarks—connecting inspiring places with discerning travelers,' shares Chen over a call. When critiquing hotels, Chen tells me that it comes down to what they refer to as temperature. 'Temperature is that intangible harmony created by the space, the team, the service, and the guests they serve. You can stay at the most striking design hotel, but if the hospitality or human connection falls short, the temperature is lost—and with it, the soul of the stay.' Below are Chen's top three travel experiences. My Inspire Project 'Arriving by boat through a hidden tunnel, Passalacqua is the kind of place that makes you gasp the moment you arrive—twice,' Chen explains to me on a call. Perched above Lake Como's western shore, this 18th-century villa-turned-masterpiece reopened in 2022 after a meticulous restoration by the De Santis family. 'With Baroque and Neoclassical details echoing the grandeur of Italian aristocracy, it's no wonder luminaries like Churchill and Vincenzo Bellini once stayed here—Bellini is even said to have composed parts of La Sonnambula and Norma on-site.' The property has 24 suites with Chen pointing out that there are more staff than guests. 'Every detail, from engraved amenities to the leather-glove-wrapped remote, speaks to exquisite curation and craft,' continues Chen. Dining on property is a cinematic experience. 'An open kitchen with pastry stands at breakfast, candlelit dinners with live piano, and our favorite hidden table tucked behind shimmering curtains—the perfect setting for proposals or whispered toasts.' Chen tells me that the pool is a chic, oval jewel that rivals any scene from White Lotus, framed by striped loungers and lush gardens. 'Even the open-air gym, nestled among olive trees and blooms, feels like a private retreat. Passalacqua doesn't just redefine luxury—it elevates it into an art form, blending sensation, memory, and timeless glamour.' My Inspire Project 'Tucked deep within Jordan's Dana Biosphere Reserve, Feynan Ecolodge is a rare and grounding escape—powered by the sun, lit by candles, and rooted in Bedouin tradition designed by visionary architect, Ammar Khammash,' shares Chen. This off-the-grid sanctuary has no TVs, no outlets in guest rooms, and no electric light. 'Our room opened to a silent desert horizon, and by nightfall, we joined the team to light candles in glass jars to illuminate every staircase and corridor, transforming routine into ritual. We dined with strangers-turned-friends over a vegetarian meal, laughed, shared stories, and lingered long after the plates were cleared. Later, we lay on the rooftop under a sky thick with stars, guided through constellations as if reading an ancient map. It felt cosmic—raw, personal, unforgettable.' Chen explains to me that the soul of Feynan lies in its partnership with the local Bedouin community. 'Everyone working there is from nearby tribes who welcomed us into their rhythm. We baked Arbood bread, ground cardamom coffee, learned kohl eyeliner tricks, and walked with shepherds among goats and stone. Feynan isn't about polish—it's about presence. It reminds you that connection doesn't require luxury, just intention.' Rote Wand Gourmet Hotel In the picturesque village of Zug, lies Rote Wand Gourmet Hotel, where food isn't just savored—it's celebrated. This family-run retreat introduced fondue to the region over 60 years ago. 'Today, it's an alpine-chic design sanctuary and a beacon for culinary creativity. Owner Josef Walch, an F1 hospitality veteran and passionate gourmand, welcomed us with a smile and a simple directive, 'I hope you came hungry,'' Chen tells me. Located in the historic Schualhus, the Rote Wand Chef's Table serves multi-course culinary journeys led by distinguished Chef Julian Stieger. 'Each dish—like local sturgeon with almond and pea or crayfish with Iberico and ginger—was delivered with storytelling intimacy and paired beautifully with wines and crafted non-alcoholic pairings by wine director Dominic Lackner,' shares Chen. In Chen's opinion, Rote Wand redefines what a gourmet hotel can be. 'At Friends and Fools, a zero-waste culinary lab built into a former ski storage room, we tasted fermented asparagus, ibex with chanterelles, and bold sturgeon with kimchi and Szechuan pepper—dishes that challenged and delighted in equal measure. Each experience felt collaborative, thoughtful, and alive.' Chen continues, 'At Rote Wand, cuisine becomes the thread that ties past and future, simplicity and sophistication, chef and guest. A culinary pilgrimage in the heart of the Alps—and one of the most inventive, joyful food journeys I've ever taken.' Sarah Dandashy, also known as @askaconcierge, spends half of the year on the road. She is a hospitality and travel expert, a top travel influencer, TedX speaker, bestselling author, TV and podcast host, and has the #3 Show on Good Morning Hospitality. Dandashy has stayed in hundreds of hotels and worked as a Les Clefs d'Or concierge at some of the finest properties in Los Angeles, which she tells me gives her a unique perspective on what makes travel destinations exceptional. 'For me, it's all about the details—the service, the setting, and how it all comes together to make a stay unforgettable. When we are talking about 'off the beaten path', I am talking about personality. When properties have fun doing what they are doing something different than a big box property,' she explains. For Dandashy, it is all about the wow moments when guests feel like hotels are going above and beyond. 'Hospitality is all about thoughtfulness and that doesn't end with the guest interaction. It can be seen all throughout the property including how the blend with the local culture. It's little touches that make the experience a 'wow experience.' Below are Dandashy's top three travel suggestions. Lovango Resort + Beach Club 'One of the most unique and memorable properties I visited this past year (so nice I visited twice) was Lovango Resort + Beach Club, located on a private island just off St. John in the U.S. Virgin Islands,' Dandashy tells me over a call. 'You arrive by boat—which already gives it that White Lotus fantasy vibe—and are welcomed into an elevated eco-luxury experience that's family-owned and thoughtfully curated.' Dandashy tells me that all guest accommodations are perched on a hillside with sweeping views of the ocean and range from stylish glamping tents, breezy treehouses, and luxurious villas. 'Guests are shuttled to their accommodations by ATV, which only adds to the playful, laid-back island charm.' The property boasts a gorgeous infinity pool, a lively beach club, and a private snorkeling beach that feels like your own hidden cove.' The standout for this property according to Dandashy is the culinary program. 'The food is among the best in the USVI—so much so that locals from neighboring islands take the boat over just for dinner. And if you're a foodie, you'll want to time your visit with TASTE of Lovango, their annual signature culinary event. It's a celebrity-chef-driven experience that showcases top talent and world-class flavors in one of the most spectacular settings you can imagine.' Belmond Cap Juluca 'Cap Juluca is one of those legendary properties that lives up to—and even exceeds—the hype. Located along the white sands of Maundays Bay, this Belmond resort is the epitome of refined island elegance,' Dandashy tells me. 'What makes it truly special is its Moorish-inspired architecture—think white domed villas with arched doorways, cool stone courtyards, and lush tropical landscaping. Every detail has been designed to frame the stunning ocean views and create a sense of effortless sophistication.' Dandashy is quick to point out that while it's perfect for couples seeking serenity, it's also incredibly family friendly. 'There are activities for kids, from beach games to marine exploration, making it easy for parents to relax while their little ones are entertained. I even had client stay here and they continually remarked at how wonderful it was for the whole family.' 'The service is exceptional—warm, genuine, and intuitive,' continues Dandashy. 'Whether you're dining on the beachfront, enjoying a massage in a cabana, or simply lounging by the infinity pool, everything feels easy and elevated. Cap Juluca is more than a resort—it's a destination in of itself, and truly one of the crown jewels of the Caribbean.' Andaz Costa Rica 'This property really captures the spirit of Costa Rica—vibrant, welcoming, and deeply connected to nature. Andaz Costa Rica sits on the lush Peninsula Papagayo, surrounded by rainforest and overlooking two gorgeous bays. It's a mix of high-end design and earthy, relaxed energy that makes you feel instantly at ease,' shares Dandashy. She tells me that the accommodations are modern yet warm, with local touches that reflect Costa Rican culture. The property is ideal for wellness-oriented travelers with a world-class spa, multiple pools, and an indoor and outdoor gym. The wow factor for Dandashy is the property's culinary diversity that allows guests to experience global flavors with each restaurant telling its own cultural story. 'Ostra offers elevated Southeast Asian cuisine, and a restaurant-within-a-restaurant concept sushi bar called Perla all in a romantic setting, Chao Pescao serves creative small plates featuring twists on dishes from Latin America and the Caribbean and craft cocktails with live music, Rio Bhongo delivers local and international favorites in a relaxed atmosphere, and my favorite Meso, featuring "Mesoterranean cuisine' at their beach club restaurant. The restaurants even offer classes—one being on coffee where guests can learn all about coffee in Costa Rica. 'Whether you're hiking trails, paddleboarding in the bay, or simply enjoying fresh ceviche with a view (which I definitely did a few times), the Andaz truly delivers on the 'pura vida' promise—but with five-star polish and at rate that is more reasonable than the other resorts on the peninsula.' Scott Eddy is a perpetual globetrotter, the #15 Global Social Media Influencer for 2025, and owner of Scott Eddy Media, a creative agency that helps hospitality brands turn storytelling into a return on investment. I interviewed Eddy almost five years ago—so it was great to reconnect. Eddy sold all his belongings 12 years ago and hasn't stopped traveling since. 'As someone who's lived full-time between hotels and cruise ships for 12 years—and built a career helping luxury brands tell their story—I look at hospitality through both a guest's lens and a strategist's eye,' he explains to me over a call. Eddy's niche is what he refers to as playful luxury. 'I don't do stuffy luxury. We like to have fun luxury that is experiential,' he explains of his luxury travel sense. 'My top three picks are the places that don't just deliver service, but leave an imprint through storytelling, authenticity, and the kind of experiences that make you feel something long after you've checked out.' Tintswalo Boulders 'When you stay here, it feels like you are staying at a friend's house,' Eddy tells me. 'It's like a bed and breakfast, but a hotel.' He shares that all the food that is served on property is homemade. 'The chef goes around and asks the guests what they want to eat the night before. And the wine is ridiculous!' Eddy points out that world-renowned Stellenbosch Wineries and Vineyard are close by and that is just one example of exemplary wine served to guests. The property is intimate with only 9 rooms, each with their own charm. 'This isn't boutique as a marketing term—it's boutique in its bones. Intimate, personal, and deeply soulful. You also see penguins from your room. Not metaphorical ones, but real-life African penguins waddling past your window like it's no big deal. Literally there are everywhere. It's crazy,' Eddy excitedly shares with me. It's this proximity to nature that Eddy explains adds to the Tintswalo Boulders experience. 'This is where nature is your neighbor. 'Set on the edge of a protected beach, it's the kind of place where the wild feels close and the rest of the world feels far away—in the best possible way.' Hana-Maui Resort 'This is the place to disconnect to reconnect. With no TVs or clocks in the rooms, it's a true escape. Time slows down in Hāna—and that's the point,' Eddy tells me. Hana-Maui Resort is located on famed Hana Road, a 64-mile stretch of winding road along Maui's coast and overlooks Hana Bay. 'It is located on the opposite side of Lahaina and was not affected by the fires.' The resort sits on a cliff of lava rock situated on 75-acres with 75 guest rooms. 'This resort is very quiet. You feel like you are in the jungle.' Eddy explains to me that this resort delivers an authentic Hawaii experience steeped in cultural roots. 'The resort honors Hawaiian tradition with intention, from its staff to its storytelling. It's not a 'Hawaiian theme'—it's the real deal. All the music and art throughout is Hawaiian and there are multiple generations of family members working on the property, which makes for a unique experience. And the food is tremendous—like home cooking with Hawaiian traditions.' What Eddy thinks makes this property really stand out is the front-row seat to nature's majesty. 'You get cliffside views, untamed beaches, and the soundtrack of crashing waves. At night, you sleep with the doors open and all you hear are the waves and the birds. Time stops when you are at this resort. It's not curated, it's raw, and it's unforgettable.' Finolhu Baa Atoll Maldives 'Finolhu Baa Atoll Maldives isn't your typical stuffy Maldives luxury. Yes, they have over the water bungalows like you would expect. But everything is on another level including the food and service, but it's playful,' shares Eddy. 'It's five-star, yes—but with a barefoot, bohemian soul. Think beach bubble tents, live DJs on the sand, and color everywhere. It's one of the most design-forward resorts in the Maldives.' There is a huge sandbar that guests can walk from the main property to a restaurant. 'You can walk barefoot and not have to put your shoes back on until departure,' adds Eddy. On the walk over, Eddy tells me that you will see baby black tipped sharks. 'They are everywhere and can get quite huge. Seeing the sharks is ridiculously awesome. From the over the water villa, the ocean is your aquarium. You'll see sharks, stingrays, and a variety of colorful fish.' In the end, Eddy tells me that the best part of the experience at Finolhu Is that it provides moments of feeling like a kid again. 'Whether it's watching stingrays under the boardwalk or dancing barefoot under the stars, it brings you back to joy—pure and simple.'
