
Pizzeria Sei was just named the country's second-best pizza joint
Two other Southern California pizzerias also made 50 Top Pizza's annual USA list: Nardò in Huntington Beach (which also has a satellite location in Culver City), ranked 24th in the nation, and Dana Point's Truly Pizza, which came in at No. 9 and thus made the top 10. Both Pizzeria Sei and Truly Pizza were also recently recognized at the international Best Pizza Awards. To determine its regional rankings—a recent ranking also dropped for all of Europe —the 50 Top Pizza judges use anonymous inspectors to sample pizzerias across the globe in search of high-quality dough, toppings, service and overall experience.
While a national guide naturally isn't as competitive as an international list of rankings, it's still pretty darn difficult to receive recognition in a country full of unique regional pizza styles. We're talking New Haven-style, Detroit-style, Chicago-style and, of course, New York-style. On that note, the top spot on the list went to Una Pizza Napoletana in New York City. Once again, congratulations to Pizzeria Sei, Truly Pizza and Nardò!
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The Independent
an hour ago
- The Independent
These are the top fashion trends of Wimbledon this year
Wimbledon 's spectator fashion has transformed into a bold spectacle this year, moving away from traditional understated elegance. Model and presenter Leomie Anderson, Clearpay's fashion expert, says there has been a significant shift and attendees are now treating the event as a major style moment. Broderie anglaise, floppy hats and butter-yellow fabric are all top fashion trends this year. Celebrities at this year's tournament have been seen expertly blending personal style with traditional Wimbledon elements, like nods to tennis whites and strawberries and cream. Notable celebrity outfits include Olivia Rodrigo 's vintage Ralph Lauren, Cate Blanchett 's tailored suit and Rebel Wilson 's pink broderie anglaise dress.


The Guardian
2 hours ago
- The Guardian
Heaven must be like this: D'Angelo's greatest songs – ranked!
For an artist no one could describe as prolific, D'Angelo has contributed a surprising number of exclusive songs to films. Good songs too, as evidenced by this, from the Space Jam soundtrack: a fine, funky, faintly Stevie Wonder-ish, mid-tempo example of his initial retro-yet-somehow-modern approach to soul. Questlove compared D'Angelo's third album Black Messiah to the Beach Boys' Smile. More people heard Sly and the Family Stone's There's a Riot Goin' On in its murky, moody sound, but Another Life was a relatively bright closer, a lovely hybrid of vintage Chicago and Philadelphia soul, decorated with sitar. D'Angelo is better known as a songwriter than an interpreter of others' material, but – quite aside from demonstrating his exquisite taste in vintage soul – his version of the Ohio Players' 1974 slow jam is magnificent: live-sounding, respectful, but not too cowed by the original to prevent the singer injecting his own identity. D'Angelo's debut was the album for which the term neosoul was literally invented (as a marketing tool), but it offered more than merely harking back to a golden era. Alright is resolutely a product of the mid-90s – the harmonies are lush, but they're set against a crackly sampled rhythm and subjected to dub-like echo. D'Angelo made his love for Prince explicit early on – covering She's Always in My Hair – and his spirit hangs over The Charade, both melodically and in its hybrid rock-influenced style. But the sound is too smeared, distorted and strange to count as homage; its lyrics about the 'systematic maze' of racism are glowering and powerful. D'Angelo's second album Voodoo took four years to make. Collaborator Questlove described the sessions as a 'left of centre Black music renaissance', but there's a potent note-to-self quality about The Line's lyrics, as if D'Angelo is urging himself to get the album done: 'I'm gonna stick to my guns, I'm gonna put my finger on the trigger, I'm gonna pull it'. The most recent D'Angelo track – released seven years ago! – was brooding, atmospheric and produced by U2 collaborator Daniel Lanois. It's understated but fabulous, carrying a hint of swampy New Orleans soul in its rhythm. If he can come up with something this good for a video game soundtrack, what might a fourth album sound like? Inspired by the birth of D'Angelo's son – and co-written with his then-partner, the late Angie Stone – Africa meditates on fatherhood and Black consciousness. It's resolute lyrically but low-key, introspective and somehow fragile musically, its electric piano sounding fractured over the rumbling funk of Questlove's drums. The overall effect is really moving. The perfect example of what one critic called the 'controlled chaos' of Black Messiah with funk so slippery the constituent elements feel as if they're on the verge of sliding out of sync entirely. D'Angelo laments the state of the world in falsetto: 'Tragedy flows unbound and there's no place to run.' The loverman side of Voodoo later gave D'Angelo pause – he was deeply uncomfortable with his sex-symbol status – but it's pretty irresistible on this cliche-free slow jam. The vocals are reverb-free and mixed forward, as if he's singing very close to you, the music moves drowsily along, the whole thing sounds like it's dripping with sweat. From the opening torrent of dextrous jazz guitar to the bumping hip-hop beat (from Chubb Rock's 1992 track The Big Man) via the meandering keyboard lines that suggest a band jamming live and the fine, but unshowy vocal, Smooth defines the new route for R&B laid out on D'Angelo's debut. It's also just a great song. If Black Messiah is the 21st-century There's a Riot Goin' On, maybe Sugah Daddy is its goofy Spaced Cowboy moment, its Princely lubriciousness undercut by its quirky tap-dancing rhythm, sudden key changes and warped swing-era evoking horns and backing vocals. The main piano and bass groove, meanwhile, is utterly, joyfully contagious. A collaboration with producer DJ Premier (who originally intended its beat to go to fleetingly famous rapper Canibus), Devil's Pie is also liberally sprinkled with magic by an uncredited J Dilla. Its attack on hip-hop materialism is stripped-back, bass-heavy and strafed with vintage electronics (sampled from Pierre Henry). Idiosyncratic and marvellous. The great D'Angelo cover. Smokey Robinson's original 1979 quiet-storm-classic is an incredible track but this version might be even better: a touch faster, a little more raw, the lush orchestration set over echoey funk. And D'Angelo's unruffled falsetto may be the best vocal he's ever recorded. Around Voodoo's release, D'Angelo described modern R&B as 'a joke'. The ensuing album was his alternative, 'the natural progression of soul', a description that fits Send It On perfectly: over the sample loops and elastic bass, the lovely song at its centre could easily have been sung by Otis Redding or Sam Cooke. When it comes to D'Angelo's biggest hit, take your pick from the original – a slow jam with a killer bassline courtesy of Raphael Saadiq – or the DJ Premier mix which is more hip-hop facing, with a guest verse from Nas-affiliated rapper AZ. Both are superb, carrying a faint undercurrent of darkness alongside declarations of love. At the heart of Voodoo's sound is incredible, virtuosic live-in-the-studio playing by D'Angelo and his fellow Soulquarians. It never sounds more incredible than the intricate, writhing groove of Spanish Joint: constantly shifting, always funky, the perfect backdrop for D'Angelo's vocals (and the Afrobeat-influenced horns) to glide around. A slow-burning dream of a song, its gorgeous, cyclical melody stunningly orchestrated and decorated with flamenco guitar: an arrangement so imaginative it makes you realise how unimaginative most pop arrangements are. The mush-mouthed vocal adds an odd sense of intimacy, as if you're hearing D'Angelo singing to himself. Untitled's video was simple – a naked D'Angelo singing direct to camera – and perhaps too effective. Subsequent attention from female fans disconcerted the singer into derailing his own career. But the song itself is amazing, a rule-breaking Prince-inspired bedroom ballad that slowly builds to an astonishing psychedelic climax. D'Angelo's catalogue might be slender, but it's rich, so much so that it feels almost unfair to pick his debut single as his best song. Doing so doesn't imply that it was all downhill from there – all of his albums are equally good – but there's no getting around the fact that Brown Sugar is a spectacularly great track. An ode to marijuana disguised as a love song, you could work out the real meaning just from its heady sound – like mid-70s Roy Ayers in a fog of smoke, plus snapping beats, ultra-cool organ, disorientating murmuring voices and a vocal with the rhythm of a rapper's flow.


The Independent
2 hours ago
- The Independent
The best dressed at Wimbledon and the trends they served
Once again, at this year's Wimbledon tournament, the only thing distracting from the tennis is the court-side style. 'Wimbledon has turned the stands into a catwalk, and I am here for it,' says model and presenter Leomie Anderson, who is covering Wimbledon as Clearpay's fashion expert this season. If recent years saw guests erring on the side of safe – quiet luxury defined by demure dresses, boxy blazers and the occasional fascinator – 2025 has shifted gear. 'There's a real shift happening,' Anderson explains, 'people used to play it safe with blazers, midi dresses, the usual suspects. But this year, the crowd is serving. It's like everyone got the memo that Wimbledon is just as much a style moment as it is a sport.' And the stats back her up. Broderie anglaise is booming – with maxi dresses up 147%, skirts up 33% – hats are having a high-fashion renaissance with floppy styles up 99%, and butter-yellow is surging according to Clearpay. The best celebrity looks managed to balance their personality with a playful nod to the tournament's stereotypes – from Wimbledon whites to strawberries and cream. 'There's something powerful about its simplicity, the traditions – the setting, the subtlety,' says Anderson. 'People know they have to bring their A-game.' Here are some of the best-dressed celebrities at the tournament so far and how they aced Wimbledon style. Olivia Rodrigo A masterstroke in edging up tradition, singer Olivia Rodrigo, 22, wore a red gingham shirt dress by Ralph Lauren from the spring/summer 2000 archive – a playful nod to Wimbledon's iconic strawberries and cream. Her boyfriend, Louis Partridge, 22, coordinated in a red striped tie and navy blazer. Following her headlining performance at Glastonbury Festival on Sunday, Rodrigo managed to nail the elusive balance of British heritage and Gen Z irreverence. Anna and Michael Murray Also sticking to Wimble classics was retail tycoon and CEO of Frasers Group, Michael Murray, who went traditional in a linen white suit, a cream Panama and brown suede loafers. His wife Anna wore the print of the season in a tulle black and white polka dot midi dress, with black suede pumps and black leather Birkin. Cate Blanchett Actress Cate Blanchett, 56, stood out on Centre Court in a pearlescent Prince of Wales check suit by Giorgio Armani. Sharply tailored but soft in palette, it was a classic Blanchett power move, turning heads without the noise. 'Cate's baby blue tartan suit was effortless and elegant,' Anderson puts it, 'that classic tailoring is signature Cate cool.' Leslie Mann Wimbledon whites are a fail-safe style to sport year after year. While they run the risk of becoming repetitive and – dare I say – boring; when styled right with interesting cuts, whites can be as elegant as ever. Actress Leslie Mann, 53, appeared on day three in an ivory Dior bar jacket and delicate lace skirt. The look was reminiscent of the Princess of Wales recent Self Portrait ensemble at the Order of the Garter in June. David Beckham One thing more certain than spotting a cream Panama hat in the Wimbledon stands is spotting David Beckham. The 50-year-old former footballer once again brought off-court elegance in a cream silk-linen suit from his own Boss collaboration, finished with a chocolate brown tie. The only fashion blunder was plaster cast on his right arm – though even that couldn't detract from his summer suiting credentials. Dominic Cooper Unlike Beckham, 47 year-old actor Dominic Cooper opted out of the classic Wimbledon look and sported a bright powder blue suit with matching trainers. 'I'm seeing bold colour choices […] and people leaning into what makes their style unique,' says Anderson of the look. Cooper reminded us that co-ordination doesn't have to mean stiff – and tonal can be a statement when done right. Tom Daley Dusky teal was Olympic diver Tom Daley's shade of choice – cool and contemporary and a refreshing break from Wimbledon white. Daley, 31, paired the Paul Smith suit with a Christian Louboutin clutch and a Chopard watch. Judy Murray Mother to former Wimbledon champion Sir Andy Murray, Judy Murray chose a sunshine-yellow Me+Em dress with white platform trainers. The cheerful dress was bang on trend, with butter yellow emerging as the summer's sleeper hit. Murray, 65, wasn't the only celebrity to sport the shade, '[actor] Omari Douglas's all-yellow outfit too […] is exactly the kind of energy the tournament needs,' says Anderson. Sarah Lancashire and Peter Salmon Happy Valley star Sarah Lancashire joined Mann in Wimbledon whites, wearing an embroidered cream dress and linen blazer. Joined by television producer Peter Salmon in a deep blue suit, the pair delivered a Wimbledon-appropriate palette that played within the lines without looking predictable. Rebel Wilson One of Anderson's favourite looks of the tournament: Rebel Wilson's pink broderie anglaise Temperley London dress. 'Broderie is having a major moment […] Rebel Wilson in that pink broderie anglaise dress on Day 1 was perfection,' says Anderson. The actress finished the look with a neutral pair of Gianvito Rossi sandals. Alexander Armstrong Pointless star Alexander Armstrong, 55, made a strong case for colour in a royal blue linen suit in the Royal Box. An understated yet eye-catching alternative to classic navy, Armstrong's look was just the right kind of bold for a Wimbledon box seat. Eddie Redmayne and Hannah Bagshawe Actor Eddie Redmayne, 43, kept things clean in a classic cream linen suit, while his wife Hannah, 42, dialled up the impact in a red polka-dot Alessandra Rich shirt dress.