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Ciara Describes Her Style on the Out of This World Tour As “Tomboy Chic on Steroids”

The R&B queen takes us behind the scenes of her Los Angeles summer shows with Missy Elliott

It would be safe to describe the onstage experience on Ciara’s tour with Missy Elliott and Busta Rhymes as “leveled up.”

“While it was nonstop, back-to-back moments, it all worked out seamlessly. It was a true definition of organized chaos, and I dream of nights like that—it’s so invigorating,” Ciara tells Harper’s Bazaar in an exclusive interview. “I got to do a live performance on national TV honoring my friend Serena , and then right after that, to go and perform at one of the most iconic areas in the world … it doesn’t get any better.”

The Out of This World tour, of course, is an experience that has been years in the making, especially for Ciara and Elliott. Their collaborations—like “1, 2 Step” and “Lose Control” —are among the most timeless entries in the R&B and hip-hop canon, but the two women have never been able to take their individual catalogs on the road together.

“It is truly so exciting to be on the road with Missy and Busta. This has been a longtime dream come true for me, because Missy and I always talk about performing together, and some of the biggest songs we’ve had in our careers we share together,” Ciara says. She adds: “I always thought that Busta is one of the best performers in hip-hop, so the combination of all of us together is nonstop energy for our fans—so you gotta bring a towel because you’re definitely gonna sweat a little!” She laughs. “It’s important to me that my fans have the time of their lives and walk away with an experience they’ll never forget.”

For the 24-stop tour, Ciara worked with her longtime stylist Marni Senofonte to conceptualize her wardrobe, which includes standout pieces like leather chaps, crystal-encrusted bodysuits, and a larger-than-life crown fit for a reigning queen of R&B.

“Marni and I have been together for at least 15 years, and what I love about Marni is I think she is truly special and one of the rare breeds of the stylist world. She really gets me, which makes things really easy in the process,” the singer says. “It allows us to have the most creative fun, because we are pretty much always on the same page. I was so excited to have Marni help me with this tour, because this is where we thrive the best and have the most fun when coming up with ideas, and I know she is going to always help me bring my vision to life.”

For Senofonte, Ciara’s onstage looks are meant to evoke a more luxuriously low-key energy.

“The overall inspiration for Ciara’s tour wardrobe was, quite simply, Ciara herself,” Senofonte says. “Having worked with CiCi for over 15 years, I delved into our extensive history together, reflecting on the evolution of her style since the Goodies era, marking its 20th anniversary. The mood board was sexy, tomboy, high fashion, supermodel, gully-ish, Atlanta, Paris, supermodel. Ladies and gentleman—her! Ha!”

She continues: “Our goal, which was always the constant, was to merge streetwear with high fashion, ensuring every fit was not only fire, but athletically functional. We have a couple of key pieces that become their own characters in the show, the fitted crown being my fave! Basically, we aimed to create the ultimate anti-costume costume—fits that fans would want to wear to the very concert they were attending.”

Ciara similarly describes her tour style as “tomboy chic on steroids.”

“‘Tomboy sexy’ is always the theme I typically go for, because that’s really who I am. I wanted to make sure that I captured the essence of that, but also making sure that my looks were really strong for the stage, especially being under the lights,” she says. “It’s also important to me that there is drama at every angle, every turn. For example: having a cape, but making it big enough so that it can create a really beautiful picture—that drama just adds more to the performance.”

Bringing the drama to the stage was an essential for Ciara when she began plotting out the creative elements of the show.

“I truly believe I am going another level up with my lights and stage presentation, and I wanted to be very intentional with my creative vision,” she says. “It’s a very lights-driven show, and I have a very unique stage with this lighting panel that is really one of a kind. I have to give a lot of thanks to the Squared Division for showing this amazing concept to me, because I fell in love with it right away. I knew we were going to have something that is really truly special.”

Planning the tour also took Ciara back to some formative concerts, courtesy of the musical greats she’s witnessed over the years.

“I remember watching shows on DVD like Michael Jackson in Bucharest, [Romania], on the Dangerous tour — that was one of the most inspiring tours to watch. Also, tours like Madonna’s Blond Ambition and Janet [Jackson]’s Velvet Rope tour have been so inspiring,” she says. “To me, artists like them are the epitome of what truly performing is and how you give the best stage presentation.”

The tour is also serving as a family affair, with Ciara’s husband, Pittsburgh Steelers quarterback Russell Wilson, and their children joining her to take the show on the road.

“Having my family and my babies with me brings me the greatest joy and comfort. I don’t know how I would get through a tour like this without having them with me—I think I would go crazy,” she says. “It brings me peace knowing that they are here with me, but also they are having so much fun and they get to see Mommy in full action in my element, so that they can understand what Mom is doing when she has to go and travel, and when I say ‘Mommy is working.’ And what’s been really sweet is that they really love my show, and they are also inspired by it.”

According to the singer, her children love to give her positive feedback after every show—and join in on the dancing.

“Seeing my daughter Sienna come back and try to emulate my dance moves from stage, to seeing [older son] Future come back to tell me things he loved … moments like when I say, ‘Oh, I wish I could have done this part better,’ and Future will say, ‘Mommy, you did a great job and you were so beautiful.’ It’s so cute and it feels so good,” she says. “To see my little baby Win jump around because he loves the energy of the show is so special—he has his own perspective of the show, even though he is three years old, just about to turn four. Then to have my little baby, Amora, have so much fun with her siblings while watching Mommy—it fills my heart up with so much joy and love. It’s the best feeling to have their support. It’s chaos, but good chaos.”

Bianca Betancourt is the culture editor at HarpersBAZAAR.com , where she covers all things film, TV, music, and more. When she's not writing, she loves impulsively baking a batch of cookies, re-listening to the same early-2000s pop playlist, and stalking Mariah Carey's Twitter feed. 

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Tiger Woods struggles to opening-round 79 at The Open Championship

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Outside projected cut line into Friday at Royal Troon

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Tiger Woods showed glimpes of promise Thursday at The 152nd Open Championship, but he failed to maintain a rhythm in any facet. The result was a frustrating 8-over 79 at Royal Troon, well outside the projected cut line into Friday's second round on the Scottish coast.

"I didn't do a lot of things right today," Woods said afterward. "I didn't hit my irons very close, and I didn't give myself a whole lot of looks today. I need to shoot something in the mid-60s tomorrow to get something going on the weekend."

Woods, 48, began Thursday's opening round with a flourish, making two straight pars followed by a birdie from just off the green at the par-4 third, punctuated with a subtle yet hearty fist pump. He was in red numbers on a breezy Thursday and poised for an ascent toward the top of the leaderboard. Or so it seemed. The three-time Open champion played his next five holes in 5 over, including a double bogey at the par-3 fifth that included a pitch-out sideways from a pot bunker, and he turned in 4-over 40. His back nine featured just one more birdie (the par-4 13th), which came after a double bogey-bogey stretch on Nos. 11 and 12. Woods closed with consecutive bogeys on Nos. 17 and 18 for an 8-over 79, playing alongside Xander Schauffele (69) and Patrick Cantlay (73) at Royal Troon.

Dan Brown opened in 6-under 65 on Thursday afternoon, putting Woods a distant 14 strokes off the lead. Woods ranked slightly above field average Thursday off the tee and around the green, but he lost more than two strokes to the field in both approach play and putting, ranking near the bottom of the field in both categories.

This marks the first year in which Woods has competed in all four majors since suffering severe injuries to both legs in a 2021 car crash. He made the cut at the Masters, finishing 60th, but missed the cut at the PGA Championship at Valhalla and U.S. Open at Pinehurst No. 2. The 15-time major champion will likely need something in the 60s on Friday to earn weekend tee times in his 95th career major-championship appearance.

Woods admits that his physical condition isn't what it once was, but he strongly believes that he can still contend for major titles under the right conditions. After an uneven Thursday at Royal Troon, contention will likely have to wait another year. He'll look to ascend inside the cut line Friday on the Scottish coast, where he played his first Open as a pro in 1997 (finishing T24) and also competed in 2004 (finishing T9). The top 70 and ties will make the 36-hole cut at The Open.

"I'm physically feeling a lot better than I did at the beginning of the year," Woods said. "At the end of last year, it was tough, and I haven't played a whole lot. I think that, as the year has gone on, I have gotten better. I just wish I could have played a little bit more, but I've been saving it for the majors just in case I do something pretty major and then take myself out of it. Hopefully next year will be a little bit better than this year."

Read below for updates on how Woods' opening round unfolded at The 152nd Open Championship.

2:50 p.m. ET: Woods' finish is the epitome of his day. After a well-placed drive down the middle at the par-4 18th, his 172-yard approach releases just over the back of the green, leaving a slippery 35-footer from the back fringe. His birdie attempt slides past to leave a 6-footer for par, which he misses on the right side, a theme of the day. Woods taps in for bogey and a disheartening round of 8-over 79. He'll need something special Friday morning in order to play the weekend at Royal Troon.

2:30 p.m. ET: It's more misfortune for Woods at the long par-3 17th hole, as his tee shot releases down the green's left side and funnels off into the second cut of rough. He's unable to do much with his pitch shot, as the ball checks up 37 feet short of the hole, and his par putt rolls on a good line but has too much pace; it hits the hole, pops up and races 6 feet past. Woods composes himself to convert the bogey putt, but he falls to 7 over for the day with one hole remaining.

2:20 p.m. ET: It's an adventurous par-5 16th hole for Woods, but he comes away with a scrambling par.

Woods flushes his tee shot down the middle, leaving a 277-yard second shot where he can give the green a go, but he pushes it well right to leave a gnarly third shot from thick rough. He can't advance it to the green, and the ball kicks into a pot bunker. The 82-time TOUR winner, though, displays his generational short-game prowess with a smooth up-and-down, as he blasts to 4 feet and converts for par. He remains 6 over for the day with two holes to play.

1:55 p.m. ET: Woods is precise with a tee shot down the middle at the par-4 15th, and he plays a safe 157-yard approach to the green's left side, leaving a 28-foot birdie try. His birdie putt moves across the hole and misses on the left side; he cleans up his par from 4 feet past. Woods remains 6 over through 15 holes Thursday at Royal Troon.

1:40 p.m. ET: His playing partners Xander Schauffele and Patrick Cantlay miss the green at the long par-3 14th and make bogey, while Woods plays a proper iron to the green's right side and two-putts for par from 34 feet. Woods remains at 6 over with four holes to play in the opening round. Several variables will change regarding Friday's eventual cut line (top 70 and ties), but Data Golf currently projects 5 over as the likeliest cut line (35.5%), with 6 over the next likeliest (31.6%).

1:24 p.m. ET: Woods has a bright moment at the par-4 13th, as he smokes a drive 330 yards down the fairway's left side to leave an inviting approach from 133 yards. He takes advantage with a crisp short iron to 7 feet, and he converts the birdie putt for his second circle of the day. He returns to 6 over through 13 holes, with visions of more birdies down the stretch to claw back a bit.

1:10 p.m. ET: Woods is properly positioned off the tee at the par-4 12th, but he tugs his second shot into dense rough left of the green. His pitch shot settles 24 feet short of the hole, and his par putt is on line but lips out hard on the left side. He makes bogey, falling to 7 over through 12 holes. The 15-time major winner drifts further from the projected cut line and might need to scrap just to break 80 on this Thursday.

12:55 p.m. ET: After a lengthy wait at the nasty par-4 11th, known for the railway line that parallels the hole, Woods pushes his shot into a thick bush right of the fairway, requiring him to take an unplayable lie. He drops and plays his third shot to 37 yards short of the hole, in the fairway, but he can't get up-and-down as he misses a 12-foot bogey try on the right side. Pushed putts are becoming a troubling theme for Woods on this Thursday, and the ball striking hasn't been strong enough to compensate. He falls to 6 over through 11 holes.

It's a tough day for all at Royal Troon, but Woods' showing so far is less than desirable.

12:20 p.m. ET: Woods makes an easy par at the par-4 10th, smoking a drive to nearly the end of the fairway and playing a safe 133-yard approach to 25 feet. His birdie attempt tracks toward the hole but stops just a few rotations short of the cup. He taps in for par, a satisfactory start to his second nine. He remains 4 over for the day.

12:05 p.m. ET: Woods stops the bleeding at the mid-length par-4 ninth, playing a safe approach to just short of the green and getting up-and-down from 24 yards by converting a 4-footer for par.

It's a 4-over 40 for Woods on the opening nine at Royal Troon, not an ideal result after a promising start at 1 under through three. He turns to the second nine at Royal Troon's out-and-back design, looking to crawl a bit closer to level par and to clubhouse leader Justin Thomas (3-under 68).

11:48 a.m. ET: Woods' front nine is slowly descending from bad to worse, as his tee shot at the famed "Postage Stamp" short par-3 eighth careens off a slope just off the green's right side and kicks into thick rough. He has no choice but to play his second shot well right of the hole to avoid pot bunkers; it funnels off a slope to leave a closer par putt from 14 feet, but it misses on the right side. Woods is now 4 over through eight holes at Royal Troon, a distant seven strokes back of leader Justin Thomas. It's way too early to think about the cut line, but Woods is not trending in the correct direction at the moment.

11:35 a.m. ET: Things are getting bleak fast for Woods, who has a reasonable 15-foot birdie try from just off the par-4 seventh green's left side but races it 6 feet by. He can't convert the par putt; it's another bogey for the three-time Open champion. He's now 3 over for the day, and he has played his last four holes in 4 over. It's a summer day on the Scottish coast, but it could easily be confused for a rainy fall afternoon, and Woods' score is aligned with that gloomy vibe.

11:20 a.m. ET: Woods gets back on track at the par-5 sixth, playing three smart shots to leave a mid-range birdie try. He can't convert but makes a routine par to stay at 2 over for the day.

10:55 a.m. ET: Woods slightly tugs a long iron at the long par-3 fifth, but it catches a nasty pot bunker that requires him to chip out sideways. His third shot is no picnic either, requiring a flop shot back over the bunker that he does well to stop 10 feet past the hole. The bogey putt narrowly misses on the right edge, and it's a discouraging double bogey for Woods. He falls to 2 over through five holes. A promising start has turned sour in the blink of an eye.

10:43 a.m. ET: Woods' first miscue of the day comes at the par-5 fourth hole, and it comes despite a well-placed driver down the middle and a proper layup to leave a 125-yard approach for his third. He tugs that approach to the green's left side, leaving a cross-country 62-footer for birdie which he races 8 feet by. His par putt burns the edge, and it's a bogey on Royal Troon's second easiest hole of the day, a frustrating square on the scorecard. Woods is back to even par through four holes.

10:21 a.m. ET: Woods is a tactician, splitting the fairway on the short par-4 third hole with a fairway metal, leaving 149 yards to the hole. He plays an aggressive second shot toward the middle-left hole location, but it settles in the fairway just beyond the green, leaving a 35-foot birdie effort.

It's vintage Woods from there, as he delivers an early highlight-reel moment at Royal Troon. He selects putter from the fringe and starts the ball well right of the hole; it breaks perfectly down the slope and drops into the cup. Birdie for Woods, who delivers a subtle yet hearty fist pump. He's in red figures, 1 under through three holes. Game on.

Tiger Woods drains long birdie putt from off the green at The Open

10:10 a.m. ET: Woods tugs his tee shot into thick rough left of the fairway at the short par-4 second, but he plays a sublime second shot from 177 yards that narrowly carries a front greenside bunker and safely settles 60 feet left of the hole. He two-putts for his second straight par to begin the opening round at Royal Troon.

Tiger Woods opens with par at The Open

9:51 a.m. ET: Tiger Woods is underway at The 152nd Open, sporting a black cap, grey sweater and black neck warmer in his Sun Day Red branding. He selects fairway metal off the tee at the par-4 first and finds the first cut of rough just off the fairway's right side, leaving 166 yards to the hole. He plays a smart iron to the green's front portion and two-putts for par, a fine start to this tricky Thursday at Royal Troon.

Kevin Prise is an associate editor for the PGA TOUR. He is on a lifelong quest to break 80 on a course that exceeds 6,000 yards and to see the Buffalo Bills win a Super Bowl. Follow Kevin Prise on Twitter .

Carlos Vives on His Colombian Identity and Bringing Vallenato to the Pop Spotlight: ‘My Greatest Act of Rebellion’

Carlos Vives, the Latin Recording Academy's person of the year, gets his flowers for ushering in the traditional music of his native Colombia.

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Carlos Vives stops himself in mid-sentence and apologizes. He chokes up, overcome by a rush of the same raw, vulnerable emotion that informs his anthemic songs. Tears stream down his face — but they’re tears of joy or, at the very least, of sweet vindication.

“I never expected anything,” the charismatic singer and thoughtful songwriter says over Zoom from an unassuming, cozy space somewhere in his native Colombia. In the background, bookshelves are filled with novels, family photos and one of his many awards.

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It was 1993 when Vives burst into the scene with “La Gota Fría” — a raucous vallenato nugget from 1938 that he transformed into a Latin pop mega-hit by preserving the fiery spirit of the original while updating its instrumentation with a rock ’n’ roll sensibility.

An accordion-heavy folk genre from the Caribbean region of Colombia, vallenato was the kind of provincial song format some upper-class Latinos would consider coarse and inappropriate — much like tango in Argentina or bachata in the Dominican Republic. But the former soap opera actor’s TV-star charisma and the virtuoso chops of his band — including accordion player Egidio Cuadrado and Mayte Montero on the gaita, a flute-like instrument with the textural sensibility of Andean music — suddenly put the band’s fusion on the global map.

Songs like “La Gota Fría” and “Fruta Fresca” — a rollicking 1999 hit about the folly of romantic love, with Vives comparing a kiss from his beloved to the taste of fresh fruit — bypassed the usual pathways of Colombian music to mainstream success: frothy erotic salsa, bouncy cumbia vibes or Anglo-influenced pop. Instead, it followed the country roads that led to the roots — and subverted the perceived identity of these rustic formats by daring to compare them with rock.

“That was my greatest act of rebellion — introducing Colombian vallenato as our own brand of rock ’n’ roll.” Vives says. “People told me that it wasn’t rock, but it was. Your brand of rock may be from Liverpool. Mine belongs here, in my land. I grew up close to my parents’ friends, who came from the provinces. That is why my first band was called La Provincia. Those people were from the villages close to Santa Marta, where vallenato was born. Humble people, who had very little in terms of material possessions, but were incredibly brilliant about the art of music and seduction, using words to express their feelings. They were my guiding light.”

Vives’ undisputed masterpiece, “El Amor de Mi Tierra,” came out in 1999. “It’s one of my most complete albums,” he agrees. “In this never-ending search of mine, sometimes I got things right, and sometimes I didn’t.”

In later years, his songs became smoother and more accessible without losing an ounce of soul. “Vives” (2017) included duets with pop stars like Thalía and Sebastián Yatra, but its most popular and notable song was “La Bicicleta,” a duet with Shakira that blended vallenato passion with a percolating reggaetón beat.

But then, “Suddenly the sounds that were considered cool changed, and people were bidding farewell to all of us from the old guard,” he laughs in reference to the rise of urbano sounds in Latin music during the 2010s. “It was like, ‘adiós, amigos, adiós. People enjoy other things now,’ which I found very suspicious, because when I listened to the new sounds, there was a specific entry point where I could connect them with my own thing. The foundation of my songs is so primal that it can survive as part of any new format. At its core, the origin of reggaetón and Latin trap are associated with cumbia. It becomes a struggle about not allowing our heritage to fade away. We value the sources; they provide a never-ending source of nourishment.”

Vives’ crusade to safeguard those cultural roots also informs his humanitarian activities. Founded in 2015, his Tras la Perla (After the Pearl) foundation promotes the sustainable development of his native Santa Marta.

“A few years ago, my career assumed an additional meaning,” he says. “I knew that I would eventually find the real reason why I sing my songs. Now I can offer relief to the ecological disasters that affected this amazingly beautiful corner of the Caribbean, where people from all over the world come to visit, even though the region has been marred by tragedy.”

Vives’ latest project involves the production of a documentary that follows him as he returns to the landscapes of his youth. It is scheduled to be released next year.

“I’m still struggling to find a title for it,” he says. “You will get to see my land, meet its people, and I’m sure you will like everything you see.”

He adds with a smile: “I’m not a virtuoso musician, and I often failed to find clarity in my musical direction. That said, I was always clear about the direction of my heart. It was my homeland, and it never stopped calling me back.”

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e-mail: [email protected] [email protected]

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PINTURAS BELLAS

lunes, 31 de octubre de 2016

Natalia tour.

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