Nike Adds Gum Outsoles to the Total 90 III 'Pink Foam'
Name:Nike Total 90 III 'Pink Foam'SKU:IH4964-663Colorway:Pink Foam/Gum Light Brown-White-BlackRetail Price:$100 USDRelease Date:Summer 2025Retailers:Nike.com
Nikehas debuted theTotal 90 IIIin 'Pink Foam.'
The retro silhouette arrives with patent leather uppers in a bright pink hue. Black swooshes on the panel, quilted toeboxes and heel, as well as the black circular 90 emblem on the medial offer soft hits of contrasts. Additional branding lands on the insoles, and the Total 90 III ankle and tongue tag logos. The soccer-inspired shoe then rests on a pink midsole and complementing gum outsole, while pink laces tie them together for a neat finish.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Newsweek
6 hours ago
- Newsweek
Woman Returns to Dog Left Home Alone—What She Finds Leaves Her Sobbing
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A 5-month-old puppy with a case of separation anxiety left an owner sobbing in horror with what she discovered after returning home. Shanna White, also known on TikTok as @theregoshan1, has a red-nosed pit bull and German shepherd mix puppy named Ja'Dioree Scarlett, whom she's owned since the dog was only 5 weeks old. Ja'Dioree Scarlett, like many dogs, experiences separation anxiety when alone. Dogs with separation anxiety become extremely stressed and anxious, often causing them to become destructive. However, White said her puppy has never shown signs of being stressed while home alone. Ja'Dioree Scarlett never ruined the house. But White recently came home to a surprising scene after being gone for about an hour. She returned home to discover seemingly every last inch of the place destroyed. The blinds were chewed off. Items were thrown around. Pee on the bed. It became a headache for White after she was already under a lot of stress. She said this situation made it "worse." In her June 17 TikTok video, White walked around her home revealing more and more damage. She wrote in the caption that her pup "ate" her home. She cried in disbelief, wondering what had happened to her house after leaving it pristine and her pup calmly relaxing. "I know she has separation anxiety, but I didn't know she was that smart to open my room door," White said. "The only thing going through my mind was my house and how would I pay for all of it." Screenshots from a June 17 TikTok video of a 5-month-old pit bull and German shepherd mix puppy innocently behaving while owner was home. Screenshots from a June 17 TikTok video of a 5-month-old pit bull and German shepherd mix puppy innocently behaving while owner was home. @theregoshan1/TikTok Within three days of posting, the TikTok video reached over 1.2 million views and 105,000 likes. Viewers were left speechless over this dog's "field day." "She had a funky good time," wrote one person. Another added: "Peeing on my bed would've sent me over the edge." However, several users flooded the comment section with their concerns about this pup's behavior. They ridiculed the owner: "I blame you cause why you left that toddler out." Pet parents are often divided on whether or not to crate train. Proponents argue crates provide dogs a safe space to go when they're feeling stressed, scared or tired. It keeps them out of trouble. But others will say it creates unwanted emotional stress, especially when left for extended periods of time. Do you have funny and adorable videos or pictures of your pet you want to share? Send them to life@ with some details about your best friend, and they could appear in our Pet of the Week lineup.
Boston Globe
8 hours ago
- Boston Globe
Vicki Goldberg dies at 88; saw photography through a literary lens
'Goldberg,' she added, 'brought a broad education, insatiable curiosity, and relentless ambition to her work. She showed us that photography was part of our social and cultural landscape.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Ms. Goldberg had a windfall in the case of Bourke-White. In 1973, two years after the photojournalist's death, 8,000 of her photographs and other artifacts were discovered under a stairway in her house in Darien, Conn. Bourke-White had burned most of her diaries, Ms. Goldberg told The New York Times in 1986, but had 'saved everything but the Kleenex,' including menus, receipts, and Time Inc. memo pads. On one pad she'd written, 'Should I marry Erskine Caldwell?' (She and the novelist had a brief and stormy marriage.) Advertisement Ms. Goldberg pored over the trove for an article in New York Magazine and soon embarked on her Bourke-White biography. Advertisement Bourke-White was America's first female photographer to be accredited to cover World War II, a swashbuckling personage who worked for Fortune and then Life magazines. She shot Nazi rallies, and, in agonizing images, the liberation of Buchenwald in Germany. She flew in a Flying Fortress bomber to get shots of a raid on Tunis, Tunisia. She photographed a smug-looking Josef Stalin. Away from the war, she perched on a gargoyle atop the Chrysler Building in Manhattan to photograph its twin and made perhaps what is the most famous portrait of Mahatma Gandhi, sitting cross-legged with his spinning wheel. Ms. Goldberg captured her contradictions. As an ambitious photojournalist, Bourke-White was wily, opportunistic, and courageous, but she was also manipulative, doing whatever it took to get her shot, including crying on cue. Writing in The New York Times Book Review, Timothy Foote, a former foreign correspondent for Life magazine, called Ms. Goldberg's biography 'an intricate and provocative portrait, as revealing as fiction, part 'Great Gatsby,' say, part 'I'll Take Manhattan.'' Ms. Goldberg's scholarship was rigorous and her knowledge expansive. Yet as a critic for the Times, where she was a regular contributor during the 1990s, her tone was light and often slightly bemused. When Madonna's much-ballyhooed 'Sex' book appeared in 1992, wrapped in Mylar, like a condom, Ms. Goldberg had this to say: 'This must be the most gorgeously, even lavishly, produced piece of junk food since Midas tried to sneak a potato chip and found his touch had turned it to gold.' In 1997, she wrote about Irving Penn, the celebrated Vogue photographer. 'Penn has spent over half a century wielding a camera against the most implacable enemies: disorder, imperfection, the distracting natural world, mortality. He has not exactly come to terms with any of these but erected what barriers he could -- a stringent sense of order to fend off chaos, a fierce devotion to a kind of photographic purity, a stripped-down sense of isolation to counter the world's insistent clutter.' Advertisement Victoria Hesse Liebson was born on July 24, 1936, in St. Louis to Alice (Schwarz) and Louis Liebson, a shoe company executive. She earned a bachelor of arts at Wellesley College in 1958. A year earlier, she had married David Goldberg, a banker. After the couple moved to New York City, Ms. Goldberg worked as a publishing assistant at Simon & Schuster and began pursuing a doctorate in art history at the Institute of Fine Arts at New York University. She didn't get around to defending her thesis, however; instead, she went to work as an editor for American Photographer magazine when it was launched in 1978. In addition to her son Eric, she leaves another son, Jeremy, and six grandchildren. She and David Goldberg divorced in 1973. Another marriage, to Loring Eutemey, a graphic designer and illustrator, also ended in divorce. Her third husband, Laurence Young, a professor emeritus of astronautics at the Massachusetts Institute of Technology, died in 2021. She lived in Waterville Valley, N.H., before moving to the Manhattan assisted living facility. Ms. Goldberg was a frequent lecturer on photography and the author or editor of a number of books, including 'Photography in Print: Writing From 1816 to the Present' (1981), a collection of essays by photographers such as Alfred Stieglitz and critics Charles Baudelaire and Susan Sontag. Advertisement Another book by Ms. Goldberg, 'The Power of Photography: How Photographs Changed Our Lives' (1991), is a lively history of the medium and its cultural impact, from daguerreotype to X-rays, moon shots, and Photoshop. Even back in 1991, Ms. Goldberg cautioned readers about the tricky nature of photography, writing, 'We could end up being more copiously supplied with news and less concerned, as well as less willing to believe the reports, than any society in history.' She added, 'These photographs walked into our lives and in some way managed to change them. So it seems appropriate to ask the questions one would ask any intruder: How did you get in? And what are you doing here anyway?' This article originally appeared in
Yahoo
9 hours ago
- Yahoo
‘Golden Girls' Creatives Spill the Tea on Bitter Feud Between Betty White and Bea Arthur — and Making a Classic Anyway
Creatives behind The Golden Girls shared funny and, at times, very candid behind-the-scenes stories — namely, among the long-rumored feud between stars Betty White and Bea Arthur — during a 40th-anniversary celebration of the long-running hit show on Wednesday night. The sold-out event, held at NeueHouse Hollywood as part of the monthlong Pride LIVE! Hollywood festival, featured a panel of writers, producers and others who worked on the show, which ran for seven seasons on NBC, from 1985-92. The series, created by Susan Harris, starred Bea Arthur as Dorothy Zbornak, Betty White as Rose Nylund, Rue McClanahan as Blanche Devereaux and Estelle Getty as Sophia Petrillo. (The Hollywood Reporter is the presenting media sponsor of Pride LIVE! Hollywood.) More from The Hollywood Reporter K-pop Star Bain is Ready to Open a New Chapter Following Historic Coming Out: "I Can Finally Be Free" The 'Wizard of Oz' of Gay Erotica OUTtv: They're Here, They're Queer, They're Canadian! Co-producer Marsha Posner Williams brought up a topic that has been much-discussed and speculated on: whether Arthur and White got along in real life. 'When that red light was on [and the show was filming], there were no more professional people than those women, but when the red light was off, those two couldn't warm up to each other if they were cremated together,' she quipped. Arthur 'used to call me at home and say, 'I just ran into that c' — meaning White, using the c-word — 'at the grocery store. I'm gonna write her a letter,' and I said, 'Bea, just get over it for crying out loud. Just get past it.'' In fact, the panelists shared that Arthur called White the c-word more than once. 'I remember, my husband and I went over to Bea's house a couple of times for dinner. Within 30 seconds of walking in the door, the c-word came out,' Williams said, and Thurm noted that he heard Arthur call White that word as well while sitting next to her on a flight. It's a story he shared a few years ago on a podcast and then got surprised at the internet's response over his revelation. The panelists differed on their theories about why the two didn't get along. Co-producer Jim Vallely thought it was because White got a lot more applause during cast introductions ahead of tapings, but Williams shot that down, noting that Arthur hated doing publicity and came from a different background (theatrical) than White (television). 'The show would have continued after seven years,' she shared. 'Their contracts were up and … the executives went to the ladies, and Estelle said, 'Yes, let's keep going,' and Rue said, 'Yes let's keep going,' and Betty said, 'Yes, let's keep going.' And Bea said 'no fucking way,' and that's why that show didn't continue. … And Betty would break character in the middle of the show [and talk to the live audience], and Bea hated that.' Script supervisor Isabel Omero remembered it differently, noting that the two used to walk 'arm in arm' to get notes together after the first of two tapings. Williams joked that was in case they were walking across the lot and a golf cart got out of control, suggesting that one of them might push the other in front of it. Casting director Joel Thurm was there from the beginning for the casting of all four leading ladies. He shared that Brandon Tartikoff, then-head of NBC Entertainment, originally did not want Arthur in the show, but Harris was dead-set on her, having previously worked with the actress on Maude (she wrote several episodes, including the legendary abortion episode). Thurm said Tartikoff's resistance to casting Arthur had to do with her low Q scores in likability. '[This] created a big problem, but I never knew how dug in Susan was, because I just wasn't in the room where those kind of discussions happened,' he shared. 'So my job, according to Brandon, was to find someone that Susan would be happy with instead of Bea Arthur. I should have realized that she wouldn't have been happy with anybody besides Bea, but I was too naive, and I thought, 'Oh, I have someone. Her name is Elaine Stritch. She has the same acidic quality, you know, stare at you and give you the same thing that Bea does.'' Thurm shared that when Stritch came in for her audition, 'None of the people associated with Golden Girls wanted her. So this woman had to walk into a freezer of an office and try to make it funny. Stritch asked Susan one thing, it was something like, 'Is it OK if I change something?' And Susan said, 'Yes, only the punctuation.' There was no love in that room. I felt so sorry for poor Stritch because she wasn't her fault. She didn't do anything. And had I known that, that Susan was immovable on this, I wouldn't have done what I did and then try to find somebody else.' Williams, however, shared a different view of Stritch. 'I want to just say that I worked on a pilot, and Elaine Stritch was a guest star for one day,' she chimed in. 'Before the day was half over, we were calling her 'Elaine Bitch.'' Meanwhile, Getty, who was then an unknown actress, came in to her audition and nailed it: 'She did her homework and prepared for the part,' Thurm said, noting she was the first one of the four leads to be cast. Incidentally, Cher was supposed to guest-star in the episode focusing on the death of Sophia's son, playing his wife, but she never replied to the offer, and Brenda Vaccaro was cast instead. The event kicked off with a highlights reel of some of the show's LGBTQ moments, including Blanche's brother coming out as gay, Sophia's coming to terms with her cross-dressing son and a politician's revelation that he was transgender. But behind the scenes, things weren't so progressive, shared writer Stan Zimmerman. 'People have to remember back then, we were told by a representatives to stay in the closet, so nobody knew we were gay,' he shared. 'Our first day on the set, we noticed Estelle come running towards us, and she's like … 'I know. Your secret's safe with me. You're one of us.' I thought she meant Jewish,' he quipped. 'But she meant gay. She wasn't gay, but she was probably the first ally ever.' Zimmerman added that he was telling his co-workers how he had bought some vintage sweaters at a garage sale one day, and they told him to 'go home and burn those sweaters because it was probably somebody that died of AIDS. … That was the climate then.' I know you see all these progressive scenes and you think, 'Oh, it was one big gay party there,' but we couldn't be who we really were.' Omero, who came out as transgender in 2019, shared that she was in the closet for all seven seasons of the show. She said that one day, Arthur offered to give her an Indian sari that she had picked up on a trip. 'In my closeted, panicked, paranoid brain, all I knew is that at that moment Bea Arthur was offering me a dress to wear around the house, and I wish I had been in a place where I could have said something, to even accept the gift without ever using it, just so I could express something to someone. But fear and shame is a big thing,' Omero said. Asked why The Golden Girls tackled so many different LGBTQ issues, Vallely replied: 'I think it's because we knew … we had a gay audience. They would play [the show] in [gay] bars across the country. … It was a big deal for middle America to see these women embrace the gay culture.' The panel, which also featured story editor Rick Copp and was moderated by New York Times bestselling author Jim Colucci (Golden Girls Forever), ended with a highlights package of cut scenes from the pilot, which originally featured a live-in gay housekeeper and cook named Coco, who was played by Charles Levin. The character was cut from the show because Sophia — initially meant to be a recurring character — was so popular that they made Getty a regular; unfortunately for Levin, that meant another character had to be cut. Among those in the audience were actress Deena Freeman, who played Dorothy's daughter Kate in an episode of the show, and production designer Michael Hynes. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
