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Home > Travel > Transport > Tour Operators > Delhi Tour Operators > Sehgal Tourist ® - New Delhi

Sehgal Tourist ®, New Delhi Photos

Sehgal Tourist ® - New Delhi

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Sehgal Travels & Transport Karol Bagh Delhi

• Sunday - Saturday : 7 AM - 9 PM
• (Lunch: 07:00 PM - 10:00 PM )
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 Sehgal Tourist Transport, has a reputation in tourist trade for over 30 Years. We have been serving National & International Tourist Since 1982.

Amanpreet Singh Sehgal

1018 , Arya Samaj Road, Karol Bagh, Delhi - 110005

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Hii all, Sehgal Travels and Transport offers best service for travelling in all over delhi and in india and also offer the great and affordable package it provide you best facility with saftey and punctuality and efficiency along with their services .:) :)<br/>

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Sehgal Tourist, Delhi

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Sehgal Tourist

Sunday open from 09:00 AM to 07:00 PM

Sehgal Tourist is a tour agency located in New Delhi, Delhi. The average rating of this place is 3.00 out of 5 stars based on 41 reviews. The street address of this place is SHOP NO.2 18, 1018, Arya Samaj Rd, Block 28C, Nai Walan, Karol Bagh, New Delhi, Delhi, 110005, India. It is about 1.23 kilometers away from the Sadar Bazar railway station.

Ramanjeet kaur Sehgal 8 months ago They have the best coaches and buses in Delhi at an reasonable rate with a helpful driver.

Subhojeet Kar 12 months ago I booked buses for an event for two days each day two buses of 40 seats.. buses were really nice clean and seats and everything was great.. also in affordable prices must consider.

Satyam Verma 18 months ago Worst driver Suresh and company owner. Ye log sirf gali and illicit word kahte hai..if you belong to south then his driver say you madrasi..if you are up Bihar then he will say bihari.. his driver is illiterate and rude. He will not stop bus if ladies or gents gets natural call. He only says bad words. Don't go to this company.

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NO PICTURES, PLEASE: THE ART OF TINO SEHGAL

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SO YOU WALK INTO THE TOP FLOOR of the Institute of Contemporary Arts in London to see This objective of that object , 2004, by Tino Sehgal, a British-born artist based in Berlin. There are five people standing around the galleries with their backs turned to you, simultaneously whispering, “The objective of this work is to be the object of a discussion.” Their voices get louder as they chant the sentence several times. A silence ensues. If you approach them, they wander off to the nearest wall, avoiding face-to-face contact. If nobody speaks, they wilt and collapse onto the floor. If, like me, you want some answers about this quasi-cultish assembly, you start asking questions. Related IN CONVERSATION: DANIEL BUREN AND OLAFUR ELIASSON TINO SEHGAL: AN INTERVIEW

The performer in front of me declares, “The visitor has asked a question!”

“It is a question we have been asked before!” trumps his neighbor.

“Who will answer?” they cry in unison.

Oh God, why did I utter such a knee-jerk inanity? Another visitor chips in more thoughtfully, “Is there a difference between being an object of discussion and being a subject of discussion?”

“A visitor has asked another question!”

“Who will answer?!”

They begin a long, increasingly abstract discussion about the nature of objectivity and subjectivity. You get the feeling they’ve been through this routine before.

Eleven days later I return to the ICA and the mood is quite different. The five “interpreters,” as Sehgal prefers to call them, are mouthy student types overkeen to inflict their inconsequential declamations on the viewer. Their tone is less oracular and more aggressive. You can barely get a word in edgewise, and the whole experience is maddening. There is an overwhelming sense of exclusion, even of intimidation: They are locked in their own ritual, with their own system of rules, and for all the talk of “discussion” you can’t penetrate their circle. I was disappointed. The first visit felt better—but was that simply because it fulfilled certain desires and expectations that I harbor for such an intervention? Was it even possible to make a value judgment about these two experiences, inasmuch as the very structure of the piece refuses any notion of an ideal “performance”? (Indeed, Sehgal dislikes the very word “performance” for its connotations of achievement and prefers—actually, he insists—that his works be referred to as “sculptures,” “installations,” “situations,” or simply “pieces.”)

Also on view at the ICA was a reprise of Sehgal’s first work, Instead of allowing some thing to rise up to your face dancing bruce and dan and other things , 2000, which featured a single interpreter writhing on the floor in an empty gallery, intermittently incorporating movements from Dan Graham’s dual-screen Super-8 projection Roll , 1970, and Bruce Nauman’s videos Tony Sinking into the Floor, Face Up and Face Down and Elke Allowing the Floor to Rise Up over Her, Face Up (both 1973). These sorts of art-historical references crop up throughout Sehgal’s oeuvre. If you didn’t get them, you’d be forgiven for taking his work to be a pitifully thin parody of all that’s embarrassing in contemporary art: gallery guards singing ( This is propaganda , 2002), thrashing their arms about in circles while jumping from one leg to the other ( This is good , 2001), or falling to the floor in a trance and reciting a summary of the press statement ( This exhibition , 2004) and works that feature interpretations of his own back catalogue—by two children ( This is right , 2003) and by his Belgian gallerist Jan Mot ( Le Plein , 2003). Such abbreviated descriptions of the works convey a slight and painfully self-referential practice, but the experience of seeing them is always richer and more complex: They are considered and concise, compelling to watch, and give back as much as you’re willing to put in. Most of Sehgal’s pieces involve selected participants “interpreting,” or “playing,” a set of instructions. He has himself appeared in only one work, which goes under different titles according to where it’s enacted; here he dances for fifty-five minutes in the style of twenty dance aesthetics of the twentieth century.

I first came across Sehgal’s work last year in the Wrong Gallery’s stand at the Frieze Art Fair in London. This is right , 2003, featured two confident children commanding the empty white space to describe a selection of works by Sehgal that were available for purchase. They demonstrated the pieces and told us the title, date, edition number, and price; every now and then they flashed a bit of art-critical terminology. To see these children mouthing jargon they didn’t understand gave me shudders of pleasurable horror; it was a fascinating car crash of a work and stood out a mile in the polite context of a fair marked by coded transactions and stealthy one-upmanship. Children selling art— This is right? At Art Basel last year, Sehgal spiked the art fair once more: This is competition , 2004, was created for the two galleries that represent him, Jan Mot, in Brussels, and Johnen + Schöttle, in Cologne. Stationed side by side in the same stall, the galleries’ representatives were permitted to say only one word at a time and were thus forced to collaborate in order to form sentences to discuss the work.

Sehgal studied dance and economics in Essen and Berlin, and in most readings of his output—some twenty pieces to date—much has been made of this unusual training. The ostensible motor behind these deceptively simple works is the desire for a regime of total immateriality. To this end he obsessively constructs a polished, impregnable closed system—protected by curators, gallerists, and press officers—in which the work evades documentation at all stages. No photographs of the pieces may be taken or reproduced; no catalogues or press releases may be printed; and no paperwork may accompany the buying and selling of a piece (which must be done by oral contract in the presence of a notary and, often, the artist himself). Thus Sehgal extends the late-’60s logic of the dematerialized art object to the work’s certification and circulation as well. The weakest link in this conceptual fortress would seem to be the critic who commits the work to paper. Most discussions around Sehgal’s work have therefore addressed his idea of “deproduction” (the possibility of simultaneously making and not making something) in this conjunction of theater and instruction-based conceptualism. Even so, one can’t help but note that the more determined the artist is to enforce a media blackout around his work, the more energy he invests in frustrating its reproduction, the more “buzz” he creates for himself and, therefore, the more press his work generates. (Talk about viral marketing!)

But what does it mean to produce an immaterial, undocumented, non-documentable work today? Unlike those Fluxus artists who made instruction pieces to expand the field of authorship (George Maciunas, Yoko Ono, George Brecht), and unlike the first generation of Conceptual artists, for whom dematerialization was a way to subvert the work of art’s relationship to the market and museum (Robert Barry, Douglas Huebler, Lawrence Weiner), Sehgal has no such desire for circumvention. 1 If anything, he seems overly keen on participating in both museum and market, creating different types of work for each: Pieces for private collectors are interpreted by the collector, while those for public institutions are interpreted by paid (though nonprofessional) actors. The museum seems to be the primary goal, because it is there that the artist’s strategies can best wreak havoc on our systems of acquisition and conservation. Rather than being a repository of material objects, the museum is, for Sehgal, a place where one may influence discourse in the future perfect tense: “This will have been the past.” It remains to be seen what long-term impact Sehgal’s work will have on museum infrastructure, if any: Will oral conservation eat the works into oblivion? With an ever-expanding body of work and the constant circulation of curatorial staff, one can easily envisage the gradual deterioration of his ideas over time: information carried in the bodies of curators and “interpreters” but entropically subject to variation, lapsus, forgetfulness, and the progressive degradations of meaning exemplified in kid’s games like “Chinese whispers” or “telephone.”

Sehgal is surely aware of the perils of contrived obstruction. (How many people remember Maria Nordman, the ’70s installation artist who refused to do interviews or allow her work to be photographed?) What may save him is the seductiveness of his work’s stylishly absurd clash with the environment of its display. In this he is typical of his generation, adopting short, snappy modes of entertainment rather than direct critique. Only for an instant was it surprising to find that Sehgal selected Jeff Koons’s Hippo , 1999, for the 2004 ICA exhibition “Artists’ Favourites,” accompanied by the following text:

Koons [may] effectively be the only truly leftist artist. . . . Ideally his work transforms the museum into a place where a person of so-called lower culture feels good, understood, seduced and, above all, is not alienated. As my own agenda is not necessarily a leftist one, what interests me in Koons’ work is that it is neither about alienation nor does it explicitly criticise alienation: it simply tries not to alienate the viewer. . . . Koons is beyond critique and, without giving up a sense of reflection, has consequently entered the realm of seduction .

Sehgal’s words are rhetorically forceful but also misleading. Perhaps he hopes to find a parallel between his own work and that of Koons, but if so, he misunderstands both. Although Koons seems to be an artist who sets out to please Everyman, appreciation of his work increases in direct proportion to our awareness of the layers of irony, complicity, and faux dumbing down that pervade his practice. What Sehgal admires in Koons is the way he manages to play the fool to the art world’s king, tossing out insults yet gaining its favor—not unlike Maurizio Cattelan, who also treads a fine line between pandering and aggression (and whose Wrong Gallery, one recalls, commissioned This is right for its booth at the Frieze Art Fair). But there are important differences: If Koons’s target was the museum and collector (persuading them to buy kitsch), then Cattelan’s is the dealer and collector. Sehgal in turn provokes the new player of the ’90s: the curator. This is propaganda carried such force at the 2003 Venice Biennale because it indexically referenced the extreme example of overbearing curatorial presence in which it was embedded—“Utopia Station.”

Of course, it is possible to enjoy Sehgal’s interventions as small gallery-based performances (again the artist would object to my use of the word), but they depend on our familiarity with a complex set of art-historical references: task-based performance and the convergence of dance and Conceptualism in the ’60s and ’70s, the exhaustion of institutional critique (Michael Asher in particular springs to mind), and an overfamiliarity with the conventions of exhibition display. Dan Graham is a frequent reference point: One of Sehgal’s works for private collectors that has not yet been purchased and thus not enacted is Alteration to a Suburban Household (an obvious allusion to Graham’s 1978 maquette Alteration to a Suburban House ), in which a couple agree to mirror—or rather invert—each other’s habitual roles and mannerisms whenever receiving a guest. Like Graham, Sehgal invokes the past as a corrective to the eternal “present” of marketed experience:

My point is that dance as well as singing—as traditional artistic media—could be a paradigm for another mode of production which stresses transformation of acts instead of transformation of material, continuous involvement of the present with the past in creating further presents instead of an orientation towards eternity, and simultaneity of production and deproduction instead of economics of growth . 2

This desire for an ongoing experience of “further presents” may be one reason why Sehgal refers to his works as “sculptures” rather than performances. Unlike most exhibitions with a live-art component, Sehgal’s works are present in the gallery space all day every day for the duration of the show. But these pieces are also resolutely theatrical in providing viewers with a specific and intensely subjective encounter, a fact that is reflected in the writing on his work to date (for the most part, descriptive anecdotes like the one that began this essay) and in the work’s ability to generate orally disseminated narratives. While documentation of these experiences is crucial to an understanding of Sehgal’s practice, there is more at stake here. The performance and our experience of it are not the sum total of the work or its end: They are also pretexts for a meditation on dissemination (the role of oral history and rumor) and interpretation. Although Sehgal rehearses his pieces with each actor, they are experienced in radically different ways according to who enacts them (and, of course, who observes them). Instead of allowing some thing to rise up to your face dancing bruce and dan and other things , for example, was unexpectedly moving when performed at the ICA by an older man and unsettlingly erotic when interpreted by a girl. The self-reflexive loops of Sehgal’s “sculptures,” in which the title, date, and courtesy line are enunciated as part of the piece (e.g., “Tino Sehgal, This is propaganda , 2002, Courtesy Gallery Jan Mot”), provide an ironic metacommentary on the fetish value of art and the rituals that accompany its dissemination. The spoken “this” refers to the player’s own performance, Sehgal’s work, other works of art surrounding it, and the whole exhibition situation in which it finds itself. The deictic “This is . . . ” allows the work to allude reflexively to contemporary art in a way that is absent in other recent acts of delegated performance, such as Roman Ondák’s discreet Good Feelings in Good Times , 2003/2004 (a queue of ten to thirty people in an arbitrary location) or Pawel Althamer’s Motion Picture , 2000 (actors hired to perform ordinary actions at the same time in the same place each day). In the overt stupidity of the gestures Sehgal requires of his actors (lifting their arms in the air in This is good , or falling over and burbling a synopsis of the show’s press release in This exhibition ), art is presented as a system of esoteric rules that people obey with cultlike devotion.

It is worth paying closer attention to Sehgal’s aspiration to a “simultaneity of production and deproduction instead of economics of growth.” It is clear that what is being deproduced in his practice is the materiality of the art object; but what is being produced? Gesture—and here it may be worth recalling Giorgio Agamben’s claim in Means Without End (2000) that gesture is the purest form of politics (and also of intellectual activity). The present article, far from being the weakest link in Sehgal’s conceptual fortress, may indeed be immanent to the work: a production that stands for and encircles the objective of his practice. Sehgal’s pieces are at their most poignant in situations where the ecosystem of the art world is most evident: art fairs (think of This is competition at Art Basel) and large group shows (“Utopia Station”), where they function as mischievous insertions into ideological circuits of the market and the not-for-profit cultural institution alike. Such an ecosystem could extend to the art magazine: this page of words amid and against Artforum ’s visual overload, the activity of thinking by writer and reader, this object of his objective.

Claire Bishop is a London-based critic.

1. In an artist’s statement published in the catalogue to the group show “I promise it’s political” at the Museum Ludwig, Cologne, in 2002, Sehgal wrote: “I consider communism and capitalism as two versions of the same model of economy, which only differ in their ideas about distribution. This model would be: the transformation of material or—to use another word—the transformation of ‘nature’ into supply goods in order to decrease supply shortage and to diminish the threats of nature, both of course in order to enhance the quality of life. Both the appearance of excess supply in western societies in the 20th century, as well as of mankind’s endangering of the specific disposition of ‘nature’ in which human life seems possible, question the hegemony of this mode of production, in which the objecthood of visual art is profoundly inclined.”

2. Tino Sehgal, untitled statement in I promise it’s political , (Cologne: Museum Ludwig, 2002). Much of Graham’s performance and installation work of the ’70s involved a critical reassessment of Minimalism, whose insistence on individual presence he argued, took insufficient consideration of the “just-past.”

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• Quality of service 4 out of 5 rating 4.0
• Response time 4 out of 5 rating 4.0
• Professionalism 4 out of 5 rating 4.0
• Value 4 out of 5 rating 4.0
• Flexibility 4 out of 5 rating 4.0

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Photoshop your vacation: Turn lackluster photos into picture-perfect memories with Generative Fill

Your recent vacation was one of the best experiences of your entire life. Now you’re ready to revisit those vibes by flipping through your photos.

Uh oh! It turns out that some of your pictures turned out less than perfect — maybe there’s a seagull photobomb in a family portrait, or a stray cloud made its way across an otherwise blue, sunny sky.

Luckily, there’s a way to fix that: You can use Adobe Photoshop and the Generative Fill/Expand function to remove unwanted objects or people, enhance your backgrounds, and make the photo evidence of your trip match the idealized version you remember.

Hilarious examples of Generative Fill/Expand saving awkward photos

We’ve all been there: you’re in the middle of the perfect moment and someone snaps a photo, only for a surprise to pop up and risk ruining the preserved memory.

Not anymore! Avoid photo fails with the power of Generative Fill/Expand, one of the best ways to remove distracting or embarrassing elements from vacation pics. Even if there’s nothing wrong with the photo, you can correct minor imperfections and enhance backgrounds for all kinds of situations, such as:

Is your ex making that great photo unusable? You got them out of your life, we can get them out of your photos.

Bump, set, missed spike? We’ll edit the volleyball back into frame at the perfect height to make you look like a pro.

Tomato-red sunburn ruining your beach look? We'll retouch that red shade into a radiant, envy-inducing tan.

Is a trash can invading your frame during your cute family photo shoot? We'll digitally remove that trash, leaving only sun-kissed smiles.

Randoms ruining the vibe of your candid ice cream vacay shot? We'll take those passersby right out, leaving just you and that drool-worthy scoop.

Other skiers photobombing your child's inaugural mountain run? With a few clicks, we'll make those background stragglers disappear faster than melting snow.

Random person pulling the ultimate photobomb on your perfect couple shot? One edit and that unwanted guest star will vanish like they were never there.

Pesky BBQ sauce making a surprise appearance? We'll virtually remove that offending blemish like it never even happened.

Dreary day making your beach photos look dull? Photoshop to the rescue. We'll inject some brilliant blue and azure sky magic with billowing clouds.

Remove unwanted elements in a few clicks

Generative Fill is a powerful tool that lets you remove unwanted people and objects from your vacation photos. Say goodbye to photobombers, power lines, and other distracting elements to create natural-looking replacements for the area in question.

How does it work? It may feel like magic, but it’s the power of technology:

• Use your favorite selection tool to choose the part of the image you want to adjust.
• Select Generative Fill from the Contextual Task Bar or find it in the application bar under Edit > Generative Fill. Love keyboard shortcuts? Hit Ctrl/CMD + click on an active selection.
• Leave the text-entry prompt blank if you want to base the fill on the surroundings in your image.

Remember, you can improve the results by avoiding a tight selection in your image. Some overlap can enable seamless blending, too!

Generate stunning backgrounds

If you’d prefer to imagine your recent vacation taking place in a more exotic locale, Generative Fill/Expand can help make that dream happen, too. You can also add elements to the image, such as people or animals. Finally, you can use Generative Fill/Expand to fix cropping issues and expand the photo’s background further. Just take the following steps:

• Select the background behind your main subject (Select > Subject, Select > Inverse)
• Choose Generative Fill from the Contextual Task Bar, application bar, or CTRL / Right + Click the active selection)
• Add the text prompt for your new or enhanced background. If you leave the text bar blank, Photoshop will use the existing surroundings to provide context. Prefer something out of this world? Try out prompts like “on the surface of Mars” or “in front of the Eiffel tower.”
• Generate variations of your prompt. New Generative Layers are always created in the Layers panel, so you can bring up the Properties panel to show your prompt, mask, and variations — all without impacting the original image.

Fix common photo imperfections

For pictures where everything is great except one minor detail, Generative Fill/Expand can fix those minor imperfections to create the ideal photographic reproduction of your moment in time. Use Generative Fill/Expand to refinish and retouch images by removing dust spots and scratches. You can even straighten the horizon or touch up darker areas with prompts like “brighten the background” or “add more sunlight” to shine some much-needed light on your photo’s subjects.

Make lackluster travel photos picture-perfect

Your vacation was a dream come true. Your photos should be just as breathtaking. Use the Generative Fill/Expand function in Adobe Photoshop to edit your travel photos like a pro. With this powerful tool, you can transform lackluster images into perfectly shareable memories.

How can I use Photoshop Generative Fill to help edit my vacation photos?

Photoshop Generative Fill can remove unwanted items from your vacation pictures and help preserve the experience as you remember it — from extra people in the background of your family portrait to invasive animals or other objects, Generative Fill can eliminate these extra details.

How can I use Photoshop Generative Expand to help edit my vacation photos?

Generative Expand can help you fix background elements in your photos, from uneven horizons to cropping issues. In addition, you can even transport the subject of your photo somewhere else entirely, whether that’s outer space, Paris, France, or some sandy beach at sunset.

https://blog.adobe.com/en/publish/2024/04/23/the-next-generation-generative-ai-now-in-photoshop

https://blog.adobe.com/en/publish/2024/04/23/take-your-work-next-level-with-free-custom-photoshop-adjustment-presets

https://blog.adobe.com/en/publish/2022/12/21/how-to-use-backgrounds-to-level-up-your-headshots

Floodwaters officially shut down I-29 in Iowa. How long it will last and where to detour:

Iowa Department of Transportation officials expect to reopen Interstate 29 next week after rising waters caused it to shut down in both directions on the west side of the state early Wednesday morning.

The rising Missouri River caused officials to close I-29 from 25th Street at the north edge of Council Bluffs to the I-29/880 interchange near Loveland. The portion of I-680 west of I-29 in Iowa also is closed.

Officials started the process of closing I-29 around midnight and were finished by 1 a.m., said Austin Yates, a DOT traffic operations engineer.

“Right now based on the current river level forecast we’re expecting water over the roads through Monday evening,” Yates said, but added re-opening could take longer depending on how much debris and damage is left behind.

“We’re hoping once the water recedes, we’ll open in one or two days,” Yates said.

More: Northwest Iowans work to save their homes as rivers overtop levees, force evacuations

He said they've seen encouraging reports from northwest Iowa as floodwaters start to recede after rivers reached historic levels over the last several days . The Missouri River at Omaha is expected to crest at moderate flood stage Saturday, according to the National Water Prediction Service.

Travelers should follow a signed detour that will start at the I-29/880 interchange near Loveland, continue east to the I-80/880 interchange, and then southwest on I-80 to Council Bluffs. If you are driving between Iowa and Nebraska, you should use I-80. Local traffic in the Omaha/Council Bluffs area should follow the signed detour. 

Drivers are advised to not enter a water-covered roadway and not to travel around barricades or fencing.

José Mendiola is a breaking news reporter for the Register. Reach him at [email protected].

"With every click of the shutter, you’re trying to press pause on your life. If only so you can feel a little more comfortable, moving on living in a world stuck on play." — Dictionary of Obscure Sorrows

A porter uses the sledge to drag the essential belongings on ice. It's the porters who make the Chadar Trek possible for tourist-trekkers like us.

Trekkers walk past thick sheets of ice disturbed by the very natural forces that create the Chadar. Taken during Chadar trek at Leh, J&K, India.

A moment of exhilaration and ecstasy experienced by a fellow trekker on seeing the mighty Zanskar river transform into colourful sheets of ice for miles ahead.

A trekker enjoys the feeling of being in the moment as he lays, smiling, on the frozen Zanskar river, as if to soak it all in! #ChadarTrek #Zanskar #Leh

Chadar astonishes with a rich combination of surreal colours in a landscape filled with sky, mountains, ice and water. Taken in Jan 2018 during Chadar Trek, Leh.

Rays of sun make a heavenly appearance on the Zanskar river bed. #ChadarTrek #Leh #BeforeItIsGone #BIIG

A couple enjoying a moment of joy on the mighty frozen Zanskar river during Chadar Trek.

Countless small and big waterfalls freeze as the temperatures dip below minus 30 degrees during winters in Leh. A trekker lays her claim on one such waterfall during Chadar Trek.

Leaving early from the camps towards the day's destination has its perks. Witnessed pug marks of a Himalayan Cat?

Love between snow and mountains is what keeps this planet green and alive. May it continue for millenniums and beyond. Taken on the way to Nerak Waterfall during Chadar Trek, Leh, J&K.

as viewed at 2am

A shot that took 2 hours and AED 100 in the making

Expect a record-breaking number of travelers on Fourth of July week: How to avoid traffic

• An estimated 70.9 million people will travel for the Fourth of July holiday, a record-breaking number.
• The most popular domestic destinations are Seattle, Orlando, Anchorage, Honolulu and Miami.
• The worst times to drive for 4th of July week are July 3 and 4 between 2 p.m. and 7 p.m.

If you’re one of the projected record-breaking 70.9 million travelers going on a Fourth of July trip, get ready to pack some patience. 

“With summer vacations in full swing and the flexibility of remote work, more Americans are taking extended trips around Independence Day,” said Paula Twidale, senior vice president of AAA Travel, in a statement. “We anticipate this July 4 week will be the busiest ever with an additional 5.7 million people traveling compared to 2019.”

Whether you’re going by airplane or car, traveler numbers are hitting historic highs. An estimated 5.74 million people will fly to their Independence Day destination, a 7% increase from 2023. (We can thank domestic airfare being slightly cheaper this year for that.)

This year, 2.8 million more people will travel by car than last year, for a total of 60.6 million travelers. According to AAA partner and rental car company Hertz, cities like Dallas, Los Angeles, Denver and San Francisco are showing the highest rental car demand. 

Here’s everything you need to know about Fourth of July travel. 

Learn more: Best travel insurance

Planning your summer trip? Where to go and how to save on summer vacations

What are the most popular destinations for Fourth of July week?

Many travelers are headed to the coast for their Independence Day trip, with states like Hawaii and Florida topping the list. With the best time for Alaskan cruises in full swing, cities like Seattle, Vancouver and Anchorage are popular among travelers. As expected, beloved European destinations like London and Rome earned spots on the list as well. 

Most popular domestic destinations:

• Orlando, Florida
• Anchorage, Alaska

Most popular international destinations:

• Vancouver, British Columbia

What are the best times to drive for Fourth of July week?

As is typical with holiday travel, the early bird will catch the worm, which means encountering the least traffic. Drivers should depart on their Independence Day road trips before noon on July 3 and 4. To return home, drivers should leave before 11 a.m. on July 7 and after 7 p.m. on July 8. 

What are the worst times to drive for Fourth of July week?

“Drivers in large metro areas can expect the worst traffic delays on Wednesday, July 3, as they leave town, and Sunday, July 7, as they return,” Bob Pishue, transportation analyst at INRIX, said in a statement. “Road trips over the holiday week could take up to 67% longer than normal.”

On July 3 and 4, drivers should avoid being on the road between 2 p.m. and 7 p.m., when traffic will be most congested. On Friday, July 5, the worst traffic will be between 11 a.m. and 4 p.m. 

On Saturday, July 5, the worst traffic for travelers returning home will be between 10:30 a.m. and 2:30 p.m. The worst traffic is expected July 7, so drivers should avoid the road between 2 p.m. and 8 p.m. 

“Travelers should monitor 511 services, local news stations, and traffic apps for up-to-the-minute road conditions,” Pishue said.

Peak congestion times in major US cities

• Worst route: Birmingham to Atlanta via I-20 E
• Worst day: July 7
• Worst time: 6:30 p.m. 
• Estimated travel time: 3 hours, 36 minutes
• 42% increased travel time
• Worst route: Boston to Hyannis via Pilgrim Hwy S
• Worst day: July 4
• Worst time: 1:45 p.m.
• Estimated travel time: 1 hour, 51 minutes
• 31% increased travel time
• Worst route: Fort Collins to Denver via I-25 S
• Worst day: July 8
• Worst time: 2:45 p.m. 
• Estimated travel time: 1 hour, 37 minutes
• 56% increased travel time
• Worst route: San Antonio to Houston via I-10 E
• Worst day: July 6
• Worst time: 1:30 p.m. 
• Estimated travel time: 3 hours, 48 minutes
• 41% increased travel time

Los Angeles

• Worst route: Bakersfield to Los Angeles via I-5 S
• Worst time: 2:15 p.m. 
• Estimated travel time: 1 hour, 47 minutes
• 29% increased travel time
• Worst route: Jersey Shore to New York via Garden State Pkwy N
• Estimated travel time: 1 hour, 25 minutes
• 40% increased travel time

San Francisco

• Worst route: San Francisco to Monterey via Santa Cruz Hwy S
• Worst day: July 2
• Worst time: 5:45 p.m. 
• Estimated travel time: 2 hours, 31 minutes
• 19% increased travel time
• Worst route: Ellensburg to Seattle via I-90 E
• Worst time: 4:30 p.m. 
• Estimated travel time: 2 hours, 19 minutes
• 35% increased travel time

Washington, D.C.

• Worst route: Baltimore to Washington via Balt/Wash Pkwy S
• Worst time: 3:15 p.m. 
• Estimated travel time: 1 hours, 1 minute
• 67% increased travel time

Kathleen Wong is a travel reporter for USA TODAY based in Hawaii. You can reach her at [email protected] .

The Key Points at the top of this article were created with the assistance of Artificial Intelligence (AI) and reviewed by a journalist before publication. No other parts of the article were generated using AI. Learn more .

America's Best Towns to Visit

10 great US towns to check out now

These destinations, selected by CNN Travel editors, offer loads of personality and plenty to see and do without the elbow-to-elbow crowds of the big tourist cities.

Making the most of life on the lake: How this town got its cool reputation

This ‘scruffy little city’ tastes and sounds great

Why ‘Beer City USA’ is so much more than a drinking town

From ‘ghost town’ to ‘popping’: How this Southern destination got its groove back

This Grand Canyon pit stop is now a bona fide hot spot

The laid-back California dream lives on here

This coastal culinary hub has a ‘big-city feel in a small-city package’

‘Grit City’ shines thanks to stunning scenery and glass art

This Rhode Island gem moved rivers to emerge as New England’s creative capital

Our top town offers first-rate arts, food and festivals and a hard look at its complicated history

how we chose

We tapped our network of CNN Travel contributors for nominations for our inaugural list, winnowing the finalists to 10 by looking at each town's attractions, food and beverage offerings, nightlife and cultural scene, sense of identity, proximity to other interesting spots and wow factor. We also looked at lodging options and the ease of getting there and around.

PHOTO CREDITS

• Intro : Chris Johnson/Visit Richmond
• Duluth : Visit Duluth
• Knoxville : SeanPavonePhoto/iStockphoto/Getty Images
• Grand Rapids : Ideology/Experience Grand Rapids
• Macon : Visit Macon
• Flagstaff : CNN
• San Luis Obispo : Brittany App/Visit SLO
• Portland : Visit Portland
• Tacoma : CNN/Travel Tacoma/Museum of Glass
• Providence : N. Millard/GoProvidence.com
• Richmond : Richmond Region Tourism

12 TIPS TO TRAVEL SMOOTH ON A GROUP TOUR

1. Always book with a trusted travel brand to avoid risk of departure cancellations. Its only with leading tour operators like SEHGAL TOURIST. You can be assured of no cancellations

2. Check the services of the tour manager and the language of communication. A tour manager makes of breaks a tour. Always prefer to have services of tour manager from established and trusted brand like SEHGAL TOURIST.

3. Check the itinerary in detail and the inclusions to avoid missing out on any major attractions. Group tours have a fixed itinerary. Ensure you have settled for an itinerary that gives you the best of the inclusions.

4. Check the quality of hotels provided for accommodation .Run of the mill tour operators often provide sub standard hotels often ruining an entire holiday.

5. Check the meals included and the choice of meals to ensure you are never left high and dry on tour. Ensure you are satisfied with the meal plans right at the planning stage.

6. Always avail the early bird offer. Make the most by booking early and availing the early bird offers usually available for limited seats.

7. Plan it advance to get a departure date of your choice. Group tours are based on inventories and there is always a risk of running out of seats even with a large tour operator like SEHGAL TOURIST.

8. It's not important to visit as many countries as possible in a given time. Instead. Focus on the attractions that the itineraries cover.

9. Do seek the assistance of your tour manager to get the best on shopping.

10. The Tour Managers are like your local repository of information; do make the most of your shopping getting valuable information from them.

11. Besides exploring foreign culture, expose yourself to the multi-facted Indian culture you avail within your group.

12. Carry right clothing, adequate foreign exchange and travel light. Ensure you enough space in yourbaggage to accommodate all that you shopped for.

12 TIPS TO TRAVEL SMOOTH A SELF DRIVE & VAN TOUR

12 tips to travel smooth on a indian holiday.

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Taiwan warns against travel to China after execution threat

TAIPEI, Taiwan — Taiwan ’s government raised its travel warning for China on Thursday, telling its citizens not to go unless absolutely necessary, following a threat from Beijing last week to execute those deemed “diehard” Taiwan independence supporters.

Liang Wen-chieh, spokesperson for Taiwan’s Mainland Affairs Council, told reporters the raised travel warning also applied to the Chinese-run cities of Hong Kong and Macau.

China, which views democratically governed Taiwan as its own territory , has made no secret of its dislike of President Lai Ching-te , whom it views as a “separatist,” and staged two days of war games  after he took office last month.

Last week, announcing new legal guidelines, China threatened to execute Taiwan independence separatists in extreme cases, a further ramping up of tensions that drew condemnation from Lai and his government, as well as the United States.

Liang, making the announcement at a regular news conference in Taipei, said those guidelines represented a serious threat to the safety of Taiwanese visiting China, in addition to other measures China has been taking to strengthen its national security laws.

“If it is not necessary to go, then don’t,” he said, adding this did not amount to a ban on visiting and was about protecting Taiwan’s people and reminding them of the risk rather than being a “countermeasure.”

China’s Taiwan Affairs Office did not immediately respond to a request for comment.

On Wednesday, asked about concerns that the guidelines could cause fear for Taiwan’s people and not help improve relations, the office said they were only aimed at a very small number of independence “diehards’ evil words and actions.”

China has vowed to go after people it views as Taiwan separatists wherever they may be, though Chinese courts have no jurisdiction in Taiwan and it is not clear how China could seek to enforce any judgments outside its borders.

As to whether China could seek to extradite Taiwanese overseas who it accused of separatism, Liang said separatism was a political crime and in this particular case one specific to China, and that developed countries would not cooperate with such a request.

“We can’t rule out certain countries would cooperate,” he added, without naming any countries.

Lai has repeatedly offered talks with China but been rebuffed. He rejects Beijing’s sovereignty claims and says only Taiwan’s people can decide their future.

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She’s showing the Big Apple her big apples. 

Flashing her breasts on the subway, atop the Brooklyn Bridge and in the heart of Times Square isn’t just a naughty hobby for Eila Adams — it’s an act of advocacy. 

“If men can walk around shirtless without fear of reprisal, so too should women,” argued the 36-year-old Canadian content creator . 

She’s spent the past six days granting New Yorkers a gander at her goodies, both her boobs and her bottom, in the name of gender equality. 

“It’s normal to be nude,” insisted the blonde. “By flashing folks as I go about my day, I’m just having a bit of cheeky fun and challenging the status quo.”

And the flashing frenzy isn’t just a flash in the pan.  

Knockouts, both near and far, have recently taken a liking to showcasing their knockers. 

Ava Louise, 25, gave the residents of Ireland an enormous eyeful in May, revealing her ample endowment to virtual audiences of the since-unplugged 24/7 livestream between NYC and Emerald Isle.   

“I thought the people of Dublin deserved to see two New York, homegrown potatoes,” said the OnlyFans model following her NSFW spectacle. 

And Kait, the hotsy-totsy Edmond Oilers fan who popped out her plump pucks during a May 31 hockey game, recently inked a deal with Playboy as the Oilers’ “Good Luck Charm.”

But Adams, a broadcaster for Naked News from Toronto, claims her titillating displays are deeply rooted in justice. 

“For over 30 years, it has been legal for women to go topless in New York City, which many women have embraced as a show of gender equality,” she said, citing a 1992 New York State court decision. 

“I think flashing is entertaining,” added Adams. “But it’s also a way of normalizing toplessness.”

“For me, it’s a way of life.”

The fit fox further feels that all people should proudly publicize their privates. 

“Nudity has been such an important part of my life — I do not understand anyone who has negative feelings towards being naked,” Adams groaned.  

“We’re all born this way, and we have to embrace our own bodies,” continued the pinup, “and we have to love everyone else’s amazing bodies.”

Her flashings, however, aren’t always so empowered. 

“I was flashing on an elevator and a man walked in while I had my leg up on the wall,” recalled Adams, who refuses to boast her bare bazookas in sacred places like cenotaphs and the 9/11 memorial. 

“He was shocked and I was embarrassed the rest of the ride down,” she said of the awkward encounter.  

But mortifying moments won’t stop the self-crowned exhibitionist from unmasking her mammaries. 

“I have had some negative comments but I don’t let the haters get me down,” said Adams. 

“Most people don’t even notice I’m doing anything, but if I do get caught I’ll get a smile, a thumbs up, a laugh,” she joked. 

“T—ts can light up a person’s day.”

“If you don’t like it, don’t look.” 

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