Donald Sterling and the problem of pro sports ownership

So Donald Sterling, owner of the Los Angeles Clippers, stands accused of having made remarks of unbelievable crassness and flavored with a racism that would bring a tear to the eye of Cliven Bundy.

Are you surprised? Me neither. Sterling’s record of difficulty with racial issues is well-documented, including two lawsuits (one from the federal government) alleging racially discriminatory rental practices at his real estate properties. He settled both for millions.

Then there was the lawsuit from long-term Clippers general manager Elgin Baylor accusing Sterling of racial and age discrimination; Baylor lost his case in a 2011 jury trial. Another accusation of racist rhetoric, attributed to veteran college basketball coach Rollie Massimino, dates back to the 1980s. And there’s more.

The fact that Sterling has survived all these prior dustups — and the betting here is that he’ll survive this one, too — says less about Sterling himself than it does about America’s unhealthy relationship with its pro sports tycoons and about the unhealthy structure of pro sports leagues.

Abandoning a loyal fan base for profit? Bob Irsay of the NFL Baltimore Colts did that, infamously moving the team to Indianapolis in the dead of night. His son Jim is still the owner of the team.

Failing to invest for success on the field? Lots of guilty parties here, including Peter Angelos, whose Baltimore Orioles have made it into the postseason three times in his 21 years of ownership. Sterling is a standout in this category: Since he acquired the Clippers in 1981, it’s had five winning seasons, going 930-1,646 — a winning percentage of .361.

Felonious activity? Eddie DeBartolo Jr., owner of the NFL’s San Francisco 49ers, pleaded guilty to a federal felony in connection with the solicitation by former Louisiana Gov. Edwin Edwards of a bribe for a casino license. DeBartolo relinquished control of the team, but this year he was a finalist for the NFL Hall of Fame, and he still hankers for a return to NFL ownership — a goal that several owners say they would favor.

Racism? Leaving Sterling aside, Marge Schott, onetime owner of baseball’s Cincinnati Reds, had a long history of racist and anti-Semitic remarks. Baseball finally suspended her as the team’s principal owner, but she retained a financial interest.

Leagues are reluctant to take firm action against owners for several reasons. One is that their authority to do so, absent some truly egregious act, is murky — even overt racism is a judgment call. Figuring out what to do with an orphaned team is a headache. And fellow owners are loath to lower the bar, possibly because not a few of them have unsavory histories of their own to worry about.

Ten Secrets about Fantasy Premier League Cricket That Nobody Will Tell You

Cricket is one of the most followed games in the world. With the introduction of the T20 format, the popularity of cricket has surged even more and leagues like Indian Premier League have just brought the popularity to a whole new level. Players who play the game earn a ton of money through advertisements and franchise payments. Many smart common people have also started earning and reaping benefits through this game. The way to do so is Fantasy League Cricket.

Fantasy Cricket Secrets

Playing Fantasy Premier League Cricket isn’t easy. There are a ton of things that you need to know, which makes it a game of skill. Therefore, if you are thinking of professionally playing this game, you should know the following secrets:

  1. Don’t Max out the Maximum Team Value to Keep the Possibility of Transfers Open- The limit of the total value of all players combined should never be maxed out so that you have the possibility of transferring a better player later on.
  2. Bet on Matches Nobody Else Would- Everyone bets on high profile matches. The prize money from lesser known matches is for the taking. Target them if you have all the knowledge that is needed.
  3. Form a Balanced Team- Don’t just target A-listers. Make a balanced team with lesser known players as well.
  4. Select Only Those Players Who Are Going to Play- Don’t blindly select players. Know who is going to play and who isn’t.
  5. If You Are Just Starting, Play Practice Matches First- People who play fantasy cricket are really experienced. It is not easy to compete at the big leagues if you have no idea of what you are doing. So, play practice matches first.
  6. Make a Different Team for Each Match- Each condition is different and each ground is different. You should make a team specifically for that match and ground.
  7. Keep Player Stats in Mind While Picking the Team- There are many fantasy league websites that allow the team to get points if a player performs extraordinarily. So, if you have a gut feeling about who’s going to score the most run or take the most wickets, do have that player in your team.
  8. The Winnings Are Taxable- It is fun to play fantasy cricket league, but what you win is taxable by law. You have to show this earning as income from other sources. For amount above INR 10,00,000, the website would deduct TDS or else you would have to pay the tax.
  9. The Team Gets Points Only If the Player Performs- There are no participation points. If the player doesn’t perform, your team gets no points.
  10. Each Match Has a Prediction and Preview Available at the Fantasy Website’s Blog- Don’t forget to read the preview and prediction as it is written by experts who know a lot about the game.

Ensure that you know the most common secrets to winning big in fantasy cricket and you are ready to make your own team and earn a significant amount of money.

Cricket Fantasy Premier League Cheat Sheet That Can Really Help You Win

Fantasy Premier League has been around for a really long time. It started with soccer, the most popular game in the world. Now almost all sports have their own fantasy premier leagues. Cricket was a little late to join the party, but still it is one of the most popular fantasy sports out there. The best part about fantasy cricket premier league is that it is really easy and rewarding.

There is still a lot of skill required to win big money. Therefore, if you are looking to get your cricket fantasy premier league winnings started, here is a cheat sheet that can really help you win:

Selecting a Match

The first step of playing cricket fantasy premier league is selecting a match. This is the match that you are going to bet on. When you are selecting the match, you need to remember that you should not go for really high profile matches on your first try. All highly professional and brainy experts play in the big leagues. It is true that the prizes are tremendous in these leagues but so is the competition. Therefore, go for matches that are low key as lesser people are likely to bet on them. The prizes would be for the taking if you have the knowledge required to bet on the matches. Once you have gained confidence in your abilities, you can play in the big league matches as well.

Selecting a Team

Once you have selected a match, you are asked to create your very own fantasy cricket team. This team can have anyone from both the team’s squad. You would have about 100 credits to select players. Different websites have different credit limits. You should make sure that your team has a few good batsmen, an excellent wicketkeeper, a few bowlers and one or two all-rounders as well. The team should be balanced.

You need to also ensure that you select players that cost in the moderate range. Don’t just blindly go for the top players because you won’t be able to complete your 11 if you just go for top players. Take 2-3 players from the top, 5-6 from the middle and rest from the bottom of the table, but ensure that all the players would play the game or else you won’t get any points for them.

Don’t forget to consider the weather and pitch conditions during the live match. If the pitch favours spin, take more of spinners, but if the weather has made the pitch tougher, go for pacers. Also keep in mind, the players your batsmen would face and pick batsmen accordingly. Never blindly pick team members.

Transfers and Match Points

You are allowed to modify your team until the match starts, so use it by being up to date with who is going to play and who won’t get to play. You get points on how your player performs on the field. The total points of all your players become team points and if your team scores the highest points, you win.

Fantasy cricket premier league is an easy way of making pocket money and if you have good skills you can make even more. Use this cheat sheet to brush up your skills and win good money.

One Of Music Row’s Most Influential Leaders, Jo Walker-Meador, Has Died At 93

Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the Country Music Association and the Country Music Hall of Fame.

Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.

When first hired, Walker-Meador had a very steep learning curve, as she told in a 2008 interview: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”

Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.

It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its remembrance: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”

During her time leading the organization, the CMA became a country music industry powerhouse and, for other “niche” music genres, an important model for self-advocacy. Those activities included establishing the Country Music Hall of Fame (which launched in 1961), the annual CMA Awards (begun in 1967 and televised nationally beginning the following year), and the CMA Music Festival (originally known as Fan Fair), which was created in 1972.

Walker-Meador was herself elected to the Country Music Hall of Fame in 1995.

Kehlani, And R&B’s Women Of Color, Struggle To Be Heard In Pop Market

The singer, who was raised in Oakland and currently lives in Los Angeles, makes a winning sweet-and-sour blend of contemporary R&B. She can strike a confident yet self-aware pose. On her single “CRZY,” she boasts, “If I gotta be a b—— I’ma be a bad one,” then adds, “I kill ’em, I kill ’em, I kill ’em with compassion.” Her music hearkens to the honeyed melodies typical of ’90s stars like SWV and TLC, homage-paying references to past hits like New Edition’s “If It Isn’t Love” and Akon’s “Don’t Matter,” and the ecstatic flights of melisma that suggest unfettered joy. Kehlani is a capable and surprisingly strong singer, too, though she often sticks to a strident middle range. When she professes her love, she tends to look for a roundabout way to do it. When she asks, “Do you want to be a distraction, baby?” on “Distraction,” her seduction doesn’t necessarily roll off the tongue. But it’s appealing all the same.

Courtesy of the artist

Yet months after the January release of her retail debut SweetSexySavage, Kehlani has evolved into a critic’s darling who can’t quite breach pop radio. Sean “Puffy” Combs has said that Kehlani “saved R&B.” When Solange accepted the Centric Award at the 2017 BET Music Awards, she shouted out the new wave of women in R&B. “I love Syd, and Kehlani, and SZA, and Kelela and all the new-school girls who are out here,” she said.

However, none of Kehlani’s singles have cracked the Billboard top 40 so far. “Gangsta,” a trap-inflected number where she channels Harley Quinn from last year’s Suicide Squad, came closest, earning a RIAA platinum certification yet paradoxically stalling at No. 41.

The moderate success of SweetSexySavage has reignited conversations about whether the music industry is devaluing R&B artists and, specifically, talented women of color. Kehlani’s not alone: Sevyn Streeter, SZA and Mary J. Blige have also released superior major-label projects this year, only to find a muted reception on the pop charts.

The irony is that, as a genre, R&B has never been healthier. It teems with variety, whether it’s the neon-hazed, synthesized romance of H.E.R., the sun-dappled hip-hop funk of Anderson .Paak, the gauzy teenage fantasies of Khalid, or the airy, baroque star-gazing of Chloe x Halle. No longer limited to the binary debate between “jiggy” urban pop and earthy neo-soul that dominated at the dawn of the millennium, today’s R&B world is as diverse as any other.

However, it seems like it’s the women who are truly expanding the genre’s vocabulary. Many of them have evolved into musical diarists. No longer limiting themselves to the endless tumult of love and sexual relationships, they write about their fears with disarming vulnerability. You can hear that inner voice take hold on Kehlani’s SweetSexySavage. On “Piece of Mind,” she bravely discusses a highly-publicized suicide attempt, which she has said was triggered by trolling over her complicated love life. “Trying to forget all of the unnecessary thoughts from my head / Man it was pretty scary,” she sings. “At least I learned a thing or two / About me and you / What we went through.”

The successful June release of SZA’s Ctrl came after long label delays and her own creative anxiety.

Randy Shropshire/Getty Images for HBO

Sevyn Streeter’s just-released Girl Disrupted opens with “Livin,” where she discusses her issues with depression. In an interview with Billboard, she noted, “All these artists at the top of the pop charts are dressed like R&B artists in their videos. They’re singing lyrics and melodies from R&B songs of the past. We’re a very influential genre, and I’m not mad at it. I just want people to accept it no matter who it comes from. I can’t say that that’s always the case.”

There are a few men who take a hyper-personal approach to songwriting, namely the incandescent Frank Ocean, who writes in rich, complex metaphors. But it seems like most aspire to the aesthetic masculinity of rappers. They talk-sing boasts in a wavy voice that threads the needle between melodic pop-rap and clubby, hard-edged trap music. It’s no surprise that listeners occasionally refer to the likes of Chris Brown, Bryson Tiller, and the Weeknd as rap stars — sometimes they dispense with singing altogether and spit actual bars, if only to underline their unbeatable virility.

But generally speaking, men dominate rap music — at least its most visible variant. So R&B women have subtly developed values and thematic ideas that contrast with corporate rap’s muscular displays of material wealth, opiate consumption, casual violence, and the necessary ability to steal your girl for a one-night escapade. It’s a compelling package that has yet to receive the industry support it deserves.

Tinashe’s controversial comments on colorism in The Guardian overshadowed her critique of an industry where space for black women’s success feels limited at best.

Roy Rochlin/FilmMagic

Tinashe has also tried to split the difference between artistic and commercial dictates, with uneven success. Her early, electronic-fused mixtapes had a wonderfully hermetic feel, as if she were singing quietly into a microphone on her laptop. On her 2014 major label debut Aquarius, she leavened her dense, whispery meditations, like “Cold Sweat,” with swaggy and accessible confections, like “2 On,” a delirious celebration of over-drinking that climbed the upper reaches of the Billboard top 40. But despite critical acclaim — Jon Caramanica of the New York Times called Aquarius “one of the most inventive R&B albums of recent years” — she hasn’t been able to score anything on the scale of “2 On.” Meanwhile, her long-delayed follow-up Joyride remains unreleased, leading her fans to protest with the hashtag #FreeTinashe.


Falmouth School students dazzled the audience with a sparkling set of performances at the recent Summer Music Concert. The sheer talent of those performing blew the crowd away in a show that was packed full of diverse and exciting acts.

The packed crowd were introduced by student compere’s Millie Revel and Theo Fleming, who introduced the first act of the night on a jam packed bill. The Brass Group opened proceedings with a rendition of the Rocky theme and Somewhere Over the Rainbow, before a beautiful violin piece by Zoe Osmond.

Tia Head and Eloise Williams performed a lovely duet version of Gabrielle Aplin’s ‘Panic Chord’, before Jordan Lanyon played ‘Esmerelda’ by Ben Howard – a difficult piece made all the more impressive by the fact Jordan is only a year into playing the guitar. The flute group put on a bright and sparkly version of the Tchaikovsky classic, before the boys choir had the audience singing along with ‘Little Eyes’ and ‘Angels’.

Theo Fleming took a brief break from his compere duties to perform a piece on the flute, before later taking to the drums and the piano in a busy night for the new Head Boy! There was a foot tapping, jazzy number from the clarinet group and the talented Abiah Wyatt performed her own composition on the acoustic guitar.

The girls group consisting of Millie Revell, Daisy Easterby-Sands, Mabel Radmore and Niamh Miller performed an excellent version of ‘lovesong’ by The Cure (probably now better known for Adele’s cover), before Minnie Harrop gave an excellent solo performance on the piano to Ed Sheeran’s ‘Even My Dad Does Sometimes’.

There was an upbeat number from the sax group, before Lewis Naisey (a recent recipient of the most promising young pianist at the Junior Music Awards) played a superb piece. The pop choir stripped things back with their version of Birdy’s hit song ‘Wings’, before Falmouth College A-Level music student Anna Freeman sang a crowd pleasing rendition of Elton John’s classic, ‘Tiny Dancer’.

The show wound down with the final two acts, firstly with school band ‘Green Aliens and Blonde Girls’ playing the Red Hot Chilli Peppers new single ‘Dark Necessities’ and some impressive slap bass from Tadhg Cullen that Flea would be proud of! Finally the Jazz Band closed an excellent and enjoyable evening with ‘Smooth Operator’ and ‘Watermelon Man’.

Music Teacher at Falmouth School, Mr Fox said “The students have worked extremely hard preparing for tonight with busy schedules and their performances were superb. We thank everyone who came along to support the students and the music department, for making it such a great night.”

In $121M debut, ‘Thor: Ragnarok’ and Disney flex their might

“Thor: Ragnarok” thundered to one of the year’s best box-office debuts with an estimated $121 million domestically, proving again — just as its flexing its muscle — the might of the Walt Disney Co.

The robust debut for Marvel’s third “Thor” movie was a welcome shot in the arm for Hollywood and theater owners who have suffered through a terrible October at the box office. “Thor: Ragnarok” also bucked the trend of diminishing returns for sequels. The 2011 “Thor” debuted with $65.7 million; 2013’s “Thor: The Dark World” opened with $85.7 million.

“In this business, it’s not often you see the second and third installments in the franchise outpacing the previous issue,” said David Hollis, Disney’s distribution chief. “You don’t expect never-ending returns when it comes to sequels, but it definitely speaks to the quality of the talent at the Marvel Studios team and the way they’re thinking about each film out of the gate.”

The weekend’s other new nationwide release, STX Entertainment’s “A Bad Moms Christmas,” opened with $17 million over the weekend and $21.6 million since opening Wednesday, according to studio estimates Sunday. The holiday-themed sequel, which returns stars Mila Kunis, Kristen Bell and Kathryn Hahn, came in shy of the 2016 original’s $23.8 million opening.

Disney isn’t alone in being able to roll out such blockbusters but three of the year’s five $100 million-plus releases are theirs. (Disney’s other two are “Beauty and the Beast” and “Guardians of the Galaxy Vol. 2”) The studio has recently, as reported by The Wall Street Journal earlier this week, pushed new terms to theater owners, saying it will demand a 65 percent cut of ticket sales for its upcoming “Star Wars” film “The Last Jedi,” as opposed to the more typical 60 percent.

Hollis declined to discuss the studio’s negotiations with theaters but said, “We’re hopeful that our big films will help drive our mutual success.”

The Los Angeles Times also said Friday that Disney barred its critic from attending “Thor: Ragnarok” after the paper published an investigative report about Disneyland’s business ties with the city of Anaheim. In a statement Friday, Disney said that the two-piece report showed “a complete disregard for basic journalistic standards.”

The issue of revenue splitting is an acute one for theater owners who are already fighting against up-and-down ticket sales and mounting competition from streaming outlets. Disney plans to launch a streaming service in 2019 that will include some film releases.

It’s often been feast or famine this year at the box office. August was historically dismal, September swung to record-breaking highs, and October again badly slumped with the lowest overall gross in a decade. The year is running down 4.8 percent off last year’s record pace according to comScore.

Paul Dergarabedian, senior media analyst for comScore, expects November will, thanks to “Thor,” Warner Bros.’ “Justice League” and the Disney-Pixar release “Coco,” swing back up.

“It’s like a tennis match. We’re up. We’re down. It’s not for the faint of heart,” Dergarabedian said. “The industry has its work cut out for it to make up that nearly 5 percent deficit as we hit the home stretch of what has been an incredibly volatile box-office year.”

The huge “Thor” opening also cements the unlikely breakthrough of New Zealand director Taika Waititi, who shepherded the $180 million production to Marvel’s best reviews since 2008’s “Iron Man.” The movie scored a 93 percent fresh rating from Rotten Tomatoes and an “A” CinemaScore from audiences.

Waititi, 42, is a veteran of the cult comedy series “Flight of the Concords” and has previously directed largely offbeat irreverent indies like the deadpan vampire tale “What We Do in the Shadows” and the oddball outlaw comedy “Hunt for the Wilderpeople.”

But the makers of some franchise tentpoles have increasingly turned to more irreverent filmmakers to lend their blockbusters a more comic swagger. The results have been mixed. Phil Lord and Chris Miller departed the stand-alone Han Solo film after creative disagreements, as did original “Ant-man” helmer Edgar Wright.

Yet “Thor: Ragnarok,” from a screenplay by Eric Pearson, had no such troubles in returning Chris Hemsworth in the titular role along with franchise regular Tom Hiddleston as Loki. Also brought in was Mark Ruffalo’s Hulk, Tessa Thompson as Valkyrie and Cate Blanchett, as the film’s villain, Hela.

Several films opened in limited release, including Greta Gerwig’s coming-of-age tale “Lady Bird,” with Saoirse Ronan. On four screens in New York and Los Angeles, the A24 release drew some of the most packed theaters of the year with a $93,903 per-screen average.

Rob Reiner’s “LBJ,” with Woody Harrelson, debuted with $1.1 million in 659 theaters. Richard Linklater’s “Last Flag Flying,” with Bryan Cranston, Steve Carell and Laurence Fishburne, brought in a per-screen average of $10,500 in four theaters.

Latest Advancements in the Department of In-Flight Entertainment are the Latest Rage

The competition in airlines industry is encouraging companies to come up with innovative ideas to serve their customers better, and charm them. The companies are leaving no stone unturned to create value for their passengers in whichever way possible. Some industry players bet on their price by offering cheap business class tickets or discounted air fare rates, while others focus on their efficiency, connectivity, and services.

Few of the services are very basic that almost every airlines follow like serving food and beverages even for a short duration flight. However, a very important customer service agenda that should be given enough importance is in-flight entertainment or what is commonly known as IFE. This can prove to be a very valuable tool to provide services par excellence to the passengers. IFE is not just related to television shows and movies, but it has a very wider aspect if looked upon closely.

Here are the prominent benefits of implementing in-flight entertainment for passengers as well as airlines –

  1. The unique requirements of the airlines can be met by appointing expert audio teams of IFE service providers, who can provide channels tailored to specific preferences. For instance, if your company is more popular amongst business travelers, then for them entertainment channels can be utter waste of time and beyond their interest. For them, you can opt for business channels or news channels. Likewise, for holidaymakers, their taste of entertainment can be vastly different.
  1. The audio teams of IFE providers who are associated with people from music industry or radio will have strong contacts with the popular record labels, which means that you can create a vast song library in your flight audio system.
  1. Top in-flight audio systems use eminent radio DJs who are well known and admired by people. Channels hosted by leading DJs bring lot of style and added quality to channels.
  1. By installing audio channels in the flight, companies can use this platform brilliantly for promotional activities. You can advertise on-board merchandises and services to the customers such as duty free products, new routes, and destinations covered.
  1. Having a huge library of tracks implies that broad range of music genres can be enjoyed by the passengers on-board. This will cover all jazz, pop, rock, classical, and simple listening.
  1. Even audio books can be of lot of value to the passengers. People love audio books and with this you can offer a different experience to flight boarders apart from music. This can work phenomenally well for long flights.
  1. Instead of just confining to audio music, by giving your customers an option to enjoy music videos, you can entertain them even more.
  2. There is a very interesting concept called pzzizz available for airlines. Passengers wanting to relax and have a peaceful sleep will love this product. This is definitely like going one step forward to serve your customers.

All the aforementioned points will be beneficial to passengers as they can enjoy their travel with these entertainment provisions on-board, while airline companies can promote this aspect as their USP and attract more people to choose their flight.

Know How Smartphone Apps Can Be Convenient for Travellers TRAVEL & FOOD

There are several smartphone apps for travellers that come handy, and they are of great use before you leave and also when you are on the road. Almost all gadgets now come with apps, which directly or indirectly can be beneficial for you on your trip such as compass, alarm clock, calculator, weather and many more.

But, you can additionally increase the utility of your gadget by installing a few more apps like restaurant finders, currency converters, translators, landmark guides, news readers etc. Here is a list of few conveniences that these smartphone apps offer to the travellers –

  1. Maps and Navigation

The presence of GPS on most of the Smartphones is the real benefit for travellers. This app means that your phone can help you navigate even through unfamiliar locations with at most ease. And the best part is that Android apps like Google Maps don’t cost anything, it just strengthens the phone’s appeal and learning how to take advantage of these apps can help you use your phone’s functionalities to the fullest.

  1. All the Information That You Need Is Available at Your Finger Tips

Whether you are driving, flying or using public transport, smartphones are something worth having. With the help of few apps, you cannot just hire taxi or navigate your way or track mileage, but also book flight tickets. All you need to know is the reliable websites that can ease your job. For instance, be used to book cheap business class tickets with great ease. Having the power at your fingertips feels great and these apps can suppress most of your travelling stress.

  1. Apps Save Money and Time

Smartphone apps have drastically reduced the cost of travelling and this is because travel service providers send information about all the deals and offers to their clients who are actively using their app. You can plan your whole trip by just going through the deals and promotions on your smart phones and also by helping you save some valuable time.

  1. Apps Keep You Connected

Until the invention of smartphones, being away or on holiday always meant out of touch where the connection was dependent on phone calls and messages. And, even if you had Wi-Fi enabled laptop, you could use it only if you had access to hotspot. A Smartphone not only lets you send messages and make calls, but it also supports several instant messaging apps. You can instantly send emails, use social networking sites, and do many other works with great ease with just a tap and swipe.

But, you must remember that many apps demand internet connectivity, but it is not that big a deal as most of the popular tourist destinations in the world do have Wi-Fi hotspots and even when you are roaming internationally, the charges won’t be that high. However, you must make it a point not to download/update too many apps on-the-move to avoid heavy data usage charges.