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Istanbul Bosphorus Dinner Cruise with Unlimited Drinks and Shows

Most Recent: Reviews ordered by most recent publish date in descending order.

Detailed Reviews: Reviews ordered by recency and descriptiveness of user-identified themes such as waiting time, length of visit, general tips, and location information.

PEREME TOURS: All You Need to Know BEFORE You Go (with Photos)

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Waiter nice, nice performers, but... - Pereme Tours

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Waiter nice, nice performers, but almost went deaf LOL

Zubeyir was my waiter. Other than the seating(right in front of the speakers), the crew tried their best to accomodate for the entirety of the trip. Performers were great. Had a nice chat with great people from all over the world. No restrictions to go to the top deck, so I was taking a lot of pictures as well.

Service was amazing, thank you Adil for making my family's experience even more memorable with your hospitality and incredible service.

If you're looking for a fantastic Bosphorus Dinner Cruise in Istanbul, I recommend Pereme Cruise Tour. The experience was exceptional from start to finish. The boat was beautiful, the views were breathtaking, and the dinner was delicious. The staff were attentive and professional, ensuring everyone had a great time. I especially enjoyed watching the Bosphorus and seeing iconic landmarks illuminated at night. Overall, it was a memorable and enjoyable evening. Highly recommended for anyone visiting Istanbul!

Mr umut and his team was very excellent We enjoy very well Dancing and atmosphere And they celebrate birthday of my daughter

Mehmet was an amazing server!!!! Yaaas king slayyy. Amazing boat trip for anyone, at any age!!! Beautiful dancer especially the one with the fringe 😍 love her!!!

A must do if you visiting Istanbul Everything was perfect Well organized & executed Excellent service Good food and entertainment

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Great - Pereme Tours

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It was Good dance and food was good . We spend a good time here cruise was good and we experience a good ..................

That was amazing! Thanks a lot for the Dinner and Show night on the Bosphorus. An unforgetable experience! Great Fun! I really recommend.

We had a great night, with a nice dancing show and an amazing service, specially Mustafa! He was really kind and took really good care of everything!

The view and experience were amazing! One for the books! My friends and I had a great time. I definitely recommend this to people for them to try.

Pretty good service, unlimited beverage supply , and delicious food. Wonderful experience to me in Istanbul. Giving me delightful night.

Absolutely a disaster for families with kids. Complete waste of money, bad tasteless food, loud music, belly dancers who expect tips from each table, long and never ending torture. Fully avoidable!

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Amazing - Pereme Tours

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Amazing service, all staff are lovely. Very nice environment, dancing, entertainment, food, views are all very nice.

Its all perfect but i have to say the hospitality its a reason to get this experience. Thanks Soner for your kind!!! ❤️❤️❤️❤️❤️

Great food ,amazing service and performances.The people are very helpful as very welcoming.Amazing to be there had lots of fun

Soner was a the best waiter and he was very nice. The dances were amazing, i would repeat this experience anytime. We took many photos!

It was very nice, I really liked the food here. I would recommend!! I would love to come back here. If you like these type of nights, it is a great experience.

Went with my daughter and the food was delicious and very tasty. Our server Mustafa was a pleasant guy who had a great smile and was always on it for our refresher of drinks. Highly recommend doing this if you’re in Turkey and want an experience!!

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Amazing - Pereme Tours

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Amazing service, all staff are lovely. Very nice environment, dancing, entertainment, food, views are all very nice.

Its all perfect but i have to say the hospitality its a reason to get this experience. Thanks Soner for your kind!!! ❤️❤️❤️❤️❤️

Great food ,amazing service and performances.The people are very helpful as very welcoming.Amazing to be there had lots of fun

Soner was a the best waiter and he was very nice. The dances were amazing, i would repeat this experience anytime. We took many photos!

It was very nice, I really liked the food here. I would recommend!! I would love to come back here. If you like these type of nights, it is a great experience.

Went with my daughter and the food was delicious and very tasty. Our server Mustafa was a pleasant guy who had a great smile and was always on it for our refresher of drinks. Highly recommend doing this if you’re in Turkey and want an experience!!

A gripping account of Captain Cook’s final voyage

‘the wide wide sea,’ by hampton sides, recounts cook’s search for the northwest passage.

I’m grateful to the Santa Fe bookseller who put Hampton Sides’s “Blood and Thunder” into my hands some years ago. With Kit Carson’s death-defying exploits at its center, the book revolutionized my concept of America’s westward expansion. Sides’s latest effort, “ The Wide Wide Sea ,” is a gripping account of Captain James Cook’s final voyage.

Cook is a controversial historical figure, especially in light of increasing consciousness about the evils of colonialism. Yet he continues to evoke curiosity and attention. As recently as last month, Popular Mechanics published an article about the rediscovery of his curated shell collection.

Sides does not skirt the rapacious appetites of the British and other European monarchies. The magic of this book, however, is in the details of the explorer’s life at sea. Sides relies on Cook’s writings as well those of other sailors on the voyage. Based on the selected bibliography he includes, Sides’s research was voluminous.

Cook had made two world voyages by the time the book opens. He was a celebrity, having “risen from virtually nothing.” At sea, he’d bucked the Royal Navy’s tradition of violence and cruelty. He’d figured out how to avoid scurvy and brought home information of incomparable value, had mastered new nautical instruments and served as an expert scientist, anthropologist and navigator. His mapmaking skills were superlative.

After only six months at home, he took off again, in search of the elusive Northwest Passage . His third expedition consisted of 180 people in two wooden ships, the Resolution and the Discovery. They left England in July 1776.

In addition to Cook’s story, other narratives weave through the book. One particularly fascinating account is that of Mai, a native of Raiatea, a volcanic island 130 miles northwest of present-day Tahiti. When Mai was a boy, warriors from Bora Bora invaded Raiatea, murdered his father, seized his family’s land and enslaved much of the population, forcing his family to take refuge in Tahiti. In 1767, a teenage Mai witnessed the English navy’s firepower when Samuel Wallis, a British navigator, arrived in the HMS Dolphin and fought the Tahitians. Vowing to avenge his people against Bora Bora, Mai concluded that English guns were the way to go. When Cook sailed in seven years later on his second Pacific voyage, Mai requested passage, becoming the first Polynesian to set foot on English soil.

Mai’s story reads as metaphor for colonialism. He learned English and was wined and dined as a celebrity. Although horrified by London’s grinding poverty, unthinkable in his homeland, he wore the local dress and adopted the manners of a foppish English gentleman. He met King George, who provided Mai and Cook with a large assortment of farm animals and domesticated birds, to cement the king’s footprint around the globe. No surprise — the animals were hell to care for. Mai had been in search of heavy artillery from King George, but for the voyage was given only an “arsenal of muskets [and] broadswords,” as well as gifts that would have been unimaginable to the Polynesians — cut-glass bows, laced hats, crockery and telescopes. If not the cache Mai hoped for, it does reflect the English royalty’s strategy for winning friends.

It isn’t possible in this short space to describe Sides’s hair-raising accounts of the journey, an itinerary that led from England to present-day South Africa, South America, Australia, New Zealand, Polynesia, Hawaii, north to Alaska and beyond, and back to Hawaii. Just repairing and re-provisioning the ship required herculean efforts. The physical threats included days-long ocean storms, fog so thick it wasn’t possible to see from stern to bow and cold temperatures against which no garment could protect.

By the time Cook reached Polynesia in October 1777, the rat infestation was so great that “the vermin had all but taken over the holds, gangways, and lower decks.” At Moorea, 12 miles from Tahiti, Cook created a “swinging bridge” from ropes to lure the rats on land. A few made it to the beaches, introducing Polynesia to the European black rats, which remain a “scourge” today.

Cook understood that his men were vectors for infection. An ascetic, he occasionally stopped his men from going ashore to prevent the spread of venereal disease. At times he restrained his crew from violence; at other times, his temper was uncontrollable. After a series of petty thefts from the ship by Tongo natives, Cook ordered brutal floggings and had a villager’s ears cut off. In punishment for one Moorea person stealing a goat, Cook had the village and its cropland torched, along with its canoes. Sides suggests that over the course of this final voyage, Cook may have been suffering declining mental faculties.

By August 1778, the two ships were in the Arctic Ocean sailing toward Siberia. Cook was careful, “zagging outward if the pincers of ice began to close in on his vessels.” When he finally concluded there was no Northwest Passage, he decided to salvage his “defeat,” by doing “reconnaissance work in Hawai’i.” A man onboard wrote, “Those who have been amongst ice, in the dread of being enclosed in it, and in so late a season, can be the best judge of the general joy this news gave.”

People tend to know Cook was killed by native people in Hawaii. The events leading up to his death are gruesome and upsetting, including “cannibalism” made more explicable in Sides’s measured account.

This book captures a time when Europeans were finding unfathomable new worlds. Armed with extensive research and terrific writing, Sides re-creates the newness of the experience, the vast differences in and among Indigenous cultures, and natural phenomena that were as terrifying as they were wondrous.

Martha Anne Toll’s prizewinning debut novel, “Three Muses,” was published in 2022. Her second novel, “Duet for One,” is forthcoming in early 2025.

The Wide Wide Sea

Imperial Ambition, First Contact and the Fateful Final Voyage of Captain James Cook

By Hampton Sides

Doubleday. 432 pp. $35

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Review: Bad Bunny the bandido lights up the Wells Fargo Center on his ‘Most Wanted Tour’

Bad Bunny came to South Philly on Friday night for a sold-out show at the Wells Fargo Center.

It was the first time in Philadelphia for the Puerto Rican rapper, singer and influential cultural force — who was born Benito Antonio Martinez Ocasio — since he headlined the Made in America festival in 2022.

The stop on his Most Wanted Tour was in support of his 2023 album Nadie Sabe Lo Que Va a Pasar Mañana — which translates from Spanish to English as Nobody Knows What Is Going to Happen Tomorrow — and a thumping, infectious celebration of Latino pride.

The Inquirer’s Rosa Cartagena and Dan DeLuca went to the show. Here’s their review.

Dan DeLuca: Good morning after Bad Bunny, Rosa. We saw Bad Bunny take the stage following an overture by the Philharmonic Orchestra Project (led by Grammy-winning conductor Carlitos Lopez), ride a horse, and entertain fans while looking down on them from a floating skybridge. How’d you like it? What were the highlights for you?

Rosa Cartagena: I am still so pumped. Sore, but energized. Bad Bunny is one of the artists who has defined my 20s. He’s delivered so much incredible music that has catapulted reggaeton, Latin trap, and Spanish-language music overall to a completely new level — all while simultaneously shining a spotlight on Puerto Rico’s political problems and resilience. My family and I love Bad Bunny and we have so much fun listening to him together, so what I was really excited to see was how the crowd reflected that, too: There were so many intergenerational families (including at least one abuela!) and it warmed my heart.

Inside the arena, the biggest highlight for me was his Latin trap section. Nadie Sabe was a great album, but I desperately wanted to hear such tracks as “Tú No Metes Cabra,” “Chambea,” and “Soy Peor.” I wish he performed more than snippets but I’ll take what I can get. He was his flirty, funny self — blowing kisses, waving, and winking at the crowd. The floating stage brought him closer to the fans at all seating levels and he had me tearing up at one moment when the lights went on and showed so many Puerto Rican flags, and he simply, quietly, soaked it all in from his perch.

Despite being a fan since the mix-tape days, I hadn’t seen him live before, but you’ve seen him a few times in Philly, right? How did this show compare?

D.D.: I’ve only seen him once before, actually. When he headlined Made in America in 2022, in the closing night show that, if the festival, which is canceled again this year, never comes back will go down as the last-ever MIA performance.

I enjoyed this more. What was cool about that MIA show was how he transformed the grounds into a Latinx dance party, making Jay-Z’s festival over in his own image and language. This was a really smartly staged arena show with top-shelf production — though the relationship between Bad Bunny and the audience is still what makes it special.

He did a lot of standing there and soaking in the adulation — it was a bit Evita -ish when he was on the floating stage, looking down on his people from the balcony. But who can blame him? The passion and appreciation for the ways he’s represented Latino culture and refused to compromise or cross over by rapping or singing in English is real. His audience loves him for it, as well they should.

Yeah, the Latin trap section was impressive. I could feel the bass coming up through the soles of my shoes.

Let’s talk about the staging. The orchestral introduction was classy, and created an Ennio Morricone Spaghetti Western vibe, fitting with the outlaw imagery of Nadie Sabe . A friend of mine on Facebook who’s also a non-Spanish speaker compared it to watching an Italian opera. You can be swept up by the emotion of the music, and the contours of the story reveal themselves.

R.C.: The orchestra definitely brought a level of class to the crowd ready for perreo — and that kind of genre-mashing surprise is part of why people love his sound. I see the bandido theme here almost in between Beyoncé's Cowboy Carter (which came out five months after Nadie Sabe ) and Taylor Swift’s brand-new The Tortured Poets Department , because it’s both bad boy and sad boy. (And unlike Beyoncé's country, he leans hard into Tex-Mex vaquero culture with a bolo tie and his mariachi-inspired outfit.)

But the resonance isn’t just contemporary. He also spotlights Puerto Rican folkloric music, like bringing plena performers to last year’s Grammys. Before he arrived onstage, the orchestra played an instrumental rendition of the iconic bolero by La Lupe, “Qué Te Pedi,” a beloved song that cuts across generations, proving what I heard from so many fans last night: He hasn’t forgotten his roots. It was also refreshing to hear his intimate, pared-down acoustic section, when he sat on the piano and crooned while holding a horse plushie.

D.D.: The piano section was sweet. Sitting on it, sort of like Michelle Pfeiffer in The Fabulous Baker Boys . It was impressive that he could pull off a cocktail lounge vibe in a massive arena. And before “Qué Te Pedi,” the intro music was Billie Holiday’s “I’ll Look Around.” Mood music of the highest order.

The filmed interlude of a masked man riding across the desert was like Clint Eastwood in a Sergeo Leone movie crossed with Max von Sydow in The Seventh Seal . But when Bad Bunny actually rode in on a horse it was anticlimactic, a brief video screen talking point. And I was glad it was short, though: I was worried the poor horse was going to freak out in a room with 20,000 people!

The setup with two stages, plus the floating sky bridge — that worked really well. And the lights were spectacular. It seemed almost everybody was wearing the light-up Bad Bunny boot necklaces synced to turn the room green or red, in rhythm with the music. The only show I’ve seen that used that trick so well was the Weeknd at the Linc a couple of summers ago.

R.C.: Breathtaking, for sure. The orb lights were versatile and dynamic, at one point making a bridge (like our own Benjamin Franklin). He threw down. The only thing Philly fans might have missed was “Acho PR,” the track where he shouts out Bryce Harper and the Phillies .

©2024 The Philadelphia Inquirer. Visit inquirer.com. Distributed by Tribune Content Agency, LLC.

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Nice - Pereme Tours

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Good food, better price, the best experience in Istanbul. I recommend it to everyone who want to have an adventure and enjoy right atmosphere of this city.

It was awesome, i have had the night cruise before but this was the best. Very couteious staff and awesome enviroment. Each time you want something staff members were right there to asist and were very accomodating

Good food and vibe and best service from Mehmet Ozcan. The treat is verry Nice. The give us a good birthday song for my mother !

The service was very good by waiter Mehmet ozcan. We enjoyed the evening! Food was good, drinks good and entertainment als very good.

Boris very goed service I valide 100%.Boris Boris Boris Goed people service Goed eeting Goed tour Goed ambiance Goed dancing

Amazing service, all staff are lovely. Very nice environment, dancing, entertainment, food, views are all very nice.

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Country Star Tim McGraw Paid Cool Tribute to Caitlin Clark During Concert in Indianapolis

• Author: Tim Capurso

In this story:

Caitlin Clark is Indiana's newest star after the Fever selected the Iowa guard with the first overall pick in the WNBA draft on Monday night. Country music star Tim McGraw, who is currently on tour for his 16th studio album, Standing Room Only , has clearly been paying attention to the news in sports, as he found a cool way to both pay tribute to Clark and further endear himself to his fans at Gainbridge Fieldhouse.

In addition to his usual choice of hat and a pair of jeans, McGraw donned a No. 22 Clark Fever jersey on stage during the concert. (He had previously worn a Clark Iowa jersey in Des Moines in March.)

Tim McGraw sporting his new Caitlin Clark jersey at @GainbridgeFH tonight pic.twitter.com/1ROMUXB6ao — Andy VonDielingen (@AVOND76) April 19, 2024

McGraw turned and showed fans the back of the jersey as the sold-out crowd roared its approval. The Fever later sent a tribute right back to McGraw in their reaction to the video, captioning lyrics from one of McGraw's hit songs I Like it, I Love It in a post onto X, formerly Twitter.

we like it, we love it. @TheTimMcGraw came out on stage at @GainbridgeFH wearing a Caitlin Clark jersey 🔥 pic.twitter.com/wlp8G5YR8V — Indiana Fever (@IndianaFever) April 19, 2024

Clark is scheduled to make her WNBA debut on May 14 when the Fever take on the Connecticut Sun.

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Doja Cat at Coachella review – an electrifying tour de force

Empire Polo Club, Indio, California

Festival headliner delivered an A-game set, ignoring some of her mainstream hits yet bringing enough energy to power what some have called a middling year

D oja Cat took the Coachella main stage as the last official act to perform on Sunday’s bill, becoming the first female rapper to headline the festival. (She’s also only the second Black woman to do so, after Beyoncé in 2018.) Her closer rounded out a Sunday showcase of powerhouse female performers such as Reneé Rapp and Kesha duetting the recession banger TiK ToK – changing the opening line to “wake up in the morning saying fuck P Diddy” – and Victoria Monet grinding through a slick and ultra-sexy set, at one point receiving artfully-simulated oral sex from a background dancer.

It would be diplomatic to say that Doja maintains a distant relationship with her fans, who call themselves kittenz, though their fave does not sanction this moniker. Doja has told those who engage in parasocial relationships with the idea of her to “get off your phone and get a job” and “rethink everything” about their lives. Such boundary-setting has cost her some Instagram followers – around 300,000, to be exact, after going off on them in a social media tirade – but she could care less. “I feel free,” she wrote in an Instagram story after the snafu last year.

So it’s not surprising that Doja kept the stage banter to a minimum; about an hour in, she allowed a cursory, but seemingly genuine, “Thank you everyone.” That was about it. Still, Doja didn’t need to give us the cliched “it’s always been a dream to perform on this stage” monologue to show a deep respect for her audience. She did so by putting on a tour de force of a set, one that merged her musical talents with a clear knack for spectacle. I suspect it will become a staple on best-of-Coachella lists for years to come.

Doja first appeared by popping up on the stage’s extended catwalk, opening the night further back in the crowd, so those of us who hadn’t made it to the pit got a good look at her, too. She first wore an all-white hazmat suit. I thought it was a little Patrick Bateman; the girl next to me remarked that Doja looked like “a whole-ass sperm”.

Whatever the inspiration, she took that off pretty quickly, revealing extra-long blonde hair that went well past her butt, and a matching tunic also made of hair. Her background dancers matched in their own full hair suits, and when paired with their syncopated moves, the vibe was a little Bob Fosse meets Fraggle Rock. The South African a capella group The Joy encircled Doja during Shutcho, a diss track for haters that the group turned into a melodic, choir-like crescendo.

Though Doja is a very 2020s pop star, terminally online and well-versed in the meme ecosystem, she didn’t rely on many gimmicks to make it through her set. The stage design was sparse and industrial. Her numerous outfit changes kept the same off-white palette, very Virgil Abloh-esque aesthetic: sculptural, sleek, architectural. My favorite look was a shaggy bikini set by Entire Studios that could have been a reference to Jane Fonda as Barbarella, or just a sartorial nod to the concept of merkins.

Doja tapped A$AP Rocky, 21 Savage and a giant recreation of a T-Rex fossil for guest stars. During her penultimate song, Paint the Town Red, which samples Dionne Warwick’s 1963 hit Walk on By, I wondered for a moment if Doja was about to make my entire life and bring out the octogenarian legend herself. Instead, she did perhaps the opposite of that and rolled around in a sapphic mud pit with her background dancers for the finale, Wet Vagina.

Though Doja found mainstream success in the pop arena with early pandemic groovers like Kiss Me More and Say So, her Coachella set stuck to rap. Understandably, much of it came from her latest release, last year’s Scarlet. She described the album as a“masculine” response to her desire of moving away from pop princess-dom.

This meant that the fans who were there for Doja’s more accessible fare may have been disappointed by the exclusion of those songs – when the set ended, many mulled around the stage as if they were sure she’d come back rearing into Say So. (Again, she didn’t.)

But to me, it didn’t matter: Doja followed her gut, performed the songs she felt represented her best, all presented in an energetic, top-of-game triumph. For all the endless chatter this year about a lackluster lineup, Doja proved she’s worthy of a headline spot, so long as the people in charge – and, crucially, her fans – trust her to do it her own way.

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