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The ambitious undertaking in the traveling exhibition Black Refractions: Highlights from The Studio Museum in Harlem to summarize the prodigious achievements of artists of African descent over the last century astounds in its impressive displays.

There is the larger-than-life oil canvas portrait of Kevin the Kiteman, a 2016 work by Jordan Casteel, set against a rich, lushly textured representation of a Harlem street that evokes joyful contentment. Chakaia Bookers 1995 sculpture of rubber tires and metal, Repugnant Rapunzel (Let Down Your Hair), challenges the viewer to contemplate the moral and ethical implications of an industry that historically has exploited the labor of young African people. Kerry James Marshalls 1986 Silence is Golden, a work of acrylic on panel, riffs convincingly on the themes of Ralph Ellisons 1952 novel Invisible Man. The stunning shimmering effect of Mickalene Thomas Panthera, a 2002 work of a panther rendered in rhinestones on acrylic and a birch panel, resonates as an expression of the strength and beauty of the Black woman. Black Righteous Space by Hank Willis Thomas is a 2012 video installation, which immerses the viewer in a visceral historical counterpoint incorporating elements ranging from the Confederate flags stars and bars to the Pan-African tricolor flag of black, red and green, along with the voices of black cultural leaders.

At the center of the installation is a microphone for exhibition visitors to answer the call and voice their own response. Kehinde Wiley, who was commissioned in 2018 to create the official portrait of former President Barack Obama, references an 18th-century French tapestry to create his own Jacquard tapestry with The Gypsy Fortune-Teller. Wiley, of course, is well known for depicting subjects in contemporary outfits and fashion, who historically have been excluded from representations in the elaborate, ornate backgrounds of classic art media and aesthetics.

The Utah Museum of Fine Arts is the fifth of six U.S. destinations to host the traveling exhibition, thanks to the efforts of the American Federation of Arts and the Studio Museum in Harlem. The exhibition will be at the UMFA through April 10. UMFA and the Smith College Museum of Art in Northampton, Massachusetts, are the only two college-affiliated institutions in the traveling tour. UMFAs presentation of the exhibition also is supported by the universitys Black Cultural Center.

The Studio Museum is currently closed to the public as construction proceeds on its new home in Harlem. The museums previous homes have been in a second story loft and a 100-year-old building that housed variously a bank and a furniture store. Its new home will be the first facilities designed for the institutions specific mission and needs, since it opened in 1968. The Studio Museums new home, designed by architect David Adjaye, will be located on Harlems most iconic thoroughfare: West 125th Street. Choi, in an interview with The Utah Review, says that as construction continues, were deepening our roots and partnerships in the Harlem community as we think about how we will broaden our programming, education and engagement.

With 100 works from nearly 80 artists dating to the 1920s, Black Refractions is a magnificent and generous sampling of the Studio Museums expansive collections representing not just acquisitions but also works of many artists who have developed their creative expression through artist residencies at the institution. The residencies have been instrumental to the museums development since its earliest days.

For pandemic-weary individuals who might be thirsting to travel to iconic institutions in the nations art landscape, Black Refractions truly brings the experience handily to the doorstep for UMFA patrons, students, artists, teachers and art enthusiasts. Take, for example, Glenn Ligons 2007 work of PVC and neon, which had graced the Studio Museums lobby up until its closing for construction of its new facilities. Give us a Poem (Palindrome #2) is an homage to Muhammad Alis famous response to a students request for a poem during a 1975 Harvard University appearance. That poem was me, we, now preserved in flashing neon lights as a wonderfully relevant signal to guide the viewers journey through the Black Refractions exhibition.

The traveling exhibition was curated by Connie Choi, the Studio Museums associate curator, who worked with UMFAs Whitney Tassie, a senior curator and curator of the museums contemporary and modern art collections. Rather than organize the works in galleries by chronology or media, Choi wisely anchored the exhibition on multidimensional perspectives that command the viewers attention to consider the deeper implications and themes of artists of African descent as adding to and broadening the history of the American art experience. The narrative and aesthetic emphases on display dramatically pinpoint what it means in fulfilling the expectations and elucidating results of diversity and inclusion.

Perhaps the best way to take in the exhibition is to first stand at the entrance of a section of gallery space and scan it in its entirety to appreciate the generous scope of the works being shown. Then, the viewer should take the time to absorb and engage with specific works in each space. An excellent feature that every exhibition visitor should check out is the set of audio responses to specific works presented throughout the galleries, as recorded by various Black leaders, creative producers and professionals in the local community.

The themes emerge in layers. There are works, for example, that reframe stereotypes and empower anew the subjects of the piece not just in gender identity but also in terms of class, history and sexuality. One fascinating area of distinction concerns abstract and representational expressions. Forms, media and materials were not always being explored solely for the purposes of skill and technique but the abstract works also could address the same social, political and cultural critiques and concerns that animate the inspirations behind some of the exhibitions representational works.

In fact, the title of this current exhibition reflects upon the legacy of the Studio Museums founding and in part some of the controversy and negative feedback that arose during the institutions first solo show. For that first exhibition Electronic Refractions II, the museum selected Tom Lloyd, an African-American sculptor who worked in light. The Queens native already had established a solid, visible reputation for his abstract electronic constructions of aluminum, lightbulbs and plastics laminate. However, the Studio Museums opening with the Lloyd show left some in the Harlem community disappointed because they had hoped for work that was specifically representational and relevant to the contemporary voice during the most dramatic, consequential moments of protest and calls for social justice of the time.

One of Lloyds works was Moussakoo, a configuration of animated colored lights that have been programmed in diamond-shaped sections and can be arranged in various patterns. The effect is like watching the urban landscape dynamism in terms of the citys nightlife and business activity, jazz and other musical nightclubs, traffic signals and marquees of a citys theaters. The Studio Museum acquired the work in 1996 after Lloyds death but three of the four original motors for its programming were lost prior to then. Meanwhile, William T. Williamss 1969 screen prints are compelling additions to the abstract works featured in the show. Evocative of geometric images important in the artists life (the urban vibe as well as the craft excellence of his grandmothers quilts), the prints were part of Williamss Diamond-in-the-Box motif series, where he placed a diamond shape in a rectangle, which then is refracted and cut through with straight and curved bands of color.

In representational works, the shows curatorial objectives raise other fruitful areas that demand more than passive viewing for the arts beauty of form, color, media and technique. Artists reposition how progress and societal advancement should be defined for the benefit and impact of the Black community and what would be the real possibilities of sincere efforts for diversity and inclusion that involve comprehending the multifaceted dimensions of the Black experience in the general American society as well as their own neighborhoods. Marshalls Silence in Golden is one example.

Another is a work from Wileys early period when he was an artist in residence at the Studio Museum at the turn of the millennium. His oil canvas painting from 2001, Conspicuous Fraud Series #1 (Eminence), already suggests the well-developed focus of his later works, which would be acclaimed and acquired by major museums. The mans hair becomes the decorative motif and backdrop in Wileys signature interpretation of the portraiture style, as the hair twists and extends across the entire canvas. Meanwhile, the figure commands a larger-than-proportional space in the paintings composition. Likewise, there are more than a few works in Black Refractions that speak expansively to what encompasses Harlem as a community, a theme integral to the Studio Museums own position as a nexus for artists of African descent and as a cultural, entrepreneurial anchor in Harlem.

Indeed, the artist residencies at the Studio Museum have become effective launch pads for the careers of many participants who have used their opportunities to experiment, test and prove their expressive capacities in the visual arts. One significant epiphany in assessing the impact of the residency program at the Studio Museum is how so many artists have astutely appropriated elements of modernism and reinvigorated aspects of portraiture, for example, and other representational styles, mainly because they speak so clearly to the sociopolitical and sociocultural relevance at the current time. So many pieces in the exhibition capture the essential subtle balance of timeliness and timelessness that makes the art as transcendent as it is transformative in perspective. Casteel, for instance, had no formal art training when she entered Yale Universitys master of fine arts, with a predominating interest in portraiture. When a jury acquitted George Zimmerman in 2013 for the murder of Trayvon Martin, the news inspired her to adapt portraiture to telling stories of Black men that rebuke racist stereotypes. Moving to Harlem in 2015 to start her residency at the Studio Museum, Casteel said in an interview that Harlem was the only place [in New York] Ive ever felt at ease. There she met street vendors and neighborhood residents such as the kiteman, who is featured in the large portrait included in Black Refractions.

Casteels predecessors in the residency program also had set their own bars for challenging the conventions and traditions that have been part of the usual art history canon. Thomas, the artist who created Panthera, also went to Yale and developed a style that blends classical elements with pop culture aspects in portraying Black women and Black feminism. This includes a commissioned portrait of singer and songwriter Solange Knowles. In a Smithsonian magazine interview, Thomas said, Whats happening in art and history right now is the validation and agency of the black female body. We do not need permission to be present. Incidentally, she also was the subject in a portrait by Wiley.

William T. Williams, whose prints are featured in the show, conceived the Studio Museums residency program, which includes studio space, a stipend and an exhibition. Choi says the 11-month program allows artists coming out of schools with their college degrees to experiment and make work they have never made before. The open studios are integral to the museums programs and the residencies introduce artists to many avenues in the art world understanding how museums are run, making connections with private collectors and galleries, organizing shows and situating themselves as they see fit in the larger art world.

Many of the alumni in the program, as already noted, enjoy impressive careers including artists whose works are not featured in this traveling show. Wileys traveling exhibition A New Republic was seen in seven major museums and received tremendous reviews. A 2012 mixed-media painting by Njideka Akunyili Crosby (The Beautyful Ones, depicting the artists older sister) commanded a $3.1 million bid at a Christies auction in 2017.

UMFAs hours are Wednesdays, 10 a.m. to 8 p.m., and Thursdays through Saturdays, 10 a.m. to 5 p.m., with the first hour each day reserved for seniors and high-risk individuals. Gallery capacity is limited and visitors are required to reserve tickets in advance, including for free first Wednesdays and third Saturdays. Visitors are also required to wear face masks and to maintain social distance from other household groups in the galleries.

Works from Black Refractionswill be on view not only in the museums first-floor temporary exhibition galleries but also on the Highlights Wall in the museums lobby and in second-floor galleries devoted to modern and contemporary art. A new installation of UMFA contemporary works also focuses on racial and gender inequities.

UMFA is offering various events connected to the exhibition, with advanced tickets required. As part of the museums Sight and Sound Series, a free March 3 event, beginning at 6 p.m., will feature DJ Amir Jackson from Ogden, Utah, who will present several generations of soul, jazz and other musical styles, as inspired by works in the exhibition. A two-part ACME session on March 25 and March 27 will include the screening of Charles O. Andersons critically acclaimed dance theater project(Re)current Unresta meditation on the American Dream and Black nihilism, with Anderson and dance artist Alexandra Barbier leading the March 27 followup workshop.

Major support forBlack Refractions: Highlights from The Studio Museum in Harlemis provided by Art Bridges. Sponsorship for the national tour provided in part by PURE. Support for the accompanying publication provided by Furthermore: a program of the J.M. Kaplan Fund.

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UMFA presents magnificent, generous traveling exhibition Black Refractions: Highlights from The Studio Museum in Harlem, covering century of...

If youre going to do something that feels utterly filthy and wrong, its always good to believe youre only following instructions. This is what I mutter to myself as I manipulate half a pat of room-temperature butter into a creamy overcoat for a raw chicken. I am only caking on the dairy fats because a cookbook has told me I must. I squeeze over the juice of a lemon, season liberally with salt and pepper, bang it into a hot oven and wait.

Cookbook titles tend towards the functional. Its the food of this, or the book of that. And then theres the best cookbook title of all time: Roast Chicken and Other Stories by Simon Hopkinson, with Lindsey Bareham. The second half of that sentence is perfect, for all recipes are indeed a story. The ingredients are the beginning. The method is the middle. We all know the ending. The best of those stories promise a better life. And then there is roast chicken, one of those tales that people like me love being told time and again.

When the book was first published in 1994, it was a much-adored volume by a young chef with a cult following, but it didnt exactly trouble the bestseller lists. Lancashire-born Hopkinson had cooked professionally since he was 17, and served time as an Egon Ronay restaurant inspector before becoming head chef of Hilaire on Londons Brompton Road. There, he was talent spotted by the late Terence Conran for the 1987 opening of Bibendum, a wealthy mans grandiose take on the best of French bistro food: oysters on the half-shell and snails in garlic butter, steak au poivre, rabbit with bacon and mustard sauce and a killer chocolate mousse. I wrote most of the recipes for the book at Terences house in Provence, while we were preparing to open Bibendum, Hopkinson says now.

During his time at Hilaire, Hopkinson had become friends with the Evening Standard restaurant critic Fay Maschler, who was also then writing recipes. She asked Hopkinson to stand in for her on the column, which led to him acquiring first an agent, and then a book commission from the ever-astute Jill Norman of Penguin. But I was busy opening the restaurant, Hopkinson says, a little sheepishly.

In the early 90s he admitted to his friend Lindsey Bareham, the food writer and one-time restaurant critic for Time Out, that he wasnt getting anywhere with the much-delayed volume. I told him he had to write it, because we all wanted his Bibendum recipes, Bareham says. I offered to help and a deal was done. He came to my house three times a week. Id sit at my computer and hed sit next to me. Wed chat and Id write. Then wed cook and eat. The result is an elegantly compact volume with around 40 ingredients, listed in alphabetical order. Under A theres anchovy, asparagus and aubergine, while C belongs to ceps, chocolate, cod and of course, chicken. There are half a dozen recipes or so for each, which lean heavily towards a rugged French repertoire.

Do you want a reliable recipe for a delightfully traditional pork terrine? Or a salade nioise? Or petit sal aux lentilles? Its here. While at Hilaire, Hopkinson had got to know the revered food writers Elizabeth David and Richard Olney, dishes from whom are also included. As a result, it acts as a golden thread, pulled through the post-Second World War history of encouraging food in Britain. Henry Harris worked with Hopkinson at Hilaire and was his head chef at Bibendum (before opening his own much-loved French restaurant, Racine). Its simply the most important cookbook of the last 25 years of the 20th century, Harris says. Many people had been doing their twists on these dishes. Simon restored them to their original selves. Bareham agrees. Simon likes doing dishes over and over again. They may not be original to him, but he perfects them.

There are no glossy pictures, just sweet, delicate paintings of ingredients by Flo Bayley. The tone is set by Hopkinsons introduction. Buy wine to go with food. Come home. Have a glass of wine. Cook the food and eat with more of the wine. Like the recipes themselves, he makes everything seem very straightforward.

In 2005, Waitrose Food Illustrated magazine ran an informal poll of cooks and food writers to find the most useful cookbook of all time. Not the best, says journalist William Sitwell, then the magazines editor. The most useful. The result made newspaper headlines. It wasnt something by Jamie, or Gordon. The list was topped by Roast Chicken and Other Stories, pushing Delias Complete Cookery Course into second place. Nine years after publication the book became a massive bestseller, knocking Harry Potter off the top of the Amazon charts. It contains recipes for food you really want to eat, Sitwell says now. And the book isnt overly beautiful so you dont mind getting it stained.

I ask Hopkinson about the butter-caked roast chicken recipe, loosely based on that used at LAmi Louis in Paris. Well, that amount of butter was a feature of the time I wrote it, he says. I use much less now. Instead of the 110g in the book, its a mere 75g. Ive applied the full amount. It produces a lovely bird with crisp, bronzed skin and a fabulous buttery, lemony gravy. I also make his onion tart, which demands the sweating down of four large onions for well over an hour. It is a meditative process. The sweet, sloppy oniony mess is then mixed into a savoury custard. Hopkinson allows for additions, so I add a dollop of Dijon, a little grated parmesan and chopped flat-leaf parsley. A quick trip through the oven and I have a deep-filled, soft and extremely comforting tart.

I also make the Saint-Emilion au chocolat, which Hopkinson credits to Elizabeth Davids French Country Cooking. Its meant to be a dark chocolate mousse, layered with fragments of brandy-soaked amaretti or macaroons, but I can find neither. I think of calling Hopkinson, but I cant bring myself to admit my failure, so try boozy layers of madeira cake and broken chocolate-chip biscuits. The squares of cake float to the surface. I am ashamed of my handiwork. Then again it does taste fabulous. Its a thing. If just not the thing. It does need Chantilly cream, or equivalent. The equivalent is Tesco Dairy Spray Cream. Were in lockdown. Dont demand an apology. Ive had the roast chicken. This dessert is just one of those other stories.

Roast Chicken and Other Stories by Simon Hopkinson with Lindsey Bareham is published by Ebury at 22. Buy a copy for 20.02 from guardianbookshop.com

Cardiffs Matsudai Ramen, by self-taught ramen geek James Chant, has expanded distribution of its kits across the UK. There are four freezer kits including the vegan tantanmen, the shoyu and miso versions at 7.99 each. The fresh ramen kits, which include the sunset red tonkotsu and the new wave shoyu, cost around 20 for two servings, plus 6.95 for UK mainland delivery (matsudai.co.uk).

The shuttering of the restaurant industry has obviously had a massive impact on the network of companies supplying them: sauce-it.net is a new website aiming to hook consumers up with those suppliers. A series of virtual food halls contain stalls from seafood companies, Spanish produce suppliers, cheesemongers and so on. You can shop across them all into one basket. The user interface is a little complex, but the range is huge and by shopping there youll be helping struggling suppliers. Visit sauce-it.net.

A number of restaurants have branched out into merchandise as a money-making venture aimed at loyal customers who want to go beyond the joys of just eating the food. Now a website, LDNFoodMerch, has brought together these products from various London restaurants: you can get the Forza Win T-shirt, the Bao candle and a bunch of rather witty posters from Maxs Sandwich Shop, among other things. All revenue goes direct to the restaurants, visit ldnfoodmerch.com.

Email Jay at jay.rayner@observer.co.uk or follow him on Twitter @jayrayner1

Originally posted here:
How we all fell for Simon Hopkinson's lovely tale of roast chicken - The Guardian

Welcome back to The Rundown, our daily breakdown on comic news stories we missed from the previous day. Have a link to share? Email our team at rundown@multiversitycomics.com.

In case you missed it, Marvel announced X-Corp, a new X-Men series by writer Tini Howard and artist Alberto Foche. Plus, we have an exclusive look at next weeks Cable #8, from writer Gerry Duggan and artist Phil Noto.

Cover by Darick Robertson

DC is bringing back a classic Batman title with the return of Legends of the Dark Knight. The series will be available in 10-page digital chapters, beginning April 2, and will be printed as 20-page physical comics beginning May 18 (thus printing two digital chapters per physical issue). The first story will be written and drawn by Darick Roberston (The Boys, Hellblazer: Rise and Fall), and focuses on a new villain supplying Gothams villains with deadly chemicals. Future issues will feature Becky Cloonan, Stephanie Phillips, Matthew Rosenberg, Brandon Thomas, Cian Tormey, Giannis Milonogiannis, Dike Ruan, and more. The first issue of the series will also feature a card stock variant cover by David Marquez, as well as incentive variant covers by Riccardo Federici and Francesco Francavilla.

In other Batman news, DC has retitled an upcoming miniseries from writer Tom Taylor and artist Andy Kubert. The book, originally called Batman: The Dark Knight, will instead be published as Batman: The Detective. While there has not been any official reason given for the change, this new title does distinguish the series from any previous work. DC has never published a series called Batman: The Detective, whereas they have used Batman: The Dark Knight on many occasions, including a pair of books by David Finch. Most famously, The Dark Knight title is associated with the work of Frank Miller, who used the naming convention on The Dark Knight Returns, The Dark Knight Strikes Again, and The Dark Knight III: The Master Race. Batman: The Detective is set to come out on April 13.

DC Comics will honor their first Black superhero this June with the release of Green Lantern: John Stewart A Celebration of 50 Years. The book will be a 368-page hardcover collection of various comics that prominently feature John Stewart, including issues of Green Lantern, Justice League, and Justice League of America. In addition, the book features a series of essays talking about the significance of John Stewart, which will be written by John Ridley, Geoff Johns, actor Phil LaMarr, and John Stewarts original co-creator Neal Adams.

Marvel has announced the full new roster for the Guardians of the Galaxy team through the cover reveals for issues #13-15 of the current series. Doctor Doom, the Super-Skrull, Mantis, and two iterations of Quasar will join Star-Lord, Groot, Nova, and the rest of the current team. Marvel previously announced that Wiccan and Hulkling will be joining the team beginning in issue #13, which doubles as a 175-issue celebration for the beloved space franchise. With all of the new roster additions and the existing members, the Guardians of the Galaxy will now feature 17 members as they protect space in their roles as deputized heroes of the Galactic Council. Writer Al Ewing and artist Juan Frigeri will usher in this new era beginning April in Guardians of the Galaxy #13, with covers by Brett Booth.

The life story of Jack Kirby has been dramatized in King Kirby, a new audio drama podcast that launched this week. The podcast is based on the 2016 play of the same name by writers Fred Van Lente and Crystal Skillman, who also wrote this new adaptation. Steven Rattazzi stars as Jack Kirby, with actors Amy Lee Pearsall, Joseph Mathers, Timothy McCown Reynolds, and Nat Cassidy rounding out the cast in supporting roles as Roz Kirby, Joe Simon, Martin Goodman, and Stan Lee. The series follows Kirbys early days as a child in the Jewish Ghetto of New York Citys Lower East Side, through to his time serving in World War II, and pioneering the medium of comics with the creation of Captain America, the Avengers, the X-Men, and more.

The Vault Comics series Vagrant Queen has been adapted into a series of audiobooks from GraphicAudio. The series is written by Magdalene Visaggio with art by Jason Smith and was previously adapted into a television program on the Syfy channel, which ran for one season in 2020. Vagrant Queen follows Elida, a former child queen who was driven from her throne, and now fights for her life as revolutionary forces hunt her down. The first audiobook, Vagrant Queen and the Bezoar King was released today, while the second, Vagrant Queen and a Planet Called Doom, will be released on April 21.

ShortBox will be publishing a new story titled Gristle by Lily Blakely. The story focuses on an isolated and increasingly paranoid woman and a mysterious, fleshy plant. ShortBox is an independent comic book publisher that publishes their books through a mail-order service facilitated by Patreon. Gristle will be appearing in issue #13 of ShortBox.

Finally, Wonder Woman actress Lynda Carter announced this week the passing of her husband Robert A. Altman. The couple were married for 37 years and had two children together, Jessica and James. He was 73 years old. Altman was a lawyer and video game executive, who co-founded ZeniMax Media, the parent holding company for Bethesda Studios, best known for the Fallout and Doom video game franchises.

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The Rundown: February 12, 2021 Multiversity Comics - Multiversity Comics

In the latest This Week at Bungie blog post, the Destiny 2 development team clarifies its plans for the expansion of the Cosmodrome experience.

This week Bungie launched the second season of Destiny 2 Year 4. It's called Season of the Chosen and brought with it much anticipated features. A fan favorite system from last summer, Umbral Engrams, have returned and they tie into the new activity, Battlegrounds. This is a new playlist activity that sits alongside Strikes. Speaking of Strikes,three have been added this season with one of them being brand new. The other two are there to flesh out the Cosmodrome experience. While this is great news for veterans, Bungie recently clarified the future of this zone.

Cosmodrome was added to the game in Destiny 2:Beyond Light and accompanied Europa, a new zone. In the reveal stream, the studio also announced that future expansions will always feature never-before-seen zones such as Europa. In addition, areas from the Destiny Content Vault also have the potential to return. Cosmodrome was one such zone, and the studio had initially planned to expand the this destination to roughly match its statefrom Destiny 1.

RELATED: Destiny 2: Are the Scorn Returning?

However, the dev team'sgoals have changed since them, andit apologized for not updating the community earlier. Long story short, with the addition of The Devil's Lair and the Fallen S.A.B.E.R. Strikes, the team feels that Cosmodrome has enough content to stand on its own as a zone. Thus, they have halted the process of unvaulting any more Cosmdrome content to be brought into Destiny 2.

While massive add-ons like the Plaguelands were likely never going to happen, some of the possible additions were the remaining original patrols spaces, the subsections of Cosmodrome added in Destiny 1 Year 1 DLCs,and the colony ship that The Taken King players got to explore. In the end, these were deemed not vital in telling the story of the Cosmodrome and most importantly, having a fulfilling New Light experience.

Right now, the team is focusing on bringing back the Vault of Glass and fleshing out the upcoming destination of the game's next expansion,The Witch Queen. They believe that the community values new experiences more, thus, resources have been shifted to developing new areas rather than preparing Cosmodromecontent for Destiny 2. This doesnot mean that noother Destiny 1 content will return to Destiny 2. The team still thinks thatbringing content from the vault is a good way to add variety to the live game. Thus, beyond Year 4, more of the Destiny classics may make a comeback.

Destiny 2is available now for PC, PS4, PS5, Stadia, Xbox One, and Xbox Series X.

MORE:Datamined Destiny 2 Cinematic Shows Zavala at His Most Vulnerable

Source: Bungie

Genshin Impact: How to Take Picture of Suitable Viewing Spot (Iron Ingot Meets Ziwei)

Link:
Destiny 2 Focusing on Witch Queen Content Instead of Expanding Cosmodrome - GameRant

For decades, product licensing was a game of whales, a business dominated by marquee designers signing gargantuan contracts with national brands to launch sweeping, whole-home collections. The general idea being: If youre bothering to set the great wheels of production and promotion in motion, youd better come to market in a big way.

Big-name designers still do sign blockbuster contracts, and High Point sees plenty of star-powered licensed collections making a splash each season. But as barriers to entry have lowered and the rise of social media has shifted incentives, its starting to look more like a game of nimble minnows. The market is increasingly full of small-scope collaborations between designers and regional brands. Instead of a small line, it might be a one-off capsule collection, or maybe just a couple of SKUs, or maybe even one SKU. Call it the era of the micro-collaboration.

In the thick of pandemic last year, interior designer Katie Rosenfeld did what a lot of Americans did: She moved. Crammed into a Boston apartment with her husband and two kids forced home from college by COVID, she went looking, and found an old Tudor in the suburbs (Its our Grey Gardens house, she jokes). First order of business? Restore the kitchen.

I wanted something that felt authentically British, but with [many English kitchen brands], you end up with something thats quite attractive, but doesnt work for Americans. People in Europe dont live like we live. They dont go to Costco. They dont have a 60-inch range, she says. So I started working on making something that has all the asymmetrical charm of these English kitchens, but could work in the U.S.

Excited about the concept, Rosenfeld approached a local high-end kitchen design and millworking shop, Bespoke of Winchester. Rather than just having Bespoke execute her kitchen, Rosenfeld suggested a collaboration: The company would build a model of the kitchen in their showroom, and Rosenfeld would promote it to her 25,000 Instagram followers, many of whom are locals.

Designer Katie Rosenfelds kitchen collaboration with Bespoke of Winchester blends English charm with American storage needs.Courtesy of Katie Rosenfeld Interior Design

Rosenfelds kitchen is a perfect example of a micro-collaboration. It is limited in scope (essentially, one product) and targeted to a specific, regional audience that is reached through social media. Crucially, the objective of the collaboration isnt to make huge amounts of cash, but to generate buzz. Its not going to be a humongous moneymaker for me, says the designer, who will receive a small royalty payment every time Bespoke sells one of her kitchens. But its great exposure.

As part of the promotion, Rosenfeld has been releasing weekly HGTV-style narrative videos about the kitchens design and creation. In an era when so much business is done through social media, collaborations are as much about content as they are about product. That naturally incentivizes smaller collectionsafter all, if the point is to generate attention, you dont need to make a whole homes worth of stuff. It also changes the metrics of success.

If someone goes into the [Bespoke showroom] because they want to see my kitchen, but then they turn around and buy a white kitchen, honestly, thats great! says Rosenfeld. Im helping [Bespokes owner] grow his business, and in the process Im creating a product that is enhancing my brand.

Collaborations are as much about content as they are about product.

Similar logic led to Houston-based designer Marie Flanigans collaboration with Texas-based natural stone showroom Aria. Flanigan has a licensed collection for Visual Comfort that is sold nationally, but she was attracted to the appeal of working with a regional company as a brand and marketing play. I wasnt necessarily focused on generating a large amount of income or huge sales, she tells BOH of the stone line. Its more about marketing and partnering with a brand I believe in.

With just six slabs, Flanigans collection with Aria is small in scope. The material is also strictly limited by the amount of raw stone that was available. Its not an open-ended national endeavor, but rather a regional partnership designed to drum up mutually beneficial excitement around designer and brand.

Of course, theres a danger that in doing too many small, regional collections, designers risk diluting their brands. Flanigan, who is pursuing additional national licensing agreements, says shes mindful to take on only partnerships that fit the high-end aesthetic she has cultivated. You have to be Isaac Mizrahi before you can be Isaac Mizrahi for Target, she says.

However, there are good reasons to pursue small regional partnerships beyond sales and brand buildingthere may be a client lurking in the wings, as well. [Im looking into licensing deals], but the biggest part of my company is working for clients and creating custom homes, says Flanigan. When possible, I like to do that in my own city, and the people who buy Aria slabs are absolutely the people I want to work for.

For showrooms and makers, the rewards of a micro-collection are fairly similar. The risks are a little different.

A selection from Houston designer Marie Flanigans collection for Aria Stone GalleryCourtesy of Marie Flanigan Interiors

Collaborating with a designer has some obvious upsides. Theres the marketing boost. Then theres the fact that youre growing a relationship with one of your customers (never a bad thing). However, for regional brands and showrooms, such collaborations with designersespecially local onescan be politically fraught. Saying yes to one will likely mean having to say no to others. And while the imprimatur of a popular designer can drive sales, it can sometimes present a challenge because of an open secret of the industry: Designers dont always like to spec each others collections.

Stacy Waggoner, the owner of New Yorkbased boutique textile and carpet showroom Studio Four, recalls with a laugh: When I was working for Larsen, there was a furniture collection [architecture and design firm] SheltonMindel did, and I remember showing it to [interior designer] Stephen Sills, and he said, Stacy! Why would I ever buy Lee Mindels furniture? Hes my competitor! Ive always kept that a little in mind.

However, Waggoner is no stranger to the marketing power of a great designer collaboration. Her in-house brand has produced minicollections with designers ranging from Amanda Nisbet to Katie Ridder to Amber Lewis. Some of them sell all right and others dont, but theres always a good reason to keep doing them. Magazines love a collaboration, so theyre always asking, Who are you doing a collaboration with? says Waggoner. The marketing part is really significantits about brand awareness.

That basic equationdesigner collaborations are essential marketing tools, but they can be fraught and dont always sell wellcreates the perfect incentive for brands and showrooms to pursue small one-offs as opposed to big collections. The goal: Maximize the benefits of a collaboration without getting in too deep.

Those incentives have always been there. Whats changed is that the constant churn of social media demands more and more newness, and regional brands now have to compete online in ways they wouldnt have 10 or even five years ago. In 1990, for example, a millworking studio in suburban Massachusetts might have seen limited benefits by collaborating with a nearby designer on a kitchen model. But when that designer brings 25,000 followers to the table and the studio is also looking to fill up its own feed with beautiful images, the equation is different.

Clever showroom and brand owners find ways to work the variables. Waggoner says one of Studio Fours most successful collaborations involved working with designers outside of New York (no local competition!) on a line of wallpaper designs. Those designers were at least partially chosen based on their Instagram savvy and follower count. Shes also had success bringing in fine artists (again, no competition) like Wayne Pate to create small collections.

Grove Citron wallpaper, from Studio Fours line with fine artist Wayne PateCourtesy of Studio Four

Jessica Pinzon, founder of the Dallas-based multiline showroom Pholio Co, is looking to find micro-collaboration success by representing a line of fireplaces, Strike, created by designer Chad Dorsey. For her, the familiar incentives are in place. Dorsey is a friend and client with a rising profile in the Texas design scene, fresh off a buzzy room at the Dallas edition of the Kips Bay Decorator Show House last fall. I knew from an exposure standpoint it was really good for our brand, says Pinzon.

However, she is hoping Strike will be a revenue driver, too. Fireplaces, while somewhat of a niche product category for a collab, are costly and carry a good margin, making them an attractive proposition from a showroom perspective (better to sell one fireplace than make 10 tiny fabric sales). Small designer collections, she says, will help her strategically fill the calendar with newness in between bigger collections from anchor lines. Strike in particular is a deliberate step toward establishing a bigger presence in the residential market (Pinzons background is in contract design).

Even though micro-collaborations are low-key compared with the launch of a major collection, brand owners and showrooms still have to figure out how to stock and sell themtheres a little more risk than there is for designers. As a consequence, savvy showroom owners are generally looking for partnerships that deliver in more than one way. So far, for Pinzon, its been working: Over the past week, a dozen designers have checked in about the collection!

Micro-collaborations work because they have the spark of novelty, and there are limits on how many of them the market can handle. As the practice gets more common, it will seem less fresh, dulling the impact. If every showroom is constantly releasing one-off collabs with designers, itll be harder for any one of them to stand out.

Brands and designers are also limited by bandwidth. It takes time to develop even a small collection and bring it to market (figuring out the sales process for a fireplace, which requires exactingand high stakesmeasurements and specifications, is no easy task, says Pinzon). Theres only so much sweat any company can put into a product thats not likely to become a profit center.

Jessica Pinzons Dallas showroom Pholio Co is representing Strike, a collection of fireplaces by Chad Dorsey.Courtesy of Pholio

However, theres reason to believe that we havent reached peak micro-collaboration yet. As technology makes it easier and easier to develop and market product, more designers will start to get into the game. And as local brandsthe more old-school among them just now getting into social media in earnestlook for ways to stand out in a crowded landscape, collaborations will continue to present a compelling option.

Plus, theyre a weapon the big guys cant use as effectively. The beauty of a bite-sized collection, says Waggoner, is that it works for a boutique showroom in a way that it cant for the giants of the industry. I cut my teeth at David Sutherland, [which carried] huge lines, [where] a line with 10 or 12 SKUs would get lost in the showroom and moved to the back corner, she says. Whereas virtually all of the lines we represent here at Studio Four are small lines, so each one stands out.

The bottom line: Expect more micro. When I asked Pinzon if she was planning on doing more designer collaborations if Dorseys line is a hit, she started to laugh. Just this week Ive had a couple of pretty big designers contact me and ask me about that! she said. Well see.

Homepage photo: Marie Flanigans collection for Aria Stone Gallery | Courtesy of Marie Flanigan Interiors

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Even if black is your color, you can still make your closet the most organized part of your house. InStyle explains that coordinating your items based on their hue can make your search for the perfect top that much easier. So, instead of having a rainbow of colors, you can have a gradually shifting palette; darkest colors go towards the left and the lighter shades stay on the right. "Organizing guru Marie Kondo, whose method I'm certified to teach, says the resulting palette reminds her of the crash of a wave in the sea," Diana Horn, founder of Room to Thrive Home Organizing tells the outlet. "While you might not need ocean-specific imagery for you to love your new wardrobe, we could all use a light and welcoming vibration, like a breath of fresh air, when we go to our closets."

But, if you do go the multi-colored route, organize by the colors of the rainbow ROYGBIV, the Closet Factory explains. This offers the greatest contrast in hues and is easier to remember when you're putting your clothes back in their respective places. And, when you run into your multi-colored sweaters and other items, just go by the main color present on the garment, the outlet recommends. You can even syphon off a section for patterns and prints if you have a lot of them.

Who knew that your closet could be as aesthetically pleasing as your clothes?

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Just about every film and show would not be complete without the furnishings that help bring their fictional worlds to life. Needless to say, there are plenty of individual pieces of decor that stand out to us while watching movies and series alike, to the point where these items stay ingrained in our design-filled minds for years (and maybe even decades!) to come. Below, House Beautiful has rounded up some of the most iconic furnishings in film and TV history, including ones from Game of Thrones, Friends, Knives Out, Emma, and more.

The Orange Velvet Couch From Friends

Warner Bros. Television

Probably the most famous piece of furniture from Friends is the orange velvet couch that sits in the fictional coffeehouse known as Central Perk. This piece is so well-known, in fact, that replica versions of it went on a global tour in 2019 in honor of the shows 25th anniversary, making appearances at various landmarks so that fans could see it up close and personal. The real sofa sold at auction for an estimated $4,000-$6,000 in 2011, but you can still bring the Central Perk aesthetic into your own home thanks to similar couches, which can be found here.

The Knife Display From Knives Out

Lionsgate

We know that the Massachusetts houses that acted as the fictional Harlan Thrombey residence in Knives Out are impressive in their own right, but the most standout piece of decor in the film has to be the massive display of kniveswhich is said to be a mix of real and fake, at least in the world of this film. This knife donut, as Daniel Craigs character calls it, is not only a unique furnishing in the houseit also plays a key role in the many plot twists of the film. As set decorator David Schlesinger told House Beautiful, this piece was custom-made for Knives Outand it was even mentioned in the script.

The Bocca Sofa From Austin Powers: The Spy Who Shagged Me

New Line Cinema

Ever since Salvador Dal painted a portrait of actress Mae West in 1936titled Face of Mae West Which May Be Used as an Apartmentin which he depicted her lips as a sofa, numerous tangible versions of this furnishing have been created. One of the most notable variations can be seen in Austin Powers: The Spy Who Shagged Me, where it is complemented by multi-colored walls and flooring in vibrant primary colors, and an Andy Warhol-esque serigraph of Austin Powers himself. Dal-inspired lip-shaped sofas exist beyond the film world, of course Christian Diors French chteau was home to one, and Diane von Furstenburg has a pink-and-white version in her Manhattan penthouse.

The Wardrobe From The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Walt Disney Pictures/Walden Media

Although The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is technically a childrens movie, there are numerous reasons for adults to watch it as wellincluding the English manor houses used as filming locations and, of course, the hand-carved wooden wardrobe that the famed story revolves around. In the film, the wardrobe depicts scenes from the sixthand second to lastbook in The Chronicles of Narnia series, The Magicians Nephew.

The Iron Throne From Game of Thrones

Helen Sloan/HBO

It wouldnt be right if we didnt mention the iron throne from Game of Thrones, which is easily the most coveted piece of furniture in the entire eight-season series. Given how sought after this throne was, you might expect it to look a little more comfortablebut this is Game of Thrones, after all, so daunting appearances trump comfort levels. In real life, the iron throne is made of just under 200 swords, but in the show, legend has it that its made of a thousand swords, which were surrendered to Jon Snow (AKA Aegon Targaryen) in the War of Conquest.

The Egg Chairs From Men in Black

Universal Pictures

Given that the fictional government agency in Men in Black first makes contact with aliens in 1961, it only makes sense that the decor of the film pays tribute to this mod eraincluding a black and white, space-age, egg-shaped chair (not to be confused with Arne Jacobsen's famous Egg Chair), which Will Smith and Tommy Lee Jones lounge in, in both the film itself and its promotional poster. The chairs seen here are the Ovalia Egg Chairs, which were created by Danish designer Henrik Thor-Larsen in 1968.

The Many Screens of Emma

Universal Studios

Design lovers everywhere rejoiced when Emma hit theaters last year, given its sumptuous filming locations and vibrant interior setsand that includes the brigade of patterned screens that Emma Woodhouses father (played by Bill Nighy) surrounds himself with when he feels even the slightest draft in the air. Firle Placean English manor house that doubles as a museumacted as the Woodhouse residence in this film, which made for the perfect backdrop for Mr. Woodhouses design preferences.

The Thinking Chair From Blue's Clues

Nickelodeon

Its possible that Blues Clues inadvertently helped shape the design aesthetic of millennials and Gen Zers thanks to elements like a striped pink wallpaper and complementary carpeted floors of the same color. But, the most recognizable piece of decor in Blues Clues is, of course, the Thinking Chaira red velvet armchair thats trimmed in black and swathed in a swirly pattern all over. There are even kid-sized versions of the chair for sale through eBay and Walmart! In the show, the Thinking Chair is where the host (Steve, Joe, or Josh) takes a moment to solve a problem, which usually involves writing in their Handy Dandy Notebookand it just so happens that this notebook has an illustration of the Thinking Chair on its front cover.

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The "Game of Thrones" Throne Is Made With 200 Swordsand more Crazy Facts From Famous TV and Film Furniture - HouseBeautiful.com

A newly renovated bathroom is one of the top items on a homebuyer's wish list. But a full bathroom remodel isn't the only way to capture the hearts of would-be buyers. A shower remodel is one way to update the look of a bathroom's aesthetic as well as its function.

It makes sense that homebuyers want the place they bathe to look and feel clean. While a full remodel would be ideal, other updates to a bathroom would also be welcomed. This could mean anything from a new vanity to updated fixtures to a tankless toilet.

But a beautiful new shower -- bonus points for multiple shower heads or a frameless shower door -- could sweeten the deal for potential buyers. And depending on which type of shower you choose, you could change the look of the entire space.

According to HomeAdvisor (NASDAQ: ANGI), the average cost to install a new shower is $4,991, with a range between $1,951 and $8,044. For example, a 32-inch square acrylic stall can range from $750 to $3,000, while a custom-tiled walk-in shower of the same size can run you anywhere from $4,200 to $8,500. Keep in mind that these figures are just for the shower itself, not plumbing, which will cost extra.

Fixing existing plumbing is one thing, but adding plumbing is another. If you plan to upgrade a half bath to a three-quarter, you can expect to pay more to install pipes and drains. Adding a shower to a half bath can cost anywhere between $900 and $12,500, according to HomeAdvisor. A bathroom should be at least 5' x 7' to hold a sink, toilet, and shower. If walls need to be built or removed to make room for these fixtures, your costs will be on the higher side of the range.

As with all home improvement projects, it all depends on size, design, and materials. Suffice it to say, if you want your new shower to resemble something in a hotel spa, you'll be at the higher end of these price ranges.

According to Remodeling's Cost vs. Value Report, a midrange bathroom remodel has a 64% ROI. Even if you don't spring for an entire redo of the bath, it makes sense to update the shower to woo buyers.

While a soaking tub used to be the wow factor for a bathroom, now it's a walk-in shower. Spacious and spa-like, they are as beautiful to bathe in as they are accessible. This is particularly important for buyers with limited mobility, as well as homeowners who wish to age in place and will appreciate the accessibility a walk-in shower offers.

A bathroom renovation is not only a pricey proposition, but it can be a time-consuming one, too. Potential buyers will appreciate having it already done for them -- in fact, some will expect it. That's why a shower remodel, whether on its own or part of a larger bathroom makeover, could be the key to getting more and better offers for your property.

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Self-care is a relatively new buzzword, but the concept is nothing unfamiliar. To practice self-care is to take time to check in with yourself emotionally, spiritually or in whichever way or place you can unwind best.

Its many meanings span from mental and emotional upkeep, to physical upgrades that can benefit a persons overall well-being for a more balanced, healthy life. If you can think of self-care as not just a headspace, but a real space, design experts will tell you it often materializes in the home as a fully renovated bathroom.

With a new focus on health and wellness, bathrooms as sanctuary spaces have become very important, said Caroline Harmon, trend strategy manager for Lowes Home Improvement. Its where most of the time is spent preparing for the day and unwinding at night, so there's an opportunity to elevate the aesthetic, and turn (the bathroom) into an oasis from the hectic everyday.

For as peaceful and relaxing as a bathroom should be, homeowners investing in one must ensure the new design meets other practical needs, like overall flow and function, increasing the homes value and preventing mistakes or surprises in the handiwork.

Sandra Fox, founder and president of Sensory Six Interior Design Firm in Saratoga Springs, said those are just a few of the reasons why she and her team is involved in so many bathroom redesigns. Kevin Gutman, co-founder of Bennett Contracting in Albany, agrees. Bathrooms are among the top two renovation projects Bennett takes on at a rate of around 100 bathrooms per year in the Capital Region.

While the do-it-yourself attitude is one of the quickest ways to complete a project, both experts say bringing a professional into a bathroom remodel from the start makes for a cohesive, creative experience thats more likely to go according to plan.

Bathroom design and construction is complex, and DIY projects can result in costly errors, Fox said. We begin our process by understanding how our clients anticipate functioning in the space.

If Foxs client shares a bathroom with a significant other, its a cue to incorporate double sinks into the design. And when theres a lust (and a budget) for luxury, she can please a person sensitive to the cold with an upgrade to heated floors, or a news hound with a small flat screen television to watch their favorite morning show.

Engaging a professional gives you access to some of the latest materials and technologies on the market, Fox said. We can find the newest and best of whats out there.

Trending today is a bathroom that wholly embodies the meaning of clean, from the simple, timeless aesthetic to its ease of use.

People want cleanliness without sacrificing style, Fox said. And high-traffic areas like bathrooms are top of mind when it comes to hygiene.

Balancing smart design with functional elements is key, such as incorporating antimicrobial fixtures with large-format tiles to reduce the number of grout lines where dirt can pile up. There are modern design elements that do double duty, like a floating vanity, which adds the look of luxury and makes it easier to clean the floors underneath.

Theres no feature more practical in a modern bathroom than the shower, though freestanding soaking tubs are often eyed by homeowners seeking the ultimate self care inspired space.

Large walk-in showers remain a priority, said Sarah McDonald, designer at Bennett Contracting. Were seeing our clients save up to go all out on fixtures and tile features in their showers, from full scale accent tile walls instead of small tile strips from the past, to adding multiple shower heads for an upgraded experience.

At Jessica Mullens mid-century modern home in Clifton Park, a walk-in shower was a must after she and her husband reorganized renovation priorities. The couple scrapped plans to build a new pool to focus on what they believed would be a better long-term investment, remodeling the main bathroom and giving their home gym a face-lift.

I wanted a concrete-looking walk-in shower, but had no idea how to accomplish it, Mullen said.

After doing some research, she found a contractor with experience creating the look she was going for. Much of his work was on display at the rustic and chic June Farms in West Sand Lake, so she felt familiar with and inspired by the style.

We live in an old, funky home, and my vibe is very bohemian and modern, Mullen said. I wanted to take the bathroom from something you mightve seen in Tony Sopranos house to something fresh and clean.

Mullens renovation is still a work-in-progress, but it already incorporates many of the design elements the experts say are hottest right now.

We went with a floating teak vanity, mixed metal fixtures with champagne brass and matte black, and a bold hexagonal tile of varying sizes for the floor and the shower, Mullen said.

Mullen enjoyed using her own background in design to work alongside a professional team that could make sure the complete gut renovation went smoothly, though that doesnt always mean quickly. The ongoing coronavirus pandemic has added weeks, sometimes months to renovation schedules due to limited supply, shipping delays and an overall increase in demand.

With the current level of demand, be patient when it comes to a large project like a bathroom remodel, Gutman said. The planning stage can take a month or two before anything is ordered, and then comes the manufacturing and delivery process.

FUNCTION?-? Antimicrobial fixtures?-? Floating vanities?-? Light therapy shower heads?-? White toilets, sinks and showers for a timeless (vs. trendy) investment

STYLE?-? Bold wallpaper and tile choices?-? Back-lit mirrors?-? Classic, natural materials like marble or stone?-? Mixed metals and matte black fixtures?-? Frameless shower door

LUXURY?-? Freestanding soaking tubs?-? Heated floors?-? Heated towel racks?-? European style "wet room"

Gutman said a homeowner should give themselves a four- to six-month head start from when they want the project to be done.

But once a bathroom transformation is complete, theres no time limit to how many hours you can spend in there perfecting your self-care routine whether its picking up a warm towel off a heated rack, applying a face mask in front of a back-lit mirror, or breathing a bit easier knowing your cleaning routine is simpler thanks to the upgrades youve made.

The plaster, concrete-looking finish on our shower goes on in five- to six-layer increments, and each layer takes a day and a half to set, Mullensaid. We spent a lot of time literally just watching paint dry, but my contractor loves his craft and you can tell by the quality of the work. Id do it all over again in a heartbeat.

Taylor Rao is a frequent contributor to the Times Union. Reach her at taylorrao@gmail.com or @whodatgirl_2bd

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Reshape the bathroom into a functional sanctuary - Times Union

.A stalled frontal boundary, near record moisture levels, andadditional waves of low pressure will provide all the ingredientsfor pockets of heavy rainfall through today....FLASH FLOOD WATCH REMAINS IN EFFECT THROUGH THIS EVENING...The Flash Flood Watch continues for* Portions of southeast Alabama, Florida, and Georgia, includingthe following areas, in southeast Alabama, Henry and Houston.In Florida, Calhoun, Coastal Bay, Coastal Dixie, CoastalFranklin, Coastal Gulf, Coastal Jefferson, Coastal Taylor,Coastal Wakulla, Gadsden, Inland Bay, Inland Dixie, InlandFranklin, Inland Gulf, Inland Jefferson, Inland Taylor, InlandWakulla, Jackson, Lafayette, Leon, Liberty, Madison, andWashington. In Georgia, Baker, Ben Hill, Berrien, Brooks,Calhoun, Clay, Colquitt, Cook, Decatur, Dougherty, Early,Grady, Irwin, Lanier, Lee, Lowndes, Miller, Mitchell, Quitman,Randolph, Seminole, Terrell, Thomas, Tift, Turner, and Worth.* Through this evening* Pockets of heavy rain will spread into the Florida Big Bend andlower I-75 corridor of Georgia today. Storm total rainfall of 1to 3 inches has already occurred over much of the area outsideof the Southeast Florida Big Bend since Friday evening.Additional rainfall amounts of 1 to 2 inches with isolatedamounts of 3 to 4 inches are possible.PRECAUTIONARY/PREPAREDNESS ACTIONS...A Flash Flood Watch means that conditions may develop that leadto flash flooding. Flash flooding is a VERY DANGEROUS SITUATION.You should monitor later forecasts and be prepared to take actionshould Flash Flood Warnings be issued.&&

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