Home Builder Developer - Interior Renovation and Design

WEST NEW YORK, NJ - Roseland Residential Trust, a subsidiary of Mack-Cali Realty Corporation (NYSE:CLI), announced the opening ofThe Capstone at Port Imperial, a new luxury residential building in Port Imperial offering stunning views of the Hudson River andManhattanskyline, an elaborate amenity package, and high-quality design and finishes. The Capstone, which is owned in joint venture with an institutional equity provider, isRoseland'snewest development in the Port Imperial community.

The Capstone features a mix of 360 units ranging in size from studios to four-bedroom homes, with a wide array of floor plans to choose from. The building is complemented by a full suite of amenities and 25,000 square feet of retail and covered public parking. Designed for the discerning modern renter, the residences feature luxury plank floors, quartz countertops with full-height backsplashes, kitchen pendant lighting, state-of-the-art stainless-steel appliances, and other designer-quality fixtures and finishes in the kitchens and bathrooms.

"Roselandcontinues to execute its vision at Port Imperial, developing high-quality residential assets that benefit from prime waterfront location,New York Cityskyline views and robust lifestyle amenities," saidMarshall B. Tycher, Chairman of Roseland Residential Trust."The Capstone further elevates the neighborhood at Riverwalk and is an excellent addition to Port Imperial's live-work-play neighborhood, which is known for its numerous dining destinations, coveted outdoor space, and easily accessible commuting options."

The impressive amenity package is highlighted by a ninth floor indoor and outdoor lounge featuring a sundeck with stunning views of the Hudson River and an expansive, 33,000-square-foot outdoor amenity deck including a two-level pool and spa, fireplace, barbeque grilling stations, outdoor billiards, foosball tables, outdoor theater, private cabanas, bocce court, children's play area, and dog run. The 3,000-square-foot fitness suite caters to a healthy lifestyle and features Technogym equipment, yoga, Fitness on Demand, spin studio, and a dedicated outdoor fitness area on the deck.

"The outdoor amenity deck is spectacular," explained Mr. Tycher. "The thoughtful design is a testament toRoseland's unwavering commitment to excellence we are always trying to outdo ourselves in each of our projects, and I'm thrilled to offer our residents a retreat of unique outdoor experiences, particularly given the times we are living in."

The clubroom features a fireplace, billiards, and outdoor deck with views of the Hudson River perfect for entertaining guests and a party room with a work lounge coffee bar and private conference rooms for residents who work from home. Additional amenities include an indoor dog grooming room, golf simulator, children's playroom, 24-hour concierge, bike storage and several private garages. Residents at The Capstone have access to the Roseland Living app, which streamlines every resource into one place from details about exclusive upcoming virtual events,Roselandperks and discounts, maintenance information, and access to the rent portal.

Following the exciting restaurant openings ofMarcus Samuelssonat NoHu Rooftop in the EnVue hotel, and the new American gastropub, Porter, on the ground level of nearby RiverHouse 11, The Capstone not only demonstratesRoseland'scontinued investment in the neighborhood, but further underscores the exciting evolution of the Port Imperial community. The Capstone will soon be joined byRiverHouse 9, a 313-unit building inWeehawkenalso developed byRoseland. Port Imperial has continued to transform into a sought-after lifestyle destination, with convenient access by ferry service toManhattan, as well as the Hudson-Bergen Light Rail servicing the NJGold Coast.

See original here:
Roseland Announces Opening of 360-Unit The Capstone at Port Imperial Luxury Apartment Building on The New Jersey Gold Coast | MultifamilyBiz.com -...

Todays Mediterra homebuyer can have it all: their choice of a new, coastal-inspired home by London Bay Homes in a community renowned for its the choice is yours lifestyle and the areas best amenities.

Over the past three decades, award-winning homebuilder London Bay Homes has earned its impeccable reputation with a promise of Private Label Living that reflects their dedication to building the finest luxury homes in Southwest Florida.

In Mediterra, London Bays new floor plans and fresh, contemporary-style architecture coupled with an exciting array of clubhouse renovations elevates the luxury lifestyle to new heights in the renowned Naples golf and beach club community, where more than 40 available homesites remain.

The Club at Mediterras chic European-style clubhouse showcases nearly 60,000 square feet of exquisite space and serves as the epicenter of social life within the sought-after community. Designated as both a Top 50 Platinum and Distinguished Emerald Club, the award-winning Clubhouse offers an engaging atmosphere where camaraderie flourishes. Whether members dine indoors or out, formally or informally, the club offers a first-class culinary experience with traditional classics and Healthier Choice selections.

Members can mingle with new neighbors at the Clubs popular, expanded cypress bar and tavern, along with a new outdoor covered bar terrace that provides unfettered views of one of Mediterras two Tom Fazio-designed golf courses. Along with a ballroom designed for grand holiday galas, the Clubhouse also offers a new garden room and a sunroom ideal for intimate gatherings with family and friends, like anniversary celebrations and bridal showers.

Mediterra club members gather for cocktails and conversation near the new west-facing dedicated fire pit terrace that capitalizes on Audubon Silver Sanctuary golf course views during the day, and Naples famous sunset views at night.

Mediterras Sports Club has been ranked among Americas Healthiest Clubs and a Blue Zone Project supporter, with its focus on active living. Mediterras Sports Club offers an abundance of options that promote a healthy lifestyle, from high-tech, state-of-the-art equipment to yoga, Pilates and spin classes led by the professional fitness staff. In the spa, members can indulge in some well-deserved relaxation with massages, facials and body treatments.

Of course, Mediterra serves up racquet sports in style, with eight Har-Tru sub-surface irrigated clay tennis courts, three pickleball courts, and a Bocce Garden with three Har-Tru courts. Members enjoy a USTA Tennis Program with clinics, lessons and leagues designed for the best blend of sports and socializing.

If golf is your game, homebuyers eager to play the communitys two beautiful Tom Fazio-designed championship courses are eligible to secure a full golf membership immediately rather than being placed on the membership waiting list as a Limited Golf Member. Both courses were meticulously transformed with revitalized bunkers, restored greens and new Platinum Paspalum grass.

Mediterra also brings the areas famous Gulf of Mexico beach to its members with the 10,000-square-foot, two-story Mediterra Beach Club. Its your own private tropical paradise, with a heated pool, indoor and outdoor dining, open-air shaded lounging areas and beachside concierge cabana service.

To complement the Mediterra Lifestyle, London Bay Home offers new open-concept floor plans ranging from 2,894 to 3,020 square feet under air, and move-in ready homes starting from $1.8 million. Homesites starting from the mid-$200s offer homebuyers lake and preserve views in Mediterras distinctive neighborhoods.

Within Mediterras distinctive neighborhoods, homebuyers can recreate their preferred London Bay home design with the builders signature coastal-influenced architecture, grand floor plans and expansive outdoor living areas. And with move-in ready homes underway in the Caminetto, Lucarno and Cabreo neighborhoods, homebuyers can take advantage of an expedited building process and access to the London Bay Homes Selection Studio for their choice of preferred flooring, fixtures, cabinetry and lighting.

Interested homebuyers can visit the sales center, open daily from 10 a.m. to 5 p.m., and tour three stunning model homes. Visit MediterraNaples.com to experience immersive virtual tours and view extensive photo galleries today. For more information, call 239-949-8989. The Mediterra Sales Center is located at 15836 Savona Way off Livingston Road two miles north of Immokalee Road.

Continued here:
The Choice Is Yours at Mediterra: More than 40 preferred available homesite options perfectly paired with Naples' top award-winning amenities -...

I DONT know if it is the heat, or too many flatbreads, but I seem to have spent the past half-hour passed out in a forest in the middle of the afternoon.

Or it could be the pleasant vibrations travelling through my body that have sent me to the land of nod.

7

This is my first time gong-bathing when a gong is struck repeatedly to send you into a meditative state. And boy, does it work.

All-inclusive hols have come a long way from just eating your weight in chips at the buffet and kitsch evening entertainment.

The Residence at Tui Sensatori Barut Fethiye, on Turkeys Mediterranean coast, is the latest addition stylish, elegant and only for adults.

I spent four nights in a fabulous Lake House Suite, with swim-up pool access.

7

It includes a Jacuzzi, a pool that leads to your back door, a stocked mini-bar, butler service and champagne on demand.

Drag yourself away from that luxury and there is plenty to do, if you feel the need.

Effortless is the watchword here and you can download an app to book activities.

All-inclusive fun includes archery, aqua-aerobics, candlelit yoga and that fabulous gong-bathing.

7

Or just relax in a hammock in the resorts forest area or take a dip in the pool and enjoy a cocktail at the in-pool bar, where the smoked Bloody Marys are something else.

There is a pebble beach just steps away from the resort, where a cabana costs 53 a day, complete with butler service and a gorgeous view of the nearby mountains. Bliss.

There is an on-site spa, so if you need help switching off you can book treatments including a hot-oil massage and a coconut-milk body wrap.

The spa has a steam room, a sauna and trickling rainforest noises for a truly immersive sensory experience.

7

Then there is the nosh. The Food Repertory is a 24-hour restaurant with an extensive international menu, so you can eat pretty much anything you want, whenever you want.

Craving lobster bisque at 4am? Knock yourself out.

There is also a 24-hour bar in the Executive Lounge with a gin-and-tonic variation to please every palate plus a patisserie and an ice-cream bar.

Give the fig flavour a go it is the ice cream you never knew you needed.

Anyone in the market for some more traditional Turkish cuisine, at a slightly more civilised hour, should head to the roof terrace where the

Asmani restaurant offers locally sourced breakfasts.

7

Once you have tried sujuk, a Turkish spicy sausage, old-school pork bangers just will not cut it any more.

Dinner is available, too, with an expertly crafted taster menu at 22 a head.

Or try out the fabulous restaurant next door at the Tui Sensatori Resort Barut Fethiye, which has more of the traditional hallmarks of all-inclusive holidaying.

It boasts Tom Jones tribute acts, stand-up comedy nights, a disco and some fun water- slides if you are in a need of an adrenaline hit amid all the Zen relaxation.

7

You are unlikely to get cabin fever with so much on offer on this holiday.

But if you do feel an urge to venture farther afield, there is plenty to explore in and around Fethiye.

The town centre can be reached by shuttle boat, local bus or taxi and is great for picking up local fare, from Turkish delight to trinkets for your mantelpiece.

For a great sunset, tuck into dinner ideally the lamb chops at the Mori restaurant which is part of the Yacht Classic Hotel.

Go: Fethiye

COVID: Travel abroad is not permitted right now.

GETTING/STAYING THERE: Seven nights all-inclusive at 5H The Residence, Tui Sensatori Barut Fethiye, is from 1,159pp. Includes return Gatwick flights on September 28, and transfers. See tui.co.uk.

OUT & ABOUT: A VIP Blue Cruise boat tour costs from 59. A shuttle boat to Fethiye is 15 return, local bus is 1-2 and taxi about 10.

Situated on the waterfront, it boasts gasp-inducing views of the skyline and, if you are lucky, a friendly turtle named George might just pop up to say hello.

If you do only one excursion, make it a boat trip. The VIP Blue Cruise is the best way to fully appreciate how beautiful the surrounding landscape is.

7

GIRLS JUST WANNA HAVE FUNBest girl's holidays for 2021 including Turkey, Ibiza and Zante

IN FOR A RIDEThe theme park rides which were never built at Universal and Disney World

JAB DOCUMENT DEBATEDo vaccine passports only work in fantasyland?

VIEW WHAT SCORCHERHottest and sunniest places in UK last year that make ideal staycations

Exclusive

LAST ORDERSPubs and hotels 'WILL close for good' without same summer boom as last year

It also offers a chance to ogle the mega-yachts doing the rounds.

And it is not just your eyes that will be delighted. This is a treat for your taste buds, too.

A fresh lunch of traditional Turkish cuisine is provided thanks to an on-boat barbecue and despite everything else, that was the culinary highlight of my trip.

GOT a story? RING The Sun on 0207 782 4104 or WHATSAPP on 07423720250 or EMAILexclusive@the-sun.co.uk

Continue reading here:
Indulge in all-inclusive adults-only fun on Turkeys Mediterranean coast - The Sun

Construction continues on Boardwalk Lofts in Katy

Once completed, Boardwalk Lofts will offer one-, two- and three-bedroom floor plans as well as several amenities. (Laura Aebi/Community Impact)

Now is the chance to help your local community succeed. Become a Patron by contributing to Community Impact Newspaper and gain daily insight into what's happening in your own backyard. Thank you for reading and supporting community journalism.

By Morgan Theophil|12:13 PM Feb 8, 2021 CST| Updated8:22 AM Feb 9, 2021 CST

Once completed, the community will offer one-, two- and three-bedroom floor plans as well as amenities, including two resort-style pools, an outdoor cabana, grilling areas, a fitness center and a resident lounge.

Boardwalk Lofts are part of the Katy Boardwalk District, a 169-acre mixed-use development. http://www.boardwalklofts-katy.com

Morgan joined Community Impact Newspaper in January 2021 as the reporter for the Katy edition. She graduated from the University of Oregon's School of Journalism in 2018.

Link:
Construction continues on Boardwalk Lofts in Katy - Community Impact Newspaper

TOWN CLERK

POSTED IN ACCORDANCE WITH THE PROVISIONS OF M.G.L. Ch. 30A, SECTION 20 AS AMENDED.

Board or Committee: Zoning Board of Appeals

Location: Remote Participation: Video & Tele-Conference

Via Computer/Phone/Tablet (via Zoom)

https://zoom.us/j/91970020615

Telephone (Audio Only)

1-646-558-8656, Webinar ID: 919 7002 0615

Watch & Participate on Facebook

https://www.facebook.com/Dedha...

Watch on Dedham TV

Visit http://www.dedhamtv.com to watch online or find your local TV channels

Comments/Questions/Technical Assistance

jdoherty@dedham-ma.gov

781-794-9240

New to Virtual Meetings? Please view Planning & Zoning Department's remote participation policy & procedures: bit.ly/PZVirtualMeetings

Day, Date, Time: Wednesday, February 17, 2021, 7:00 pmSubmitted By: Jennifer Doherty, Administrative Assistant

AGENDA

7:00 pm

980 Washington Street Adams | Ahern Sign Solutions, Inc.Request for a waiver for a 99 sq/ ft. wall sign that is 52.2 ft. from grade to top of sign (25 ft. above grade is not allowed). The +/- 120,226 sq. ft. property is located at 980 Washington Street. Dedham, MA, Map 160, Lot 36, and is within the Research Development & Office (RDO) Zoning District. Town of Dedham Sign Code Section 237-19 (E) Continued from 1.20.21

Project Documents

http://bit.ly/Feb2021DedhamZBA

900 Providence Highway Mavis Tires & Brakes/Site Enhancement ServicesRequest for a waiver to install three (3), 48.5 sq. ft. illuminated wall signs; proposed signage exceeds allowable wall sign height. The +/- 39,166 sq. ft. property is located at 900 Providence Highway, Dedham, MA, Map 149, Lot 13, and is within a Highway Business District. Town of Dedham Sign Code Section 237-19 (D) and 237-19 (E)

Project Documents

http://bit.ly/Feb2021DedhamZBA

259 Washington Street Recovery Connection Centers of America, Inc.Requests a Special Permit for a proposed 1,125 sq. ft. Substance Abuse Treatment Clinic (no dispensing of medication to occur at subject property). The +/- 23,212 sq. ft. property is located at 259 Washington Street, Dedham, MA, Map 93, Lot 8, and is within a Highway Business (HB) Zoning District. Town of Dedham Bylaw Section 3.1, 9.2, 9.3, and Table 1.

Project Documents

http://bit.ly/Feb2021DedhamZBA

63 Colonial Drive B&L Elite Builders, LLC c/o Lyndemberg DuqueRequest for a Variance to construct a +/- 2,900 sq. ft. single family dwelling; proposed dwelling would not meet the required front yard setback (10.5 ft. provided, 25 ft. required). The +/- 6,325 sq. ft. property is located at 63 Colonial Drive, Dedham MA, Map 79, Lot 129, and is within a Single Residence B (SRB) Zoning District. Town of Dedham Bylaw Section 4.5, 9.2, 9.3 and Table 2

Project Documents

http://bit.ly/Feb2021DedhamZBA

8 Bates Court Danielle ForteRequest for a Special Permit for adding additional living sq. ft. and extending existing porch to 25.5 sq. ft.; proposed additions would intensify pre-existing nonconforming front and side yard setbacks. The +/-5,880 sq. ft. property is located at 8 Bates Court, Dedham, MA, Map 91, Lot 8, and is within the Single Residence B (SRB) Zoning District. Town of Dedham Bylaws Section 3.3, 3.3.1, 3.3.3, 9.2, 9.3, and Table 2

Project Documents

http://bit.ly/Feb2021DedhamZBA

55 Norwell Road Mike & Mary ForteRequest for a Variance to construct an addition to connect the rear detached garage to the single- family dwelling and to construct a second story above the garage; proposed rear addition/garage would not meet the required rear yard setback (7 ft. provided, 20 ft. required). The +/- 11,575 sq. ft. property is located at 55 Norwell Road, Dedham, MA, Map 126, lot 60, and is within the Single Residence B (SRB) Zoning District. Town of Dedham Section 9.2, and Table 2

Project Documentshttp://bit.ly/Feb2021DedhamZBA

25 Boathouse Lane Mollie MoranRequest for a Special Permit to construct a single-family dwelling within a Flood Plain Overlay District. The +/- 16,110 sq. ft. property is located at 25 Boathouse Lane, Dedham, MA, Map 74, Lot 32, and is within a Single Residence B (SRB) Zoning District, Flood Plain Overlay District, and Aquifer Protection Overlay District. Town of Dedham Bylaw Section 8.1, 9.2, 9.3, and Table 2.

Project Documents

http://bit.ly/Feb2021DedhamZBA

Old/New BusinessThis item is included to acknowledge that there may be matters not anticipated by the Chair that could be raised during the meeting by other members of the Committee/Board, by staff, or by the public.

This press release was produced by the Town of Dedham. The views expressed here are the author's own.

Originally posted here:
Dedham Zoning Board Of Appeals Will Meet On February 17 - Patch.com

Upon advancing to her first major fourth round on Saturday, Jessica Pegula grabbed the blue marker to write on the on-court camera lens, as is customary for winners at the Australian Open. She could have written anything.

Before saying hi to her sister, she wrote: "Let's go Jen Brady!"

Brady, her longtime friend and fellow American, was up next on the same court at John Cain Arena and had asked Pegula for a shout-out on Twitter.

Soon after, Brady joined Pegula in the round of 16 following a victory over Kaja Juvan -- and by the end of the day, two other Americans had followed suit. Shelby Rogers overcame a 4-1 start to beat Anett Kontaveit in straight sets, and on the men's side, Mackenzie McDonald -- ranked No. 192 in the world -- defeated Lloyd Harris to make his second major fourth round.

There were no fans at Melbourne Park on Saturday for the first time since the lockdown was put in place, but despite the strange circumstances, the remaining American contingent shined -- and continued to show support for one another.

"It's so cool, seeing all these girls I grew up with, and we've known each other for so many years, do really well and play some awesome tennis and on the biggest stages," Rogers said after her match. "We're all supporting each other. We have some fun chats going on. It's really cool to see us all keep going."

The foursome joined fellow American Serena Williams, who had advanced on Friday, in the second week at the tournament.

2 Related

The American women have had great success at Grand Slams in recent years -- led, of course, by Williams -- with major titles from Sloane Stephens and Sofia Kenin and a slew of others in perennial contender status. There are 18 Americans ranked in the top 100, and there is consistent representation in the second week of Slams from the group, although Brady, Rogers and Pegula are more recent additions to the list. At the 2020 US Open, Brady reached her first career semifinals, Rogers reached the quarters for the second time at a major and Pegula had her then-best run at a Slam with a third-round showing.

"We've got a multigenerational group of players at the top of the game on the women's side," said Martin Blackman, the general manager of player development for the USTA. "And I think that also puts things into perspective -- from Coco Gauff to Serena, to all the players in between, there's not a lot of burden that's being placed on one player right now. And I think that really helps everybody, and takes some of the pressure off."

While Williams continues her quest for her record-tying 24th major title, her cohorts can fly somewhat under the radar. Jennifer Brady (age 25), Rogers (28) and Pegula (26) didn't have the early success of Williams, who won her first major at 17, or receive anywhere near the attention placed on 16-year-old Gauff, but they've been quietly and steadily working on their games and improving week to week, year to year. Seeing the success of one another has only helped fuel them further and provided self-belief.

"I think the pandemic and everything we've gone through over the past year has helped the players look a little bit outside themselves," Blackman said. "Tennis is such an individual sport, and you have to be so focused on yourself and every little detail, but I think things have come into perspective. They genuinely like each other and are happy for one another, and being part of our Billie Jean King Cup team has created a really healthy environment for our top women.

"A lot of [the success we're seeing] is demonstration effect. In any given Slam, we have four or five women in the quarters, some of the other women who maybe haven't gotten there yet can say, 'If she can do it, I can, too.' Each win raises the bar and raises the level for everyone else."

Although the American men haven't had comparable success -- Andy Roddick was the last countryman to win a major in 2003 -- and McDonald is the only one remaining in the singles draw, McDonald still has support from the remaining women. Brady was one of the first to text him after his win on Saturday, as the two played collegiate tennis at UCLA.

"I was just texting with Mackie," Brady said. "I'm so proud of him, happy for him that he's made the fourth round here. I think he's also pretty excited for me, as well."

Many of those who know McDonald appreciate all the 25-year-old has been through, not just to get to the second week at a Slam, but to playing tennis at all. After making his first round of 16 at Wimbledon in 2018, he suffered a potentially career-ending injury in 2019 when he tore a hamstring tendon off the bone while playing in a doubles match at Roland Garros. He spent the rest of the season recovering from surgery, unsure if he would ever play again.

He made his return in 2020 and needed to use his protected ranking for entry in Melbourne. But he has more than made the most of the opportunity.

McDonald's ranking is expected to rise to No. 136 and would only improve if he keeps winning. That will be an uphill battle, as he next faces Daniil Medvedev, the No. 4 seed and 2019 US Open finalist, on Monday. But Blackman, who frequently watches McDonald practice at the USTA's National Campus in Orlando, Florida, has been impressed with his unrelenting work ethic and said he might be up for the task.

"I think he matches up well against Medvedev," Blackman said. "Medvedev is a great player, and he will have to play his best tennis to beat him, but I think on paper, it's a pretty good matchup because Mackey likes to move forward and take the ball early. He keeps the ball relatively flat, he's got a good second serve return. He's playing with house money now, so he shouldn't put any pressure on himself and just play the match he wants to play."

Even with no fans, McDonald will have a fair amount of support on the grounds at Melbourne Park on Monday. And, as none of the Americans will be facing one another, they will all be rooting for one another to secure a spot in the quarterfinals. If Pegula and Brady were both to win their matches, it would set up a quarterfinal match between the two -- something Pegula immediately embraced when told.

"That would be fun," Pegula said. "I mean, I hope that's what happens to be honest. Yeah, I think we're probably just focused on our next match.

"Jen is awesome. I'm always rooting for her to win. She's a great person. I mean, that would be ideal, honestly, for us [to play against each other]. I think that would be really cool and good for American tennis."

See the rest here:
The remaining Americans in the Australian Open are shining, and rooting each other on - ESPN

One of the busiest days in WNBA offseason history saw five teams combine to make five trades involving seven players and five draft picks on Wednesday, highlighted by 2019 Defensive Player of the Year Natasha Howard heading to the New York Liberty and the Dallas Wings landing the No. 1 overall pick.

Defending champion Seattle was at the centerpiece of everything. The Storm lost two key contributors to their 2018 and 2020 title teams while reshaping the roster with a focus on younger talent that also involved the Minnesota Lynx and Phoenix Mercury -- nearly half the league's teams in all.

What does it mean for the Storm's championship chances, New York's hopes of surging to the playoffs and everyone else? Let's break it down.

Added: Mikiah Herbert Harrigan, Katie Lou Samuelson, 2022 second-round pick (from Dallas), 2022 second-round pick (from New York), rights to Stephanie Talbot

Lost: Natasha Howard, Sami Whitcomb

I wrote last fall that free agency and the salary cap would be tougher obstacles for the Storm than any team they faced en route to their second championship in three years in 2020. That proved the case. The Storm have now lost two of the five starters from the title teams plus a key reserve, with Howard and Whitcomb following Alysha Clark (who signed with the Washington Mystics as an unrestricted free agent) out of Seattle.

There's no doubt that hampers the Storm's chances of making it three championships in four years. Clark and Howard were key anchors of the WNBA's best defense. (Seattle allowed nearly four fewer points per 100 possessions than any other team last season.) Clark was the lone unanimous selection to the 2020 All-Defensive First Team.

2 Related

According to lineup data from WNBA Advanced Stats, the Storm's defensive rating was 5.5 points per 100 possessions worse with Howard on the bench, the biggest differential among the team's starters. Take both Clark and Howard out of the mix and their defensive rating dropped to fourth in the league.

Seattle has also lost important floor spacing. Clark led the WNBA by making 52% of her 3-point attempts during 2020 while Howard was a rare stretch 5 whose seven 3-pointers last season were more than newcomer Candice Dupree has made over the past 11 seasons (she's 4-of-37 in that span). And Whitcomb's 32 3-pointers ranked second behind Riquna Williams among players who started less than half of their games.

Presumably, the Storm are hoping Samuelson can replace some of that shooting. A 42% career 3-point shooter at UConn, where she played alongside new frontcourt-mate Breanna Stewart as a freshman, the No. 4 pick of the 2019 draft hasn't been nearly as accurate in two WNBA campaigns. She shot 28% from beyond the arc while playing sparingly for the Chicago Sky as a rookie, and while she earned more playing time with the Wings last season, her 3-point shooting wasn't much better (32%). Given that lack of production, it's surprising that Samuelson netted the No. 1 pick (along with a 2022 second-rounder), albeit in what's considered a weak draft.

Herbert Harrigan is another intriguing option for the Storm to fill the void at forward left by Clark's departure. The No. 6 overall pick last April was on the fringes of Cheryl Reeve's rotation in Minnesota despite shooting an impressive 42% on her limited 3-point attempts (14-of-33).

In time, Talbot could be part of that equation, too. Before deciding to sit out the 2020 WNBA season, Talbot was a career 35% 3-point shooter in three seasons with Phoenix and Minnesota. Because Talbot's contract expired while she was on the suspended list, she can negotiate exclusively with Seattle as a free agent when she returns to the league -- which presumably won't be until after competing with Australia in the Tokyo Olympics if they're held.

At 23 (Samuelson) and 22 (Herbert Harrigan), respectively, the newcomers join a young Storm core that also includes Stewart (26), All-Star shooting guard Jewell Loyd (27), point guard Jordin Canada (25) and centers Ezi Magbegor (21) and Mercedes Russell (25). Importantly, they also come with cheaper rookie contracts that will make it easier for the Storm to manage the cap going forward with several of those players due for raises in 2022.

Canada and Russell can be restricted free agents if they don't reach extensions to their rookie contracts by May 15. Stewart is also a possible extension candidate, eligible to bump up her contract to the supermax level ($228,094), while an extension is unrealistic for Loyd because rules limit her salary in the first year of an extension to a 20% raise from the current $121,500. By playing out her contract and re-signing as a free agent, Loyd would be eligible to make the supermax.

It will be interesting to see how Seattle's frontcourt rotation shakes out next season. Dupree said in her introductory news conference that coach Dan Hughes indicated she'll play regularly with Breanna Stewart. Those two could play together at forward, sliding Stewart out to the wing, or in smaller lineups with Stewart at center and one of the other newcomers alongside Dupree at forward.

However that works, Seattle no longer looks like the prohibitive favorite to repeat as champions because of the losses in free agency. This reminds me a bit of the offseason following the Storm's 2004 championship. They lost starters Sheri Sam and Kamila Vodichkova and reserve Tully Bevilaqua in free agency, replacing them with younger talent. Seattle still won 20 games but was upset in the opening round of the playoffs by the more experienced Houston Comets.

As in that case, the Storm must hope that extending their window to contend throughout the primes of Loyd and Stewart is a better option than maximizing their chances of winning with 40-year-old Sue Bird at point guard.

Added: Natasha Howard, Sami Whitcomb, No. 6 pick

Lost: Kia Nurse, Megan Walker, No. 1 pick, 2022 second-round pick, rights to Stephanie Talbot

The 2020 season couldn't have been any fun for New York, which went 2-20 in the "Wubble" in Bradenton, Florida, to set a league record for fewest wins in a season while narrowly avoiding the worst winning percentage in WNBA history. (Tulsa went 3-31 in 2011, a .088 winning percentage narrowly worse than the Liberty's .091 mark.)

The payoff for all that losing came when New York won a second consecutive draft lottery. Without a Sabrina Ionescu-level talent available in this year's draft, the Liberty decided to parlay that pick into arguably the most valuable player to change teams so far in 2021. No, Howard's rsum isn't nearly as distinguished as that of former two-time MVP Candace Parker, but at age 29 Howard is likely to play a bigger role in New York's long-term future than the 34-year-old Parker will with Chicago.

If you were constructing a center for Liberty coach Walt Hopkins' five-out offense in a lab, she might look a lot like Howard -- a reasonable 3-point threat (she hit nearly one a game in 2019, albeit at 31% accuracy) with the ability to roll to the basket and finish.

In particular, Ionescu should benefit from Howard as a pick-and-roll partner. Howard shot an effective 64% on pick-and-rolls last season, per Synergy Sports tracking, putting her fifth among players with at least 20 such shot attempts. She was even better in 2018, leading the WNBA by shooting an effective 71% on pick-and-rolls after accounting for the additional value of 3-point shots.

Granting they rarely got the benefit of playing with Ionescu, whose season was ended after three games by a severe ankle sprain, New York's primary post players shot an effective 48% (Kiah Stokes) and 27% (free agent Amanda Zahui B) off pick-and-rolls in 2020. Zahui B's mark was worst in the league among players with at least 20 shot attempts.

Much was made of Howard's numbers being down in the Wubble -- not just as compared to 2019, when she averaged a career-high 18.1 PPG as a go-to option with Stewart sidelined by injury, but to 2018 when she played a more similar role. That was largely a function of Howard getting a late start to training camp.

Over the season's first 10 games, Howard averaged 10.7 points per 40 minutes on 36% shooting. During the final 12 games, those increased to 22.5 points per 40 minutes on 62% shooting, better than her marks in 2018 (20.7 points per 40 minutes, 55% shooting). And on-off data suggested Howard was as important as ever to the Storm's defense. She was my pick to repeat as WNBA Defensive Player of the Year. (Howard actually got just one vote, third among Seattle players behind Clark and Stewart.)

I'm also intrigued to see what Whitcomb can do in a larger role. Only once in her four-year WNBA career, in 2019, has Whitcomb averaged better than 20 minutes per game. She should have more opportunity with the Liberty, who badly need her energy and floor spacing.

With the additions of Howard, Whitcomb and 2020 Most Improved Player Betnijah Laney, plus Ionescu back on the court, there's a path for New York to go from 2-20 to the playoffs. I'm not sure building that quickly around Ionescu was ideal. Thanks to their plethora of 2020 draft picks, however, the Liberty could afford to add salary aggressively.

The Liberty also limited the downside of this deal by sending Phoenix's 2022 first-round pick -- instead of their own -- to the Storm, meaning if things go south and New York ends up in the lottery again, it won't be costly. So in a draft lacking sure things, adding one via trade was a reasonable move.

If you thought Dallas had a lot of first-round picks last year, when the Wings drafted No. 2 (Satou Sabally), No. 5 (Bella Alarie) and No. 7 (Tyasha Harris), just wait until this April. After snagging the top pick in Wednesday's deal, Dallas suddenly has the top two selections as well as the Nos. 5 and 7 picks. No team in WNBA history has ever made the first two picks in the same draft.

Between now and the draft, the Wings will surely hope to convert some of those picks into either veteran talent or future draft considerations. After all, Dallas can't keep more than 12 players on the roster and the Wings already have 11 players under contract before adding all of this year's picks.

Nonetheless, this felt like a deal Dallas couldn't turn down. The Wings are relatively flush at the forward spots with a re-signed Allisha Gray, the newly extended Kayla Thornton, Sabally and Alarie. Dallas now gets to control the draft, and if the Wings are fond of Texas center Charli Collier -- the No. 1 pick in ESPN's post-lottery mock draft -- moving up assures they can draft her.

From Minnesota's standpoint, this is relatively quick to deal away the No. 6 pick of last year's draft. However, Herbert Harrigan was going to have a tough time finding minutes after the Lynx added Natalie Achonwa, Kayla McBride and Aerial Powers in free agency.

With Achonwa and Sylvia Fowles at center, Damiris Dantas likely moves back to power forward on something close to a full-time basis after starting at the 5 in Fowles' absence last season. That pushes Napheesa Collier to the wing more frequently, where Minnesota adds McBride and Powers to fellow holdovers Rachel Banham and Lexie Brown.

Besides Herbert Harrigan, the odd player out will almost certainly be veteran guard Odyssey Sims. In order to sign Powers to a protected contract, the Lynx will need to move one and create additional cap space. Since the Herbert Harrigan deal doesn't accomplish those goals, Sims will likely still be on the move.

Added: Kia Nurse, Megan Walker

Lost: No. 6 pick, 2022 first-round pick

Because Phoenix has three stars making the supermax (Skylar Diggins-Smith, Brittney Griner and Diana Taurasi), plus guard Bria Hartley at the lower max, staying under the salary cap while filling out the roster will remain a tight squeeze for the Mercury. That made it important for Phoenix to get two 2021 contributors in exchange for first-round picks this year and next.

Phoenix is gambling that Nurse can return to the form she showed in 2019, when she was chosen an All-Star based on averaging 13.7 PPG on league-average efficiency. Forced to create too much of her own offense last season after coming back from an ugly-looking ankle sprain in the season opener, Nurse struggled badly in terms of efficiency, making just 24% of her 3-point attempts and 31% of her 2-pointers. She rated a win below replacement level by my metric.

There's no reason to think Nurse has suffered any loss of skill, so I expect her to bounce back. At the same time, her 35% 3-point shooting in 2019 now looks like an outlier relative to the rest of her career. Overall, Nurse is a 30% career 3-point shooter in the WNBA, a level at which teams will happily help off her to double-team the Mercury's stars.

Shooting is also a major concern for Walker, the No. 9 pick of last year's draft. Pressed to stretch the floor in the Liberty's offense, she shot 6-of-43 (14%) from 3-point range, the second-worst accuracy in WNBA history for a player with at least 40 attempts. Walker was a 40%-plus 3-point shooter at UConn, so there's a good chance she improves on that going forward.

Read more here:
What Wednesday's blockbuster WNBA trades mean and how they impact each team - ESPN

AJ Media Editorial Board| Lubbock Avalanche-Journal

Continuing growth to the south and west of Lubbock has led to the rapid expansion of nearby Lubbock-Cooper and Frenship school districts. While expansion is great, it brings a set of unique challenges as facilities feel the stress.

Frenship officials addressed the matter in the Nov. 3 election with the approval of a $300 million bond package that includes the construction of a second high school. Lubbock-Cooper, also facing significant student growth, announced a similar approach earlier this week.

The districts board of trustees approved an ambitious $420 million bond package that includes a second high school, third middle school and sixth elementary school. The item will appear on the May 2 municipal elections. Early voting is scheduled to start April 19, and the last day to register to vote is April 1.

The numbers make a persuasive case for Lubbock-Cooper, which has been one of the fastest growing districts in the state for years. Superintendent Keith Bryant said in our story enrollment is up 33% over the past five years alone, and 45% growth is projected over the next 10 years, according to figures from the district. The district expects to increase from its current 7,100 (approximate) students to 10,500 in the next decade with high school enrollment expanding from approximately 1,800 to 2,400 students.

As any facility planner can testify, theres only so much room before maximum capacity is reached. Getting in front of that is what Lubbock-Cooper, like Frenship, is planning to do.

Our growth shows no signs of slowing, Paul Ehlers, president of the Lubbock-Cooper board, said in our story. It is the responsibility of the LCISD Board of Trustees to thoroughly assess the needs of the district and remain proactive.

Student growth is one important metric. The other is tax impact. Bryant said in our story there will be no direct tax increase associated with the bond. The district will use tax revenue associated with new growth to fund the project. Over the past two years, the district has lowered the tax rate 13 cents from $1.54 per $100 property evaluation to $1.41.

The districts approach also calls for bonds to be issued as funds are available. Projects will be prioritized beginning with the second high school, which officials hope opens its doors by the fall of 2023. It would have, according to officials, its own athletic facilities and is to be located near Woodrow Road and Quaker Avenue. The plan calls for it to be built in phases with it opening to freshman and sophomores to begin with and juniors and seniors following the next year.

If the projected growth continues, the new middle school would open at the start of the 2026-27 school year with the new elementary targeted for the beginning of the 2027-28 academic year.

Besides the big-ticket items like new schools, the package addresses other equally pressing needs such as HVAC and roofing improvements and athletic additions at existing campuses, according to our story.

Lubbock-Cooper is the fastest growing school district in our region and one of the fastest growing school districts in the state, Bryant said in a news release. This proposal was carefully developed to address current and future enrollment.

The districts dramatic and sustained growth requires it to be proactive in responding to the expectations of families drawn by its reputation for excellence, and this bond package is a thoughtful plan to get in front and stay in front of a demand that shows no signs of slowing anytime soon.

See the original post here:
Our view: Cooper officials trying to stay in front of growth - LubbockOnline.com

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.

See the original post:
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