#jamison burlington

[beetlepaints]

i’d hate me too

(pls pay attention to the tws thank yeww. very messy btw don’t expect it to be polished)

[patrickjmccormack]

Shot this video for Henry Jamison last fall. The season is changing, I cannot wait for Autumn. 

[findasongblog]

Find A Song about finding the path to what is right with the help of a partner

Henry Jamison - True North

'Gloria Duplex,’ the new album from Burlington singer-songwriter Henry Jamison, is out now on Akira Records. With lyrics seemingly spun “into gold” (The FADER) and folk arrangements that are “dreamy and downy soft, laced with orchestral strings and a Sufjan Stevens-worthy vocal” (Rolling Stone), the album is a confrontation (and attempted rehabilitation) of Henry's own masculinity- a timely meditation, deconstruction, and criticism of, in Henry's words, "the ways in which boys in our culture are recruited into a toxic fraternity, by each other, by their fathers." It's a musical journey towards understanding the role of straight, white, middle class American men in- and their larger responsibility in undoing the deep-seated patriarchal aspects of- modern-day society. The album, which has received early praise from The New York Times, The FADER, The Bluegrass Situation, Atwood Magazine (which called Henry “one of America’s modern folk masters”), as well as some of Henry’s high-profile musician friends including composer Nico Muhly and Big Thief’s Adrianne Lenker, was recorded in NYC alongside producer Thomas Bartlett (Sufjan Stevens, St. Vincent), violinist Rob Moose (Bon Iver, Phoebe Bridgers), and mixer Patrick Dillet (Rhye, David Byrne). In contrast to Henry’s first album ‘The Wilds,’ recorded mostly in solitude in rural Vermont, the album takes on a lusher, more orchestrally-influenced sound while retaining Henry’s signature lyrical integrity on par with “the Great American Novel” (Billboard). When forming the idea behind the album’s sonic dissertation, Henry was inspired by three distinct phases in his life: his failed boyhood dream of being a prototypically-masculine baseball star, his resentment of the pre-professional business types who attended Bowdoin College with him, and his most recent relationship with his now ex-girlfriend, who came to represent a semi-subconscious feminine perspective in his life. From the corporate “race to the bottom” of “Boys” to the profundity of “Ether Garden” and the religious themes of seven-and-a-half minute epic “Florence Nightingale,” through the album Henry paints an evolved, and unresolved, portrait of a modern man trying to improve. (press release)

[abductionradiation]

Burlington, VT -- Henry Jamison will be releasing his next album Gloria Duplex on February 8 via Akira Records. Take a listen to his new track “Ether Garden,” a soft and gorgeous track that’ll take your breath away. The indie folk and singer-songwriter genre is probably one of the hardest genres to stand out because it’s hard to not sound trite yet refreshing at the same time, but Henry Jamison will capture your attention with his songwriting and feathery vocals. “Ether Garden” is song that sounds like its title: light, airy, and full of wonder. It’s really the perfect song to kick off December with.

[tonyduncanbb73]

Designing Intimate, Occasionally Skull-Filled Restaurant Interiors Is Half the Battle

COJE Management Group — behind Yvonne’s, Ruka, and Lolita — understands that vibes are as important as plates

If there’s one knock on contemporary restaurant interiors (to be sure, there are more), it’s that they’re mostly safe and boring. Clean, minimal lines; walls covered in white tiles (can we stop it with the white tiles already?); rigid spaces that invite eaters to do anything but relax and enjoy their meals. And while there are many adjectives that might suit COJE Management Group — the folks behind Lolita Cocina & Tequila Bar, Yvonne’s, and Ruka — safe and boring aren’t among them.

The group took home the 2017 Eater award for Design of the Year for its second Lolita location, a dark, sprawling space nestled along the water in Boston’s Fort Point neighborhood, heavily featuring murals by Julia Purinton of Burlington, Vermont, and Danny Fila of Miami, Florida, both of whom also worked on Ruka. COJE’s own Project Services Group designed Lolita, with Boston-based firm Bergmeyer acting as the architect of record for the project.

COJE managing partner Chris Jamison understands that impacting a diner’s feelings is as important as what’s on the plate, but also that both things must work in concert.

“At the end of the day, we’re not just trying to feed you; we want to make you feel a certain way,” Jamison told Eater via email. “Our culinary team is one of the best in the city at telling a story. It takes so much pressure off of the rest of us to do what it is we do best.”

“Space design and culinary development happen in parallel, but on separate tracks,” he continued. “I wouldn’t say the look is defined by the cuisine; I’d say that we’re very in sync with the guys in charge of the cuisine when it comes to what we’re trying to accomplish, how we want people to feel. Dinner is the new night out, not something you do before a night out. In order for us to harmonize everything in the restaurant, the star of the show needs to be on point, and we’ve got some ridiculous horsepower across our various kitchens that allow us to do almost anything we want from a culinary perspective.”

Yvonne’s is dark and brooding and looks like the sort of space one might have found in some Gilded Age mansion had the industrialist on the deed had a taste for cow prints. The coffered ceiling — its ochre complementing and augmenting the lounge area’s soft lighting — suggests a secret society’s private club (the space used to house Locke-Ober, where Boston’s elite once dined, so this follows), while the ornate woodwork backdropping the white marble bar asks drinkers to keep it classy.

Eric Levin/Elevin Studios

Yvonne’s dining room (top), dining room bar (bottom left), and library bar (bottom right)

Yvonne’s also happens to be Jamison’s favorite project.

“The history of that space, the fact that it was the first project with our current team of Tom Berry, Juan Pedrosa, and Michael Adkins, the end result of how we were well-received by both the older generations of Boston as well as our contemporaries — that will be a hard one to top,” Jamison told Eater. “There was something really special about what we have created, how different it is in Boston, how much people resonated with a vision that everyone told us would fail — there’s a lot of satisfaction and pride in that project. People thought we were insane for putting a restaurant in that part of the city in 2014 when we signed the lease…I’m proud of our team for what we’ve accomplished there.”

While Yvonne’s feels like an experimentation in 19th century grandiosity, Ruka is a meditation on something more contemporary. Eaters are simultaneously floating between evocations of the kinetic sculptures of Jesús Rafael Soto (see the delightful rainbow drop ceilings) and the terror-scape paintings of Francis Bacon (see the serpent-like monsters wrapped around various columns in the dining room.)

Ruka isn’t only rooted in modernism, though — swaddling one of its booths is a painting that looks like it could have been made by Hiroshige if Hiroshige had lived to see the expansive building upwards of urban life. It’s a deft and voguish nod to the masters of the Edo period.

Melissa Ostrow

Ruka

Then there’s each location of Lolita Cocina & Tequila Bar. The original (and recently remodeled) Back Bay location is all reds and blacks and wood and wrought iron; the Fort Point location is part Catholic church (see the stained glass angel behind the bar, this time not asking drinkers to keep it classy, but rather mocking their decision to imbibe at all) and part catacomb (so many skulls!). Like their cousins in Downtown Crossing, each space is sexy and cool and intimate. Jamison is delighted that people think his team’s restaurants are sexy and cool, but intimacy is the real key.

“Intimate is critical,” said Jamison. “Each city is different, has its own quirks and idiosyncrasies. What works in Miami won’t necessarily work in Boston. Chicago success doesn’t guarantee Boston success. Two of the traits that Bostonians value are intimacy of space and warmth in design.”

“Warmth is hard to achieve with soaring ceilings or 150-foot sight lines,” he continued. “If we’re presented with a large space, we cut it up as much as possible. Smaller areas, intimate rooms, nooks, dark corners: Those are the things that we’ve found success with. Soaring, modern, and austere are words that rarely define anything successful in Boston. We respond to intimate, authentic, and warm. We use materials, furniture, and design elements to make spaces feel smaller — weird, right? — and warmer.”

Adam DeTour

Lolita Fort Point

So, what’s next for the COJE team? At the moment, they’re beginning construction on a patio at Lolita Fort Point that will have a full bar and accommodate 100 guests. It should be open by early May. COJE also just began construction on a Cuban restaurant in Post Office Square.

“I’m fired up about this one; I think we’re going to really surprise some people,” said Jamison. “Our whole team recently spent a week in Havana and Miami pulling inspiration for this project, and we’re going to do something I haven’t seen done in Boston before. It’s an extremely complicated and technical construction job, but we’re hoping to have this open by the end of the year.”

And though nothing is in the works yet, Jamison said he’d love to open a rooftop restaurant — or a boutique hotel.

“I want to extend our brand to a whole hotel project,” said Jamison. “I think there’s a tremendous opportunity in this town for a 100-room hotel with a couple of killer food and beverage outlets, and a nightlife component. We’ve started looking at a few opportunities to imprint our style of hospitality on a full hotel. Near term, that’s my dream project in Boston.”

This is the third in a series of features highlighting the 2017 Eater Awards winners. Stay tuned for the next installment soon, and read the first two here:

[sexyapply232-blog]

Redemption by David Baldacci – Audiobooks , MP3

                                       Redemption by David Baldacci

Review    Redemption About Author   David Baldacci

+ Author : David Baldacci (Author), Kyf Brewer (Narrator), Orlagh Cassidy (Narrator) + Format : MP3 ( without DRM – You can listen on many Other Devices ) + You will get link download from Dropbox when Completed Purchase ! + Listening Length : 12 hours and 20 minutes + Language : English

Detective Amos Decker discovers that a mistake he made as a rookie detective may have led to deadly consequences in the latest Memory Man thriller in David Baldacci’s number-one New York Times best-selling series.

Amos Decker and his FBI partner Alex Jamison are visiting his hometown of Burlington, Ohio, when he’s approached by an unfamiliar man. But he instantly recognizes the man’s name: Meryl Hawkins. He’s the first person Decker ever arrested for murder back when he was a young detective.

Though a dozen years in prison have left Hawkins unrecognizably aged and terminally ill, one thing hasn’t changed: He maintains he never committed the murders. Could it be possible that Decker made a mistake all those years ago? As he starts digging into the old case, Decker finds a startling connection to a new crime that he may be able to prevent, if only he can put the pieces together quickly enough….

[glamglaremusic]

PHOTOS: Henry Jamison @ Rough Trade

https://i0.wp.com/glamglare.com/wp-content/uploads/2019/06/Henrv-Jamison-Rough-Trade-053119-126.jpg?fit=2048%2C1365&ssl=1

Sometimes it is possible to catch the same artist at two very different occasions and locations, which can particularly highlight great songwriting and musicianship.

While attending Welcome Campers festival in Massachussets over Memorial Day weekend, I was eagerly awaiting the closing act of the intimate event and when Henry Jamison took the Lake Stage, I was definitely not the only one. Some had moved up their blankets as close to the stage as possible, hanging on the artist’s lips when he started to enchant us all with “Gloria” the wistful opening track of his superb full length album “Gloria Duplex”.

Then, only a few days later, the Burlington, Vermont-based singer/songwriter and his three-piece live band were playing their third to last show of their album tour at Brooklyn’s Rough Trade and their performance was every bit as beautiful and enthralling as the open air version I could enjoy a couple of days earlier.

Without having read up all there is to know about the hauntingly beautiful song, I can tell that  the Gordon Lightfoot classic “If You Could Read My Mind”, the song itself but also Henry Jamison’s cover version have a special meaning to him and might have been pivotal to his success. It also speaks for Henry Jamison’s own craft and wonderful œvre that the Lightfood classic marks a highlight, an anchor during his live shows.

I was hugely impressed how amazing songs from “Gloria Duplex” but also from his 2017 debut album  “The Wilds” sounded and when I complimented Henry Jamison after the show how mesmerized I was and how absolutely fantastic they sounded, he answered very matter-of-factly “we worked very hard to make it sound like that”. Mission accomplished!

Sadly, by now there is no more stop on this tour left but there are already a few new shows on the horizon. Bottom line, if you are into modern and intelligently made singer/songwriter sound, then listen to Henry Jamison and go see him live. Next time.

The delightful electronic pop duo Saint Sister and Charli Adams opened the night.

Connect with Henry Jamison on Facebook, Twitter and Instagram and enjoy photos from his live show at Rough Trade:

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

Henry Jamison @ Rough Trade

== All concert photos by glamglare.com – © 2019 Elke Nominikat and Oliver Bouchard ==

Listen to “Gloria Duplex” on Spotify or Apple Music:

[thebowerypresents]

Check Out Henry Jamison on Thursday Night at Rough Trade NYC

Burlington, Vt., singer-songwriter Henry Jamison comes from a long line of composers and writers, so it comes as no surprise that he’s been doing his own take on introspective folk and pop for several years now. His first full-length, The Wilds (stream it here), arrived in 2017. In labeling it “an unshowy, literate gem,” the Guardian compared him to Sufjan Stevens, Bon Iver and Leonard Cohen. His second LP, the “poetic” Gloria Duplex (stream it here)—which Jamison tells Billboard is “a reckoning with my own childhood and the culture and manhood”—dropped this past February. After bringing the new music to Europe earlier this year, Jamison’s recently launched the North American leg of his tour, which brings him to Rough Trade NYC on Thursday night. And if you’re smart, you’ll get there early enough to catch the openers, Irish duo Saint Sister and Nashville, Tenn., singer-songwriter Charli Adams.

[pressurewashersconnect]

Handyman Bucks County, PA | Hubby4Hire-215-345-1684

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[beetlepaints]

original under cut

[findasongblog]

Find a #singersongwriter song

Henry Jamison - Gloria

First song of the upcoming sophomore album Gloria Duplex, to be released February 8th, 2019.

The new album, which was produced by Thomas Bartlett (Sufjan Stevens, The National), and features strings by Rob Moose (violinist for Bon Iver, Phoebe Bridgers) and mixing by Patrick Dillet (Rhye, David Byrne), creates a lush and enveloping environment for the Burlington, VT musical bard to hold a magnifying glass to the topic of masculinity in 2018. This is evident on the opening track “Gloria” which Jamison wrote to explore “the ways in which boys in our culture are recruited into a toxic fraternity, by each other, by their fathers.”

Me and my cousin were walking one day by the Dairy Queen drive-thru down by the highway and he found some flowers, a busted bouquet and he put a hydrangea in his hair

Some kids at the Dairy Queen were calling him gay and then to my surprise I knew just what to say I said, "boys, if you're looking for your worthiness, it's already there."

Gloria no more nightmares of a lack of love no need to win the race to face your father

Me and my cousin were at the arcade in a fathom of blood, we were constantly slain and we watched the progress of our three-letter names till we stumbled outside to the night air

And there was a man, with a coat and a cane he was mumbling things about the world gone insane He said, "boys, if you're looking for your innocence, well it's already there."

Gloria no more nightmares of a lack of love no need to win the race to face your father

[itsworn]

2017 Detroit Autorama: 65 Years of Show Car History

February in Detroit. Outside, it’s gloomy and cold. Inside, it’s hot and exciting—especially if it’s inside at Cobo Center, home to the Detroit Autorama. The Autorama has packed Cobo Center since 1961, but the event began in 1953. This year, STREET RODDER joined Championship Auto Shows, the Michigan Hot Rod Association, 150,000 spectators, and nearly 900 participants in celebrating the milestone 65th Meguiar’s Detroit Autorama.

STREET RODDER showed up two days before the show opened, and there was already action on the Cobo floor, as vendors, builders, and the show crew prepared for opening day. The Detroit Autorama launched (literally) a few minutes before the doors opened on Friday, as the General Lee 1969 Charger from TV’s The Dukes of Hazzard sped past spectators on the street outside Cobo, hitting the ramps for a 25-foot high, 150-foot long jump with an imperfect landing that you can watch at hotrod.com.

That excitement was just a warm-up for everything inside: hot rods, customs, bikes, and trucks of all description. To celebrate the heritage of the Autorama, the promoters collected cars from the history of the event. Those included Al Bergler’s “More Aggravation” Hemi-powered Bantam Coupe (the first Ridler Award winner), Wes and Bob Rydell’s 2002 Ridler-winning 1935 Chevy sedan built by Chip Foose, Dave Jenkins 1957 Chevy custom built by the Alexander Brothers (Mike and Larry) and Paul Hatton, and the 1935 Ford coupe originally known as “The Little Beaver” that won the ISCA Championship twice—a rare and difficult feat.

Primary among the numerous award categories was the Pirelli Great 8 competition, which determines the finalists for the Don Ridler Memorial Award. Other major prizes were the Lokar Driven Award, Best Ford in a Ford sponsored by Ford Performance, the STREET RODDER Top 100 presented by Painless Performance, and our Editor’s Choice Award at Autorama Extreme held in the basement level of Cobo.

The action at the Autorama went full throttle for three days, culminating in the presentation of the 2017 Ridler Award to Buddy Jordan’s 1933 Ford roadster, handbuilt by Steve Frisbie and his team at Steve’s Auto Restorations.

The Pirelli Great 8

It’s been a while, but the American hot rod has made a resurgence in the world of indoor car shows. Need proof? Look no further than the cars selected as the Pirelli Great 8.

The PG8 is the gateway to the Don Ridler Memorial award, but being chosen for this exclusive group is an honor in its own right. These rides represent the ultimate in craftsmanship, creativity, and styling. In the past decade or so we have seen plenty of early hot rods in contention, and some have won the Ridler. The field in the recent past has been diverse. This year was a boom year for early hot rods, although two of this year’s selection were Corvettes; these American sports cars have influenced, and been influenced by, American rods—whether you’re talking about classic nine-fin valve covers or contemporary LT4 engines. Here are the Pirelli Great 8 in all their glory, including the Ridler winner.

1930 Ford Five-Window Coupe / Ted & Colleen Hubbard / South Bend, NE Ted and Colleen Hubbard’s Model A has all the right stuff to make it an elite show contender, and the attitude to make it a genuine hot rod. Andy Leach and his crew from Cal Auto Creations won the Ridler in 2013 with a 1940 Ford, and this chopped 1930 highboy coupe shares some personality traits. A supercharged Ardun-converted Flathead provides power, along with a portion of the remarkable eye-appeal.

1932 Ford Tudor / George Poteet / Memphis, TN George is another PG8 and Ridler veteran (with many other automotive honors to his name). His 2017 entry was this stunning black Deuce sedan, another highboy. The exterior was treated to countless mods, and the deceptively austere interior is packed with creative details. Ford power comes from a Hilborn-injected Ford Y-block. Congratulations to Alan Johnson and Johnson’s Hot Rod Shop this beauty.

1966 Corvette / Dennis Johnson & Scott Roth / South Burlington, VT The Corvette’s nickname “Split Ray” is a clue to its hard-to-recognize uniqueness: the body that was sliced lengthwise down the center and widened 6-3/8 inches. The plus-sized Vette rides on a Roadster Shop chassis, under the power of a blown LS9 engine. The Z06 interior components are smartphone functional. Fat Pirelli radials wrap the 19- and 20-inch Evod wheels. The Corvette is the creation of The Auto Shoppe in Vermont.

1949 Chevrolet Pickup / Bobby & Hazel Collins / Ft. Collins, TX The road to their PG8 award was particularly long for Bobby and Hazel. The owner-built custom 1949 Chevy truck (riding on a C5 Corvette chassis) was on its way to the 2016 Autorama but was damaged en route. A year later, it returned. The cab has been chopped and sectioned, and cut apart and re-assembled to match the chassis. The interior features leather buckets and panels. A well-detailed Magnuson-blown LS engine lies underhood.

1941 Ford Pickup / Ed Sears / Annapolis, MA Ed Sears took a more nostalgic approach to his classic truck entry. The golden brown 1941 Ford, built by One Off Rod and Custom, was the sole whitewall-tired Great 8 winner, with artillery wheels carrying the tires. Proportions have been altered throughout, including on the cab, which has been stretched 8 inches and chopped less than 2 inches. Three Stromberg carbs top the 8BA Flathead engine.

1954 Custom Corvette / Larry & Robbie Griffey / Powell, TN Corvettes have been receiving custom mods and concept car treatments as long as they’ve been in production. That tradition, especially GM’s Corvette Convertible Coupe Motorama show car from 195, inspired this 1954. Larry Griffey’s Hot Rods and Restorations added a few 1956 Corvette elements, and a few modern components, including the LS1 engine, Jamison chassis and C4 suspension, and modern interior.

1929 Ford Pickup / Dennis Portka / Hamburg, NY Sixties styling was well represented by Dennis Portka’s homebuilt pickup. The raw material was rough when the project started 24 years ago. It’s styled after a ’29 Ford, but virtually every piece of the body was fabricated by the owner. Dennis filled the engine compartment with a Chevy 383 with little room to spare. Other cool details are the Rhino coating floor and the homebuilt chassis with IFS and IRS parts.

The 2017 Ridler Winner 1933 Ford Roadster / Buddy & Nancy Jordan / Portland, OR The Don Ridler Memorial Award was presented to the Jordans’ 1933 Ford, called “The Renaissance Roadster.” The fendered and removable hardtop roadster was designed by Chris Ito and built by Steve Frisbie of Steve’s Auto Restorations. The hand-formed frame features one-off independent suspension parts. The engine is a much-modified Chevy 427 big-block. The centerpiece of the interior is a 1930 Nash instrument cluster. Read more about this extraordinary work of automotive art at hotrod.com.

Painless Performance Products Presents STREET RODDER Top 100

Painless Tech Tip: OE-Style Light Switches OE, original equipment from GM, Ford, and so on, require two power inputs. One power input is for the headlights only and the second is for all the rest of the lights controlled by the switch. They are this way in case you lose one circuit you have the other for nighttime safety.

The Detroit Autorama gave us plenty to choose for our selection of Painless Performance Products/STREET RODDER Top 100 winners. The 10 we picked came from all over the show, from the Pirelli Great 8 hopefuls to Autorama Extreme participants, and one from the Cavalcade of Customs exhibit. More photos and video of our choices can be found at hotrod.com and hotrod.com.

1960 Ford Thunderbird / Dennis Spence / Magnolia, DE The Thunderbird was in bad shape when Ed spotted it 25 years ago. Ed took bodywork and welding classes to learn how to do the work himself and eventually teamed with builder Ed Denkenberger at Superior Autoworks. Now the redesigned body is channeled over an Art Morrison chassis with AccuAir suspension. Ford power is provided by a 351 stroked to 408 inches and topped with two four-barrels. A TREMEC five-speed and Ford 9-inch send power to the rear Heritage wheels from U.S. Mags. PPG Bordeaux Reserve Red Metallic covers the body and tan leather covers the custom interior.

1932 Ford Coupe / Larry Smith / Scottsdale, AZ Some our favorite Autorama Extreme cars have been built by Bill Jagenow of Brothers Custom Automotive, like this unchopped steel 1932 owned by Larry for 15 years. In addition to timeless styling, the coupe is a dependable driver. The 276 Merc Flathead has all the good stuff: S.Co.T. blower, dual 97s, Elco twin plug heads, and Nash Twin 8 distributor with angle drive. A dropped and drilled I-beam axle, chrome radius rods, and chrome shocks and springs have been added to the 1932 frame, rolling on commercial truck wheels. A 1940 dash was added to the interior, which is upholstered in black tuck ’n’ roll.

1929 Dodge Sport Coupe / Ed Tillrock III / Schaumberg, IL Ed Tillrock’s friend found this 1929 Dodge Brothers Senior Six Sport Coupe as just a cowl, doors, and rear quarters, lightened with bullet holes. Ed rebuilt the rest of the body using a 1963 Chevy truck hood as a trunklid, a 1934 Pontiac grille shell incorporating 1940 Ford hood sides, four door hinges, boattail rear quarters, and a golf club door. A Buick Nailhead runs four Holley 94s on a Martin intake. The chassis is built around 1932 Ford ’rails. Firestone Indy tires roll on 1940 Ford steel wheels in back with dirt track tires in front. The interior has a 1952 Stude wheel and espresso-hued leather.

1933 Ford Tudor Sedan / Rick Start / Grand Rapids, MI The idea was to build the Tudor as an early ’60s hot rod combined with numerous Cadillac touches, such as a 1959 Eldorado 390 Tri-Power engine, 1951 dash, Cadillac crest hubcaps, 1961 steering wheel, and a 1931 Flying Lady hood ornament. The body and fenders are original Ford steel, with a mild wedge chop by Gas Axe Garage, where the 1933 was built. The Guide headlights, 1939 Ford taillights, 1935 Ford wire wheels, and black paint and upholstery add a classy personality. Rick bought the 1933 in original condition from the widow of the previous owner; it had been in her basement garage for years.

1952 Chevy Styleline DeLuxe / Don Monshau / Channahon, IL We found Don Monshau’s 1952 Styleline DeLuxe in the Autorama’s Cavalcade of Customs. The Colorado car ended up in Illinois where Don found it. His first mods were the 4-inch chop and then lowering it with airbags. Shaved panels, frenched antennas, and 180 hood louvers are some of the many classic custom touches. Don built it to drive, which accounts for the trusty 350 mill and the easy-to-touch-up GM Grenade Green pearl paint. Upholstery is rolls ’n’ pleats Naugahyde. “Devil’s Daughter” made its maiden voyage through a torrential downpour and continues to be driven everywhere.

1953 Ford Ranch Wagon / Scott & Shannon Smith / Naples, FL This owner-built project started with a frame that was given to Scott by his father, and continued for eight years during nights and weekends at home. The one-piece quarter windows and full custom interior (including the surfboard) are a few cool mods. A Fatman frame, drop spindles, and air suspension lower the car, and an injected Chevy small-block powers it. Foose wheels are paired with low-profile Diamond Back whitewalls. The charcoal and white paint combo is repeated on the interior leather. Scott is a Detroit native transplanted to Florida but he never misses the Autorama.

1950 Plymouth Business Coupe / Duane Sherman / Northville, MI A lifelong Mopar guy, Duane Sherman selected an unusual car and a great shop—Denz Place and Restorations—to build his Plymouth. The car received no body modifications, and retains the stock chassis. The original 235ci flat-six engine features an Edmonds intake, twin Webers, an Isky cam, and Fenton headers. The 18-inch wheels are from a Dodge Charger cop car. The inside is covered in lipstick red vinyl. The previous owners had the Plymouth for a very long time and made the trip from North Carolina to Detroit to see the revived car on display at the Detroit Autorama.

1952 Henry J / Daniel Nelson / Los Angeles, CA “Henry Jaded” was built for show and strip by Dave Shuten. Another former Michigan gearhead, Dave now works for Galpin Auto Sports in California, and brought several Galpin vehicles to the Autorama. Daniel Nelson’s early Funny Car–themed Henry J was bone stock when he turned it over to Dave with the instructions to build it the way Dave would do it for himself—and to NHRA rulebook specs. An Alston chassis forms the foundation and a Chevy big-block brings the muscle. Dave sprayed the ’60s-style paint with graphics done by Hot Dog. Audio is provided by a pair of Flowmasters.

1940 Ford Coupe / Gary Zaborowski / Riverview, MI Gary Zaborowski, aka Boogie Man, named his car “Impact” because it makes one; plus the former 9-second drag car hit the wall at 167 mph at Milan Dragway. Then it sat for six years until Gary started the five-year rebuild in his home garage. Show car body mods include the filled hood, hood scoops, and peaked fenders. The legendary Bill Hines built the door hinges. The frame is handbuilt 2×3 tubing. A fuel-injected 485hp LS3 packs the engine compartment. American Racing Salt Flat Specials and Mickey Thompson rubber fill the fenders. The candy red over gunmetal gray was shot by Boogie Man.

1932 Ford Coupe / Harold Chapman / Florence, TX After winning the Ridler Award in 2017, Harold Chapman from Customs & Hot Rods of Andice was back with his personal ride. The dark brown Deuce started out in rough shape and ended up with several Autorama awards. The unchopped body rides on a modified Pete & Jakes frame, rolling on custom Halibrand-style wheels. Chassis goodies include an I-beam axle and hairpins, and a quick-change. A 620-horse Dart Machinery 427 small-block runs Hilborn injection. The leather-covered interior includes a custom bench, Classic Instruments gauges, and a one-off steering wheel.

STREET RODDER Magazine’s Best Ford In A Ford This Homebuilt 1963 Falcon Flies With Coyote Wings

YEAR: 1963 MAKE: Ford MODEL: Falcon OWNER: Roger Gaynor STATE: Michigan

Roger was looking for cars online when he found the Falcon. It was just a body, sitting in the chicken coop that had been its home for 15 years. It looked just like you’d expect it to considering the circumstances, but Roger was able to see beyond that to his vision for the finished Falcon.

The rebuild began in 2016, when Roger started cutting out and replacing the stock floor and firewall. He shaved the doors, eliminated the vent windows, tucked the bumpers, and modified the hood with reversed hinges to tilt forward. The handcrafted frame is equipped with RideTech suspension components. Heritage 15-spoke wheels from U.S. Mags measure 17 and 20 inches, and are wrapped with 225/35R17 and 305/40R20 low-profile tires. Stopping is handled by Wilwood disc brakes.

After Roger and his friend Bruce Rathburn prepped the sheetmetal for paint, the Falcon went to Dedic’s Diamond Auto Body for its Vivid Metallic PPG paint. The next stop was Fender Design where Bob and Kathy Fender provided a complete custom interior. The fabricated buckets are separated by a custom steel console. The tobacco-colored leather is a combination of pebble grain and perforated with mesh screens in the seat backs. That look continues on the door panels and the underside of the trucklid. The smoothed dash is filled with digital gauges from Inteltronic.

It was important to Roger to keep his Ford all Ford. He was impressed with Ford Performance’s 5.0L 32-valve DOHC all-aluminum engine and managed to shoehorn one between the front fenders of his Falcon. The hood was cut open to let the world see how an up-to-date engine looks in a classic car.

After an intense year of work—with help from Frank at Power By The Hour, Tim Spencer, Steve Groll, and Mark Newport—Roger finished just in time for the trip to Detroit. A prominent spot in Cobo Hall is a long way from the chicken coop his car had once called home. At the Autorama, Adam Gair from Ford Performance presented Roger and his wife, Helen, with a custom-made plaque, designating their homebuilt Coyote-powered Falcon as the STREET RODDER Best Ford In A Ford award, presented by Ford Performance. Read more at hotrod.com.

Lokar/STREET RODDER Driven Award

Brian Downard from Lokar gave the STREET RODDER Driven Award Presented by Lokar Performance Products to Tracy Chapman and her 1949 Cadillac convertible on the first day of the Autorama. For Tracy Chapman, driving is as fun as winning an award. Her white 1949 Cadillac convertible has won a few awards—and is driven frequently. The day it was finished, it started a 3,600-mile test drive. “We didn’t want a show car, we just wanted a driver.”

In building the Caddy, Tracy and her husband, Harold, at Customs and Hot Rods of Andice, used a Roadster Shop independent frontend, parallel four-link, and RideTech air shocks to upgrade the chassis for highway use. Harold packed the big car with a Don Hardy LSX with a Magnuson 2300 supercharger. Handmade covers provide a unique look under the hood. A 4L80-E trans delivers torque to the Ford 9-inch locker rear.

The sheetmetal was treated to countless mods and finished in PPG custom white paint, contrasted by a dark blue cloth top. The white extends into the wheelwells, where custom Diamond Back whitewalls roll on 18-inch Triple Cross wire wheels from Dayton. Wilwood brakes are used at all wheels.

Custom seats are heated for comfort and wrapped in Relicate leather. Classic Instruments modified the 1948 Cadillac gauges. A resized 1948 wheel from Quality Restorations sits on an ididit column. Vintage Air A/C and an Alpine-controlled audio system are welcome additions on the road.

In the fall of 2015, Tracy’s freshly finished convertible was driven from Andice, Texas, to Loveland, Colorado, onto Bowling Green, Kentucky, and then home to Andice. Last year, it was back on the road, driven from home to Chicago to Fort Worth and back. Those trips have brought total mileage to about 12,500 miles. Tracy enjoys the attention the Cadillac gets on the road. “People see cars like this at shows and in Grandpa’s garage, but not on the road.” Read more at hotrod.com.

Extreme Rod Editor’s Choice Award

The Detroit Autorama’s “Autorama Extreme” exhibit, in the basement of Cobo Center, is dedicated to traditional rodding. Live music, handmade trophies, Gene Winfield’s Chop Shop, the Miss Autorama Pinup Girl contest, and great nostalgic rod create the atmosphere of Autorama Extreme.

Each year, STREET RODDER has the opportunity to hand out an award that’s titled the Editor’s Choice pick for the car of our choice. What was once a rare occurrence has now become a tradition. For the past few years, by coincidence, our choice has been a Ford Model A, whether it’s a coupe or roadster. This year was no different.

David Weinberg of Royal Oak, Michigan, brought out his 1931 Ford Model A highboy coupe. The car was carefully fabricated by Bill Jagenow of Brothers Custom Automotive. The body is customized by a Deuce grille shell with E&J headlights, and is fitted to a 1932 frame. Power comes by way of a 276 Merc Flathead topped with a pair of Stromberg 97s, all linked to a three-speed moving the power back to a Speedway Engineering quick-change. The interior features a very cool-looking set of Classic Instrument gauges to set off the Model A dash.

Front rubber comes by way of Firestone, measuring 5×16. At the rear, the Firestone Deluxe Champions measure out at 7.50×16 and are mounted to chrome steelies with Merc caps. Congratulations to both owner David Weinberg and builder Bill Jagenow for coming up with a great little highboy Model A coupe. For more photos of the Extreme Rod Editor’s Choice Model A, visit hotrod.com.

The post 2017 Detroit Autorama: 65 Years of Show Car History appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/2017-detroit-autorama-65-years-show-car-history-2/ via IFTTT

[beetlepaints]

cowpoke jesus

[tonyduncanbb73]

Designing Intimate, Occasionally Skull-Filled Restaurant Interiors Is Half the Battle

COJE Management Group — behind Yvonne’s, Ruka, and Lolita — understands that vibes are as important as plates

If there’s one knock on contemporary restaurant interiors (to be sure, there are more), it’s that they’re mostly safe and boring. Clean, minimal lines; walls covered in white tiles (can we stop it with the white tiles already?); rigid spaces that invite eaters to do anything but relax and enjoy their meals. And while there are many adjectives that might suit COJE Management Group — the folks behind Lolita Cocina & Tequila Bar, Yvonne’s, and Ruka — safe and boring aren’t among them.

The group took home the 2017 Eater award for Design of the Year for its second Lolita location, a dark, sprawling space nestled along the water in Boston’s Fort Point neighborhood, heavily featuring murals by Julia Purinton of Burlington, Vermont, and Danny Fila of Miami, Florida, both of whom also worked on Ruka. COJE’s own Project Services Group designed Lolita, with Boston-based firm Bergmeyer acting as the architect of record for the project.

COJE managing partner Chris Jamison understands that impacting a diner’s feelings is as important as what’s on the plate, but also that both things must work in concert.

“At the end of the day, we’re not just trying to feed you; we want to make you feel a certain way,” Jamison told Eater via email. “Our culinary team is one of the best in the city at telling a story. It takes so much pressure off of the rest of us to do what it is we do best.”

“Space design and culinary development happen in parallel, but on separate tracks,” he continued. “I wouldn’t say the look is defined by the cuisine; I’d say that we’re very in sync with the guys in charge of the cuisine when it comes to what we’re trying to accomplish, how we want people to feel. Dinner is the new night out, not something you do before a night out. In order for us to harmonize everything in the restaurant, the star of the show needs to be on point, and we’ve got some ridiculous horsepower across our various kitchens that allow us to do almost anything we want from a culinary perspective.”

Yvonne’s is dark and brooding and looks like the sort of space one might have found in some Gilded Age mansion had the industrialist on the deed had a taste for cow prints. The coffered ceiling — its ochre complementing and augmenting the lounge area’s soft lighting — suggests a secret society’s private club (the space used to house Locke-Ober, where Boston’s elite once dined, so this follows), while the ornate woodwork backdropping the white marble bar asks drinkers to keep it classy.

Eric Levin/Elevin Studios

Yvonne’s dining room (top), dining room bar (bottom left), and library bar (bottom right)

Yvonne’s also happens to be Jamison’s favorite project.

“The history of that space, the fact that it was the first project with our current team of Tom Berry, Juan Pedrosa, and Michael Adkins, the end result of how we were well-received by both the older generations of Boston as well as our contemporaries — that will be a hard one to top,” Jamison told Eater. “There was something really special about what we have created, how different it is in Boston, how much people resonated with a vision that everyone told us would fail — there’s a lot of satisfaction and pride in that project. People thought we were insane for putting a restaurant in that part of the city in 2014 when we signed the lease…I’m proud of our team for what we’ve accomplished there.”

While Yvonne’s feels like an experimentation in 19th century grandiosity, Ruka is a meditation on something more contemporary. Eaters are simultaneously floating between evocations of the kinetic sculptures of Jesús Rafael Soto (see the delightful rainbow drop ceilings) and the terror-scape paintings of Francis Bacon (see the serpent-like monsters wrapped around various columns in the dining room.)

Ruka isn’t only rooted in modernism, though — swaddling one of its booths is a painting that looks like it could have been made by Hiroshige if Hiroshige had lived to see the expansive building upwards of urban life. It’s a deft and voguish nod to the masters of the Edo period.

Melissa Ostrow

Ruka

Then there’s each location of Lolita Cocina & Tequila Bar. The original (and recently remodeled) Back Bay location is all reds and blacks and wood and wrought iron; the Fort Point location is part Catholic church (see the stained glass angel behind the bar, this time not asking drinkers to keep it classy, but rather mocking their decision to imbibe at all) and part catacomb (so many skulls!). Like their cousins in Downtown Crossing, each space is sexy and cool and intimate. Jamison is delighted that people think his team’s restaurants are sexy and cool, but intimacy is the real key.

“Intimate is critical,” said Jamison. “Each city is different, has its own quirks and idiosyncrasies. What works in Miami won’t necessarily work in Boston. Chicago success doesn’t guarantee Boston success. Two of the traits that Bostonians value are intimacy of space and warmth in design.”

“Warmth is hard to achieve with soaring ceilings or 150-foot sight lines,” he continued. “If we’re presented with a large space, we cut it up as much as possible. Smaller areas, intimate rooms, nooks, dark corners: Those are the things that we’ve found success with. Soaring, modern, and austere are words that rarely define anything successful in Boston. We respond to intimate, authentic, and warm. We use materials, furniture, and design elements to make spaces feel smaller — weird, right? — and warmer.”

Adam DeTour

Lolita Fort Point

So, what’s next for the COJE team? At the moment, they’re beginning construction on a patio at Lolita Fort Point that will have a full bar and accommodate 100 guests. It should be open by early May. COJE also just began construction on a Cuban restaurant in Post Office Square.

“I’m fired up about this one; I think we’re going to really surprise some people,” said Jamison. “Our whole team recently spent a week in Havana and Miami pulling inspiration for this project, and we’re going to do something I haven’t seen done in Boston before. It’s an extremely complicated and technical construction job, but we’re hoping to have this open by the end of the year.”

And though nothing is in the works yet, Jamison said he’d love to open a rooftop restaurant — or a boutique hotel.

“I want to extend our brand to a whole hotel project,” said Jamison. “I think there’s a tremendous opportunity in this town for a 100-room hotel with a couple of killer food and beverage outlets, and a nightlife component. We’ve started looking at a few opportunities to imprint our style of hospitality on a full hotel. Near term, that’s my dream project in Boston.”

This is the third in a series of features highlighting the 2017 Eater Awards winners. Stay tuned for the next installment soon, and read the first two here:

[tonyduncanbb73]

Designing Intimate, Occasionally Skull-Filled Restaurant Interiors Is Half the Battle

COJE Management Group — behind Yvonne’s, Ruka, and Lolita — understands that vibes are as important as plates

If there’s one knock on contemporary restaurant interiors (to be sure, there are more), it’s that they’re mostly safe and boring. Clean, minimal lines; walls covered in white tiles (can we stop it with the white tiles already?); rigid spaces that invite eaters to do anything but relax and enjoy their meals. And while there are many adjectives that might suit COJE Management Group — the folks behind Lolita Cocina & Tequila Bar, Yvonne’s, and Ruka — safe and boring aren’t among them.

The group took home the 2017 Eater award for Design of the Year for its second Lolita location, a dark, sprawling space nestled along the water in Boston’s Fort Point neighborhood, heavily featuring murals by Julia Purinton of Burlington, Vermont, and Danny Fila of Miami, Florida, both of whom also worked on Ruka. COJE’s own Project Services Group designed Lolita, with Boston-based firm Bergmeyer acting as the architect of record for the project.

COJE managing partner Chris Jamison understands that impacting a diner’s feelings is as important as what’s on the plate, but also that both things must work in concert.

“At the end of the day, we’re not just trying to feed you; we want to make you feel a certain way,” Jamison told Eater via email. “Our culinary team is one of the best in the city at telling a story. It takes so much pressure off of the rest of us to do what it is we do best.”

“Space design and culinary development happen in parallel, but on separate tracks,” he continued. “I wouldn’t say the look is defined by the cuisine; I’d say that we’re very in sync with the guys in charge of the cuisine when it comes to what we’re trying to accomplish, how we want people to feel. Dinner is the new night out, not something you do before a night out. In order for us to harmonize everything in the restaurant, the star of the show needs to be on point, and we’ve got some ridiculous horsepower across our various kitchens that allow us to do almost anything we want from a culinary perspective.”

Yvonne’s is dark and brooding and looks like the sort of space one might have found in some Gilded Age mansion had the industrialist on the deed had a taste for cow prints. The coffered ceiling — its ochre complementing and augmenting the lounge area’s soft lighting — suggests a secret society’s private club (the space used to house Locke-Ober, where Boston’s elite once dined, so this follows), while the ornate woodwork backdropping the white marble bar asks drinkers to keep it classy.

Eric Levin/Elevin Studios

Yvonne’s dining room (top), dining room bar (bottom left), and library bar (bottom right)

Yvonne’s also happens to be Jamison’s favorite project.

“The history of that space, the fact that it was the first project with our current team of Tom Berry, Juan Pedrosa, and Michael Adkins, the end result of how we were well-received by both the older generations of Boston as well as our contemporaries — that will be a hard one to top,” Jamison told Eater. “There was something really special about what we have created, how different it is in Boston, how much people resonated with a vision that everyone told us would fail — there’s a lot of satisfaction and pride in that project. People thought we were insane for putting a restaurant in that part of the city in 2014 when we signed the lease…I’m proud of our team for what we’ve accomplished there.”

While Yvonne’s feels like an experimentation in 19th century grandiosity, Ruka is a meditation on something more contemporary. Eaters are simultaneously floating between evocations of the kinetic sculptures of Jesús Rafael Soto (see the delightful rainbow drop ceilings) and the terror-scape paintings of Francis Bacon (see the serpent-like monsters wrapped around various columns in the dining room.)

Ruka isn’t only rooted in modernism, though — swaddling one of its booths is a painting that looks like it could have been made by Hiroshige if Hiroshige had lived to see the expansive building upwards of urban life. It’s a deft and voguish nod to the masters of the Edo period.

Melissa Ostrow

Ruka

Then there’s each location of Lolita Cocina & Tequila Bar. The original (and recently remodeled) Back Bay location is all reds and blacks and wood and wrought iron; the Fort Point location is part Catholic church (see the stained glass angel behind the bar, this time not asking drinkers to keep it classy, but rather mocking their decision to imbibe at all) and part catacomb (so many skulls!). Like their cousins in Downtown Crossing, each space is sexy and cool and intimate. Jamison is delighted that people think his team’s restaurants are sexy and cool, but intimacy is the real key.

“Intimate is critical,” said Jamison. “Each city is different, has its own quirks and idiosyncrasies. What works in Miami won’t necessarily work in Boston. Chicago success doesn’t guarantee Boston success. Two of the traits that Bostonians value are intimacy of space and warmth in design.”

“Warmth is hard to achieve with soaring ceilings or 150-foot sight lines,” he continued. “If we’re presented with a large space, we cut it up as much as possible. Smaller areas, intimate rooms, nooks, dark corners: Those are the things that we’ve found success with. Soaring, modern, and austere are words that rarely define anything successful in Boston. We respond to intimate, authentic, and warm. We use materials, furniture, and design elements to make spaces feel smaller — weird, right? — and warmer.”

Adam DeTour

Lolita Fort Point

So, what’s next for the COJE team? At the moment, they’re beginning construction on a patio at Lolita Fort Point that will have a full bar and accommodate 100 guests. It should be open by early May. COJE also just began construction on a Cuban restaurant in Post Office Square.

“I’m fired up about this one; I think we’re going to really surprise some people,” said Jamison. “Our whole team recently spent a week in Havana and Miami pulling inspiration for this project, and we’re going to do something I haven’t seen done in Boston before. It’s an extremely complicated and technical construction job, but we’re hoping to have this open by the end of the year.”

And though nothing is in the works yet, Jamison said he’d love to open a rooftop restaurant — or a boutique hotel.

“I want to extend our brand to a whole hotel project,” said Jamison. “I think there’s a tremendous opportunity in this town for a 100-room hotel with a couple of killer food and beverage outlets, and a nightlife component. We’ve started looking at a few opportunities to imprint our style of hospitality on a full hotel. Near term, that’s my dream project in Boston.”

This is the third in a series of features highlighting the 2017 Eater Awards winners. Stay tuned for the next installment soon, and read the first two here:

[tonyduncanbb73]

Designing Intimate, Occasionally Skull-Filled Restaurant Interiors Is Half the Battle

COJE Management Group — behind Yvonne’s, Ruka, and Lolita — understands that vibes are as important as plates

If there’s one knock on contemporary restaurant interiors (to be sure, there are more), it’s that they’re mostly safe and boring. Clean, minimal lines; walls covered in white tiles (can we stop it with the white tiles already?); rigid spaces that invite eaters to do anything but relax and enjoy their meals. And while there are many adjectives that might suit COJE Management Group — the folks behind Lolita Cocina & Tequila Bar, Yvonne’s, and Ruka — safe and boring aren’t among them.

The group took home the 2017 Eater award for Design of the Year for its second Lolita location, a dark, sprawling space nestled along the water in Boston’s Fort Point neighborhood, heavily featuring murals by Julia Purinton of Burlington, Vermont, and Danny Fila of Miami, Florida, both of whom also worked on Ruka. COJE’s own Project Services Group designed Lolita, with Boston-based firm Bergmeyer acting as the architect of record for the project.

COJE managing partner Chris Jamison understands that impacting a diner’s feelings is as important as what’s on the plate, but also that both things must work in concert.

“At the end of the day, we’re not just trying to feed you; we want to make you feel a certain way,” Jamison told Eater via email. “Our culinary team is one of the best in the city at telling a story. It takes so much pressure off of the rest of us to do what it is we do best.”

“Space design and culinary development happen in parallel, but on separate tracks,” he continued. “I wouldn’t say the look is defined by the cuisine; I’d say that we’re very in sync with the guys in charge of the cuisine when it comes to what we’re trying to accomplish, how we want people to feel. Dinner is the new night out, not something you do before a night out. In order for us to harmonize everything in the restaurant, the star of the show needs to be on point, and we’ve got some ridiculous horsepower across our various kitchens that allow us to do almost anything we want from a culinary perspective.”

Yvonne’s is dark and brooding and looks like the sort of space one might have found in some Gilded Age mansion had the industrialist on the deed had a taste for cow prints. The coffered ceiling — its ochre complementing and augmenting the lounge area’s soft lighting — suggests a secret society’s private club (the space used to house Locke-Ober, where Boston’s elite once dined, so this follows), while the ornate woodwork backdropping the white marble bar asks drinkers to keep it classy.

Eric Levin/Elevin Studios

Yvonne’s dining room (top), dining room bar (bottom left), and library bar (bottom right)

Yvonne’s also happens to be Jamison’s favorite project.

“The history of that space, the fact that it was the first project with our current team of Tom Berry, Juan Pedrosa, and Michael Adkins, the end result of how we were well-received by both the older generations of Boston as well as our contemporaries — that will be a hard one to top,” Jamison told Eater. “There was something really special about what we have created, how different it is in Boston, how much people resonated with a vision that everyone told us would fail — there’s a lot of satisfaction and pride in that project. People thought we were insane for putting a restaurant in that part of the city in 2014 when we signed the lease…I’m proud of our team for what we’ve accomplished there.”

While Yvonne’s feels like an experimentation in 19th century grandiosity, Ruka is a meditation on something more contemporary. Eaters are simultaneously floating between evocations of the kinetic sculptures of Jesús Rafael Soto (see the delightful rainbow drop ceilings) and the terror-scape paintings of Francis Bacon (see the serpent-like monsters wrapped around various columns in the dining room.)

Ruka isn’t only rooted in modernism, though — swaddling one of its booths is a painting that looks like it could have been made by Hiroshige if Hiroshige had lived to see the expansive building upwards of urban life. It’s a deft and voguish nod to the masters of the Edo period.

Melissa Ostrow

Ruka

Then there’s each location of Lolita Cocina & Tequila Bar. The original (and recently remodeled) Back Bay location is all reds and blacks and wood and wrought iron; the Fort Point location is part Catholic church (see the stained glass angel behind the bar, this time not asking drinkers to keep it classy, but rather mocking their decision to imbibe at all) and part catacomb (so many skulls!). Like their cousins in Downtown Crossing, each space is sexy and cool and intimate. Jamison is delighted that people think his team’s restaurants are sexy and cool, but intimacy is the real key.

“Intimate is critical,” said Jamison. “Each city is different, has its own quirks and idiosyncrasies. What works in Miami won’t necessarily work in Boston. Chicago success doesn’t guarantee Boston success. Two of the traits that Bostonians value are intimacy of space and warmth in design.”

“Warmth is hard to achieve with soaring ceilings or 150-foot sight lines,” he continued. “If we’re presented with a large space, we cut it up as much as possible. Smaller areas, intimate rooms, nooks, dark corners: Those are the things that we’ve found success with. Soaring, modern, and austere are words that rarely define anything successful in Boston. We respond to intimate, authentic, and warm. We use materials, furniture, and design elements to make spaces feel smaller — weird, right? — and warmer.”

Adam DeTour

Lolita Fort Point

So, what’s next for the COJE team? At the moment, they’re beginning construction on a patio at Lolita Fort Point that will have a full bar and accommodate 100 guests. It should be open by early May. COJE also just began construction on a Cuban restaurant in Post Office Square.

“I’m fired up about this one; I think we’re going to really surprise some people,” said Jamison. “Our whole team recently spent a week in Havana and Miami pulling inspiration for this project, and we’re going to do something I haven’t seen done in Boston before. It’s an extremely complicated and technical construction job, but we’re hoping to have this open by the end of the year.”

And though nothing is in the works yet, Jamison said he’d love to open a rooftop restaurant — or a boutique hotel.

“I want to extend our brand to a whole hotel project,” said Jamison. “I think there’s a tremendous opportunity in this town for a 100-room hotel with a couple of killer food and beverage outlets, and a nightlife component. We’ve started looking at a few opportunities to imprint our style of hospitality on a full hotel. Near term, that’s my dream project in Boston.”

This is the third in a series of features highlighting the 2017 Eater Awards winners. Stay tuned for the next installment soon, and read the first two here: