
Food & Drink Quiz: Which cut of meat is used in the Italian dish osso buco?
Test your knowledge of all things gastronomic with these 10 questions set by Michelle and Greg Bowe. The Bowes run the
Greedy Couple
website, where you can find their restaurant and food shopping guides.
Which French cheese is traditionally wrapped in chestnut leaves?
Reblochon
Camembert
Banon
Comté
Barolo famously comes from which wine region?
Burgundy
Rioja
Tuscany
Piedmont
What is the fruit in Worcestershire sauce?
Apple
Tamarind
Lime
Fig
What is the sauce traditionally served with Eggs Benedict?
Béarnaise
Mayonnaise
Hollandaise
Tomato
The restaurant empire Momofuku was founded by chef...?
Roy Choi
David Chang
Eddie Huang
Ivan Orkin
Which French city gives its name to a style of mustard?
Lyon
Dijon
Marseille
Bordeaux
Which cut of meat is used for osso buco?
Lamb neck
Beef ribs
Veal shank
Pork belly
Which cocktail is typically prepared with egg whites?
Bloody Mary
Negroni
Whiskey sour
Old Fashioned
Traditional soba noodles contain what kind of flour?
Rice
Buckwheat
Wheat
Corn
Which chef holds the most Michelin stars in history?
Alain Ducasse
Joël Robuchon
Paul Bocuse
Anne-Sophie Pic
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Irish Times
3 days ago
- Irish Times
Jane Birkin's original Hermès Birkin bag set to be auctioned by Sotheby's
Actor and singer Jane Birkin's original Hermès Birkin will come to auction and lead Sotheby's first Fashion Icons sale on July 10th in parallel with Paris Haute Couture Week. The bag will be available to view at Sotheby's New York from Friday, June 6th, until next Thursday, June 12th. It will be exhibited at Sotheby's Galleries on Rue du Faubourg Saint-Honoré from July 3rd-9th. The French fashion house Hermès created the popular bag 40 years ago after the original Birkin had been commissioned in 1984 exclusively for and in collaboration with Jane Birkin by then Hermès CEO Jean-Louis Dumas. A chance encounter between the two on a flight from Paris to London saw the creation of the perfect bag to suit the actor and singer's busy lifestyle. READ MORE The all-black leather prototype can be distinguished by seven design elements, features commercialised Birkins do not have. These features include it's size – the original Birkin is a hybrid of two sizes with a width and height of a Birkin 35 and the depth of a Birkin 40. The metal studs on the bottom of the original bag are also smaller, the metal rings are closed, and it features gilded brass hardware. The original Birkin's inner zipper is also different as Hermès changed supplier from Éclair to Riri, and it features a shoulder strap that was not kept on the commercialised productions. Jane Birkin also kept a nail clipper on a chain hanging from the base of the shoulder strap, inside of her bag. Jane Birkin received her original bag in 1985 and was gifted four other Birkin bags. Whenever she was asked about the Birkin, she made sure to specify which was the original. She kept the bag for nearly 10 years before putting it up for a charity auction on October 5th, 1994, in support of Association Solidarité Sida, a leading Aids charity in France. It was sold again at auction in 2000 and has been in private hands since. Jane Birkin died in Paris in 2023 . Actor and singer Jane Birkin in 1968. Photograph:Morgane Halimi, Sotheby's global head of handbags and fashion, said: 'There is no doubt that the original Birkin bag is a true one-of-a-kind. There are rare moments in the world of fashion when an object transcends trends and becomes a legend. Jane Birkin's original Birkin bag is such a moment.' The most expensive handbag ever sold at auction is the White Himalaya Niloticus Crocodile Diamond Retourne Kelly 28, which went for $513,040 (€450,221). Bidding on all items from the Fashion Icons sale, including the original Birkin, opens online at from June 26th until July 10th. This online only sale will feature items from other designers such as Alexander McQueen, Christian Dior, John Galliano, Thierry Mugler and Azzedine Alaïa.


Irish Times
4 days ago
- Irish Times
‘God's feet' bring a pungent odour to Tom Dunne's Newstalk studio
As a broadcaster, Tom Dunne comes across as the personification of natural good humour. In his various incarnations on Newstalk he projects an air of amused affability, whether presenting his nocturnal music programme, The Tom Dunne Show (Monday-Thursday), or discussing pop matters on The Hard Shoulder (weekdays). Tuesday, however, seems to mark a change in his demeanour. As he stands in on Seán Moncrieff's afternoon show, Dunne becomes uncharacteristically sniffy. Why is soon clear. 'We'll be talking very strong cheeses,' he says, prefacing his conversation with the cheesemonger Kevin Sheridan, who's there to discuss the apparent loss of appetite among young French people for the country's famously ripe dairy products. Dunne frames this trend as an 'existential cheesy crisis', though it also provides him with an opportunity to sample his guest's pungent wares: 'You've come armed, I see,' the host notes. Sheridan uses the unappealing term 'God's feet' to describe the aromas emanating from his more robust cheeses, and the host agrees: 'There's definitely the feet thing there.' READ MORE But if Dunne's olfactory senses are twitching, it's not in disapproval. 'Absolutely beautiful,' he declares. And while Sheridan puts the totemic French foodstuff's fall in popularity down to changing eating habits across the world – 'If you keep putting processed or bland food in front of people, that's what they're going to be used to' – he claims that, in contrast, Irish tastes are growing more adventurous, albeit from a low base. (By way of proving the latter statement, host and guest recall their childhood cheeses of choice, Calvita and EasiSingles.) Far from turning his nose up at odorous cheese, Dunne is as enthusiastic as ever: it's the only whey he knows. (Sorry.) He maintains this appealing mien throughout his guest stint on the programme, helming proceedings at a leisurely, good-natured pace that makes Moncrieff sound like a Stasi interrogator in comparison. During Wednesday's item on the introduction of height filters by the dating app Tinder, which seemingly may limit choice for shorter men or taller women, the host chuckles away as he talks to the matchmaker Sharon Kenny. 'I'll give you a list of short men while you're here,' he says. ' Bono , Tom Cruise , Mick Jagger , myself.' Even when discussing the dependably downbeat subject of children's online safety with Alex Cooney of CyberSafeKids , he eschews the apocalyptic tenor that so often accompanies such discussions in favour of a more pragmatically concerned tone. Dunne's easygoing approach shouldn't be confused with flippancy: anyone who heard him candidly reflect on his heart surgery some years ago can attest to his thoughtful side. But it's nonetheless telling that the presenter, who first made his name as the singer with the rock band Something Happens, sounds most engaged when talking about music. Speaking to Stan Erraught, who teaches at the University of Leeds, about his book on the intersection between Irish music and republicanism, Dunne sounds at his happiest, and not just because he knows his guest as a former member of the 1980s Dublin indie group The Stars of Heaven: 'If I wasn't meeting you on a stage, I was playing five-a-side football against you.' [ Rebel Notes: A timely take on republicanism and music, from The Wolfe Tones to Kneecap, via Alan Partridge Opens in new window ] The ensuing interview is casual in mood, but detailed in knowledge and insightful in observation, as Erraught assesses Kneecap , The Wolfe Tones and The Cranberries . Dunne, meanwhile, quizzes his fellow musician with rare alacrity: whatever about his nose, his ear remains attuned to music. The connection between words and music is explored on Routes (RTÉ Radio 1, Monday), as the novelist Kevin Barry looks back on the songs that have soundtracked his life and work. The Limerick -born author is the latest contributor to this occasional but quietly absorbing series (transmitted on bank-holiday Mondays), in which its presenter, Saibh Downes, invites guests to discuss the music that shaped them. Previous participants have included music-industry figures such as the writer and promoter Leagues O'Toole, but Barry – who, in Downes's description, 'lives on his own planet of sound' – is the highest-profile personality to appear on the programme, with an entertaining manner to match. He cautions that people who appear on such shows make their younger selves seem cooler than they were, before mischievously adding, 'But I was always into very cool stuff.' Sure enough, Barry's overview of his musical youth ticks the boxes of musical cred, from seeing The Smiths at the age of 14 and getting into acid house in late-1980s London to being a habitue of the cult Cork nightclub Sir Henry's in the early 1990s. It's not just an I-was-there checklist of hip references, however. As befits his literary pedigree, Barry also evokes a grimy nostalgia as recalls his life at the time. 'I used to love the parties after the clubs,' he says. 'Moves would be made in all sorts of romantic ways.' He also reveals the way music has permeated his novels, be it the rhythms of dub reggae shaping the prose of City of Bohane or the multiple allusions to lyrics by the Pixies, the alternative rock band, lurking in Night Boat to Tangier. If anyone can spot all the latter references, he adds conspiratorially, 'They're getting a special prize.' For others, however, Barry's invigorating flip through his musical back pages will be reward enough. There are more memories of the Irish music world on Sunday with Miriam (RTÉ Radio 1), when Miriam O'Callaghan talks to Eamon Carr and Jim Lockhart about the early days of the Celtic rock group Horslips. (I should mention that my uncle Barry Devlin was the band's bassist.) It's a brief item, featuring O'Callaghan at her most effervescently flattering – 'You both look so healthy' – while yielding some witty snapshots of the group in their 1970s heyday. O'Callaghan's guests recall their ad-hoc origins ('We formed the band on a corridor,' says Carr) and share memories of the late guitarist Johnny Fean, as well as musing on the postcolonial ramifications of performing rock versions of Irish airs while wearing 'Lurex and platform heels': 'Our natty gear was a bit of us saying there's nothing to apologise for here,' says Lockhart. Clearly they weren't afraid of putting people's noses out of joint. Moment of the week Having spent a lifetime interviewing politicians, Pat Kenny (Newstalk, weekdays) knows meaningless spin when he hears it, as Minister of State for Environment Alan Dillon discovers when announcing a €27 million initiative for 'transition to the circular economy'. Asked by the host to explain what this actually entails, the Minister says that 'the idea is very simple' before reciting a complicated, jargon-heavy list of vague-sounding projects, culminating in talk of a public-private partnership focused on 'innovation system change' and 'industrial collaboration around ecodesign'. It's at this point that Kenny interrupts his hapless guest. 'I don't understand a word of that, Minister. I don't understand a word,' the host says sharply, but mercifully. He's only saying what the rest of us are thinking.


Irish Times
4 days ago
- Irish Times
Sabalenka ends Swiatek's reign on clay to set up French Open final against Gauff
After successfully devoting the past few years of her life to becoming a more well-rounded player and mentally durable individual, Aryna Sabalenka arrived on court for her second French Open semi-final certain that she was finally ready for more. No challenge, not even the task of ending an era of total dominance at Roland Garros, felt beyond her. In the face of her greatest rival on the court Iga Swiatek has made her own, Sabalenka converted her phenomenal form and fortitude into one of the most significant victories of her career as she held her nerve in three delicious, tension filled sets to topple the four-time French Open champion 7-6 (1), 4-6, 6-0 and reach the final at Roland Garros for the first time in her career. Saturday's final will be a tussle between the top two players after Coco Gauff , the No 2 seed, put an end to Lois Boisson's fairytale run to the semi-finals by ruthlessly dismantling the local wildcard 6-1, 6-2 to reach her second French Open final and third major final overall. Having entered her first Grand Slam tournament with a wildcard and a modest ranking of 361st, Boisson has produced one of the surprising Grand Slam runs in history, defeating the world number three Jessica Pegula, and the world number six Mirra Andreeva en route to the last four. Gauff, who has been the most consistent player during the clay court season with finals in Madrid, Rome and now Roland Garros, proved a step too far. READ MORE Despite long being considered a player who thrives on all surfaces, Sabalenka's sixth career Grand Slam final marks the world number one's first final appearance away from her favoured hard courts. Swiatek's incredible 26-match winning streak at Roland Garros and her pursuit of an unprecedented fourth consecutive French Open title comes to an end. 'It was a big match, and it felt like a final, but I know that the job is not done yet, and I have to go out there on Saturday, and I have to fight and I have to bring my best tennis, and I have to work for that title,' said Sabalenka. 'I'm ready. I'm ready to go out, and I'm ready to fight. And I'm ready to do everything it's going to take to get the win.' Coco Gauff in action against Lois Boisson in their French Open semi-final at Roland Garros. Photograph:Although Sabalenka and Swiatek have established an era-defining rivalry in women's tennis over the past few years, only one of their previous 12 meetings had occurred at a Grand Slam tournament. The significance of this heavyweight bout was told by the dramatic, emotionally exhausting battle that followed. While Swiatek has spent this tournament trying hard to rediscover her best form after a difficult period, Sabalenka has looked perfectly at ease throughout. She has worked tirelessly on her game in recent years, evolving from a one-note shotmaker into a complex attacking player with variation and restraint. Her mental transformation has been even more essential, with the 27-year-old growing from an impulsive and over-emotional competitor to a player who remains composed under pressure. The challenge of facing Swiatek on the Pole's favoured surface offered Sabalenka every reason to lose her composure. After taking apart Swiatek's pitiful serve early on, her own serve crumbled under pressure from Swiatek's returns in a turbulent first set, but Sabalenka kept her cool and closed out an excellent tiebreak. Then, in the second set, the tide turned rapidly as Swiatek played her most assured stretch of attacking tennis. As she has done so often over the past 18 months, Sabalenka shrugged off her disappointment, she reasserted pressure on her great rival and she did not let up throughout a flawless final set. 'The way the third set went, it's actually shocking for me, to be honest,' said Sabalenka. 'I'm super happy that I found the rhythm on my serve, and it was much easier after I figured I'm in control of my serve, and also I put so much pressure on her serve.' One day after the French crowd had first made its presence felt with an impromptu rendition of the national anthem before Boisson's stunning victory over Andreeva, this time they punctuated every shot of the warm-up with a cry of 'Olé!' Gauff's introduction to the crowd immediately generated scattered boos. Unlike Pegula and Andreeva, however, Gauff maintained her composure and she blunted the French crowd with her own brilliance to reach another major final: 'I tried to block it all out,' Gauff said. 'When you guys were chanting her name, I was saying to myself my name.' – Guardian