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National Scientific Research Institutions
Address: Mihaila Lalića 1, 81000 Podgorica
Telephone: +382 20 268 437
Fax: +382 20 268 432
Dean: Miomir Jovanović, PhD
Contact person: Prof. Milan Marković, PhD
The role of BTF in KATUN project
Biotechnical Faculty, as a leading partner in the project, will have the key role in activities of WP1 - fostering of the traditional production technologies and marketing of the products; WP4 - strengthening the research capacities; and WP6 - management of the project. Also, BTF will be involved in the other WPs.
The activities planned within WP1 will be: inventory and investigation of agricultural resources, empowerment of the High nature value (HNV) farming; improvement technology and quality of local products and introduction of new dairy products, improvement of field crops, introduction of organic agriculture, research on forest biodiversity, valorisation of non-wood forest products. BTF will carry out the mentioned activities with a help of UL, SLU and FTHM, the companies HMD and TOH will be involved too.
Important role BTF will have in implementation of WP2, especially in establishing of production associations, enhancing their capacities for branding and protected designation of traditional products (PDO; PGI), as well as implementation of the Rural Development policy in accordance to the EU CAP.
Strengthening the research capacities (WP4) will be carried out through: Lifelong learning program; Engagement of young researchers; Mobility trainings; Purchasing of the equipment; Conference and Capacity building for interdisciplinary projects. In WP5 - Maximizing the sustainable impact and visibility by creating website, dissemination of leaflets, newsletters and other promoting materials, publishing scientific papers in international and national scientific journals.
Regarding the BTF units, Centre of Livestock Science (together with Milk lab and Livestock Selection Service); Centre of crop production, vegetables and forage plants; and Centre of Forestry will have the main role in KATUN project. However, the other BTF departments will participate too.
Address: Bulevar revolucije No. 5, 81000 Podgorica
P. O. Box 96
Telephone: +382 20 241 336
Mobile telephone: +382 69 092 318
Fax: +382 20 241 336
E-mail: email@example.com
Director: Momčilo D. Pejović, PhD
Contact person: Ivan Laković, PhD, senior researcher
The role of HIM within the KATUN project
Historical Institute of Montenegro is going to take an active role within KATUN project in numerous aspects, using the experience, qualifications, know-how and dedication of assigned researches. Their main task is dealing with different aspects of social, historical and cultural dimension of the topic treated, but also covers the administrative, organizational and disseminative tasks as well. The HIM will lead the Work Package 2 (Social dimension of the katuns: reinforcing their regional image), take the active place in tasks within other WPs dealing with different social categories and be a leader's substitute on WP 5.
Address: Stari grad, 320, Kotor
Telephone: +382 32 322 686
Fax: +382 32 325 049
E-mail: firstname.lastname@example.com
Dean: Prof. Đurđica Perović, PhD
Contact person: Sanja Peković, PhD, Assistant Professor
The role of FTHM in KATUN project
FTHM will analyse the potentials for tourism development in the katuns and mountain area. More precisely, main focus will be put on the key and critical factors that influence on possibilities to develop new products and diversify tourism offers. In line with this, main tourist products and experiences will be identified, especially from price/value and competitiveness point of view. Through the project, practical implications for farmers and other local stakeholders, hotel and tourism planners will be provided, in order to improve and develop new forms of cooperative behaviour between relevant stakeholders, especially through establishment of clusters and katun network. Cooperation and networks of farmers and offer bidders in katuns are identified as key stakeholders in the process, and due to their important role, special focus in research will be to identify practical and efficient methods and models which could provide better promotion of producers and better cooperation with hotel industry.
Through networking and clustering of farmers in katuns, hotels, producers, tourism organizations, trade sector, research and educational institutions and other actors involved in tourism value chain, we will help in creation of better cooperative behaviour between two key economic sectors in Montenegro, agriculture and tourism. The role of FTHM in this cluster will be key and critical, especially in area of guidance and support in identifying relevant knowledge, information, technical support related to tourism in Montenegro (e.g. market, competition, demand, prices, import etc). Apart from that, FTHM will play proactive role in area of education and know-how transfer related to tourism, in order to create convenient business ambient for all relevant stakeholders.
International RTD Entities
Address: Almas alle 5
Po Box: 7026
Postal code: SE 75007
Uppsala, Sweden
Head of department: Dr Jan Stenlid, full profesor
Phone: +46 18 672729; begin_of_the_skype_highlightingend_of_the_skype_highlighting
Contact person: Dr.Rimvys Vasaitis
The role of SLU in KATUN project
The direct involvement of Department of Forest Mycology and Plant Pathology of SLU in the KATUN project is foreseen for activities in the frame of Task 1.6. Forests and biodiversity. SLU and the Department of Forest Mycology and Plant Pathology will make available laboratories and experts to researcher from BTF to analyse own material, and learn on new methods; They will also participate in field work (material sampling procedures and schemes) in Montenegro, as well as in laboratory work (optimizing lab protocols and introduction of new protocols), at BTF. They will give trainings and advices on data analysis using different statistical approaches. Besides, they will participate in program committee and act as keynote speakers at conference organized by KATUN project and will help in establishing links of highly ranking international scientific journals (paper publishing).
Jamnikarjeva ul. 101, 1000 Ljubljana
Telephone: +386 1 4231 161
Fax: fax: +386 1 2565 782
Dean: Prof. Davorin Gazvoda, PhD
Contact person: Prof. dr. Emil Erjavec, Full Professor, Zootechnical Department
The role of UL in KATUN project
The following departments of Biotechnical Faculty, University of LjubljanaUL will be involved in carried out of KATUN project activities: Department of Animal Science - Chair for agricultultural economics, policy and law (Prof. Luka Juvančič, Prof. Emil Erjavec) and Institut for dairy science and probiotics: Prof. Irena Rogelj.
The role of UL departments in KATUN project is clearly defined. The experts from UL will be involved in the activities of the following work packages:
UL and its department for Animal science will make available laboratories and experimental field and accept researchers from BTF to perform the lab analyses; accept PhD candidates from BTF to introduce with new methods in performing their experimental work; participate in trainings, workshops and seminars, participate in program committees, act as keynote speakers at conference organized by BTF Podgorica.
ITABC-CNR: Area di Ricerca Roma 1
Via Salaria, Km 29.300-00015 Monterotondo, Roma
Telephone: +39 06 90672361
E-mail: email@example.com
Director: Prof. Paolo Mauriello, PhD
Contact person: Sofia Pescarin, PhD
The role of ITABC in KATUN project
CNR ITABC can cooperate within the project in the field of 3d landscape reconstruction and interactive visualisation. It has an expertise in this specific field, in national and international projects. It has developed 3d reconstructions, computer animations, real time off line systems, on line GIS-based 3d real time exploration, natural interaction virtual museums. The main goal is to acquire GIS or in general SPATIAL, NATURAL and TEMPORAL/HISTORICAL information, process the data through Remote Sensing and Spatial Analysis and produce temporal reconstructions of landscapes. If needed and agreed, CNR could further develop a recent open source project, in which we have developed server-side services and client-side tools for editing and modifying collaborative scene-graph online (massive 3D landscapes) starting from local or remote 3D collections. Also, it can provide training for KATUN researchers in some of mentioned activities.
School for Agricultural, Forestry, Food and Environmental Sciences – SAFE
Address: Via dell'Ateneo Lucano, 10 – Potenza
Director: Prof. Severino Romano
Contact person: Prof. Pietro Picuno, PhD
The role of (UoB) in KATUN project
UoB will cooperate within the project in the area of innovative models of rural revitalization and development, through provision of good practice and experience transfer from Italy and other EU counties. The experience of Italian experts in implementing cooperative and innovative forms of behaviour between farmer in tourism sector is additional key element in the partnership. Special role of UoB will be in providing opportunity for mobility trainings of researchers from Montenegro. Also, it can provide training for farmers and local stakeholders in some of mentioned activities. Researchers from UoB will participate in trainings, workshops and seminars, participate in program committees, act as keynote speakers at conference organized by FTHM and BTF. Also, they will help in establishing links with highly ranking international scientific journals (paper publishing).
National RTD entities
Trg durmitorskih ratnika 1, 84220 Žabljak
Telephone: +382 (0) 77 400190, +382 (0) 77 400191
E-mail: firstname.lastname@example.com
Director: Vladimir Kujundžić
Contact person: Dragana Obradović
The role of HMD in KATUN project
HM "Durmitor" will be directly involved in the most KATUN project activities, what is easy visible through WPs tasks. The most activities planned in WP1 (trainings, workshops, field demonstration) will be organized at farm or in fields of HM Durmitor, as well as creation of new dairy products. HMD will be supported by experts knowledge in establishing production system of suckling cows introducing new beef breed Angus. Promoting and marketing activities in the Durmitor area planned through this project will be focused on HMD company and family producers from surrounding. Special focus will be on enhancing of agro tourism at HMD katuns in Dobri Do, and spreading positive experience to other households.
Address: Iva Andrica 5, 81000 Podgorica
Telephone: +382 (0) 69 030204, +382 (0) 69 952 350
Director: Aleksandar Lazović
Contact person: Gordana Dondić
The role of TOH within the KATUN project
The company will try, helped and supported by the project partners, further improving and enriching its agricultural and tourism offer, eliminating the bottlenecks in present activities and boosting the economic development of the area in whole. It will be done through creation of new dairy products based on traditional recopies, branding and promoting traditional meals and products and provide the infrastructural support to other project activities. Chronological coinciding of the activities proposed by the project with ones planed in company's development strategy only facilitates the cooperation, since the full compatibility in practice already exists.


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An Organic black tea blend. This Earl Grey has subtle, yet velvety, creamy vanilla overtones. Excellent all day or add a little decadence with milk and sugar.
Black tea, cornflower petals & natural flavours.
Always a top choice!
Medium caffeine
Steeping Instructions:
1 teaspoon per 250mL
Temp. 100C/212 F
Steep 2+ minutes
This Organic Fair Trade Assam is subtly sweet, but with a mostly malty flavour....
An Organic Chaibaba blend. This naturally sweet tisane will soothe your throat and tummy while refreshing your mind. Peppermint,...
Experience the fresh, soft taste of blueberries in this sweet and flavourful infusion. High in antioxidants, this rooibos blend...

subset: commoncrawl


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Fostering a love of reading and surreal horrors.
Tag: Books
I like books that warp young minds.
It's weird. This book comes with a little arm poking out of it that just keeps patting the back cover.
Forget Canada Reads. Mark and Jay are here to tell you why this book is worth your intelligence and love.
A searing indictment of celebrity horseshit, comprised of 100% horseshit worthy of celebration.
I can't decide what's more mind-bending – Jay's debut novel, or his habit of eating only one food item off of his plate at a time.
Absolutely for classical fans, and not so much anybody else.


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RFID Tags are the new generation tracking devices that are being used worldwide to store and carry information electronically. As the name suggests, Radio Frequency Identification tags have the potential to respond to radio frequencies and this attribute is used in a large number of corporations in order to track movement of labor or goods and record data. RFID tags are small adhesive stickers that are attached to the objects a company wishes to track. The usage of these tags has proven to be beneficial to prepare for stock outs and has significantly reduced labor costs. A lot of people do think that the application of RFID in any business, warehouse or factory is restricted to just tracking of goods in transit, which is not at all true. You can know about how to program RFID tags in this article
The RFID technology is not new and has always somewhere existed, but surely it has developed over a large number of years. In 1950s and 1960s, EAS (Electronic Article Surveillance) tags were available and used to track packaging and today the technology has evolved to its extremes and still is advancing. The real question about how to program RFID tags in factory and manufacturing unit today is explained as follows.
The most popular applications of how to program RFID tags is as an EPC (Electronic Product Code) is arising as a star technology aiding managers in collaborating supply chains and trading partners. It provides a unique identification to each and every physical product. Organizations and institutes with a huge number of IT assets with enormous data can use it as an IT Asset tracking device. Zombie RFID tags are also used in several factories as well as stores and outlets which are basically temporary RFID tags that get deactivated as soon as a person leaves the place. In automobile industries, these tags are also attached to components and assemble parts to keep count and track. Work-in-progress is also tracked through it and for final deliveries these tags are highly essential.


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Flash sale 50% off entire store code SUNNYDAYS
Anguilla Pretty Yellow Pom Pom for Pool Pret-A-Porter made in Italy to last all summer and beyond. See also matching panty, and dress From Piccoli Principi. Anguilla bikini in hot pink with white pom poms, adjustable halterneck strap for comfort and flared cut over the chest that she'll love. Crafted from a high quality material that blocks out 97% of sunlight, this is a pretty choice which is sure to offer the utmost protection while making her the prettiest of princesses at the pool. See we have all the sizes from 2y to 8y in this popular bikini. See matching cover-up dress.
The most chic beachwear for your your Modern princess
wash and care


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The Seasonal Nature of Ankle Injuries
Introduction: The diagnostics of ankle injuries remains challenging. It is expected that ankle injuries in winter are caused by higher energy than in summer. The aim of the study is to evaluate incidence according Lauge-Hansen classification, focused on the trauma mechanism between ankle injuries in summer and winter period.
Materials and Methods: A retrospective study of patients with ankle injuries, admitted in the Hospital of Traumatology and Orthopaedics from December 2015 to February 2016 (Group 1) and from June to August 2016 (Group 2) was conducted. Inclusion criteria in Group 1 were information in the patients' case record about injury related to ice. The patients who suffered high energy trauma were excluded from the study. The type of ankle injuries was evaluated according to the Lauge-Hansen classification using patient's preoperative and postoperative ankle radiographs in the clinical database.
Results: In the Group 1 30 patients (8 male, 22 female, mean age 47.8 years), in the Group 2 35 patients (15 male, 20 female, mean age 47.1 years) met the inclusion criteria. According to the Lauge-Hansen classification supination-external rotation injuries in the Group 1 were 86.7% (n = 26) vs. Group 2 57.1% (n = 20); pronation-external rotation injuries in the Group 1 were 10% (n = 3) vs. Group 2 22.8% (n = 8); supination-adduction injuries in the Group 1 were 3.3% (n = 1) vs. Group 2 5.7% (n = 2); pronation-abduction injuries in the Group 2 were 14.3% (n = 4).
Discussion and conclusions: This study highlights the incidence of injury types, caused by different trauma mechanism and energy in winter and summer as well as necessity of the hospital resources planning. This data can be useful for comparative assessment of treatment outcomes in countries in different climatic zones. We recommend careful evaluation of the ankle injuries using Lauge-Hansen classification since the injury type is essential in the diagnostics and preparation to the appropriate surgical treatment. Further studies need to be conducted.


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Below hopefully you'll find some interesting articles on indoor cycle training and weight loss.
By Tilda Loftin, Ride Fit™ Coaching Advisor and Co-Owner of Vital Effort Fitness
After a long bike ride or after a hard workout on your turbo trainer or stationary bike your body can feel sore and tight. Regular stretching exercises might not release enough tension and you might feel like you can't recover fast enough. If this is the case, then foam rolling might be the solution for you! The foam roller can give you fast relief and help you get back on your feet quickly! I'm not going to lie, however, it's not the most comfortable thing to do but the results are amazing! As the old saying goes, "there's no gain without pain."
By Gary J. Hawkins, Founder, Ride Fit™
We received a great question from Bill R. and thought we'd share our answer to him for those who might be asking themselves the same question. So Bill's question was as follows, "I was looking for another Ride Fit™ video with heart rate announced on the screen like Fiesta Island Fun but could not find one. Do you offer such a title?"
By Greg C. Moriates, Guest Contributor, Athlete and Coach
We all love the change of seasons. Fall brings us a beautiful backdrop of leafs changing color, cooler temperatures and less humidity. These are perfect riding conditions. But wait-a-minute! For the cyclist, that also means less daylight = less outdoor riding = TRAINER HELL!
By Tilda Loftin, Ride Fit™ Coaching Advisor and Co-Owner of Vital Effort Fitness
The Fall is approaching, days are getting shorter and the weather is starting to get colder. After the outdoor season is over, hopefully you'll all get some much needed rest and then be ready to kick off Fall/Winter training. This is a good time to add some extra strength and resistant training to your exercise schedule. Strength training will not only make you stronger and a better cyclist, it can also prevent injuries so it's definitely an important part of your training regime.
Here are some tips on how you can make the most of your strength training and be a stronger cyclist next season.
By Yafei Zhu, Ride Fit™ Customer Support and Tilda Loftin, Ride Fit™ Coaching Advisor and Co-Owner of Vital Effort Fitness
If you've downloaded the latest version of the Ride Fit™ Training Guide (and we very much hope you have), you'll know we currently don't include any training plans. I explained to Ole that one reason for this was that the wide ranging abilities of our individual customers makes it almost impossible to offer a limited number of training plans that fit all needs. I pointed out, however, that one of the cool things about the Ride Fit™ series is that the rides are "calibrated", which is to say assuming you maintain the same gearing/resistance mappings from title to title then the workouts get progressively harder as you transition from Beginners, through Intermediate to Advanced. However, Ole's question set us thinking!
By Brian Maldonado, Guest Contributor and Owner of Précis Velo
The time to take the bike out for the inaugural Spring ride is approaching, the moment of truth. The transition from trainer to road riding should be seamless as far as technique is concerned. Practice the pedaling technique I discussed in the last article on the flat segments of road and keep the eyes on the road ahead. Wally will be nipping at the heels and follow through with the movement of the torso, the hike of the hip and driving the knee upward and then forward.
By Greg C. Moriates, Guest Contributor, Athlete and Coach
You've all heard the old saying, "there's more than one way to skin a cat". Well, the same goes for the definition of Training Zones (TZ). In this article, Greg Moriates, athlete and coach, provides his take on this subject. This includes the definition of the zones, a testing method and how to translate the results back into your own personal TZ's.
By Anne Samplonius, Guest Contributor and Cycling Coach
By Brian Maldonado, Guest Contributor and Owner of Précis Velo
In the previous article I covered the basic elements of the pedal stroke, which was subdivided into quadrants. Essentially, the legs need to accomplish opposite tasks; as one leg pushes down on the downstroke the other needs to pull up, when one leg pushes back on the backsweep the other needs to scoop the frosting forward. Perhaps more importantly, I hope you had the opportunity to practice relaxing the arms and shoulders as you rode on the trainer. If you made gains in this area, then you may be ready to take advantage of the next step in improving your pedal stroke.
That next step calls for a bit of visualization and creativity. Let's take a trip by an imaginary swamp (bear with me). Wally (a friendly sort) is the resident alligator; he does enjoy nipping at the heels of unsuspecting cyclists. The instinct to Wally's nip will be to move the upper body away from him, hike the hip up and pull the foot from his grasp. When done correctly Wally will have to look elsewhere for a snack.
By Brian Maldonado, Guest Contributor and Owner of Précis Velo. Posted December 31st, 2012
The goal for the session may be to "to reach this or that heart rate or this level of exertion" or "this wattage". As you embark on your pedaling effort, you may want to ask yourself "Just how well am I pedaling the bike", "Does it matter?" or "I have a smooth pedal stroke anyways".
By Yafei Zhu, Ride Fit Customer Relations Officer
I know most cyclists would rather be out on the road. There's nothing better than the wind in your face, beautiful scenery rushing by, the thrill of chasing down another rider or the feeling of achievement of recording a new personal best on your favorite hill climb. That being said, there are some very good reasons to do at least some of your cycle training indoors - even when the weather is nice enough for riding outside. Then factor in the times when the weather is horrid or you're too busy at work to make it home during daylight hours and already you might start to see the benefit of training at home. This article will hopefully convince you that a turbo trainer should be part of every keen cyclist's arsenal of training tools.
By Gary J. Hawkins, Ride Fit Founder
The other day a potential customer asked whether the Ride Fit series of indoor cycle training videos can help you loose weight. It would have been simple just to answer "yes" but it's not quite that straightforward. Doing one thing in isolation is not going to help you loose and sustain weight loss - you need to adopt a more holistic approach to be successful.


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Not a morning person? Read this article in Inc. magazine. It has some great tips. I am a morning person, but I still follow many of the steps. Here are some tips and advantages:
1 – This tip is good whether you are a morning person or not. I recommend this for all me entrepreneur clients.
3 – Place a glass of water on your nightstand so you have it ready as soon as you get up.
4 – For those of you who are married, this has the added benefit of having a happy spouse.


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This Beer Kit by St Peter's Brewery produces a traditional Cream Stout. It will be an aromatic, strong, dark chocolate cream stout with a satisfying bittersweet aftertaste. Made with British malt.
Instructions for making St Peter's Cream Stout Kit
- Clean and sterilise all beer making equipment. Stand cans in hot water for 5 minutes. Pour can contents into the sterilised fermenter.
- Add 3.5 litres (6 pints) of boiling water. Top up with cold to 20.5 litres (36 pints). Mix thoroughly to ensure all contents are fully dissolved.
- Add the hop sachet, then the yeast, cover the fermenter. Leave to stand for 4-6 days in a warm place.
- Transfer the beer into bottles or a pressure barrel with a little sugar. Stand in a warm place for 2 days, allow to clear for 14 days.
Approx 4.7% ABV.
Makes 36 pints (20.5 litres).
Need equipment? You'll find a beer making starter kit here.
Never made a beer kit before? Check out our Beginner's Guide to Making Beer from a Kit.


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Looking for special Teacher Gift Ideas? These 12 Homemade Gift Ideas are sure to please any teacher on your list!
I am so thankful for my children's teachers. Beyond teaching them about math and English, they watch out for their safety, they make them laugh, and put band-aids on scratches while when I'm not there.
What better way to show a special teacher in your life you appreciate them than taking time out of your day to make them a special homemade treat?!
Your children can help in the kitchen with any of these 12 homemade gift ideas.
They will be so excited to give their teacher a gift they helped make – and they use a few things those teachers have taught them in the process -reading, math, and comprehension.
I reached out to fellow colleagues to gather their favorite food gifts for teachers.
If you are looking for ideas, these order clomid 50 mg online should help! Wrap them up in cellophane and a nice ribbon and you have a gift from the heart.
[clickToTweet tweet="Thank the teachers in your life with these 12 handmade gifts for teachers. #teachergiftideas " quote="Thank the teachers in your life with any of these 12 Homemade Food Gifts. "]
Crispy Chocolate Sunflower Seed Butter Cups: Chelsey @ C It Nutritionally
Three Ingredient Healthy Homemade Dark Chocolate Mix: Rebecca @ Nourish Nutrition
Popcorn Seasonings: Jodi @ Create Kids Club
Spiced Ambrosia Apple Butter: Kara @ The Foodie Dietitian
Cinnamon Roasted Almonds: Natalie @ Nutrition A La Natalie
Cranberry Almond Biscotti: Dixya @ Food Pleasure & Health
Dark Chocolate Pistachio & Goji Berri Bark: Jessica @ Jessica Spiro Nutrition
Cinnamon Spice Muffins: Amy @ Amy Gorin Nutrition
Almond Pecan Crisps: Judy @ Live Best
Chocolate Hazelnut Protein Fudge: Amanda @ Nutritionist Reveiws
Spicy Chocolate Popcorn: Jessica @ Jessica Spiro Nutrition
If you're not into baking and still would like to give the gift of food – how about this idea?!
Gift Basket From Elane Natker
I'd love to hear your favorite ways to show thanks to the special teachers in your life!
PIN for Later:
What is your favorite gift to give teachers?


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The Problem
The average car driver, speeding around trucks and tractor-trailers, probably does not give much thought to the large, waving mud flaps behind the tires of those larger, slower moving vehicles. Those flaps, however, are vital for keeping rocks, debris, water and road slop from flying up and out from under those big wheels. A necessity for trucks, mud flaps, however, can also be a hindrance for truck drivers. They are big, heavy and can make it difficult to access wheels and tires for repair.
Ask any truck driver who has had to pull over on a highway in a snowstorm to install chains on the wheels. Suddenly the useful mud flaps become a major obstacle. Lying on a wet, icy or snow-packed road while installing chains is unpleasant enough, without struggling to get access to the tires around the mud flaps. Consequently, chains are often improperly installed. They can be damaged or fall off the vehicle, leading to unsafe driving conditions.
The Solution
What if truck mud flaps could be removed in seconds without the use of any tools? What if drivers could easily take off the flaps, install chains or do any tire/vehicle repair and snap the flaps back on?
Inventors Raymond Cross of Redstone, Colo., and Frank Dan Prazen of Marble, Colo., worked together to create a simple system for mud flap removal. Their design involved a two-part bracket assembly that includes a piece that is affixed to the vehicle or trailer and a removable piece that is hooked up to the mud flap. Together, the pieces hold the flap securely to the vehicle, but the removable piece can be easily disengaged to take down the mud flap. The design enables a person to remove a mud flap from a big rig in a matter of seconds, without using any tools.
Cross and Prazen approached Leyendecker & Lemire, LLC for assistance in securing a U.S. patent for their bracket assembly. Founded by Kurt Leyendecker and Peter Lemire, the Greenwood Village law firm provides intellectual property (IP) and business-related legal serves to entrepreneurs, individuals and businesses of all sizes. Leyendecker & Lemire guided the inventors through the complicated and intricate patent process. Their patent was successfully approved in November 2013.
Insta Flap, a Glenwood Springs, Colo. company founded by Cross and Prazen, now sells the bracket assembly sets that are heavy duty and rust free. They are made in America out of top quality stainless steel. No more tools are needed to remove the flaps after the initial four-bolt installation. Drivers can change their mud flaps or get new ones and still use the Insta Flap for years to come. The device contributes to road safety – something to think about the next time you pass that big rig.
- Learn how our Patent Law services can help you.


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Two days after the latest provocative missile test by North Korea, in which it launched a "new type" of ballistic missile, one which experts warned had a substantially longer range than any existing rocket North Korea had fired, on Monday morning North Korea announced that it had successfully conducted a mid-to-long range missile test on Sunday supervised by leader Kim Jong Un which was aimed at verifying the capability to carry a "large scale heavy nuclear warhead."
The country's KCNA news agency further said that the Hwasong-12 missile was launched at the highest angle so as not to affect the security of neighboring countries and flew 787 kilometers reaching an altitude of 2,111.5 kilometers.
In an earlier article, we explained how and why the ballistic missile used may have been the most advanced one tested by North Korea yet.
For those who may have missed it, here it is again: "North Korea's Latest Ballistic Missile Was A "New Type" With Dramatically Longer Range"
After North Korea provoked both its neighbors and the US when on Sunday morning it fired off yet another ballistic missile from Kusong near the border with China - one which this time did not explode upon launch - just days after the election of a new South Korean president who ironically advocates more engagement with Pyongyang, experts said the missile appeared to be a new type of ballistic missile, and had a far greater range than any other weapon North Korea has successfully launched.
According to Japanese Defense Minister Tomomi Inada, the missile rose to a height of about 2,000 kilometers, a much steeper trajectory than usual for a North Korean missile test. She also confirmed that officials were looking into the possibility that it was a "new type of ballistic missile." Japan's cabinet secretary, Yoshihide Suga, said the missile traveled for about 30 minutes and landed 700 kilometers east of the launch site. A spokesman for South Korea's Joint Chiefs of Staff estimated the distance at 435 miles.
Cited by the WSJ, independent experts said the missile, if fired at a conventional angle, could have flown 2,800 miles—far enough to reach the U.S. military base in Guam.
That is a "considerably longer range than its current missiles," said David Wright, co-director of the Global Security Program at the Union of Concerned Scientists, in an analysis of the launch.
As the Journal adds, while North Korea's Taepodong-2 rocket has flown farther than Sunday's missile, North Korea classifies it as a satellite launcher that isn't designed to deliver a warhead back to earth. It is, however, banned by United Nations sanctions because similar technology could be used to make an intercontinental ballistic missile.
North Korea's previous most recent launch from Kusong took place in February, during a summit meeting between Mr. Trump and Japanese Prime Minister Shinzo Abe. The February launch also featured a new type of missile for North Korea, one that uses a solid fuel-powered engine. The test involved an intermediate-range ballistic missile that was modified from a missile that North Korea launched from a submarine last year. It was later paraded through the streets of Pyongyang in April for a national holiday.


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Text: Yelena Yakovleva
How could Potemkin be more than a tsar? Is culture doomed to fight with bureaucracy or does cultural policy give us a chance of becoming better than everyone? Why should one not fear being an empire and not be ashamed of being a colony? What money would museums do better to turn down? Do museums expect a slow- or fast-moving person? Mikhail Piotrovsky, Director of the State Hermitage, visited the Rossiyskaya gazeta for a "working breakfast".
At the Hermitage's anniversary celebrations, you called it one of the greatest phenomena of Russian culture. But only very recently, in the 19th century, the celebrated critic Stasov spoke of the Hermitage as a failed project, precisely, it would seem, due to its non-Russianness.
Mikhail Piotrovsky: People always say nasty things about the Hermitage and Saint Petersburg. And even Stasov is among those who did so. We have one means of countering all that talk about a "failed project" – raising the bar to the point where it is unreachable: we are the foremost museum in the world.
In everything that concerns historical memory, the museum is like a book… But not for light reading, for careful study.
But the Hermitage is indeed above all a collection that manifests the good taste of emperors, the nobility and the rich.
Mikhail Piotrovsky: No, the Hermitage is not simply other people's art collected with taste. It is a great museum, created out of an understanding – very necessary for Russia! – that having good collections of art is as important for a country as a good economy or army.
Well and, of course, it is a produce of that very Russian cultural responsiveness that has repeatedly been noted. Pushkin loved to visit the Hermitage at a time when it was difficult to get in.
The Hermitage is the whole of world culture in a Russian wrapping. An encyclopaedia of world culture written in Russian. And to a considerable degree the world perceives Russia as a country dear to it through the Hermitage. When we showed Sokurov's Russian Ark in America the whole of "Russian Washington" came to watch. People who have spent their whole lives working seriously against Russia were happy to see it through the Hermitage.
The Hermitage is also an assimilation of world culture. And a manifesto: Russia belongs to European culture! And it is home to one of the foremost European museums.
Rare collections and attractive colonialism
You are currently holding an exhibition of Assyrian art from the British Museum. How did you manage to get it?
Mikhail Piotrovsky: It is a truly unique exhibition. We have never had one like it and who can say when we will again.
Did it help that the British Museum is closed for reconstruction?
Mikhail Piotrovsky: No, it's not a matter of the reconstruction, but of an adequate exchange. We quite recently gave them a large exhibition of our Scythian art and they sent us the Assyrian reliefs in response.
We were also helped by the fact that today the British Museum is under attack from all sides for Britain's colonial past. Since there is hardly anything British in it, people boldly say that it is the most imperial and colonialist museum in the world, having seized everything from everywhere. And the museum in response, attempting to demonstrate its rights and merit, is doing a great deal for all the communities and nationalities of London – "Come and look we have the finest specimens of your culture." And it is taking its art around the world a lot. The Hermitage and other museums in this country in fact have always done that… But now both the Louvre and the British Museum have begun taking their art around the world.
But the Hermitage is also to no small extent a museum of art removed from elsewhere…
Mikhail Piotrovsky: Yes, but bought with money. That same Assyrian exhibition is an example that shows it was no bad thing that people took ancient art away – whether to London or to Petersburg. Otherwise there would be nothing left of it.
But Macron has promised to give everything back to those from whom it was taken.
Mikhail Piotrovsky: I think such matters should be decided by museums and not politicians. I do not in general acknowledge the principle of "giving back". Everything that finds its way into a museum becomes a part of its organism and there is nothing to "give back". We wouldn't give someone our own arm or leg, would we?
Although, if there are things in a museum that are sacred for another country… We in the Hermitage, for example, took the decision to hand over the stained-glass windows from the Marienkirche in Frankfurt an der Oder. I took a long time to get it through, being convinced that for Germany they are a hundred times more important and we are able to tear them from us. The Germans are now going to hand over to Namibia some things from their museums, because they are the result of blatant military seizures and sacred for that country. When a museum ends up having sacred objects of another people or another public institution, that becomes a problem. Icons, for example, can perfectly well be in a museum, but there are icons that should perhaps be given to the Church. Miracle-working ones, for example. But that has to be decided each time individually, and not for the sake of political interests. So, Macron has spoken, and what next? People will begin to throw mud at France: "Disgusting country, plundered everything…" Not only museum people, the whole country will have to wash it off. It's time to somehow put an end to this post-colonial ideology and culture with its penitential mindset. We in the Hermitage recently proudly opened a display of the ancient colonies on the northern Black Sea coast. Those "colonizers" brought Russia the right to call itself Europe. So, there are different sorts of colonization! Now, when all countries are independent, people are beginning to figure out that one should not be afraid to speak the truth on the topic of colonialism and imperial history. And the truth is also that the removal of antiquities to European museums has saved them from destruction. If the Hermitage's celebrated Palmyra Tariff had remained in Palmyra, just imagine what a splendid target it would have made for 21st-century machine-gunners! They would have shot it to pieces just for amusement. And when you think that it used to stand almost next to the spot where they cut off people's heads…
What money is it better to turn down?
Did the Scythian exhibition in London go well?
Mikhail Piotrovsky: Yes, if you set aside the fact that it was sponsored by British Petroleum and on the opening day protestors scattered black and white pieces of paper in front of us saying BP is ruining the environment, its money is "dirty".
But all money is dirty. And charitable activities are not an amusement either, but as a rule an attempt to atone for sins. And. incidentally, the best way of doing so.
For us in the Hermitage this is all a little funny. Our money comes mainly from the state, but in Europe and America protests like that are becoming a problem.
When at the recent conference on the reputation of museums held in Pamplona we were discussing the high rating of the Van Gogh Museum, its former director told us how he had it out with such protesters, asking them to leave the museum and go elsewhere. (Which they did, by the way.) Still, the Dutch university professors who compiled the museum ratings said that he had behaved wrongly: he should have allotted them a separate room in the museum itself for protest debates.
It's my opinion that you can take money from oil companies. They do not do anything bad and environmental pollution is more the result of the development of civilization as a whole. But I don't think you should take anything from, for example, private military companies that kill people. I would point out that it isn't always good to take money from the state either. Its money can in some instances be no less toxic than BP's. It's not the people in the street who should decide that, though, but the museum. In the Hermitage (where I decide), there have been occasions when we did not take money from sponsors…
Favourites and Achievements
Your second hit exhibition is "Tis Potemkin Himself!". What story is the museum – one of the chief custodians of historical memory – telling about our history?
Mikhail Piotrovsky: In everything that concerns historical memory and historical forgetting (today there is a branch of learning about that, too), the museum is a very important institution. It's like a book… But not for light reading, for careful study.
A historical exhibition in the museum is a scholarly essay, and a comic book, a newspaper, a novel and a philosophical investigation. Most importantly, though, it gives people the opportunity to think for themselves and discuss. It seems to me that the best means of acquainting people with the facts is through the example of museum objects, because in everything else – books, newspapers, TV – a ready-made idea can be seen.
The Potemkin exhibition is a splendid occasion for telling about what favouritism is. And about what women's rights are – today and in the 18th century. In the Winter Palaces the walls remember Potemkin. He actually lived in the imperial palace, walked around it in uniform and in his dressing gown… So we do not forget to tell about Orlov and Potemkin, nor about the story of the "Potemkin villages".
That's a myth after all?
Mikhail Piotrovsky: A piece of theatre. In Russia many things are done through theatre. Catherine "staged scenes" about how to vaccinate against smallpox, but people started to do it. And Potemkin certainly did everything theatrically. When during Catherine's journey to the Crimea, the whole company of nobles was feasting at Inkerman, a curtain hung on the balcony, then Potemkin pulled it aside and everyone saw the newly constructed Black Sea fleet anchored out in the bay. And the review of it began. There you have the "Potemkin villages".
Do such accounts give history back its worth?
Mikhail Piotrovsky: Above all they give it back its complexity. And the more complex history is, the greater its worth. One should take pride not so much in having a "good" history as a complex one. If history is not boring, you can already take pride in it.
A slow-moving person
Recently, on Mikhail Shvydko's talk-show Agora, you said that in principle it's possible to go around the Hermitage in 2½ hours. But those 2½ hours are spent in the museum both by someone who has only come to say they have been there and someone who came to the Hermitage to see something. That's a different slow-paced life, a slow-moving person. That kind are more important for the Hermitage that those who dash rounds and are gone.
Mikhail Piotrovsky: In the museum everyone's important, fast- and slow-moving. The person who's dropped in for 10 minutes and the Queen of Britain, whom I showed the whole Hermitage in 40 minutes. We have plenty of everything for "fast-movers" and "slow-movers" – architecture, history, beautiful things, an accurate account. And plenty of knowledge saves one from the press of the crowd. For me any museum, if I already know it, is interesting even for a five-minute visit. I simply know where I should go and which painting I should stand in front of.
In the museum everyone should get what they need. For the profound viewer, we have evening opening until 9 o'clock. At that time, you can see people in the museum who have a different look on their faces. Admittedly now Chinese tour companies have found out about it, so there are already crowds appearing then too.
Of course, people with very "high demands" in the museum are very important to us, but there aren't all that many of them. Only a few dozen have been coming for the evening opening of the Potemkin and Assyrian exhibitions so far. The rest, for the most part, want the Peacock Clock, the mummies, Catherine II and the Litta Madonna. The kind of visitor you are talking about needs to be nurtured. We have a lot that is aimed at particular categories of people, but it is important also to have the reciprocal striving to get into those categories.
Who is your main audience?
Mikhail Piotrovsky: Children, students and pensioners. We try to maintain a social programme of "free tickets for pensioners". Our pensioners are not the American sort who begin travelling around museums when they retire; no, ours will go to a museum if they have been going there all their lives. And by that alone they have earned their free entry to it.
Why are you trying to get the average Petersburg (and probably Moscow) intellectual to come back to the Hermitage?
Mikhail Piotrovsky: We need to raise the intellectual level of the city (we talked about that recently at a meeting with Governor Beglov) and to educate our citizens.
One should take pride not so much in having a "good" history as a complex one. If history is not boring, you can already take pride in it.
There are two ways: one is to create special conditions for friends of the Hermitage who come to us specially, the other, a bit simpler, is to open multimedia galleries in large shopping centres. Millions of people, passing through the shopping malls and our galleries within them, are drawn into a conversation that then becomes much more serious.
And, of course, we are trying to build a relationship with young people. We hold absorbing intellectual marathons – debates, conversations, poems, performances, artists with paintings on display for a single evening. We continue until three in the morning. Towards the end we read the Iliad…
Cultural policy as a chance to become better than everyone
What is your opinion about current cultural policy in Russia?
Mikhail Piotrovsky: Recently the magazine Diletant risked compiling my pronouncements into a position with regard to cultural policy in Russia.
But to be serious, I think we have very good chances of becoming better than everyone.
The state's cultural policy with us is determined by fairly good laws that are constantly being improved, so we do have every chance. And if we adhere additionally to a few important principles, chief among which is that state policy in the sphere of culture is still not the whole of culture…
There are things that the state might not like in culture, that seem repulsive… But it needs to accustom itself to them, like Shchukin did with Picasso, whom he didn't like at first.
Culture as state commission, as the culture industry and as "work for eternity" should coexist without any one having the right to victory over the rest.
We have commissioners for human rights, for the rights of the child. Is the Council of Museums not a sort of collective commissioner for the rights of museums? Does the state listen to it?
Mikhail Piotrovsky: Sometimes it does, sometimes it doesn't. But in principle, of course, it does. Although, while listening, it does what it wants. But afterwards it will again pay attention. I don't think we gain all that many victories, but there is a dialogue. Sometimes just for show, but sometimes a real dialogue…
This year sees the 180th anniversary of Tchaikovsky's birth. His museum in Klin wants to be elevated to federal level. How competent and progressive are the people in charge there?
Mikhail Piotrovsky: Now all appointments are being made after the candidate director's public presentation of their concept for the development of the museum and with the participation – which is something new – of official representatives of the Union of Museums of Russia. That's important. The decisions are still taken by the minister, but we have achieved a situation where they are discussed before that, although we did not, of course, form the Union of Museums so as to confront the ministry. Still, we cannot but remind people that the present-day world and its interests are by and large not so important for museums. Culture and museums are made for the future and the past. Museum people, who know that well, should also help administrators of all kinds to take a broader view of things.
The Principle of a Thousand Pieces of Paper
Is it true that you need to agree every business trip with someone upstairs? And that you don't have the right to fly first class?"
Mikhail Piotrovsky: No, the Hermitage rules do allow me to fly business class but paid for with "other" non-state funds. Regarding trips, yes, now, according to the rules, a director needs to obtain permission for everything.
But things aren't that fatally bad. For example, I managed to get the ministry regulation that a business trip should not last more than three days changed after explaining to the minister that while you can fly to places from Moscow in a day, from Petersburg you can only do it in two.
That's the main calamity, that an excess of regulations from above and below engages the "principle of a thousand pieces of paper". Since the ministry is constantly sending papers, our lawyers and departments start demanding "Where's Mikhail Borisovich's written decision?", while previously you could just say over the phone.
When there are too many rules and laws, nothing good comes of it. That is why I am on a commission for a regulatory guillotine and we cut off quite a lot of laws.
You are one of the most interesting and effective museum managers. How much time do you spend on strategic, tactical and everyday work?
Mikhail Piotrovsky: I am probably a bad manager, because I do everything as the mood takes me. Today I am going to consider strategy, and everyone should leave me in peace. Then tomorrow I urgently summon everyone to discuss a new exhibition.
Besides the rules for management, there are people alongside you, their great experience and inner mood.
Being director is a creative business and in creative work mood is important. There are hardly any standard situations and if you do start to standardize them, it all turns out badly. That's a matter for bureaucracy…
And everyday work is a creative business?
Mikhail Piotrovsky: No, it's not always creative, but it should always be emotional. That doesn't mean shouting and swearing, but the emotions have to be engaged.
What do you think is important in the new definition of a museum proposed by ICOM?
Mikhail Piotrovsky: It's a dreadful definition. It's a good thing that the museum community rejected it in Kyoto. It reflects one of the main tendencies worldwide, when culture and the museum start to consider themselves part of the leisure and entertainment sphere, primarily there to make money. That dangerous tendency undermines the proper ideology of a museum and culture – to nurture a complex human being. We should bring a person pleasure, but through knowledge and the application of considerable effort and not simple entertainments. Its like sport –you put in the work and only then you get the pleasure, not like wine, where you drink it and feel good. But people are trying to shift us in the direction of wine.
Why can't you replace a great painting with a fake?
The more first-rate a museum is, the more relevant and dramatic the question of thefts from there. Museum thefts in the 20th century are a plot for detective stories worldwide. Do new technologies, such as 5G, help?
Mikhail Piotrovsky: Of course, new technologies are needed, but psychology is important too… The tragedy of the Hermitage thefts was that the museum was robbed by people who worked there. Museum people being complicit in thefts was something impossible even 20 years ago. A museum worker should be incapable of stealing from the museum, but for that to happen, the power of money needs the decline somewhat. And that's difficult.
And we should instil a reverent attitude to culture, an understanding that a museum object is not property, but something sacred. As it was 20 years ago, both for museum visitors and for the staff.
Do paintings undergo expert examination when they are returned to a museum after a theft?
Mikhail Piotrovsky: A favourite topic for the idly curious… No stolen paintings return to us without checks and expert examination. Besides that, museums have a detailed description of the state of preservation, including every little crack made by restorers, so replacing a work with a copy is practically impossible. Unless it's something that no-one needs and has therefore gone undescribed, but not with a serious painting. Ten years from now, when people have come up with methods of precisely replicating paintings, we'll return to this topic. So far, though, it's merely romantic fiction.
The classic as the contemporary of the past
The Hermitage is justly regarded as a citadel of classic art. Last year I went to the Kabakov exhibition in the General Staff building. Is that contemporary art or already classic?
Mikhail Piotrovsky: Kabakov, of course, is already classic. That exhibition, incidentally, was in the Tate, with us and in the Tretyakov Gallery and in each place it passed off differently, which is also proof of the high merits of Kabakov's works.
In point of fact we are a citadel of art full stop, and not contemporary or classic. Classic art, after all, was also contemporary at one time. Catherine II collected art of her own time, so did Nicholas I. Right now, we are holding an exhibition of a young Romanian artist (one of the most expensive with pictures going for 5–6 million dollars) – Adrian Ghenie, whose vital, powerful painting is very much oriented on classic art. When he was growing up, by the way, he had a guidebook to Dutch art in the Hermitage and he began painting by making watercolour copies from that. And in a little while we will be featuring the remarkable Chinese artist Zhang Huan, a new, fashionable figure who pulls stunts. In the spring, we will perhaps be holding an exhibition of Marc Quinn in the halls of Classical Antiquity, although not all that department are prepared to receive him.
You draw yourself. What would you draw during our meeting, if you had a free minute?
Mikhail Piotrovsky: You're always trying to extract secrets from me. Just now I am working "to commission". I'm supposed to draw some illustrations for stories – written by myself and my teacher, Piotr Griaznevich – about the journey we made together to Hadhramaut.
My skills as a draughtsman come from Hermitage study groups that are really intended to teach a person to appreciate art.
Mikhail Piotrovsky's bookshelf
Just now I am reading Prilepin's Yesenin and Houellebecq's Serotonin. But the best of the books that I am reading at the moment was written by the German philosopher Aleida Assmann about forgetting and memory. Assmann is the main specialist on historical memory, studying it through examples of the Holocaust and the whole German conscience. The book contains a great many important things for museum work.
Reader's Question
In a situation where the activities of UNESCO are effectively paralyzed in Russian Crimea, don't you consider it would be useful to create under the aegis of the Union of Museums a council for the public and professional monitoring of the World Heritage Sites on the territory of ancient Tauris?
Mikhail Piotrovsky: We are doing that. The title "UNESCO site" does not, you know, bring any benefits or money. It is only an indication that the cultural site will be monitored to ensure it accords with that title. Saint Petersburg has so far not been stripped of the badge (although it may be, due to new buildings), but Dresden, for example, was – because it built two bridges. In the Crimea UNESCO did not recognize Chersonesus and does not accept reports from there. But at some point they will.
We though, who actively work there, know that Chersonesus is alive, does meet the UNESCO criteria, and it has interesting plans for development. All our discussions of its present and future get sent to UNESCO, but they – it goes without saying – have not replied so far. But everything will come right in the end, I think.
A far more difficult problem is the south shore of the Crimea that has been actively built upon in both Ukrainian times and our own. That threatens the loss of the cultural monuments.
Excursions for presidents
Whish head of state sticks in your mind as the most memorable visitor?
Mikhail Piotrovsky: As I was opening the Potemkin exhibition, I recalled taking George Bush around the museum. When I showed him the painting The Apotheosis of Catherine II, he asked where Potemkin was. They prepare themselves, of course, before coming to us… More often I remember the tours that brought results. When, for example, I was walking past Leonardo da Vinci with our president and the Chinese prime minister, we agreed about the creation of a Hermitage–China Centre. With the prime minister of Mongolia it was about a major exhibition from his country and I presented him with a copy of the Genghis Stone with an inscription that tells how Genghis Khan's nephew shot an arrow…


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I'm so over being lectured by food writers to honor the seasons and stock up on sea salt and otherwise comport myself virtuously in the kitchen that it was a small thrill to come upon one whose mission is to make us eat fat. Eat fat! That's a message I can get behind. In fact, Jennifer McLagan's substantial and by no means unserious FAT: An Appreciation of a Misunderstood Ingredient, With Recipes (Ten Speed, $32.50) makes the same argument Michael Pollan created a stir with earlier this year in his much talked-about "In Defense of Food: An Eater's Manifesto": that the craze for animal-fat substitutes has damaged our health. Fat, it turns out, is a lot like TV — nourishing as long as it's not your whole diet. From time to time you should eat a little salad. (You can toss it with McLagan's brown-butter or hot bacon dressing.)
In long chapters on butter ("worth it"), pork fat ("the king"), poultry fat ("versatile and good for you") and beef and lamb fats ("overlooked but tasty"), the author furnishes information on rendering, deep and shallow frying, grating suet, preparing marrow and a host of similar topics, filling the book's margins with fat-related anecdotes and lore. ("It was rumored that New York journalist A. J. Liebling used a piece of bacon as a bookmark.") None of which would matter if her recipes weren't brilliant. Most of them aren't for neophytes, but they reward the effort.
McLagan's slow-roasted pork belly (the same cut as bacon, but uncured) cooks on a bed of fennel and onions, saturating them with its juices; then they get mixed with cooked kale. The meat is crunchy on the outside, succulent within; the vegetables sing three-part harmony. A halibut fillet topped with sage leaves, wrapped in prosciutto and cooked on lemon slices grants every element its say, the prosciutto crisping into a salty foil for the fish.
Actually, this dish is easy. So is a smoky bacon-and-squash soup that, as a bonus, freezes well. McLagan's brown-butter ice cream, on the other hand, is a real pain — you have to cook the butter (being very careful not to burn the milk solids), then make a custard, then let it rest overnight before you freeze it. But it may be the smoothest ice cream I've ever tasted. McLagan recommends topping it with her salted-butter caramel sauce — also a pain and unnecessary for the ice cream, though delicious on something else (like your finger). Her spice cookies substitute bacon fat for butter, a notion that may cause an unpleasant tickling in the back of your throat until you taste them: the salt sounds a blue note under the sugary ginger, cinnamon and cloves.
Sara Jenkins has been cooking in restaurants around New York for several years now. (Her latest perch, Porchetta, in the East Village, serves a pork sandwich that's worth the trip over in a cab. Or a plane.) She has a lovely sensibility, tradition-minded but delicately modern. OLIVES AND ORANGES: Recipes and Flavor Secrets From Italy, Spain, Cyprus, and Beyond (Houghton Mifflin, $35), written with Mindy Fox, offers a few surprises, like a Tunisian salad of grated raw turnips seasoned with nothing more than salt, lime and a little harissa (North African pepper paste) that I would have passed on if she hadn't talked it up in her introduction. (She says it can sit for as long as six hours, but I liked it even better the next day. Maybe by then I'd gotten used to the idea.) She scatters bacon, onions and sautéed sugar snap peas on top of broiled salmon, and the sweet vegetables caress the salty meats. A simple stew of lamb, grapes and green tomatoes effaces any regrets over your unripe autumn fruit.
Jenkins's pasta recipes are appealingly straightforward, like one that combines cannellini beans, mustard greens and anchovies and another with flaky fish, almonds and capers. But again, the unexpected: her Turkish-inspired concoction of noodles sauced with yogurt, mint and two pounds of ground lamb, at once sour and creamy, is a meat lover's dream. Her cloud-textured panna cottas — one scented with orange zest, another with jasmine tea — get that way by being lightened with egg whites.
If such dishes strike you as suspiciously silken, then Andrew Carmellini may be for you. Carmellini is the chef who opened A Voce, in Gramercy Park (he's since left), and his URBAN ITALIAN: Simple Recipes and True Stories From a Life in Food (Bloomsbury, $35), written with his wife, Gwen Hyman, is full of two-fisted recipes. You get a taste of his culinary philosophy in a question that one of his desserts prompts him to pose: "What could be more fun, at the end of a long, boozy meal, than fluffy doughnuts filled with pastry cream and dipped in chocolate?" (I don't know. A Zantac?) His Rigatoni Pugliese is goopier, I suspect, than anything you're likely to sample in southern Italy, with three cups of tomato sauce dousing one unsuspecting pound of pasta — plus a pound of hot sausage, a bunch of broccoli rabe, half a can of chickpeas (he genially excuses you from boiling up dried ones — "no one but the pickiest Pugliese grandmother will be able to tell") mashed into the sauce and the other half stirred in whole: all in all, the kind of dish you would make Michael Phelps for breakfast. Carmellini's fennel braised in orange juice and Sambuca (with golden raisins, yet) all but shouts its flavors at you. A rack of pork, beautifully tenderized in brine, gets slathered with a paste of fennel seed, thyme, rosemary, sage and (way too much) salt, roasted and then topped with a sweet sauce of plums and grappa. If that doesn't wake up your palate, it's deceased.
Carmellini, however, is a girlie-man fussbudget next to Kenny Shopsin. But then Carmellini is a restaurateur and Shopsin is a diner-eur. His namesake restaurant (now in its third incarnation, in the Essex Street Market) is, despite his loathing of publicity, semifamous in New York for its gargantuan menu and the curmudgeonliness of its owner, who discourses in EAT ME: The Food and Philosophy of Kenny Shopsin (Knopf, $24.95), a memoir-cum-cookbook written with Carolynn Carreño, on the joy of ejecting customers. Shopsin's writing is much like his cooking: blunt and flavorful. ("When it comes to food," he says, "subtlety is lost on me.") His book is a lot of fun to read, though it's marred by his constant bragging and his tendency to call anybody who doesn't do things his way dirty names.
He's big on how-to, laying out the techniques that enable him to deliver on a menu that at times has contained upward of 900 items. His main trick, though — having everything he needs within reach and everything that takes more than five minutes to prepare pre-made and frozen — won't be of much use to home cooks. As for complexity, his chicken salad is chicken, mayo, salt and pepper. His egg salad is the same thing, with eggs. I cooked up his recipe for Patsy's cashew chicken and winced at the acridness of too much soy sauce battling too much lemon. Shopsin's beanless chili, on the other hand, I've got absolutely no complaints about. (He doesn't explain why half a cup of coffee goes in — you can't taste it, or at least I couldn't — but it didn't keep me up.)
I would love to see Shopsin in conversation with Martha Stewart. He's all about fast; she's all about perfect, and that takes time — conceivably eons. MARTHA STEWART'S COOKING SCHOOL: Lessons and Recipes for the Home Cook (Clarkson Potter, $45), written with Sarah Carey, may intimidate the novice — it intimidates me. Her recipes for pot-au-feu ("You can make the first stage a day before serving and refrigerate the meat in one container, then strain the broth and store it in another") or scrambled eggs with caviar in eggshell cups (requiring such specialty tools as a pastry bag and an egg topper) seem less like cooking K-12 than postdoctoral work. Imagine a textbook called "How to Speak French" that took its practice passages from Proust and Derrida.
Michelle Bernstein, whose restaurant mini-empire includes Michy's in Miami, Michelle's in Key Largo and MB in Cancún, filters the Latin American flavors she grew up with in Miami through her French training. Sometimes the recipes in CUISINE À LATINA: Fresh Tastes and a World of Flavors From Michy's Miami Kitchen (Houghton Mifflin, $30), written with Andrew Friedman, struck me as more timid than they had to be — where she calls for half a chili, I'd throw in the whole thing. Her watermelon-and-tuna first course is a visual pun — red on red — but it needs an additional something (more jalapeño, or maybe vinegar) to bring out the contrasting fruit and fish. But most of what I tried I loved. Bernstein enriches a scrumptious "Latina bouillabaisse" with untraditional cream and then brightens it — the perfect touch — with lime juice. Her melt-in-your-mouth oxtail sauce for pappardelle is deepened with cocoa, like a Mexican mole. The eight cups of stock make for a soupy pasta sauce even after it's thickened with the mascarpone cheese she prefers to Parmigiano-Reggiano, but none of the guests I served it to interrupted their slurping to object.
The British used to be the wretched of the food world; they're now among its nobles. One reason for that is Simon Hopkinson, the founding chef of London's Bibendum restaurant and a leading exponent of Modern British cooking (though in his chapter on suet — this seems to be the year for suet — he dismisses that label as a "tiresome moniker"). I'm aware there are those who think Hopkinson writes as splendidly as he cooks, but his mixture of snippiness ("Everything I cook I try to do as carefully as possible; it is a habit born of some quirky desire to sit down and eat something of excellence rather than something second-rate") and adorableness ("Florence is a little-known city about a third of the way down Italy, with a big church thing in the town center") sets my teeth oxn edge.
Still, most of what I cooked out of SECOND HELPINGS OF ROAST CHICKEN (Hyperion, $24.95), the follow-up to his much admired "Roast Chicken and Other Stories," I liked very much. His cold cucumber soup is a snap: cucumber, chicken stock (from a bouillon cube), tomato juice, Tabasco sauce, cream and yogurt, with a few shrimp tossed in and mint and cayenne pepper scattered on top: summer in a soup bowl. A raspberry clafoutis is lusciously rich, and "savory mince" — a traditional British stew that's something like chili minus the cumin — is gratifyingly oily, owing to the half-pound of bacon that goes in. Braised fennel "à la Greque," the anise flavor accented with fennel seed and Pernod, is refreshing and lemony, but a more ambitious fennel dish — a pork belly braised with fennel (and the same fennel helpers) — emerged from the oven a pale wet thing compared with McLagan's majestic roast. It would have been better if I had made it a day ahead: the leftovers, with the flavors melded (and aided by another big shot of Pernod), were much tastier.
Among the English, there's a strain of lefty loopiness that Mike Leigh captured in his early movie "Nuts in May." I started to scent it when I read in the introduction to THE RIVER COTTAGE FAMILY COOKBOOK (Ten Speed, $32.50), by Hugh Fearnley-Whittingstall and Fizz Carr, that "the fish on Page 227 really was gutted by Mack, aged 9."I certainly approve of teaching young people to cook (and to eat), but the charm of the book's friendly pedagogy is crushed under the weight of its political correctness. The recipes don't call for eggs — they call for free-range eggs. The detailed explanations of different flours, the instructions for growing your own potatoes and curing your own bacon (from free-range pork) seem designed less to awaken an interest in food than to breed cooking nerds. But at least the recipes are meant to be fun. I'd choose the River Cottage's version of mac and cheese over Martha Stewart's, since it's not only less fussy (while still satisfying) — it's served with bacon.
To end with, an English Christmas present: ELIZABETH DAVID'S CHRISTMAS (Godine, $25.95), assembled by David's friend and editor, Jill Norman, from articles and papers for a holiday volume the renowned food writer left at her death in 1992. Though David begins by lamenting the season's "grisly orgy of spending and cooking and anxiety" ("There are times indeed when it's difficult not to regret the failure of the Cromwell regime's bid to suppress the whole thing"), she forges ahead all but encyclopedically, with the mandatory stuffed turkeys and roast geese and Christmas puddings and a great deal of information about age-old and sometimes lost traditions. There are also ideas for meals before and especially after the big day, when revelers are likely to feel "a craving for a few vegetables freshly and simply cooked . . . without so much as a sniff of the turkey or ham leftovers." I tried a couple of sweet-and-sour cabbage recipes, one Italian-inspired, the other a slow-cooking dish with smoked sausage; both were delicious. Encouraged by McLagan's and Hopkinson's enthusiasm for suet, I even took the plunge and bought a pound in order to make David's mincemeat. (I won't know how it comes out for a few weeks yet.)
Like all of David's books, this one is even better for daydreaming. The author seems to have viewed it that way herself. As much as she loved thinking about food and sharing it with friends and family, her own idea of a fine holiday was to "stay in bed, making myself lunch on a tray. Smoked salmon, home-made bread, butter, lovely cold white Alsace wine. A glorious way to celebrate Christmas."


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Family Starlings (Sturnidae)
Common Starling (Sturnus vulgaris)
Sturnus vulgaris
Linnaeus, 1758,
Formerly considered conspecific with S. unicolor; genetic differentiation only slight#R#R, and some hybridization in area of breeding overlap in SW Europe, but vocal and plumage differences strong. Subspecies taxonomy complex, and requires more research. Race humii sometimes erroneously listed as indicus#R; latter name is unidentifiable, based on an alleged form in which bill never turns yellow at any age#R. Azores race granti possibly not worthy of recognition#R. Thirteen subspecies recognized.
Introduced and expanding populations elsewhere (North America, S Africa, Australia, New Zealand, Polynesia).
Descriptive notes
Food and feeding
Status and conservation
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The ''faroensis'' subspecies
The ''faroensis'' subspecies epithet is redirected to Faro, Rio Jamundá (Rio Nhamundá), Pará, Brazil, and yet this subspecies of starling does not occur in South America, especially since Feilden as a type locality pointed the Faroe Islands.
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David Wingate is a founding member of The National Alliance of Attorneys for Alzheimer's Planning ("N3AP")
A distinguished group of attorneys, including David Wingate, has announced a new non-profit focused on preparing for Alzheimer's and dementia, The National Alliance of Attorneys for Alzheimer's Planning ("N3AP"). This organization is the first of its kind and aims to be a resource not only for attorneys, but also the general public. Alzheimer's is an epidemic with no end in sight and N3AP hopes to bring awareness to the subject with their years of research, experience, and exploration into this issue.
David Wingate is a founding member of N3AP. Additionally, he attended the steering committee meeting at the first national conference of N3AP.
The attorneys, from all over the United States, who attended the N3AP conference have shown true commitment to bringing awareness to Alzheimer's and dementia, and to keeping the legal community apprised of the latest developments with these diseases. The N3AP conference featured presentations by nationally recognized authorities on issues related to Alzheimer's planning.
For more information on N3AP or about David Wingate please call (301)663-9230 or visit our website at www.davidwingate.com.
For a complete list of upcoming seminars, visit our website at www.davidwingate.com.
Peace of mind is only a call or click away! For an Initial Consultation call Estate and Elder Planning by David Wingate at (301) 663-9230 or visit www.davidwingate.com
David Wingate is an estate planning and elder law attorney at Estate and Elder Planning by David Wingate. The Estate and Elder Planning office services clients with powers of attorneys, living wills, Wills, Trusts, Medicaid and asset protection. The Elder Law office has locations in Frederick, Washington and Montgomery Counties, Maryland.
Notice: this Blog is published as a free service of the Estate and Elder Planning by David Wingate. The information is for general informational purposes only and does not constitute legal advice. For specific questions, please consult with one of our experienced attorneys. We encourage you to share this newsletter with anyone you think may be interested.


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Max Kauffman, New Work.December 15, 2016 9:44 am Leave your thoughts
Brand new paintings by artist Max Kauffman. Of this body of work, Kauffman explains: "Much like a musician, large chunks of the last few years have been spent on the road. My work has looked at the concept of balance for the last 8 years or so. As I've done art full time while maintaining some sort of 'my own life' apart from that, this meta-narrative continues to have more importance. For me, this requires being able to recharge and be steeped in silence, and some trips need a few weeks/months to bounce back from. Thus, most of this year has been spent holed up in the studio digesting and reconsidering… everything. Right now I feel more like a gardener than an artist – taking the time to nurture my thoughts, as long as it takes, then figuring out how to apply them to this new format. That patience and trust pushed the work in new ways. I moved from my comfort zone of the last decade of paper to applying that technique to panel and into an entirely new direction with linen."
Original Source: www.supersonicart.com


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Research Handbook on Women in International Management
Edited by Kate Hutchings and Snejina Michailova
Chapter 14: "They always look at you a bit oddly": Women developing career capital through international mobility in the mining Industry
Julia Richardson, Steve McKenna and Carolyn Dickie
While the global mining industry experienced strong growth in the years leading up to the recent economic crisis, it has not escaped the downturn experienced by other industries (The Economist, 2012). Indeed, a recent report by Deloitte (2012) shows that a growing number of mining companies are postponing large projects due to rising costs and uncertainty about the future. Yet, despite these near-term restrictions, some mining companies and government bodies are increasing their investments, albeit more cautiously. For example, a recent report by the Minerals Council of Australia (2012) states that: "The fundamental drivers of minerals demand growth, urbanization and industrialization, will exist for the next 20 years or more. Neither weaknesses in developed world economies nor a temporary deceleration in China will dampen these long-term trends." Compared to other sectors, then, it seems that the mining industry still offers relatively more expansive opportunities for employment and professional development than other industries. Given the global expansion of the mining industry (Deloitte, 2012), the careers of mining professionals are characterized by increasingly high levels of international mobility (Mayes and Pini, 2012; Peetz and Murray, 2010). The nature of that mobility can be diverse, involving relocation to and from geographically remote locations, where the work environment and the work itself may be physically and mentally demanding oftentimes requiring management of and adjustment to the cross-cultural complexities that such moves may involve.
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Covid-19 Travel Update
Like many Bahamians who believe in natural therapies, the locals here have regular massages by letting the seawater do the work. The difference on Ragged Island is that the treatment they choose to get depends on how the tide flows. If you're hurting on any part of the body, like a backache, then ebb tide would be the best time to sit in or float on the water for about an hour. Ragged Island also offers many locales for other wellness practices, as you will enjoy getting a workout under a shady tree or on one of the quiet beaches.
The tranquil, peaceful atmosphere in remote Acklins & Crooked Island has been described by visitors as "a little piece of heaven." It's the perfect place to go for the avid fitness enthusiast who likes communing with nature or if you enjoy pampering of the natural kind. The slower pace will also encourage you to relax, let your surroundings purge you of life's stresses, and help you find your inner peace.
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Beeta lives in coastal Southern California year-round and makes frequent trips to Paris. After her first trip to Paris in 2010, she fell in love with all things French, including French cuisine and pastry.
To share her love for France, she created Mon Petit Four, a site dedicated to sharing French recipes and French lifestyle tips. She also founded the community and membership platform The French Culinary Experience.
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I was hoping for something so much better than that. The first skit was almost funny, the other were... not.
I was ready to laugh at myself or my people. I was smiling in anticipation, ready to burst into hysterical laughter, but all that happened was the smile drooped, and the shoulders shrugged.
Well, Expat, maybe someday you will find reason to smile.
Well, Expat, maybe someday you will find reason to smile.
Oh it happens, believe me. Accepted I am more likely to smile at obscure British humour.... No, not Benny Hill... that is now old and passe, Some SNL skits have touched the button when as is so often the case they jibe at Uncle Trump. But they seemed to have missed the mark completely with the clip you extolled.
I was expecting something along the lines of Black Comedy where the comedian says outlandish things about fellow Black behaviour, which like Jewish Jokes are often true if just a bit exaggerated but hysterical to that community as they recognise themselves, but the skit you showed was just weak.
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I have amazing news to share! The Sisters on the Runway NYC show raised over $4K for the nonprofit Safe Horizon this past weekend—an organization that benefits victims of domestic violence, especially women and children.
I'm so proud that my little DIY brand, Bombay Mermaid, was given the honor of opening both shows on Friday and Saturday.
An enormous thanks to everyone who came out to support the cause and see the show.
There were some incredible collections on the runway. It reminded me just how much I love creative collaboration and merging efforts with designers, models, and stylists. This will be my last year doing the show, and it couldn't have been a better send-off.
Here are some backstage snaps — and you'll find a video at the bottom of the post.
Thanks to everyone who helped bring this collection to life, including my amazing models, Raffael Flores-Contreras (who also DJ'd the event in addition to capturing the backstage magic), Blair Morgan Reeves (who organized the whole show), and everyone who helped inspire and motivate me along the way.
If you want to keep up with Bombay Mermaid, you can check out the blog, etsy shop, facebook and instagram for all kinds of magic.


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Pakistan is a country of southern Asia, and forms part of the countries in South-central Asia, next to the Republic of India, Iran, Afghanistan, and the People's Republic of China. It is officially called the Islamic Republic of Pakistan. It has a long coastline along the Arabian Sea in the south. Pakistan has the sixth largest population in the world and is the second largest Muslim country after Indonesia. Pakistan has a total land area of 880,940 km2 (340,130 sq mi) (including the Pakistani-administered territories of Azad Kashmir and Gilgit Baltistan). This makes Pakistan the 34th largest country in the world. Pakistan has the seventh largest army in the world.
The name Pākistān (IPA:/pɑːkɪsðɑːn/) means Land of the Pure in Urdu and Persian.


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© 2020 Paramount Images Studio.
ISO 142 - lens48mm - AP2.2 AWB
Who would think of zip-lining and bungee jumping for an engagement photo shoot except for these two sports enthusiasts and love birds Patrick and Maureen. They needed something that would get their adrenaline going and so we headed to Mabira Forest and Adrift River Nile to capture their dream engagement. Months later, we graced their beautiful wedding.


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Pennsylvania Lottery Scratch-Off Worth $1 Million Sold in Lebanon County
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