(ANSA) – VENICE, MAY 11 – “The requests of the Regions seem to be accepted. It is a sort of anticipation of autonomy. Governor Luca Zaia told ANSA about the Phase 2 discussion with the government. “If everything is confirmed – he explains – I consider the outcome of the meeting profitable for the Venetians. Prime Minister Conte has given the possibility for the Regions to present a program of openings for the 18th. The Veneto, with extreme consistency, will present this week total restart “. The Region is therefore preparing to reopen “obviously – Zaia points out – always keeping the health indicators in the foreground. On the other hand, we asked that the protocol with the guidelines for all economic activities be closed quickly, with the utmost attention to simplification “.
Singer Julia Parshuta made a very personal and frank confession. The scandal prompted the star of the Star Factory to take this step, which erupted after two interviews with Regina Todorenko. Fans decided that the TV presenter considers women guilty of men raising their hands on them. Parshuta said that for three years she lived with a home tyrant and was afraid to leave her roommate because he threatened her and her relatives.
In 2010 Julia Parshuta fell madly in love with a handsome handsome man. As it seemed to her, the chosen one was the smartest, most caring and attentive. “He was an energetic scholar – a man who is always interesting and fun with. I fell in love without memory. This was the first time with me. He was wonderful. The first few months,” she said.
And then real hell began. The first time he beat her, Julia persuaded herself to forgive him. The tyrant roommate was kneeling and begging forgiveness. “My family never had physical abuse. Therefore, I did not know that it was not treated with a wise word and a meek look. That it should not be forgiven,” the girl said.
She suffered beatings for three years. “In March 2013, a week after an appendectomy, on Nizhnyaya Syromyatnicheskaya street I got hit in the stomach with my fist, “decorated” with the stitches of the operation. A stab in the stomach from his man. Another blow, and only God knows which is the bill for our life together, “Julia Parshuta began her confession.
After that, the man took her phone, bag and car keys. But the girl still ran away from him to her friend. “Having come in, I asked her for water and said that my bag was stolen from me. And with all my strength I showed that everything was fine with me. The third year of our relationship was on. In fact, the third year in a box of fear and despair. Without the ability to search and find protection and exit, “writes the 32-year-old artist.
She also explained why before that she did not dare to leave Tirana. “He was strong. Very. It was the third year of “I-guilty-in-everything”, the third year of “I-worthless”, the third “I-not-for-nothing-capable” year. Because it was the third year I was intimidated to the bone. The third year, as the veil of hopelessness grew stronger from his threats. Because threats are not just me. The threat “I will cut your family” and “to you … if you go to the police”, ”the Star Factory participant shocked with revelation.
Parshuta stressed that for a long time she could not find the strength to admit that she was a victim of domestic violence. The actress urges women not to be silent about the beatings and are not afraid of conviction. “Talking about violence should not be embarrassing,” she summed up.
Hasn’t the time come to rediscover the depths of French comedy? Of course, with the viewing of Little Michu, operetta by André Messager composed in 1897 which contains everything a confined person can dream of: twin sisters, an interchange of babies, a rigid soldier, stupid merchants… Presented in a garish pink candy-duck green case, this production of the ” Nantes and Angers Opera created in 2018 with the Théâtre de l’Athénée, brilliantly powered by the troop of Brigands (mercenaries of lyrical hexagonal lightness), will allow even the most depressed to find the bushy paths of the smile. The program, accessible via the Angers-Nantes Opéra website, is offered with other house co-productions, such as the formidable and tragic Flood by Francesco Filidei and Joël Pommerat.
“As long as we are alive, we will see each other”, 27-year-old gang leader Yair told the photographer before he was shot in Caracas, Venezuela. In a dark slideshow, Céline Croze (Photo) takes us into the twilight atmospheres of Latin American cartels, failing to immerse you in its exhibition which was to be held this April. Because feeling the wind of the health crisis turning, the Toulouse MAP festival quickly adapted by becoming E-MAP.“We didn’t want to give up”, confided the artistic director Ulrich Lebeuf, who this year offers a 100% digital format. So we can watch dynamic small films well edited instead of visiting the exhibitions: Boby allin takes us behind the scenes of a tour of Bigflo and Oli, Lucile Boiron sensually searches the womb and Derek Hudson looks back on its Cannes Film Festival. A festival journal in PDF can even be downloaded from the site.
In the restless art gallery which hosts Missy Elliott’s new music video, in neon lycra and epileptic faux-eighties atmospheres, the displays are made for twerking. Back with Cool off (extract from the surprise EP Iconology unveiled in 2019, after fourteen dismal years without a solo project), the empress of beats was keen to ward off the demons of our lethargy at home. And to kill two birds with one stone, it fills the cravings for works of art of those who keep crying at the closure of museums, while it awakens our bodies of old candied prunes: with a geyser of colors and enough BPM to cover the cardio of the week.
Faced with the worrying resurgence of live-streamed ukulele covers by musicians who no longer know what to do with all this confinement, a village of hard-core rockers resists apathy. Located in California, this oasis is called Burger Records. The independent record store doubled with a label distilling since 2007 treasures of garage, power pop and other oddities DIY has just released a massive compilation in eight volumes entitled Quarantines (the melodies of the quarantine). Under sleeveless sleeves, 154 bands and as many nuances of gnawed brakes and furious hopes are transformed, transfigured by saturated guitars, cheap rhythm machines, voices bursting with delay and even kazoo – all that can falling into the forgotten recesses of the home studio is good to take. No headliner to report, if not the ultraprolific and polymorphic King Khan, but a slew of local glories that prove that one can very well get bored with talent.
Film by Jacqueline Audry adapted from a novel by Dorothy Bussy and dedicated to the memory of Virginia Woolf, Olivia belongs to the sulphurous sub-genre of the boarding school film, the title heroine arriving in a boarding school for young girls run by two women of opposite characters. This story of real grip is told with a frightening cheek, straight to the point and without omitting the opacity specific to the kind of passion experienced by a student for his teacher. Impossible, however, to reduce the film to a speech, even a feminist one. Olivia is more devious and perverse, too cruel and sexual to serve any cause other than that of letting such a story happen in its perfect indecency. Let’s be careful not to make the forgotten Audry a suddenly cult filmmaker or a gendered curiosity, that would be doing too much or too little. But Olivia is a rare film in every sense, beautiful, precious, secret, with the imperial Edwige Feuillère in one of her most beautiful roles. Prohibited for children under 16 years old when they leave.
Jim Harrison must go back to his grave: this year, he could not have teased trout in the rivers of the Morvan, near his friend Gérard Oberlé, writer ogre of knowledge and good things to drink and eat . All of this is the fault of this damn coronavirus that prohibits dipping the wire in water. However, we know a lot of chicks who recognize themselves through the words of Jim Harrison in A good day to die (ed. 10/18, 2003): “I was struck again by the way the fishery helped me to wipe out everything else, at least as long as I was in the river. For a few hours, all the problems – money, sex, alcohol, madness – disappeared in my concentration on the river, the places where the big trout were probably, the clear currents or in the swirls near the grassy shore , or behind the big rocks and pebbles that protruded from the surface of the water, forming pockets of water that always seemed to contain one or two fish. ”
Our old friend Bébert is one of those guys for whom life revolves around three pillars: the factory, the garden, fishing. Turner that he was Bébert. “OHQ” as we said for a highly skilled worker. At the workshop, he was entrusted with the machining of prototypes on his Ernault Somua lathe. You shouldn’t have risked touching his bike, which he burnt like a new penny. He was so proud of it that he didn’t understand anything when the takeover’s combs passed before him without a look or a word. It’s true what, almost forty banks to machine scrap for the same taulier, it deserved at least a bit of chat. He didn’t see anything coming either when the HRD told him that it was not going very much question backlog. It must be said that Bébert is not the kind of guy who gossips at the bistro after work. Him, it is the garden, the fishing which ventilates the mood. So when the big egg spoke “Production outsourcing” in Hungary and China, he simply put his tools in their large rag, emptied his closet in the locker room and then he went home to butter his potatoes. When his wife tumbled into the garden to unpack his chickweed, he simply shrugged, grumbling: “I was told I have enough quarters for retirement.”
Giant of Flanders
Sometimes he misses his turn, the smell of hot metal, the precision of a successful adjustment. But he doesn’t say anything because he always has something to take care of. The garden first: prepare the soil for the end of winter before the spring sowing: transplant, pick, pick, water, and then there is always a blade of grass to pull. You also have to take care of the hens, the rabbits (he is particularly proud of his giant of Flanders, a male), give a helping hand to his wife to hull the beans of the canned goods. Winter, Bébert “Do his wood” as he says in his communal affouage. He cuts, he splits oak, beech, foyard. Logs and quarters of 50 cm (it is precise as in the factory) for the Godin stove which heats a large part of their house. Bébert does everything himself. He never put the words “autarky”, “autonomy” in Scrabble. But the other day, he laughed softly when he heard on TV talking about “transition”, “living and consuming differently”. “I’ve always lived like this, that he thought, and my world will last long enough before I pass the gun to the left. “
And then there is fishing. This year, as usual, Bébert checked his gear in February. You have to see him polishing his rods, disassembling and checking his reels, mounting his lines, classifying his hooks and lures in his drawer box as tidy as that of his wife’s sewing. At dawn on March 14, he was happy as a kid, posted in one of his favorite fishing spots. To tell the truth, he doesn’t care a bit about the fish, especially since the farmed trout that has just been released is a bit like “duck fishing” at funfairs. Bébert especially likes “to take some fresh air” as he says, snack alone with his dog corniaud by scanning the river bed where he hopes to see a real trout, “A savage”. This year, Bébert came back from fishing with a nice … dandelion salad they ate with bacon and a poached egg. When containment landed like smallpox on the low clergy, Bébert sighed that he was “Too old for this kind of bullshit”. But the doctor phoned: with his emphysema (the fault in the scrap metal dust at the factory), he has to stay well sealed so as not to catch the coronavirus. As usual, he shrugged. he “Fuck the coronamachin” and then “Those joggers idiots”, they have the right to run in the countryside. So why shouldn’t he walk his dog along the river?
So the other afternoon, after sowing an 18-day radish plank in the garden, he goes to the water’s edge while the boss goes shopping at Super-U. The dog knows the way alone, over there where the river bends under a large willow. This is where it hides “The memory”, thinks Bébert. A big fario that he spotted a handful of times when she came out of his hideout, a huge strain. Bébert admires him. She fucked all the fishermen in the area. He is afraid it will end up in a landing net. He never had the trophy virus. He would just like to feel it undulate between his fingers underwater like when he was fishing by hand, kid. Today, the wave is clear under a hot spring sun. Bébert leans against the stump under which he distinguishes a tapered shadow. It’s for sure, it’s her. So he plunges his arms into the water to try to catch Memère. But it is already far away when Bébert falls with all his weight into the river.
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“You are going to catch death”, she says Bébert’s wife as he dries himself with a rough towel. Once the anger of his mishap is over, he smiles and thinks he’s twelve years old this afternoon. Then he leaves in a huge laugh when he sees in the middle of his wife’s shopping a bag of smoked trout which she is carefully disinfecting with hydroalcoholic gel.
Like all fish when smoked, trout love potatoes, especially when they are early, like those grown on the island of Noirmoutier. The star is the bonnotte but there is also the earlier sirtema, the iodea, the lady christ’l. Here is a recipe for “Bonnet apples in goat whipped cream and dill, strips of smoked trout and Siltimur pepper” that you can make with the potatoes available in these confined times.
You need 20 medium-sized underwear for six people; 2 slices of smoked trout cut into strips; 20 cl of very cold liquid cream; ½ fresh goat cheese log; 12 small sprigs of dill; 1 lime cut into quarters; Siltimur pepper or another if you can’t find it (black pepper, Espelette pepper …)
Wash and brush the potatoes then immerse them in a large pot of boiling salted water. Allow 10 minutes for cooking as soon as it boils again. Drain and keep warm. Whip the liquid cream with a mixer. In another bowl, whisk the goat cheese with the rinsed and finely chopped dill and stir in the cream. Whisk again and keep cool.
Arrange the bonnottes on each plate (about three per guest), cutting the top to make the flesh of the potato visible. Using a fluted piping bag or a spoon, arrange your cream.
Add one or two strips of trout, a sprig of dill and a wedge of lime. Give two mill turns with Siltimur pepper and it’s ready.
What bond then unites these three women of the XVIIIe century? The first, Madame du Deffand, little known to the general public, has gone down in history for its qualities as a salt shaker. The second, Mrs. Roland, owes her notoriety to the fact of having exclaimed, it is said, in front of the scaffold: “Freedom, what crimes we commit in your name!” and his talent as a painter immortalized the third, Madame Vigée Le Brun. It is the relationship to the letter writing of each that is the source of this book, while none, says historian Cécile Berly, plans to become a writer, out of respect for the gender norms that make them unthinkable this ambition. However, the work shows that if writing is not only part of their daily lives – like that of most bourgeois women, who are required to maintain family and social relationships – this activity is, for them, essential, linked to their personality and their inscription to the world.
For Madame du Deffand, the letter is a remedy for boredom, whose conversations in her living room are not enough to protect it; moreover, oral and written complement each other, because it is not uncommon for his correspondence – the very rich correspondence with Voltaire – to be read aloud, during the afternoons and evenings on rue Saint-Dominique. The hostess embodies the “Pure French spirit” alongside its regulars, the biggest names in the Age of Enlightenment. The decline in the reputation of her meetings, competed by those of Julie de Lespinasse, so long close to her because responsible for palliating the blindness of the elderly letter writer, increases her melancholy; only the letter saves her from despair, especially if she becomes in love in exchanges with a young English aristocrat.
Quite different is the character of Madame Roland, who, from her childhood, amazed with her intellectual capacities and her taste for freedom which would keep her from her monastic temptation. The emotional letters to her friends from her youth are followed by political letters: it is through writing that she engages in the Revolution. Therefore, in love with ancient culture, admiring the Romans, it “See the letter as a forum” ; tracts, petitions, newspapers are added to inform and influence his fellow citizens. The exacerbation of her patriotism even leads her to present herself as “The wife of Cato”. The author sees it as proof that, outside of the Revolution, Manon Roland no longer exists. However, the era was surprisingly respectful of the genre: in the living room of the couple who, from 1791, united the radical left, she was the only woman admitted but remained silent there! So, until the dawn of her execution, she wrote against the bloodthirsty madness of the Revolution.
Because her art entirely inhabits her, Madame Vigée Le Brun only takes up her pen in moments of doubt or anger; exile transforms his writing practice into an astonishing extension of his painting. Supporting sources, this study confirms that the letter is then the major form of female writing.
If one day I return to Seattle I will not fail to sit down at a table at this teriyaki restaurant located at the crossroads of Ave and 45e in the university district where Bill Gates once put his butt down. It is not for him of course, but to meet Abimagique who has taken the habit of coming to lunch under the Polaroid who immortalized the coming of the Richest Nerd In The World. Abimagic, this is the first name she chose. Of course, no parent would have the idea of naming their child like this. She is a Halloween-style girl with jet black dye and asymmetrical orange-colored locks who devours the biographies of famous poisoners. But under his appearance of typical goth we notice that his face is imbued with a sweetness and a sensuality which does not suit this modern world. She’s not one to be flirted with. No question of giving her “I can sit with you”. When she speaks it is always with passionate conviction. She lives alone in a house in the Fremont district and works as a massage therapist for the physically handicapped.
The world is at a loss and she knows it. So it makes time, not this still time of confinement but a time of repair, exploration, work to destroy this shit. She screams her hate at the millions of fools who start preaching that you have to have faith. “Trust God they say. How important is it to encourage rape, usury, cancer, genocide? you have to trust him. “
I got attached to her, to this telluric witch, to this sexual demon, to this spirit named Lilith, to this incarnation of Gaia, animated by good intentions and endowed with extraordinary powers as she suggests to this young white-billed, her lover, who lets himself be led without understanding anything while the intrigue is woven around him. What she knows she distills it only sparingly and if he is annoyed by some of his sayings like “I knew it would happen”, she just retorts him that there may be things that he is not aware.
“Human beings are not good at understanding what’s going on around them, says Lucius Shepard, the author of this divine novella, and yet their fictional characters excel there, which strikes me as highly unrealistic. ”
For my part, I consider that it is from them that I hold what I know, that is why Abi, Abimagique is my companion of this time … a magnificent portrait of a woman as imperial as mysterious …
You can file a complaint in Spanish and online HERE.
HERE You will find the guide in Spanish on paid sick days.
You can also call the Wage and Workplace Standards Division at (860) 263-6790 or the Program Policy Office at (860) 263-6755.
Employers of workers at increased risk of contagion should follow the following preventive measures, OSHA requires:
Assess the hazards to which workers may be exposed.
Assess the risk of exposure.
Select, implement, and ensure workers are taking protective measures to prevent exposure, including the use of physical barriers (face masks, latex gloves, face shield, coveralls) to stop the spread of
Limiting social contact and the use of appropriate personal protective equipment are required.
OSHA requires workplaces:
Encourage workers to stay home if they are sick.
Require workers to cover themselves when coughing or sneezing.
Provide a place to wash hands as well as hand wipes containing
minus 60% alcohol.
Limit access to the workplace to only essential personnel, if possible.
Establish flexibility for the workplace (work from home) and the
working hours (staggered work shifts) as soon as possible.
Discourage workers from using phones, desks, or other
tools and work equipment of your colleagues.
Frequently clean and disinfect surfaces, equipment and other items in the work environment.
Using cleaning chemicals with disinfectant labels approved by the Environmental Protection Agency (EPA).
Follow the manufacturer’s instructions for the use of all cleaning and disinfection products.
Encourage workers to voice any concerns about occupational safety and health.
FOLLOW EXISTING OSHA STANDARDS
Although there is no OSHA standard that specifically covers exposure to SARS-CoV-2, some requirements may apply to prevent exposure in the workplace. Among the most relevant are:
OSHA standards for respiratory protective equipment (PPE) (in general industry, 29 CFR 1910 Subpart I), which require the use of gloves, eye and face protection, and respiratory protection. CLICK HERE FOR MORE INFORMATION.
When masks are necessary to protect workers or when employers require their use, employers must implement a comprehensive protection program in accordance with the respiratory protection standard (29 CFR 1910.134).MORE HERE.
The General Duty Clause, Section 5 (a) (1) of the Occupational Safety and Health Act of 1970, 29 USC 654 (a) (1), requires employers to provide every worker with “a job and workplace that is free from recognized risks that are causing or are likely to cause death or serious physical harm. ” COMPLETE INFORMATION HERE.
CLASSIFYING WORKERS ‘EXPOSURE TO SARS-COV-2
Workers’ risk from occupational exposure to SARS-CoV-2, the virus that causes COVID-19, during an outbreak could range from very high risk to high, medium, or low (caution). The level of risk depends in part on the type of industry, the need for contact with less than 6 feet of people known or suspected to be infected with SARS-CoV-2, or the requirement for repeated or prolonged contact with people. known or suspected to be infected with SARS-CoV-2.
To help employers determine appropriate precautions, OSHA has divided job duties into four levels of risk exposure: very high, high, medium, and low.
The Occupational Risk Pyramid displays the four levels of risk exposure in the form of a pyramid to represent the likely distribution of risk. Most American workers are likely to be at low (precautionary) or medium exposure risk levels. MORE INFORMATION HERE.
Is this verlan, Nerlov? Like Lovner? But no, nothing, nada. No matter how much we searched, turned the letters in all directions, we have found (so far) no sense in this strange pseudo with Slavic sound behind which hides an Angevin singer-producer-bassist. Already crossed in the first lives, more than ten years ago, within various projects, labeled more or less rock, like VedeTT, San Carol or Sheraf.
A busy man, far from being a blue man, and who balances today six very convincing titles, built on a strange French pop under apnea, ambitious, tinged with electronics and, of course, hip-hop. Again ! you will tell me. Admittedly, it has become much too obligatory, a little lazy even, dare we say it, for those who too often try to rhyme Booba with Souchon. But the original way to enter Nerlov’s “game” on the brilliantly wobbly Black track and If we burn everything immediately places it, with its lymphatic flow and its lunar prod, in the category of extraordinary olibrius. Of course the most interesting.
He demonstrates it all the more with the cloudy and moist indolence of I am not a judge and its funny minimalist Caribbean pop swing. Like a Bon Iver who would have grown up in Pointe-à-Pitre. If the title of his EP and the exhilarating song of the same name claims that he loves us all, we will soon be more and more to return the compliment. Yes, but why Nerlov?
When in 2009 appeared Community, his showrunner, Dan Harmon, was not yet the mastermind of the (no less brilliant) series Rick and Morty, and actor Donald Glover, best known today for his rapper Childish Gambino persona, was far from electrifying Coachella’s crowds. The series itself advanced masked at its beginnings, grimé of a classic sitcom hairpiece on the adventures of a group of students of community college – second chance campus for outsiders looking for a discounted degree. The release of bridles revealed a prodigy of comic metafiction, wandering the characters on a path strewn with pop references (mafia film, musical, teen movie …), but also trapped in banana peels – each intrigue played out to the highest degree pastiche. Netflix, very inspired, offers a retro feel good of the six seasons, available since 1er April.
2 – With magic and bad faith
Still not satisfied after having re-swallowed all the films from the Ghibli studio in streaming? You have the backstage. And since Hayao Miyazaki never does anything in half, he spent ten years in the company of the cameras of NHK, the Japanese public television. From the birth of Ponyo to the film’s fake finale The wind picks up, the documentary series Ten Years With Miyazaki gives access to a life of routine, of coffee, of doubts up to the degree of requirement that the filmmaker sets for himself. Between two escapades to the supermarket, we witness its brutal anger and, rarer thing, attacks of bad faith which defuse a little the cult of personality. Available for free for a few months in English, the four episodes of forty-nine minutes each have just been subtitled in French by NHK, which says a lot about the universality of the master’s films.
3 – With the child of the future
Justin Tyler Close
Before confined humanity had to project itself into a next world, the Briton Laura Marling – a precious talent in the UK folk scene with a Judee Sill-style vibrato – prided herself on premeditating her own future. A time to come in which she would be the mother of a daughter, whom she would have to “guide” in a world particularly ruthless towards women, and which was to inspire her a sixth album perhaps more lunar, but also more inspired. She made the decision to bring it out by a few weeks to accompany us in this moment of vertigo and we cherish her gesture with fervor, as we can glimpse, listening toOnly the Strong or For You, that these “strange whispers” are made of the fiber we need to last – and look a little more peacefully tomorrow.
Song for Our Daughter, Laura Marling (Partisan / Pias).
4 – With a Cher tube
DV8 Physical Theater
If you’re really impatient, go to 15e minute of this marvel of dance film: a big dadais actuates the button “play” of his radio-CD, starts a choreography in imaginary sign language on Believe Cher, and brings out, by the strength of his imagination, a kind of tattooed mermaid from the prolific neighborhoods of Norfolk, waving large hoops in a red bra, flip flops and mini jeans. Genius. The Cost of Living, produced in 2004 by Lloyd Newson, remains one of the rare successful examples of choreography shot specially for a camera. Inventing a sign language all his own, made of idiosyncratic gestures, epileptic club dances and contemporary, this buddy movie between man-trunk and his friend pierced with the arcade is a tribute to the margins, to the freaks, and to their power of sublimation through dance.
Forget everything you thought you knew about reality TV – tempters in monokini, shiny alpha males, fucking in the pool, bait for money, big mouths, no but hello, what. Inhale, exhale, look Terrace House. This Japanese reality TV, broadcast for the first time in 2012 on Fuji Television and since taken up by Netflix, brings together each season, in a tastefully furnished apartment, six young men and women in search of love and recognition, who compete with politeness, care, take care of each other, help each other, and mature together. The editing is elegant, and the sequences subtly interspersed with hilarious reactions served by a panel of Japanese celebrities commenting on the episode at the same time as us. At first glance, nothing happens in Terrace House, but the little that happens there, in reality, is spectacular: here is a reality TV which shows us not the worst, but a certain idea of the best of mankind.
Thinking of wallowing your little ones in the cellar? To poison your spouse with arsenic? Normal when attacking the fourth week of confinement. So nail their beaks with a Comtois gratin.
This paraphernalia is heavy: potatoes, smoked pig breast and Comté of course. When it lands hot on the table, it smells good at the top, the dandelion meadows, the fir woods and the Montbéliardes who ring the angelus with their bells. Even that there is one that must be having a good time on hills and dales, these days in Haut-Doubs. It’s the common frog. Usually, in this season, it is pan-fried with butter, parsley and garlic on the Comtois ranges. This year, we will not come to interrupt him too much in the middle of coitus to fill the eaters of amphibians. Although, there must be some Raboliot and other poachers to challenge the confinement and track down the frog.
The previous recipeEat up against the Covid-19: two desserts for the price of one
Coming back to the Comtois gratin, it’s a lifelong aminche. It’s much more than a dish, it’s obvious. Whoever ventures to ask for the precise recipe would immediately trigger the general hilarity between Morteau and Mouthe. At least, that’s our point of view because we have always known it, like the Jazz alarm clock on the bedside table of our old people. This is the kind of frichti that we learned while watching the daronne. Baby, we had the right to turn the cheese wheel over the slices of potatoes and we wanted the gratin crust like a rare candy. Then, we were allowed to fry it all alone with the thoroughness of a gardener tracing his furrows when it came to alternating layers of potatoes and cheese. We were persuaded to make a masterpiece but our slowness annoyed maternal power prodigiously.
Later, the gratin Comtois became the pillar of our student broke gastronomy. It was no longer a question of building Versailles in an oven dish but of throwing a few handfuls of potatoes and cheese in it between two liters of edelzwicker, the gratin pumping the overflow of Alsatian white wine. Sometimes, even today, a distant correspondent reminds us on the phone of these bacchanalia around the gratin of Comt. We listen to it, half-amused, half-nostalgic while opening the fridge door to find out if we have enough to make this timeless bectance.
You have to start by peeling and slicing a good kilo of potatoes (charlotte or roseval). Chop two cloves of garlic and grate a good piece of Comté. Cut into pieces 200 grams of smoked pork belly. Generously butter an oven dish. Place a layer of potatoes; salt moderately; add a handful of bacon; a layer of grated Comté cheese; a little garlic, a few strips of butter and freshly ground pepper. Continue to layer the layers until you finish with the grated cheese. You can also wet with a glass of dry white wine. Bake three quarters of an hour at 220 ° C and enjoy with a nice seasonal salad.