In partnership with Hudson County Art Supply – to celebrate the opening of their new location – we invite customers to express themselves.
The folks at Hudson County Art Supply have been long-time friends of D's Soul Full Cafe. Hoboken residents may remember their location on Willow Avenue. Or maybe you shopped at their Downtown Jersey City spot on 1st & Coles. Well, now they've moved to a new location at 469 Central Ave in Jersey City Heights and we want to help them get the word out.
The Sketchbook Art Project was the brainchild of John, the owner of Hudson County Art Supply. The idea is to leave a sketchbook at local businesses and let patrons express themselves. He would then collect the sketchbooks and post pix of some of the more interesting creations on their Instagram.
So why not let your inner Picasso leap out on the page while you wait for your favorite burrito or sandwich (or whatever)?
Come by, give your creativity wings!
And hey, don't wanna wait for them to post your masterpiece? Go ahead and do it yourself. Be sure to tag both @hudcoart and @dssoulfullcafe. Plus use the hashtag #SketchbookProject. There may be a prize or two in it. Ya never know.


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Feenstra's USA Basketball Select Team Nabs Runner-Up Honors
October 28, 2007 Lynchburg, Va. RSS
The USA Basketball Women's Select Team, including Katie Feenstra (#13). (Photo courtesy USA Basketball)
As Liberty University celebrated its annual Homecoming Weekend, 2005 Liberty alumna Katie Feenstra and the USA Basketball Women's Select Team were busy claiming second place at the FIBA World League Tournament in Ekaterinburg, Russia. The USA squad was edged, 75-65, by CSKA Moscow in Saturday's title tilt.
Feenstra made a successful debut with Team USA, averaging 6.4 points and 5.4 rebounds per contest, helping her team win three of its five contests against some of the world's top professional squads. She also shot a team-best .545 (12-of-22) for the tournament.
"It was a great honor to actually put on the jersey and step out on the court," remarked Feenstra. "It was fun playing with everyone and getting to know everyone. You play against them in the league, but actually playing on the same team with them is a lot of fun.
"I thought that the competition in this tournament was awesome," the 6-8 center continued. "We really came a long way from day one of practice to this [championship] game."
The USA opened the tournament in fine fashion on Oct. 22, routing Australian entry, the Canberra Capitals, 93-49. Feenstra provided six points, eight boards and a pair of steals in her first game in a USA uniform.
The following day, Feenstra's squad was unable to overcome a 13-point deficit and dropped a tight, 79-76 contest to Lithuanian club TEO Vilnius. The Liberty product contributed four points and five caroms in the setback.
Faced with a must-win situation, the USA squad came through on Oct. 24 in its final round-robin game, defeating CSKA Moscow, 81-72, to advance to the semifinals. Feenstra played her best game of the week, tallying 10 points and nine rebounds in 19 minutes of work and earning the praise of USA head coach Anne Donovan.
"Whether it was Seimone [Augustus] playing brilliantly in the fourth quarter, Katie Feenstra coming in and getting defensive stops for us or Janel McCarville in the back court, there were a lot of heroes in this game who are not your typical USA Basketball National Team stars," noted Donovan.
Team USA's reward for defeating CSKA Moscow was a semifinal contest against host team UMMC Ekaterinburg. Feenstra posted nine points and five boards, helping the USA run out to a 60-38 halftime lead on its way to a 97-79 triumph.
CSKA Moscow then got the better of the squads' rematch on Saturday, running out to an early lead and hanging on for a 10-point triumph and the tournament championship. Feenstra finished with three markers for Team USA.

redpajama_set_name: RedPajamaCommonCrawl


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December 23, 2020 December 19, 2020 / ferryfarmandkenmore
Eggnog is a staple drink during the holiday season. Historians debate the exact ancestry of eggnog but most agree that it originated from early medieval "posset", a hot, milky, ale-like drink. Eventually, expensive and rare ingredients like eggs, sherry, brandy and Madeira were added and the drink became the trademark of the upper class.
During the 18th century, eggnog found its way across the Atlantic to British North America. However, since brandy and wine were heavily taxed, colonists substituted more cost-effective alcohol like rum, domestic whiskey, bourbon, and even home-made moonshine. With access to inexpensive liquor and plenty of fresh eggs and dairy products, the popularity of eggnog soared in the colonies.
Given his connection to numerous myths, it is unsurprising that a "George Washington's Eggnog Recipe" falsely claimed to be written by Washington himself circulates widely on the Internet. As popular as the drink was in the 1700s, he certainly drank it and served it to others but "no recipe penned by Washington appears in George or Martha Washingtons' papers nor in the cookbook that Martha inherited from her first marriage nor in her personal copy of The Art of Cookery by Hannah Glasse, which was the most popular English cookbook in America in the latter half of the 18th century (published in 1747)."
Nevertheless, we decided to make an eggnog using this mythical Washington recipe. Given the ingredients, I think you might understand why. Moreover, although it originally dates from the 19th century, it certainly could have been made a century earlier.
"One quart cream, one quart milk, one dozen tablespoons sugar, one pint brandy, ½ pint rye whiskey, ½ pint Jamaica rum, ¼ pint sherry—mix liquor first, then separate yolks and whites of 12 eggs, add sugar to beaten yolks, mix well. Add milk and cream, slowly beating. Beat whites of eggs until stiff and fold slowly into mixture. Let set in cool place for several days. Taste frequently."
This potent mixture creates a classic colonial eggnog. Purists who argue that store-bought versions can't hold a candle to the homemade goodness will be quite satisfied.
Heather Baldus
Collections Manager
"My Dear Brother, I wish you to give Howell some advice how to Proseed in regard to two Negroes that Runaway from me a few days before Christmas…"
With those words in the early spring of 1794, Betty Lewis informed her brother, George Washington, of a difficult situation. She also provided us with a few clues about the identities of two more members of the enslaved community at Kenmore during the Lewis era, and a larger story of resistance and survival.
Betty wrote the letter quoted above from Kenmore on February 9, 1794. By that time, Betty's financial situation was precarious at best. Her land was not producing a crop that could support her, her debts were mounting, and although all of her grown children were living on their own, she was caring for at least two grandchildren and one niece, all living under her roof. Her youngest son, Howell (mentioned in the letter) actually lived on his own property in Frederick County, and handled much of his mother's farming and land affairs on occasional visits to Kenmore. Betty would only remain at Kenmore for another two years before moving to a small farmhouse outside of town, much to the relief of her children. Her letter goes on to describe the runaway slaves as "the Principal hands on the Plantation," and continues, "…the hole Crop I made the last year was thirty Barrils of Corn and a Hundred and tenn Bushels of Wheat, if I am so unfortunate as not to get them (the runaways) again, I have no chance to make any thing the insuing year."
Who were these two men, and what can we learn about their situation? It turns out that the letter from Betty to George is only the first of several surviving documents connected to this story. On March 25, 1794 – more than 3 months after the men ran away from Kenmore – Betty placed an ad in the Virginia Gazette, offering a reward for their return. The ad provides us with their names: Stephen and Guile. Stephen's name is not in any of the four original primary documents that began our Enslaved Community Project (click here to read more about these documents and our research into other members of the enslaved community), which tells us he was likely acquired by the Lewis family after Fielding Lewis's death in 1781, and may have been rather new to the community at the time of his escape. Guile, on the other hand, was listed in Fielding's probate inventory as "Guyle" and valued at £50. The 1782 Divvy List, written by Betty Lewis after her husband's death to show which enslaved persons were to go to each of her children, shows that Guile was 9 years of age at that time (so he was approximately 21 years old at the time of his escape). He had most likely been at Kenmore for his entire life.
As is often the case with runaway slave advertisements, which were incredibly detailed, this document also provides the only physical descriptions that we have of any enslaved person at Kenmore during the Lewis era. Stephen is said to be a "black fellow," about 24 years old, around 5'8" tall, and could play the violin very well. Betty also described him as "very impertinent and talkative." Guile was said to have a "yellowish complexion," about six feet tall and "large in proportion." He also had a long scar under his right eye Betty added that he had a "down look and very little to say." Betty summed up her thoughts on the two men by saying Stephen "…is an artful fellow and I am inclined to think he has induced the other fellow Guile to accompany him."[1]
Newspaper advertisement placed in the Virginia Gazette on March 25, 1794 by Betty Lewis offering a $20 reward for the returned of runaways Stephen and Guile.
Apparently sometime between writing to her brother in February about the escape, and placing the advertisement in March, Betty had learned a bit more about the two men's plans. In her letter to George, Betty speculates that they were most likely headed for Philadelphia, where they probably believed they could gain their freedom. When Pennsylvania enacted The Act for the Gradual Abolition of Slavery in 1780, Philadelphia became a center of abolition and activism as well as a major hub for the Underground Railroad. Many enslaved persons who made the risky decision to flee the South headed for Philadelphia, so Betty's speculation was justified. However, in her newspaper ad, Betty changed her opinion, and stated that she had, "reason to believe that they are on the way to Maryland, if not already there – Stephen was formerly the property of Mr. Sprigg, in the neighborhood of Annapolis, and may now be lurking about his negro quarters."[2] How Betty came into this information is unknown, but it suggests that Stephen may have had a reason beyond freedom for running away. By choosing to head for Maryland instead of Philadelphia, Stephen indicated that there might be something at his old home in Annapolis drawing him back, possibly a wife or other family members who he was separated from when he came to Kenmore. The Mr. Sprigg mentioned in the advertisement was most likely Richard Sprigg of Strawberry Hill, near Annapolis. He was an associate of George Washington's and frequently corresponded with him, usually about breeding cocker spaniels and mules, and wildlife for game parks. No apparent connection has been found between Sprigg and Betty Lewis, but evidently Betty acquired one of his enslaved workers.
If you've been following along with the dates of these documents thus far, you might have noticed that a rather long period of time elapsed between the time the men supposedly ran away, and the time Betty first mentioned taking any action on the matter to her brother. According to the newspaper ad, Stephen and Guile made their escape just before Christmas on December 20,1793. Betty didn't mention it to her brother for more than a month, on February 9. That seems a long time to wait, when she was supposedly so concerned for the future of her property without the labor of the two men. What could account for it?
There's actually a fairly good chance that Betty wasn't aware of the escape for quite some time after it had happened. The Christmas season was a popular time among the colonial enslaved population to attempt escapes. To understand why, we have to take a look at what exactly the Christmas season was like for enslaved communities. First, it is important to understand that there was no one common practice or tradition for the Christmas season amongst the enslaved population in 18th century America. Customs and rules varied greatly by region, by town, and even from one plantation to the next. Generally speaking, most masters gave their workforce some time off during the holiday season. In most written accounts from the period, it seems the amount of time varied between 1 day and a full week, with the most common allotment being 3 days.[3] During that time, enslaved people were often granted unusual amounts of personal freedom. They could sometimes be allowed to travel to visit friends or family members on neighboring farms, they could plan their own gatherings or celebrations, and they could take part in gift-giving and receiving, even with the master's family.[4]
However, time off wasn't equally distributed between members of the same community. Because of the winter season, field hands and manual laborers got the bulk of free time, as there was simply less for them to do at that time of year. House slaves, however, saw their workload double and triple with the holiday influx of visitors, household preparations, meals, etc. This was the case for people like Billy and Charlotte, two enslaved individuals at Kenmore who we've met in this post and this post. As the household butler, Billy's work was nearly unceasing during the season, overseeing all of the food procurement and preparations, taking care of the needs of any visitors staying in the house, and coordinating all of the arrangements for holiday parties and balls, including the culminating celebration on Twelfth Night. Charlotte, a seamstress, was most likely inundated with making, remaking and repairing all the Lewis family clothing needed for the season's many special occasions. Other enslaved individuals at Kenmore known to us from this post and hired out to other farms or businesses, like the rope makers Abraham, Bob, George and Randolph, could anticipate a return to Kenmore at the Christmas season. Most of the agreements Betty Lewis and her sons made for the hiring out of their enslaved workers were for up to a year and often terminated at Christmastime. For those workers, there might have been some joy in the prospect of returning to a familiar home, family and friends.
In Betty Lewis's letter to her brother George, she refers to Stephen and Guile as the "principal hands" of her farming operation, indicating that they were not house slaves and therefore were probably among those granted more free time during the Christmas holiday of 1793. Because of this free time, and because owners and overseers were otherwise occupied, Stephen and Guile may have had their best chance during the year to escape. And because they weren't expected back on the property or to be performing specific jobs for quite some time, their departure might go unnoticed, giving them a sizeable head start. It may have been several weeks before Betty knew that she had lost two important assets to her income, and it was obviously several months before she had enough information to place an ad for their return in the newspaper.
So what became of Stephen and Guile? Did they make it to freedom in Philadelphia? Was Stephen reunited with family in Maryland? As it happens there is one more document in the Kenmore archives that may provide a clue as to how their story ends. On June 4, 1793, about three months after Betty placed her ad in the Virginia Gazette for the return of Stephen and Guile, she entered into an agreement with her step son John Lewis. According to a fragmented bill of sale written in John's hand, he agreed to sell Betty two of his slaves – Reuben and Lewis – for the bargain price of £140.[5]
Fragmented bill of sale from John Lewis to Betty Lewis selling two slaves – Reuben and Lewis – for £140.
The two men were among a group of ten enslaved people originally gifted to John Lewis as a wedding present from his father many years earlier. It is the only documented occasion on which Betty purchased any enslaved person following her husband's death, and the only time such a purchase was made from one of her children, most likely indicating that it was a rare occurrence, perhaps made necessary by an emergency situation. The timing of the transaction seems to suggest that John sold Reuben and Lewis to Betty to help her make up for the loss of Stephen and Guile. Neither of the runaways' names show up in the list of enslaved people sold at vendu following Betty Lewis's death, and no further mention of the incident was made in Betty's correspondence with her brother George. Taken together, all of this evidence strongly supports the conclusion that Stephen and Guile were never recaptured, and they never returned to Kenmore. Perhaps their Christmastime escape was a success.
Meghan Budinger
Aldrich Director of Curatorial Operations
[1] Advertisement, Virginia Gazette, Purdie and Dixon. 25 March 1794. Copy in Kenmore Manuscript Collection, PH677.
[3] Bigham, Shauna, and Robert E. May. "The Time O' All Times? Masters, Slaves, and Christmas in the Old South." Journal of the Early Republic 18, no. 2 (1998): 265.
[4] Ibid, 263-88.
[5] Bill of sale, Lewis, John to Betty Lewis, 4 June 1794. Kenmore Manuscript Collection, MS 385.
The story of Mary Ball Washington is one of overcoming a lifetime of adversity. Often overshadowed by her larger than life son George, Mary's place in history fluctuated from saint to shrew with many historians ignoring the obstacles she faced and overcame. The archaeological record sheds light on some of the strategies Mary used to navigate her way through mid-18th century life as a widow while trying to maintain her own social status and that of her children. Fragments of highly-specialized ceramics excavated at Ferry Farm, the plantation Mary called home for much of her life, speaks to her efforts.
Specialized dishes are those designed for a very specific job unlike, say, a bowl which is multi-purpose. We have uncovered evidence of many dishes Mary owned that fulfilled single tasks. These type of ceramics are a sign of gentility. Most households could not afford these items and likely did not possess the resources to make the food and drink that they were designed to hold.
As the 18th century progressed, so did dining habits. Increasingly, people of means gravitated toward dinners with multiple courses of entrees, appetizers, beverages, and deserts. Previously, most meals consisted of large one-pot creations with multiple ingredients. In order to pull course cooking off, one required the specialized dishes designed for serving multiple courses.
One prime example of such specialized dishes from Ferry Farm is Mary's elaborately decorated creamware sauce boats. The sauce boats are a luxury in and of themselves. They're highly decorated and were very fashionable at the time. Not only were they expensive, but they showed that Mary had the refinement to serve her guests the fancy sauces being introduced into colonial cooking. They also indicated that she had a trained kitchen staff of enslaved workers capable of executing these new and intricate recipes. You never thought a sauce boat could hold so much meaning, did you?
Portion of a highly-decorated creamware sauce boat that belonged to Mary Washington.
Fragments of an extremely fancy white salt glazed fruit dish are further examples of Mary's calculated purchasing of dishes. Previously written about here and here, this dish was meant to display fruit, another luxury in the 18th century. Being able to afford non-local or out-of-season fruit was a status symbol and necessitated the proper dish to proudly display the fruit. To put the rarity of fruit in perspective, in colonial America, pineapples were so expensive you could rent one for display at parties in the holiday season because most people couldn't afford to buy one outright. While renting a fruit may seem ridiculous to modern readers, the action highlights just how important being seen to own certain items was during the colonial era. Of course, we still engage in this same behavior today, but just not with pineapples.
Fragments of a white salt-glazed fruit dish excavated at Ferry Farm and a complete example from the collection at Kenmore (above).
Ferry Farm archaeologists also excavated fragments of two creamware condiment dishes. Once again, the ability to serve various condiments to dinner guests conveyed status. Condiments could include relishes, dips, mustards, ketchups (mushroom ketchup being the preferred type), and pickled vegetables such as capers. Castor sets were also a way to serve other condiments such as olive oil, vinegar, pepper, etc. Generally, these castor sets were only owned by well-to-do households in the colonial period. The base of a creamware castor was recovered at Ferry Farm.
Creamware castor base excavated at Ferry Farm.
The fact that so many of Mary's specialized ceramics are made of creamware should also be noted. Creamware was invented in 1762 and wasn't the most expensive type of ceramic (that was porcelain) but it was highly fashionable. Mary, as a widow with five children and a diminished income following her husband's death, likely couldn't afford much porcelain. She opted for the less expensive but still highly-desirable creamware, instead.
The Washington family went to great lengths to demonstrate their status and refinement to visiting friends, neighbors, and relatives. At Ferry Farm, this burden fell solely on Mary after the death of her husband. Her specialized ceramics served to illustrate her place within the gentry class despite her diminished income and refusal to remarry after being widowed. Her goal was to remain independent while raising five children to be successful adults and members of the Virginia gentry class. In doing so, she likely realized that the socioeconomic security of her children would ensure her own into the future as well. Consequently, it was important that Mary cultivate a refined household with appropriate table and teawares. Ceramic artifacts from Ferry Farm reveal a woman who carefully selected choice ceramics to perform very specific tasks, while at the same time not overextending her budget. These ceramics contributed to her goal of remaining a part of the gentry class and teaching her children genteel habits so they could do the same. It was a task in which she overwhelmingly succeeded.
December 3, 2020 December 3, 2020 / ferryfarmandkenmore
After a delay of five months due to the COVID-19 pandemic, archaeological excavations in the Washington house work yard at George Washington's Ferry Farm got underway in mid-August and finished on October 30. Despite the cancellation of a planned spring field school with archaeological students from the University of South Florida, a crew of four paid interns and two college students helped make up the labor difference and our work commenced.
Our 2020 project continued last year's exploration of the Washington-era work yard. This area located to the east of the house is where the everyday activities of a busy colonial household took place. Permanent structures such as a kitchen, dairy, smokehouse, storage sheds, office, laundry, temporary workspaces, and landscape features like gardens were concentrated in this area near the house but out of view of the public eye and the formal riverfront side of the house. Evidence of these buildings and work areas, in conjunction with the trash generated from their associated daily activities, is of the utmost importance in our planned authentic recreation of Ferry Farm's Washington-era landscape.
Location of the 2019-2020 archaeological dig.
In addition to reopening the unfinished 2019 excavation site, we opened fourteen new 5 foot x 5 foot units directly north, revealing a total of 800 square feet. Our approach to excavating was the same as in previous years – remove the 20th century layers, then the 19th century layers, and so on, across the entire site, allowing us to view related features at the same time.
2019 and 2020 excavation site.
Visitors to the site interact with the excavators.
We uncovered numerous new features dating from the 20th century back into prehistoric Native American times. Modern gas and electric lines crisscrossed the site on their way to a now-demolished early 20th century house. They cut through multiple historic layers and sometimes through intact earlier features. Eighteenth century features we excavated included a large, circular, flat-bottomed pit, 5 feet in diameter. The pit's purpose is still under investigation. A 10-foot long linear feature, obviously related to last year's still unknown Features 274 and 275, was also found just to their northwest, adding to their mystery.
Feature 285 – Historic large circular pit with a 5' diameter
Feature 283 – Historic linear feature, similar to Features 274 and 275 found in 2019
2019 Features 274 and 275
An especially exciting discovery this year was uncovering a large post mold and post hole in the southern end of the site. The posthole indicates the presence of a post-in-ground structure and excavations next year will try to reveal more of this building. Adding another outbuilding to the Washington landscape would be very exciting.
Feature 288 – Post mold and Posthole located at southern edge of the site
Hundreds of artifacts, of course, were collected during our three-month dig, including wig curler fragments, Native American projectile points, and Civil War bullets. We also found lots of historic ceramics and glass and architectural items, including this stoneware pot base fragment wrapped within a large tree root pictured below.
Stoneware fragment encased within a root.
A sample of artifacts found one day ranging in age from the 21st century to the Prehistoric era.
One of eighteen wig curlers found during this year's dig.
The upcoming winter months will be spent washing and cataloging all the artifacts recovered across the site, drawing the features and site maps, and writing reports. The site is securely covered for the season and will wait for us until the next dig starts, hopefully in the spring.
Judy Jobrack, Archaeologist
Co-Field Director
How to Do Archaeology During a Pandemic
November 25, 2020 November 20, 2020 / ferryfarmandkenmore
Like so many of you, in the middle of March this year, nearly all employees of George Washington's Ferry Farm & Historic Kenmore began working from home and did not return to our offices for two and a half months. We expected a lengthy time away and, as such, prepared as best we could for the change. For some departments, the change mainly involved figuring out access to digital files but, since our jobs revolve around physical artifacts, we archaeologists had to do a little improvising.
The 'wet lab' where artifacts are washed before cataloging and analysis sits quietly unused at George Washington's Ferry Farm during the COVID-19 pandemic of 2020.
First, while it's normally not a "best practice" to take artifacts home, we really had no choice if we were going to remain productive. This meant I as archaeology lab supervisor and that Elyse and Judy, archaeology lab technicians , all had to create what essentially amounted to an a archaeology lab in each of our homes. Elyse and Judy need space to wash, label, and catalogue artifacts while I needed space to analyze artifacts while simultaneously keeping them away from my extremely inquisitive preschooler! I mostly succeeded in that last task. Elyse actually enlisted the help of her older and amazing daughter June with washing artifacts. As so many of us found out in 2020, working and parenting from home is not easy but Elyse and I adapted well, I think.
Elyse Adams, archaeology lab technician, and her daughter June wash artifacts at home.
It should also be noted, however, that keeping artifacts away from all of our many, many dogs and cats proved challenging as well. While my cats were thrilled (well, as thrilled as cats can get, at least) that I was home all day, they were occasionally of the opinion that the Washington-era porcelain sherds I was researching looked much better on the floor.
Despite these challenges, we got the job done and eventually returned to the lab at Ferry Farm having accomplished quite a bit.
Life inside Ferry Farm's archaeology lab looks quite different now, too, compared to this time in 2019. Since the lab is relatively close quarters, we instituted a rigorous cleaning schedule, spaced our work areas out as much as possible, and started taking temperatures every day. Our beloved volunteers have not come back (Shout out to our volunteers! You guys are awesome!) because we needed to limit the number of people working in the lab to only myself, Elyse, and Judy.
One of the coolest features of our lab is the huge viewing window through which visitors could see real live archaeologists at work. While Ferry Farm is now open to the public for tours, the visitor center remains closed and there's no longer any inquisitive folks peering at us through the glass. It's a surprisingly lonely feeling not to glance up from our work occasionally to see visitors watching what we're doing. We also put a temporary halt on lab tours that we do occasionally during special events or children's camps at Ferry Farm. Both of these changes are a bummer because we really liked the interaction we had with visitors. That being said, we're optimistic that someday life will return to normal eventually and we'll be able to share our lab with the public once again. When that time does finally comes, please visit and check out the archaeology lab at George Washington's Ferry Farm. We miss you!
Archaeology Lab Supervisor
When a Spoon is More Than a Spoon: The Initialed Teaspoon of Betty Washington
One of the most exciting and important discoveries archaeologists have made at Ferry Farm is a pewter teaspoon baring the initials B.W. It belonged to Betty Washington. This spoon was part of a set that trained her to oversee the extremely important tea ceremony.
Serving tea in the 18th century was more than an act of providing a mid-afternoon refreshment or a small meal to family and guests. Tea time, with its prescribed social behaviors and ritualistic customs of service, symbolized gentility and civility, and was an expression of social class.[1] As an imported good, tea was initially an expensive commodity used only by the upper and middle classes of society. In addition to the tea, a proper hostess also had to purchase the accouterments of the tea ceremony, such as teapots, cups and saucers, slop and sugar bowls, milk jugs, silverware, and a suitable tea table for presentation. The cost of these accessories, as well as the time and decorous social habits needed to prepare, serve, and entertain family and guests, meant that the tea ceremony was more a custom of the elite leisure classes, who had the time and money to do such things.
As a restricted custom, the tea ceremony transformed into an indicator of class and gentility, and consequently, its "social and cultural significance increased enormously."[2] Rules governing the behavior of the participants, including the host, family and guests, were understood by all and represented learned standards of civility. Politeness and courtesy were important, and deference was made to the hostess in terms of the pace and content of conversation. Even the act of serving tea was ceremonial in nature. Seated at her tea table, the hostess made, poured, and distributed an individualized cup of tea for each guest, who received it in a gracious manner. It was a "small personal ceremony" that "epitomized the giving that was at the heart of hospitality."[3]
Two ladies and an officer seated at tea (1715) by unknown artist.
Credit: Victoria and Albert Museum.
The tea ceremony was a gendered activity almost exclusively performed by and associated with the women of the household, who selected the teaware that they used in the ceremony[4] A household's leading female figure, often the wife or oldest daughter, predominantly oversaw the service of tea to family members and guests, emphasizing her position of authority within the household and the gathered social circle. As such, women used the opportunity to express their gentility and respectability.[5]
Teatime also supplied a moment to maintain and cultivate important social ties within the community.[6] Neighbors, business and political associates, and potential suitors met over a convivial small meal and discussed important matters.
Teatime was also an opportunity to teach the younger generation, especially girls, how to act and behave during this social encounter.[7] As a future wife in charge of her household, it was essential for women, such as Mary Washington's daughter Betty, to know how to successfully conduct this unique social custom and be able to demonstrate her inclusion and influence in the community elite.[8] Betty was trained in the art of tea making, as is evidenced by the archaeological presence of a pewter teaspoon bearing her initials at Ferry Farm. Monogrammed just for Betty, the teaspoon was part of a beginners tea set used by a young lady to train for many future tea times to come.
Betty Washington Lewis (1750) by John Wollaston. Credit: Mount Vernon Ladies' Association.
Betty's uncle Joseph Ball also sent her a silver tea set when she was a teenage girl, further enforcing her future role.[9] The importance of properly entertaining guests with such tea equipage cannot be overstated, but in addition to this, Betty's learning how to elegantly serve tea was a must for her prospects as the future wife of a well-off gentleman. One can imagine a teenage Betty serving tea gracefully to her future husband, Fielding Lewis, having practiced diligently with her pewter and silver tea sets.
[1] Woodruff Smith, Consumption and the Making of Respectability, 1600-1800 (New York: Routledge, 2002), 173; Amanda Vickery, Behind Closed Doors: At Home in Georgian England (New Haven: Yale University Press, 2009), 275.
[2] Smith, 172.
[3] Vickery, 273.
[4] Annie Gray, "'The Proud Air of an Unwilling Slave': Tea, Women and Domesticity, c.1700-1900," in Historical and Archaeological Perspectives on Gender Transformations: From Private to Public, ed. Suzanne M. Spencer-Wood, 23-43 (New York: Springer, 2013), 28; Smith, 174.
[8] Laura Galke, "The Mother of the Father of Our Country: Mary Ball Washington's Genteel Domestic Habits, Northeast Historical Archaeology 38 (2009): 29-48.
[9] Paula Felder, Fielding Lewis and the Washington Family: A Chronicle of Eighteenth-Century Fredericksburg. (Fredericksburg, VA: The American History Publishing Company, 1998), 68.
More Than Meets the Eye: What Their Portraits Say About the Lewis Family
November 4, 2020 November 3, 2020 / ferryfarmandkenmore
On walls of the Historic Kenmore's drawing room hang two large portraits of a man and a woman. The man is an older gentleman in a serene outdoor setting, looking quite dignified and sober in a brownish knee-length jacket, knee breeches and long waistcoat. His eyes rest on the portrait viewer, one hand on moss-covered rocks, the other on his hip, and his head turned slightly to his left. Across the room, the woman sits at a slight profile with her head turned to her left to face the portrait viewer. She wears a billowing blue and white dress and holds two pink roses in her right hand while her left arm casually sits on a marble top table. She is indoors with what appear to be some drapes billowing behind her. The man and woman are Fielding Lewis and Betty Washington Lewis, the owners of Kenmore.
Fielding and Betty's portraits were commissioned by the couple and painted by prolific colonial artist John Wollaston in the 1750s. On the surface, these paintings are just two genial portraits that provide us with visual records of the heads of the family. Through the subtle symbolism, however, they also tell a larger story of how Fielding and Betty wished to be portrayed publically to their contemporaries as well as to posterity.
Portraits first became a popular mode of expression for the aristocracy and the wealthy during the Renaissance. These paintings were usually large scale affairs meant to be displayed and seen by the public. The paintings depicted people with expensive goods, fine cloth, rare flowers, and exotic pets. Whether the portraits' subjects actually owned these items was less important than the suggestion including the items made. In fact, these paintings were filled with symbolism–images, objects, or colors representing ideas and that allow the artist to go beyond the obvious to create links between otherwise different concepts. A color can depict character, a flower personality and a fabric economic status.[1]
Through symbolism, portraits were used to reflect social status, wealth, success, power and cultural refinement. A portrait's details were integral to the story of the painting and many factors had to be taken into account. Aspects such as artist, style, background, color, fabric, and accessories all needed to be discussed to create the portrayal desired by the patron.[2]
Centuries after the Renaissance, the importance of portraiture as a record of status and position in society had not changed and the custom had become more popular outside of the aristocracy as well as outside of Europe. Even in faraway British North America, the wealth of the gentry, or upper class, desired portraits to show their status and position. Fielding Lewis and Betty Washington Lewis, members of the gentry with a wealthy business in Atlantic World trade, were no exception. Mr. and Mrs. Lewis wanted to portray themselves as socially refined not only to cement their place in the community but to allow for a continued rise in their status. Accordingly, they sat for portraits by John Wollaston.
Fielding Lewis (c. 1753-1758) by John Wollaston.
The most noticeable thing about Fielding's portrait is the muted colors used in the background and in his clothing. One of the most visually striking symbols in portraits was the colors used to represent the subject. While color may not have inherent meaning, it can be made meaningful through context. The colors in the background, clothing, and accessories all relate to the overall message or story being told by the artist. The browns, greens, and beiges in Fielding's portrait create a natural and relaxed atmosphere. The nature background is a stylized classical bucolic setting that helps strike a balance between Fielding's muted clothing palette and the landscape setting. The woodland glen signifies a natural sincerity that, when mixed with the brown and beige of his ensemble, creates the feeling of calmness, reliability, dependability and an earthy richness. All of these traits are important for a successful merchant. Fielding was telling visitors to his house that he was a person they could do business with and trust.[3]
Betty Lewis (1750) by John Wollaston. Credit: Mount Vernon Ladies' Association.
Betty's portrait uses color, context, fabric and an accessory to illustrate her own geniality and her family's affluence, for not only as a Lewis but as a Washington as well. The background around Betty, who is at the center of the portrait, offers hints of this grandeur with brown walls and a heavy brown billowing curtain creating a frame of luxurious richness. To add to the opulence, Betty is poised with her arm resting on an ornate Rococo-style marble top table with heavily carved gold legs. The portrait conveys that she can afford such ornamental comforts. Next to the table, Betty in her flowy blue and white satin dress with a pair of roses resting on her right knee is the focus. Blue was a popular color for ladies and was common in many portraits painted by Wollaston. The color gives the sitter not only an air of peace and calmness but also of restraint and intelligence. The satin denotes a luxury and fashion available to only those with means. Meanwhile, the pink rose tells of Betty's grace, beauty and gentility. Overall, the portrait depicts a sophisticated and refined 18th century woman, a wife and mother who adds balance and depth to her husband's trustworthiness and professionalism.[4]
Fielding and Betty did not stop with portraits of themselves. About twenty years after sitting for John Wollaston, they commissioned famed painter Charles Willson Peale to produce several portraits of their offspring. There are two in Kenmore's collection.
John Lewis (c. 1775) by Charles Willson Peale.
One of these Peale portraits depicts John Lewis, the eldest son of Fielding and his first wife, Catharine who sits with one hand on his hip and one hand on a book. The posture gives John a sense of self-assurance and capability. Unlike his father's subdued color palette, John's jacket and waistcoat are an amazing red with gold detailing. The red paired with the gold creates warmth but also projects a sense of power, strength and confidence. The book in his the left hand gives an air of knowledge and awareness.
Fielding Lewis Jr (c. 1775) by Charles Willson Peale.
The second Peale portrait in the collection depcits Fielding Lewis Jr., the eldest son of Fielding and Betty, striking a very traditional pose with a hand tucked in his jacket and a slight tilt of the head. The pose is welcoming, kind and is the embodiment of a thoughtful young gentleman. Much like his father he chose a subdued color palette with an earthy reddish-brown jacket and goldish yellow waistcoat, which convey a sense of reliability, stability and affability. The brown background adds a natural simplicity with soothing warmth. Additionally, like his brother, there is a well-read book by his side indicating a sense of learning and mindfulness. This portrait's symbolism reflects the more aspirational messages in these paintings as Fielding, Jr. struggled with money problems for most of his life and even ended up in debtors' prison.
Later portraits in Kenmore's collection contain other fascinating symbolism that tells the stories of the paintings' subjects. These portraits visually record family history or emphasize familial connections.
Eleanor Rosalie Tucker (1818) by unknown artist.
This 19th century portrait of Eleanor Rosalie Tucker, the great granddaughter of Fielding and Betty, is painted in characteristic neoclassical style with direct lighting, soft features, rosy cheeks and a roundness of the face. The white muslin gown gives the young girl a purity and serenity beyond her years. The halo surrounding the sitter represents her delicacy and gives her an otherworldliness. This is appropriate as, sadly, she was painted for this portrait on her deathbed in 1818.
The Wallace Family (c. 1856-1862) by John Adams Elder. A loan courtesy of Mrs. W. Wallace Morton, Jr.
Finally, this portrait of the Wallace family painted in the mid-Victorian period is quite a unique painting in our collection with a fascinating twist to its symbolism. The portrait has a traditional composition but at the center is a large leashed bird in mid-flight. This bird is a rebus, a puzzle device used to visually depict words and/or phrases. They are used extensively in heraldry to hint at the name of the bearer. This painting's bird rebus is attached to a young girl named Mary Byrd Wallace, the great, great granddaughter of Fielding and Betty Lewis.
Portraits are sometimes the only visual representation we may have of a historic figure. These portraits do more than capture a person's appearance, however. The wealthy and socially important also used portraits and their symbolism to emphasize their wealth and high status. Portraits also visually recorded family history or emphasized familial connections. For the Lewis family, like everything in their house and like their house itself, their portraits revealed how they saw themselves and, perhaps more importantly, how they wanted others to see them whether in the 18th or the 21st centuries.
[1] "Faces of a New Nation: American Portraits of the 18th and early 19th centuries", The Metropolitan Museum of Art Bulletin, Summer 2003: 11
[2] Crown, Carol. The New Encyclopedia of Southern Culture, Vol. 23, University of North Carolina Press, 2013: 150-151.
[3] Centeno, Carlos. "Lose the Color Symbolism Chart: The Unpredictable Meanings of Color," July 6 2016. https://medium.com/@carlitocenteno/lose-the-color-symbolism-chart-the-unpredictable-meanings-of-color-edc81db6541e; "Faces of a New Nation," 13
[4] "British and American Grand Master Portraits of the 1700s", National Gallery of Art. https://www.nga.gov/features/slideshows/british-and-american-grand-manner-portraits-of-the-1700s.html; Centeno; De la Tour, Charlotte. Le langage des fleurs, 1819: 58; Hooper, Lucy. The Lady's Book of Flowers and Poetry, 1846: 248.
You can also read the original blog post with a few more details here.
[Infographic] Ten Pivotal Moments of George Washington's Boyhood
October 29, 2020 October 29, 2020 / ferryfarmandkenmore
General Likability: Eisenhower and Washington
Left – Dwight D. Eisenhower on horseback in his later years. Credit: Eisenhower National Historic Site | Right – George Washington receiving the salute on the field at Trenton (1899) by John Faed. Credit: Public Domain.
"Who did I think I was, running against George Washington?" – Adlai Stevenson, 1952 [1]
This future president was born into a large family, had a mother who wasn't a big fan of his military career, first served his country as a general in the military before becoming president, and ended his presidency with a warning against partisanship. No, I am not talking about George Washington. This time, I am talking about Dwight D. Eisenhower, the 34th President of the United States, born 130 years ago today on October 14, 1890.
With voting underway in the 2020 presidential election, it is impossible not to reflect on some of our past leaders and, of course, here at The George Washington Foundation, we would be remiss if we didn't look at the leadership qualities of George Washington. As a young boy living at Ferry Farm, no one could have possibly known what would become of George. With our hindsight, we can look to the influence of his mother and older half-brother, who both molded him. Washington's leadership qualities are difficult to quantify, but we can certainly say that his commanding presence (he was 6'3" and quite athletic from all that horseback riding) was a good first step.
Eisenhower also possessed a commanding presence as a young man. At 5'11" he wasn't the tallest of his contemporaries nor did he rival Washington's height, but he was an exceptional athlete, who played football at West Point. His presence was felt in a room. It was a presence certainly felt by his bride, Mamie Doud, daughter of a meatpacking executive, and considered quite out of Ike's league when they met. Similar to George and Martha, Ike and Mamie were mismatched financially but had a strong marriage despite war, politics, and long periods of separation.
Early in Eisenhower and Washington's military careers, they both found their roads blocked. Washington, initially hoping to join the Royal Navy, was shot down by his mother. Only later did he join the Virginia militia, experiencing combat for the first time during the French and Indian war. Eisenhower went to work straight out of high school, helping to support his family and allowing his older brother to attend school first. With the financial stability of his family in question, Ike wasn't sure he'd even get the chance to go to college at all until a friend pointed out that the United States Naval Academy in Annapolis was tuition-free. He decided to request consideration for both the Naval Academy and for the United States Military Academy at West Point. He was too old for Annapolis but got into West Point. His mother, a pacifist, was disappointed, but understood Ike's decision. Here we see one differentiation in our parallel men; Eisenhower did not see any combat experience during World War I. Instead, he frustratingly found himself stuck stateside.
Left – General of the Army Dwight D. Eisenhower (1947) by Thomas Edgar Stevens. Credit: National Portrait Gallery | Right – Commander in Chief of the Continental Army General George Washington (1776) by Charles Willson Peale. Credit: Brooklyn Museum
As to learning military leadership, Washington had first-hand experience while Eisenhower spent several years training others for a war he missed. However, both Washington and Eisenhower served as aides to generals from whom they learned much. Washington, even at the end of his life, credited British General Edward Braddock with giving him his first command opportunity and teaching him the knowledge he needed to succeed in his military career. Similarly, Eisenhower spent four years of the 1930s in the Philippines with General Douglas MacArthur. While theirs wasn't a mentor/mentee relationship like Washington and Braddock, Eisenhower's time with MacArthur taught him skills that would prove vital when he encountered difficult personalities throughout the rest of his career.
Indeed, both Eisenhower and Washington had their fair share of thorns in their sides. For Washington, during the American Revolution, people like Charles Lee left him fuming. During the presidency, his constant disagreements with Thomas Jefferson were infuriating. Eisenhower faced similar issues. During World War II, he struggled with generals like George Patton and British Bernard Montgomery who refused to follow orders. Later, in his presidency, Ike faced the likes of Nikita Khrushchev. Ike and George handled these challenges with poise and delicacy.
When given the opportunity to choose their own staff, both men had a knack for picking good ones. Washington's reliance on Henry Knox, Nathaniel Greene, Daniel Morgan, and others was a big part of what led to our victory in the Revolution. Eisenhower surrounded himself with Walter Bedell Smith, Omar Bradley, and Matthew Ridgway – generals who all helped execute the victory in World War II.
After the Revolution, Washington desired nothing else but retirement at Mount Vernon. At the end of World War II, Ike expressed his desire to do the same, purchasing a farm in Gettysburg, Pennsylvania to serve as his retirement home. All the same, both men found their country was yet not finished with them. Washington and Eisenhower were each approached and convinced by others to stand for president. Having spent his entire adult life in the military, Eisenhower lacked political party affiliation but eventually decided to run as a Republican. Non-partisanship was something Washington officially maintained throughout his presidency. With immense popularity assured by their monumental military victories, the generals won electoral landslides.
Throughout their presidencies, George and Ike struggled with deepening clashes between political parties, an overly powerful military, and a nation recovering from tragedy and loss. Both men focused much of their administration on domestic issues. Washington helped build a victorious but infant nation while Eisenhower helped move forward a victorious but war-weary nation. George created the role of president, setting standards for the future, the most important of which was the two-term limit. He brought together several states that had once viewed themselves as individual nations into one nation of many states. Ike established the Interstate Highway System, used the National Guard and the 101st Airborne Division to enforce desegregation in Arkansas, and admitted Alaska and Hawaii into the Union. However, as leaders of a nation in the world, neither man could ignore foreign affairs either. Washington focused on remaining neutral and chose not to help the French during their own revolution. Eisenhower ended the Korean War and sought to contain Communism without breaking the federal budget through an increased reliance on nuclear deterrence.
Left- President Dwight D. Eisenhower (1967) by James Anthony Wills. Credit: The White House Historical Association. | Right – President George Washington (1803-5) by Gilbert Stuart. Credit: National Portrait Gallery.
At the conclusion of their time in office, both men gave memorable Farewell Addresses. In fact, both speeches are considered two of the greatest given in our nation's history. As part of his legacy, Washington warned against political parties as paths to division. He expressed worry about creating too close of an alliance with another country, fearing it could drag the nation into conflict. He stated that "overgrown military establishments" were a threat, and stressed the need for "peace and harmony". For Eisenhower's part, he warned against a too powerful "military industrial complex", discussed the need to cultivate positive foreign relations, and said that "America's prestige" would be defined by "how we use our power in the interests of world peace". These two great men who gained their fame from war and had seen war's horrors up close both hoped the country would not have to face another conflict.
While their lives certainly contain many parallels, perhaps the greatest similarity between Washington and Eisenhower was their leadership style. Both men were optimistic in the face of adversity, lead with exemplary character and morality, and were willing to accept the blame for failure entirely on themselves. They both respected and admired the soldiers who fought under them. They were able to control their emotions and exhibit remarkably strong will. But, in the end, perhaps the one quality that allowed both of them such success was their general likability.
Beth Hosier
[1] Cooke, Alistair, "Adlai Stevenson: The Failed Saint" in Six Men. London: Penguin, 2008.


There is absolutely safe antipyretic for kids - all of them are a threat and can cause severe complications. But the risk of such manifestations as a result of a adoption of different fever varies.
Safest of all kids is paracetamol. A single dose of acetaminophen may reduce a temperature of a baby by 1-1.5 degrees for TWO-4 hours. But at big temperatures (complete 40), this reduction is highly short.
Note that Paracetamol is contraindicated in babies with hypersensitivity to it, in developing genetically determined deficiency of glucose-6-phosphate dehydrogenase. A child with such a flaw of the enzyme making may cause hemolysis.
Paracetamol is produced in the configuration of syrup, rectal suppositories, effervescent pills and powders under variant names - Efferalgan, Kalpol, Panadol, Tylenol and others.
If you keep decided on what soup or broth will cook soup for infants, first nicely bath items (meat or fresh fish - definitely recent) and cut into little items. Following fill them with cold-blooded water, bring to a boil, rinse and refill with water - hot. By a technique, gastroenterologists recommend cooking soup bisque on the second, not only for infants but also for adults.
However, cook the broth for bisque in half an hour with the time the boil complete low heat. Will certainly make sure that a bisque was bubbling - let them quietly brewed. After the broth to infuse and drain. Thus prepared for a bisque base may save a most amount of vitamin.
There is a mandatory questions, which need be informed is every mum. These comprise a puree for baby. Because if not all mums breastfeed, or just do not all keep to deal with infant formula, a foods need eventually input every baby. And to do it correct, you possess much to consider.
Now we'll talk size a first in a newborn's life adult dish - the gravy.
Ricer select alone sweet, preferably homemade, and no processed raw vegetables. Wash fine wash out and rinse again - correct than stewing water. Cover with hot h2o and make until tender. It is recommended to cook steamed fresh vegetables or a little volume of liquid. After a water drain, mash with a fork done lots, dilute the remaining veggie broth, milk, append a butter and lightly prisolit brine (though most modern advises pediatricians to do entirely without salt). Currently, again, bring lots to the seethe and treats her prince or princess.


text:
Parting Shot: Richard Segalman
by Jake Swain
Simi Stone in White, Richard Segalman, monotype, 10 "x 10", 2014.
When an artist limits his palate to a few colors, the self-imposed restrictions can create new possibilities. Habits are broken, a new approach grown. Richard Segalman's new book of monotypes, Black and White: Muses, Magic & Monotypes, is a collection of what happened when he limited himself to one color: black. The images are stark, mysterious—there's a sense of something missing. Faces are often obscured or vaguely formed; long, thick shadows dominate the canvas. "I'm not interested in specifics or features," the 81-year-old artist says. "I care about the gist, the body language."
The gist Segalman searches for he often finds from the randomness that monotyping allows. The process involves painting on a smooth, nonabsorbent surface, like glass or zinc, and transferring the paint onto a sheet of paper by pressing the two together. "Sometimes I hit it on the first try, but I usually have to keep going for a long time, printing copy after copy. But when I hit it, it's like Christmas." The unpredictability inherent in Segalman's method can be observed in the smudges and rough lines in his work. The prints are unpolished and raw and there's a sense that the emotions he strives to convey are too. Under the surface of his prints there's a feeling of sadness and tension that his black-and-white monotypes capture best. "I want my audience to pick up on who I am. I'm trying to connect with them in my art because I'm not sure I can do that in my life."
"Richard Segalman: Recent Monotypes" will be exhibited at Inky Edition in Hudson from September 12 to October 4. An opening reception and book signing will be held on September 12 at 6:30pm. Inkyeditions.com.
Visual Art Richard Segalman Inky Editions Monotyping


BELLEVUE, Wash., Nov. 25, 2014 (GLOBE NEWSWIRE) -- After performing nearly 20,000 data, call, and text tests, Verizon earned distinction as the top-performing overall mobile network outright in New Orleans for the first time since April 2013. During the previous RootMetrics visit to New Orleans in June 2014, Verizon shared this award with AT &T. That's according to independent mobile analytics firm RootMetrics®, which measures mobile performance of the four major national carriers with tests designed to replicate real-world consumer behavior.
The Overall performance category includes results across data, call, and text testing; the top-performing network(s) is awarded the Overall RootScore Award. A good Overall RootScore means strong overall coverage and a good consumer experience.
RootMetrics measures network reliability and speed to give consumers a clear and holistic view of each network's performance in these key areas of mobile usage. The Reliability Index is based on a combination of results from data, call, and text tests, while the Speed Index includes data and text results. Looking at the network reliability and speed indices in conjunction with Overall RootScores offers the most comprehensive look at a typical experience in New Orleans.
Verizon and AT &T tied for the #1 position in network reliability with scores of 99.6 and 98.9, respectively. During previous testing in June, AT &T ranked highest in network reliability. Verizon ranked highest on the Network Speed Index for the second consecutive time.
"One highlight from this visit to New Orleans was the impressive results we've observed for network reliability," said Bill Moore, RootMetrics CEO. "All four carriers have scores above 95. With Verizon and AT &T neck-and-neck for the distinction as most reliable network in the area, and Sprint and T-Mobile closing the gap, consumers on all networks win. This is great news for consumers in New Orleans."
Data Performance RootScores factor in each network's reliability and speed when downloading and uploading data, performing email tasks, and downloading files that approximate using typical webpages or apps. Verizon won its second consecutive RootScore Award for data performance in New Orleans, with a score of 97.7. Big Red recorded the fastest median download speed at 14.0 Mbps, while AT &T recorded the fastest median upload speed at 10.8 Mbps.
Since previous testing in June, Sprint's percentage of download and upload tests on LTE increased from approximately 44 percent to approximately 90 percent in this round of testing.
Data speeds impact how quickly consumers can perform various tasks online. For example, in an ideal situation, uploading medium-sized pictures (1 MB) to Facebook or other online albums typically takes 25 seconds to 45 seconds on average at speeds below 3.0 Mbps. At speeds above 6.0 Mbps, uploading a similar picture generally takes less than 1 second.
Making calls in New Orleans should be a positive experience on any of the four networks. Verizon, Sprint, and AT &T shared the RootScore Award for call performance. Their scores were 99.2 (Verizon), 98.2 (Sprint), and 97.6 (AT &T). T-Mobile ranked fourth, with a score of 92.6.
AT &T won its fourth consecutive RootScore Award for text performance, with a score of 97.1. With Text RootScores of 96 or higher for all four networks, texting in New Orleans should be a smooth experience.
To evaluate the mobile experience in New Orleans, RootMetrics conducted 19,952 call, data, and text tests on the networks of AT &T, Sprint, T-Mobile, and Verizon during all hours of the day and night from October 31 through November 5, 2014. The tests were conducted using the RootMetrics RootScout app running on Android-based, consumer smartphones purchased off-the-shelf from carrier stores. Tests were performed indoors (at 23 locations), outdoors, and during drive tests (covering 847 miles). For details about RootMetrics testing, see the methodology section of the RootMetrics website. Mobile performance varies depending on where people live, work, or otherwise spend time. Because a variety of factors can influence performance, examples that list what data speeds mean while performing various mobile activities are a general look at data speeds for illustrative purposes and aren't specific to New Orleans.
RootMetrics® is an independent mobile analytics firm that offers insights into the consumer mobile experience. RootMetrics provides data on mobile network performance to help people make more informed mobile decisions. The company offers its RootScore Report series for the nation, metropolitan markets, and airports, as well as its downloadable CoverageMap app. To ensure that RootMetrics testing reflects real-world mobile usage, testing is conducted based on where, when, and how consumers use their devices most often.


Background: In the last few decades, innovative technologies dramatically expanded the amount of available oil reserves in the United States. U.S. natural gas reserves have grown by 78 percent from 2004-2014 leading to an abundant growth of jobs in the energy sector. The energy industry, on its own, saved the country from a deeper and longer economic recession. From 2007-2012, total private sector job growth increased by only 1 percent. During that same period, job growth in the oil and gas industry, alone, grew by 40 percent. Importantly, increased energy supplies have driven down energy prices, saving households and businesses money.
Energy production is the key building block for economic growth and opportunity. But instead of allowing the industry to flourish, the federal government and its agencies, most notably the Environment Protection Agency (EPA), undermine the energy sector by imposing rules and regulations intentionally designed to limit its growth – for little to zero environmental benefit. Particularly telling is the Obama administration's recent proposal to enact a $10-per-barrel tax on oil that would raise gas prices by 22 cents a gallon.
New Source Performance Standard: Finalized in early 2015 under the Clean Air Act (CAA), the EPA's new source performance standard rule places an emission threshold of 1,000 pounds of carbon dioxide equivalent per megawatt hour for new coal-fired plants and new gas-fired plants. This rule effectively bans construction of all new coal-fired power plants since the average coal-fired plant emits nearly 1,800 pounds of carbon per megawatt hour.
Clean Power Plan: Finalized in the summer of 2015 under the (CAA), the Clean Power Plan (CPP) regulates existing power plants based on the greenhouse-gas-emissions rates of each state's electricity mix. With a goal of reducing emissions by 30 percent below 2005 levels by 2030, the CPP will reduce economic growth, destroy jobs, and raise electricity prices.
Waters of the U.S. Rule: Issued in May of 2015, the EPA and the Army Corps of Engineers proposed a new rule defining "waters of the U.S." under the Clean Water Act (CWA). Under this new rule, the federal government can regulate nearly every body of water, even man-made ditches. This rule is an egregious attack on property rights and will restrict the ability of businesses to expand and develop their own land.
Cost of Energy Regulation: From 2009-2015, the EPA issued 3,243 regulations, 33 of which are "major regulations" with a combined compliance cost exceeding $100 billion. Not only do excessive EPA regulations raise the cost of doing business, but they also raise energy prices, destroys jobs, and slow economic growth while doing almost nothing to prevent global warming.
A total income loss of more than $7,000 per person (inflation-adjusted).
Solution: Accountable representatives to the American people, not federal bureaucrats, should determine whether or not major environmental regulations are implemented. Congress should pass the Regulations from the Executive in Need of Scrutiny (REINS) Act of 2015 (H.R. 427). This bill would require every major rule, defined as those with an economic effect of $100 million or more a year, to be approved by Congress before taking effect. Additionally, Congress should overturn the new source performance standard, the clean power plan, and the waters of the U.S. rule, prohibit the EPA and all other federal agencies from regulating greenhouse gas emissions, and establish sunset dates for all major environmental regulations.


Efforts of individuals and organizations to integrating the social services users into normal life in society face a variety of systemic and institutional obstacles.
- explore the possibilities of overcoming these barriers.
- opinions and attitudes of key actors, cultural and social patterns and other factors standing in the way of social inclusion of social service users - both successful and unsuccessful attempts to overcome the institutional model of care and to integrate into the normal life in society.


Read text B carefully. Pay attention to the words in bold type.
Text B. Metals: Use and Function (a Lecture).
Metals are remarkable things. And though man has worked them for many centuries they remain mysterious: a great deal is still unknown about them. They excite much wonder, interest and surprise.
Some metals and metal alloys possess high structural strength per unit mass, making them useful materials for carrying large loads or resisting impact damage. Metal alloys can be engineered to have high resistance to shear, torque and deformation. However the same metal can also be vulnerable to fatigue damage through repeated use or from sudden stress failure when a load capacity is exceeded. The strength and resilience of metals has led to their frequent use in high-rise building and bridge construction, as well as most vehicles, many appliances, tools, pipes in railroad tracks. They are also used in stomatology, space industry, vacuum technology industry, in electrical engineering, jewellery, chemical industry. Metals are indispensable to modern technology.
The automobile also remains a vehicle built primarily from metals. Let us examine some of the essential features of one to discover the approximate weight of metals used in its construction. In the typical European car, for example, the body consists of roughly 700 kg of steel. The cylinder block and gearbox require about 140 kg of cast iron although aluminium is being used more and more in engine compositions. Add 15 kg for the weight of aluminium pistons, the same amount of zinc for such things as door handles and the carburettor and some 10 kg of copper for pipes in the radiator and all the various electric cables. All automobiles need batteries and this increases the weight by another 5 kg. Adding up the weights of these different metals gives us a total of 885 kilograms or almost 2000 lbs.
The first step in manufacturing an automobile is the stamping, forging, casting, and machining of such materials as steel, aluminium, zinc, and plastics.
However, technology has not completely by-passed the automobile. As the price of fuel has risen and the demand for performance and reliability increased, so the overall weight of automobiles has decreased. This is particularly true in the case of many American vehicles which in the last few years, have moved closer in design and configuration to European models. In particular, the steel and cast iron content in some vehicles has fallen. On the other hand, aluminium content has more than doubled, while the use of plastics has increased. But it is worth noting, however, that the metal content of modern vehicles remains at around 80 percent of the total weight.
But is it really necessary? All these metals (and some of them are quite rare) are being used up at a frightening speed. Take the bumper. It's shiny. That's because it is covered in chromium. It's made of steel. The chromium is just there to make it look nice. Now that would be bad enough. But, you see, chromium won't stick to steel, but it will stick to nickel, so under the chromium there is a layer of nickel.
But nickel won't stick to steel either. Copper will, however, so there has to be a layer of copper to bind the nickel and the steel. So, that's what is on the bumper: a sandwich of three rare metals. And what happens when it gets scratched or dented? We probably just throw it away.
Clearly, there are great possibilities for further reductions in metal weight content of passenger vehicles. There is also a need for this, since metals are expensive and some are becoming increasingly more difficult to obtain in large enough quantities to satisfy the growing demand worldwide for vehicles.


Apple brandy with nice fruity aroma, amber colour and higher content of alcohol.
Made of ripe apple from Central Serbia region. Distilled in traditional way. Aged in oak barrels in order to calm down the fruity content.
I think we've discovered the secret of a good apple brandy: higher alcoholic volume and aging in oak barrel. Therefore, Ognjena Apple has set up a standard. Out of all apple brandies, the best one I've ever tasted.


text:
Q: How can I verify if a Windows Service is running I have an application in C# (2.0 running on XP embedded) that is communicating with a 'watchdog' that is implemented as a Windows Service. When the device boots, this service typically takes some time to start. I'd like to check, from my code, if the service is running. How can I accomplish this?

A: I guess something like this would work:
Add System.ServiceProcess to your project references (It's on the .NET tab).
using System.ServiceProcess;

ServiceController sc = new ServiceController(SERVICENAME);

switch (sc.Status)
{
    case ServiceControllerStatus.Running:
        return "Running";
    case ServiceControllerStatus.Stopped:
        return "Stopped";
    case ServiceControllerStatus.Paused:
        return "Paused";
    case ServiceControllerStatus.StopPending:
        return "Stopping";
    case ServiceControllerStatus.StartPending:
        return "Starting";
    default:
        return "Status Changing";
}

Edit: There is also a method sc.WaitforStatus() that takes a desired status and a timeout, never used it but it may suit your needs.
Edit: Once you get the status, to get the status again you will need to call sc.Refresh() first.
Reference: ServiceController object in .NET.

A: Here you get all available services and their status in your local machine.
ServiceController[] services = ServiceController.GetServices();
foreach(ServiceController service in services)
{
    Console.WriteLine(service.ServiceName+"=="+ service.Status);
}

You can Compare your service with service.name property inside loop and you get status of your service.
For details go with the  http://msdn.microsoft.com/en-us/library/system.serviceprocess.servicecontroller.aspx
also  http://msdn.microsoft.com/en-us/library/microsoft.windows.design.servicemanager(v=vs.90).aspx

redpajama_set_name: RedPajamaStackExchange


text:
. "Ed Bickert". The Canadian Encyclopedia, 07 October 2014, Historica Canada. https://www.thecanadianencyclopedia.ca/en/article/ed-bickert-emc. Accessed 16 July 2019.
Ed Bickert (2014). In The Canadian Encyclopedia. Retrieved from https://www.thecanadianencyclopedia.ca/en/article/ed-bickert-emc
"Ed Bickert". In The Canadian Encyclopedia. Historica Canada. Article published April 18, 2010; Last Edited October 07, 2014. https://www.thecanadianencyclopedia.ca/en/article/ed-bickert-emc
. The Canadian Encyclopedia, s.v. "Ed Bickert", Last Edited October 07, 2014, https://www.thecanadianencyclopedia.ca/en/article/ed-bickert-emc
Ed Bickert
Last Edited October 7, 2014
Ed (Edward Isaac) Bickert. Guitarist, b Hochfeld, south of Winnipeg, 29 Nov 1932. Raised in Vernon, BC, he took up the guitar at eight and first played with his father, an oldtime fiddler, and his mother, a pianist, in a country dance band.
Bickert, Ed
Ed (Edward Isaac) Bickert. Guitarist, b Hochfeld, south of Winnipeg, 29 Nov 1932. Raised in Vernon, BC, he took up the guitar at eight and first played with his father, an oldtime fiddler, and his mother, a pianist, in a country dance band. He moved in 1952 to Toronto, working until 1955 as a radio engineer on CFRB while playing at such after-hours jazz clubs as the House of Hambourg. His few lessons with Tony Bradan were his only formal training.
Bickert, who has conducted his career with a degree of reticence that belies both his accomplishments and his international reputation, was a member in the 1950s of Norman Symonds' jazz octet and worked 1954-66 with Ron Collier and 1957-70 with Phil Nimmons. He has played in most of Moe Koffman's successive jazz groups, beginning ca 1956, and in the Boss Brass, beginning in 1968, continuing with both in 1991. Concurrently he worked in Toronto studios until the early 1970s and has performed intermittently with the groups of Peter Appleyard, Hagood Hardy, and others, and in duos with Don (W.) Thompson and Rob McConnell. A Bickert-Thompson LP of duets (Sack 4005) received the Juno Award for the best jazz recording of 1979.
Bickert formed his own trio ca 1974, initially with Thompson (bass) and Terry Clarke (drums), and has been heard throughout Canada in clubs, at festivals, and on CBC radio. The trio played the Bracknell, Northsea, and Montreux jazz festivals during a European tour sponsored by RCI in 1979. With Thompson, Clarke and/or others during the 1970s and early 1980s, Bickert accompanied many US jazzmen at the Toronto club Bourbon Street, including Paul Desmond, Chet Baker, Red Norvo, Milt Jackson, and Frank Rosolino.
It was his work 1974-6 with Desmond there, on record, and in California (Monterey Jazz Festival, 1976) that first brought Bickert to international attention. In 1979 he toured with Jackson in Japan and during the 1980s he appeared on international stages with Koffman, Appleyard, and the Boss Brass, and at several festivals in Concord, Cal, with various of the US and Canadian artists with whom he had recorded for the Concord Jazz label. In 1987 he returned to Japan with the Concord All Stars. In Toronto during the 1980s Bickert also performed and recorded in a quartet setting with tenor saxophonist Rick Wilkins or guitarist Lorne Lofsky and various bassists and drummers.
Assessments of his work with Desmond included references to 'an understated eloquence matched only by such masters as Jim Hall' (Chuck Berg, Down Beat, 7 Oct 1976) and the ability to 'combine in his solos the logic of a mathematician and the grace of an angel' (Jack Batten, Globe and Mail, 7 Jul 1976). His playing, rooted in bebop and influenced by Tal Farlow, Barney Kessel, Jimmy Raney, and others, is characterized by its intuitive harmonic sense, lyrical and rhythmic ease and generally muted tone. Bickert taught briefly at the Advanced School of Contemporary Music in Toronto during the early 1960s, at the Banff CA 1978-80 and at the University of New Brunswick Chamber Music and Jazz Festival in 1978 and 1982. He has been a formative influence on the generation of Toronto jazz guitarists born in the 1950s and 1960s, among them Lofsky, Roy Patterson, Rob Piltch, Reg Schwager, and Geoff Young.
Ed Bickert. Thompson double-bass, Clarke drums. 1975. PMR-010
I Like to Recognize the Tune. Orch with G. Williamson keybds, Thompson double-bass and piano, Clarke drums, and others. 1977. CTL CTLS-5206/United Artists UALA-747G.
Jazz Canada Europe '79. Thompson double-bass, Clarke drums. 1979, 5-RCI 503-E/F
Ed Bickert/Don Thompson. Thompson double-bass. 1978. Sack 4005
Dance to the Lady. Thompson double-bass, piano. 1980. Sack 4010
Mutual Street. McConnell valve trombone. 1982-4. Innovation JC-0009
The Ed Bickert Quartet at Toronto's Bourbon Street. Vaché cornet, Hamilton tenor saxophone, Wallace double-bass, Hanna drums. 1983. Concord Jazz CJ-216
Bye Bye Baby. McKenna p, Wallace double-bass, Hanna drums. 1983. Concord Jazz CJ-232
The Quartet of Ed Bickert/Lorne Lofsky and Friend. Lofsky guitar, Swainson double-bass, Fuller drums. 1985. Unisson DDA-1002
I Wished Upon the Moon. Wilkins tenor saxophone, Wallace double-bass, Clarke drums. 1985. Concord Jazz CJ-284
Third Floor Richard. McKenna piano, Swainson double-bass, Clarke drums. 1989. Concord Jazz CJ-380
This is New. Lofsky guitar, Swainson double-bass, Fuller drums. 1989. Concord Jazz CJ-414 (CD and cass)
Desmond Pure Desmond. 1974. CTI 6059
- The Paul Desmond Quartet Live! Also Thompson double-bass, Fuller drums. 1975. 2-Horizon 850
- Paul Desmond. Also Thompson and Fuller. 1975. Artists House AH-2
Rosolino Thinking About You. Rosolino trombone, Thompson double-bass, Clarke drums. 1976. Sack 2014
Ruby Braff Ruby Braff with the Ed Bickert Trio. Braff cornet, Thompson double-bass, Clarke drums. 1979. Sack 3022
Buddy Tate The Ballad Artistry of Buddy Tate. Tate tenor saxophone, Thompson double-bass, Clarke drums. 1981. Sack 3034
Benny Carter A Gentleman and His Music. 1985. Concord Jazz CJ-285
Ken Peplowski Double Exposure. 1987. Concord Jazz CJ-344
Concord All Stars Take 8. Also Wallace double-bass. 1987. Concord Jazz CJ-347
- Ow!. Also Wallace double-bass. 1987. Concord Jazz CJ-348
Bickert was a member of small accompanying groups on Concord Jazz albums recorded 1983-7 by the singer Rosemary Clooney of songs by Harold Arlen (CJ-210; also Wallace), Irving Berlin (CJ-255), Jimmy Van Heusen (CJ-308), and Johnny Mercer (CJ-333), and of ballads (CJ-282)
Also, albums with the Boss Brass, Collier, Koffman, McConnell, Nimmons, Thompson, Peter Appleyard, Guido Basso, Trudy Desmond, Wray Downes, Humphrey Lyttelton (see Jim Galloway), Fraser MacPherson, Kathryn Moses, and Oscar Peterson. Others as a studio accompanist
McNamara, Helen. 'There must be more than just not making mistakes,' Toronto Telegram, 26 Oct 1968
Batten, Jack. 'Playing it safe,' The Canadian, 31 Dec 1978
Miller, Mark. 'Ed Bickert: in a mellow tone,' Down Beat, Nov 1984
Boogie, Pete & The Senator
Canadian Jazz Discography
Ernest Myrand
"The Maple Leaf Forever"


Jakob Appleby Shows Off His Method Getting Bubbles in a Viscous Liquid Within C4D.
Jakob documents the process with this written tutorial, covering some of the settings used along with some tips. If you need to animate something like honey, then look no further than Jakob's viscous liquid bubbles.
Follow along with the written tutorial here.


text:
Next GOP Debate To Use Kindergarten Show-And-Tell Format
After the Republican debate on CNN turned into a three-hour-long shouting contest, CNBC has announced plans to use a new kindergarten show-and-tell format for their upcoming debate airing on October 28th. Not only will the new format reduce fighting, but also give candidates "their own special time to shine," which the network says is an important confidence-booster in the delicate, formative stages of a politician's campaign.
Each candidate will be given five minutes to present "an object that makes you proud, curious, or excited to run for president." While they are encouraged to bring in objects that directly relate to their policy, it is not required. "It takes a lot to stand up in front of your peers and talk about something you care about. If they can do that, we're happy," said the network.
Outside help from parents will not be allowed.
As a further precaution to keep things under control, moderators will reward good behavior with a star chart. However, a "three strikes and you're out" rule will be applied to rambunctious candidates who talk out of turn: at that point, they will be asked to sit in a "time out" podium for ten minutes, after which the moderator will decide if they're ready to return to the group.
Additionally, to avoid getting tuckered out as they did in last night's debate, candidates will be given a midway snack, with the choice of apple juice or milk, followed by a 20-minute nap time. Those who aren't tired will be allowed to read the Bible quietly on their own.
While the candidates invited to the debate have yet to be announced, many have already started planning.
"I'm gonna bring in these cool missiles that would blow up ISIS," said Senator Ted Cruz. Governor Scott Walker floated the idea of bringing in a Green Bay Packers helmet signed by the whole team. Meanwhile, Governor Chris Christie said he "can't wait to gross everyone out with a huge bug in a jar."
Perhaps unsurprisingly, Trump has already said he's unwilling to bring anything other than himself, maintaining that "show-and-tell is for losers."
"It's fine if he feels that way, but if he wants to be included in the debate, he'll have to change his attitude," responded CNBC.
From Our Sister Site: America Agrees: Tom Brady Is A Basic Bitch, Click To Learn More!
33 Dad Jokes That Are So Bad They're Good


🥇Best Travel Tripods - DON'T BUY BEFORE YOU READ!
All of the tripods in this report are good quality tripods that will not break easily. If you have yet to use a tripod for photography you'll soon discover that most of the best photos ever taken were taken with a tripod. Night photography, landscape photography, astro-photography, sports photography, real estate photography and wildlife photography are some of the examples of where you would need to use a tripod.
Almost all professional photography and videography makes use of a tripod at some point. The tripod is a must have for longer exposures (less than 1/50th of a second shutter speed). Tripods also make it a lot easier to properly frame your shots. Tripods are also essential for HDR photography and bracketed shots.
Some of the tripods in this report can be converted to monopods as well. If you shoot video you can also use these tripods for that though they are designed for still photography. Check back soon for my report on Video Tripods soon.
Usually the main difference is the type of head that goes on the tripod. Video tripods have handles and tension for smoother panning. I've shot a lot of professional video on normal photography tripods (stationary shots) but its much easier with a video tripod, especially if you are tracking your subject. Most travel tripods use ball heads because there isn't a need for 3 separate large handles which is better for travel. There's always a bit of a trade off in height and sturdiness of travel tripods. This is done to reduce folded size and overall weight.
Do you need to worry about the travel tripod's maximum load?
Its important to note what type of DSLR, Mirrorless Camera, Camcorder and lens you are planning to use when you travel. There is a difference in the load capacity of the tripods. If you are using a heavy DSLR with a heavier longer lens or if you want greater stability you should choose the tripod that has the higher weight capacity. In my experience you can put a heavier load on a tripod than the manufacturer suggests. But, when you swivel the ball head and position the camera and lens for portrait shots that's where you can run into problems with the load. This is especially true if you're using a heavy DSLR with a long/heavy lens. The tripod can tip or you have to hold the tripod while you shoot or weigh it down with a sandbag from the central column or on one of the legs. Its better to get the heavier load tripod just to be safe and to protect your gear. They're also better in the wind (because they tend to be heavier) and you don't want to have to hike around with a sandbag too. If you get a lower maximum load tripod you could also always weigh it down with whatever you're carrying in your bag anyways. You can attach your backpack to the centre column or put it on top of one of the legs. If you are using a light mirrorless camera with a normal lens that should be fine with the lower maximum load tripods.
Should you spend the extra money for a Carbon Fiber Travel tripod?
A lot of people would say that you shouldn't bother with the Carbon Fiber travel tripods because the improvments in weight are very modest compared to aluminum travel tripods. I partly agree with that. I think it really depends on how far you are planning to hike with your tripod and gear. I've done very long hard hikes and in those situations half a kilogram (1.1 lbs) does start to make a difference. If you're planning on only doing moderate or easy hikes then a slightly heavier aluminum travel tripod should be fine and you can save some money as well.
The cool thing is you can also use these tripods for normal non-travel work as well. I hope you enjoy my report and find the best travel tripod for you.
Pros: Solid build. Converts to monopod. Lightweight Carbon Fiber. Separate pan and and ball head locking.
Cons: Pricey. Can take a while to get used to the tightening rings on the legs of the tripod. No quick release mechanism.
The Mefoto Carbon Fiber Globetrotter is a fantastic lightweight solid tripod. It can handle a large weight capacity and is super sturdy. The Carbon Fiber is light and strong and it folds to a small size that you can easily attach to a photography backpack or fit in a suitcase.
The Globetrotter version of the Mefoto travel tripod is the largest of their travel tripods. If you don't need as much of a maximum load and want to save money you can check out the smaller aluminum Backpacker version of the tripod: My pick for Best Value #2 Winner: MeFoto Classic Aluminum Backpacker Travel Tripod.
The Mefoto Classic Carbon Fiber Globetrotter easily converts to a monopod and has a very smooth easy to use dual action ball head. The only real downside to this tripod is that when you extend or retract the legs, tightening the rings can be awkward and time consuming. Its much easier to use clamps that open/close with one action. You'll find that good quality travel tripods tend to mainly use the ring tightening configuration rather than clamps. If you need super-fast tripod setups you might be better off with the Best of the Best #2 Winner the Manfrotto BeFree Carbon Fiber tripod. I also prefer the dual action ball head that comes with this and other MeFoto tripods to some of the single action ball heads on the Manfrotto Tripods in this report. This is my #1 Winner because of excellent overall build quality, weight, maximum load, and the dual action ball head. I own this tripod and love it!
Pros: Lightweight. Solid build quality. Easy and fast setup. Quick release system.
Cons: No monopod mode. Lower maximum load. No dual action ball head.
The Manfrotto BeFree Carbon Fiber is a fantastic travel tripod. Its a solid well made high quality tripod. Its .5 Kg (1.1 lbs) lighter than my #1 Winner. On the flip side it isn't as stable and can't support as much weight as the MeFoto Carbon Fiber Globetrotter.
If you are using a lighter camera and lenses this tripod may be the prefect travel tripod for you. You can still get away with quite a heavy setup like a Canon 5D Mark 4 and a 70-200 lens with this tripod. If you prefer a more stable setup regardless of the weight of your gear the #1 Winner would be better for you. The main downside to this tripod is that it can't be converted to a monopod. It takes my #2 Winner spot because of that and because it has a lower maximum load.
Pros: Solid build quality. Lightweight. Quick release mechanism.
Cons: Not Carbon Fiber. Can't be converted to a monopod.
If you like the Manfrottto BeFree Carbon fiber and want to save a bit of money this might be the tripod for you. Its basically just like it but its slightly heavier because its Aluminum. Its really quite a small weight difference of .3 Kg (.66 lbs). This isn't much of a difference unless you are hiking for hours and hours. On the downside the load capacity is quite low on this tripod which may or may not be an issue for you. It has the same load capacity as the carbon fiber version. There's also no built-in monopod. It takes my #1 Winner for Best Value because its well-made and affordable. Its also very easy to setup and use.
Pros: Separate pan and and ball head locking. Very affordable.
This is a great overall travel tripod. Its not as large and sturdy as the Globetrotter but its lightweight, affordable and well made. It has a modest maximum load but can hold its own against more expensive travel tripods. Its a full 1.1 lbs (.5 Kg) lighter than the Globetrotter version but has a significantly smaller maximum load as a result. Its definitely not as sturdy so if you prefer a sturdier setup it may be worth it for you to get the heavier and more expensive Globetrotter version. It takes the #2 Winner position because it lacks the easy to use clamp tightening system and quick release of the Manfrotto BeFree travel tripod.
Pros: Huge maximum weight capacity. Stable. Monopod mode. Very affordable.
The Zomei Z818 is a great buy. Its inexpensive and gives you a lot of bang for the buck. Its stable and can carry a very heavy camara/lens load. If you're gear setup is heavy this may be the best travel tripod for you. On the downside its weighs more than other travel tripods. Its about the same weight as my #1 Best of the Best winner the Mefoto Globetrotter. It may also be not as well made as the more expensive travel tripods since there have been some complaints about quality. Overall there are many more positive reviews than negative and this tripod has an excellent 4.5 out of 5 Star rating so I am sure the quality is good enough. Since its inexpensive and can carry such heavy load its my pick for #1 Winner for Best on a Budget.
Pros: Lightweight Carbon Fiber. Monopod mode. Very affordable. Attractive design.
The Bonfoto Carbon Fiber travel tripod gives you a lot of features for a relatively inexpensive price tag. Its carbon fiber and lightweight and can carry a heavier load of 17.6 lbs (8 Kg). That easily beats out most of the more expensive travel tripods in this report. On the downside there have been some complaints about build quality. There have also been issues with the ball head. Some have said its inaccurate and hard to tighten. It still makes it to my #2 Best on a Budget winner spot because you get a lot of features for the price and the positive reviews greatly outweigh the negative. This tripod has a 4.3 out of 5 Star rating. It may not be as well built as the expensive travel tripods but its definitely better than low quality entry level tripods. If you plan to put your tripod through heavy everyday use, you might be better off with one of my Best of the Best or Best Value picks.
A good quality travel tripod makes a big difference to your kit. It makes taking photographs and video much easier. They don't break easily and are very portable. Framing shots is super easy and once you get used to a good quality ball head they can be quick and easy to use. You can even use some of these tripods (the bigger and heavier ones) for normal shooting scenarios and not just for travel photography. If you've never shot with a tripod you're in for a big treat. You'll discover how much better your photos become and how many more sub types of photography you can explore. I hope you enjoyed my report and found the best travel tripod for you.
Want to know more about Travel Tripods?


text:
User authentication and authorization is provided by the auth module.

The auth module is included with Kohana, but needs to be enabled before you can use it. To enable, open your `application/bootstrap.php` file and modify the call to [Kohana::modules] by including the auth module like so:

~~~
Kohana::modules(array(
	...
	'auth' => MODPATH.'auth',
	...
));
~~~

Next, you will then need to [configure](config) the auth module.

The auth module provides the [Auth::File] driver for you. There is also an auth driver included with the ORM module.

As your application needs change you may need to find another driver or [develop](driver/develop) your own.

redpajama_set_name: RedPajamaGithub


With a Humvee, the model doesn't have to worry about caving in body work.
This entry was posted in interesting people, rifle and tagged 7.62x39, Aimpoint, Humvee, hunter, optic, plaid, pretty, red dot, shirt, Vepr, woman. Bookmark the permalink.
Someone is ready for riots.


Hijab is considered to be an inseparable companion of Muslim women and it symbolizes privacy and modesty. Many a times, Muslim women are forced to wear the same with faith and pride, no matter how many obstacles come their way.
Now, times have changed and so have the mindsets of people; Hijab has become the most debated issue, with some people thinking that it is a symbol of repression rather than a symbol of pride.
Amidst this, a conversation between a daddy-daughter is melting hearts. Well, this Muslim girl Lamyaa (17) from Pennsylvania, messaged her dad who resides in Saudi Arabia that she wants to get rid of her hijab; what her dad replied has made us believe in the fact that there are some things that are beyond "Religion".
Lamyaa was a part of some social media group, wherein everyone was discussing about "Trump and Islam". Someone mocked Lamyaa and said that if she doesn't wear a hijab, her father would not spare her.
In order to prove her point, she thought of messaging her dad and checking his response. Have a look at the conversation between Lamyaa and her dad.
Wow, what a heartwarming reply from her dad. He's definitely breaking stereotypes by supporting his daughter, isn't it?


Head down to Balfour Street, Chippendale on September 22nd for the BEAMS Festival, a creative spectacular hosted by the Chippendale Creative Precinct (CCP), for one night only.
Chippendale will make its mark on Sydney, displaying its remarkable creative output and intriguingly shady history, with animation, comedic performances, live music, art and dance.The festival features an extraordinary array of contemporary art, with over 350 Chippendale natives working across light, video, performance, dance, site-specific sculptural installation and live music mediums. The festival is designed to highlight Chippendale's "rich and sordid past," and the phenomenal creative community it has produced, as well as its future as Australia's first sustainable suburb.
Festival Director Nicky Ginsberg says; "Our objective is to model ourselves as the next Chelsea of New York. BEAMS is the first celebration of this." Never fear, there will be food; with local chefs, eateries, food and wine providores coming to the show. Local Universities are also making a contribution, with the University of Sydney, Notre Dame and the University of Technology all displaying Chippendale's emerging talent- the UTS Faculty of Design's stunning laneway light installations are sure to be a highlight. In addition, 50 Guerilla knitters are making a mark on street architecture and trees with their vibrant creations, led by 2006 Head On Photographic Winner Patricia Casey.
Plus Artist Profile and Art Almanac editor, Owen Craven, will lead a tour of precinct galleries and Q&A discussions with the exhibiting artists from 5pm.
The festival is free for all, one night only.


text:
using namespace std;
using namespace ::testing;

namespace extractor {
namespace {

class MatchingsFinderTest : public Test {
 protected:
  virtual void SetUp() {
    suffix_array = make_shared<MockSuffixArray>();
    EXPECT_CALL(*suffix_array, Lookup(0, 10, _, _))
        .Times(1)
        .WillOnce(Return(PhraseLocation(3, 5)));

    matchings_finder = make_shared<MatchingsFinder>(suffix_array);
  }

  shared_ptr<MatchingsFinder> matchings_finder;
  shared_ptr<MockSuffixArray> suffix_array;
};

TEST_F(MatchingsFinderTest, TestFind) {
  PhraseLocation phrase_location(0, 10), expected_result(3, 5);
  EXPECT_EQ(expected_result, matchings_finder->Find(phrase_location, "bla", 2));
}

TEST_F(MatchingsFinderTest, ResizeUnsetRange) {
  EXPECT_CALL(*suffix_array, GetSize()).Times(1).WillOnce(Return(10));

  PhraseLocation phrase_location, expected_result(3, 5);
  EXPECT_EQ(expected_result, matchings_finder->Find(phrase_location, "bla", 2));
  EXPECT_EQ(PhraseLocation(0, 10), phrase_location);
}

} // namespace
} // namespace extractor