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Basic-Long Sleeve T-Shirts
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Promotional Shirts
In 2008 alone, promotional products purchases spent approximately $5.55 billion on custom long sleeve shirts and other wearable items imprinted with a company name and logo. This statistic is not an anomaly; year after year, companies and organizations continue to purchase significantly more branded apparel items than any other promotional product. And it's easy to see why logo apparel is so popular. Custom long sleeve shirts and other wearable items essentially turn recipients into walking billboard for the distributor's brand. That's because when recipients wear custom long sleeve shirts, they display your logo to all passersby, who will see the item as a personal endorsement of your organization.
Top Buyers and Uses of Long Sleeved T Shirts
While organizations in all industries can effectively use custom long sleeve shirts to increase visibility for their advertising message, these branded items are particularly popular amongst promotional products purchasers in the education, financial, not-for-profit, healthcare, and construction industries. However, even within these organizations, there is a wide range of uses for custom long sleeve shirts. From elementary schools to college and universities, organizations in the education industry often distribute long sleeved t shirts to raise awareness about their institution, in attempts to increase application rates. Educational institutions, as well as corporate sponsors, often use custom long sleeve shirts as spirit accessories. Many organizations incorporate long sleeved t shirts into athletes' uniforms and more still give away these branded items at sporting events. Apparel items provide a means for fans to show support for their team- and your brand- both at the game as well as long after the sporting event is over.
Using Custom Long Sleeve Shirts a Corporate Giveaways
Custom long sleeve shirts are not just for educational institutions. These durable, practical promotional products make great corporate gifts and giveaways, too. One idea is to use promotional shirts to enhance employee relations and internal promotions. Companies should consider customizing t shirts and distributing them to increase enthusiasm surrounding company picnics, sports leagues, and field days. Another idea is to use promotional shirts to amplify account generation and customer retention. Depending on their target audience and promotional needs, a company could use t-shirts to increase traffic at an industry trade show, to encourage attendees to promote the organization after a conference, or to attract attention at a local festival. But whether you want to use custom long sleeve shirts for employee relations, customer goodwill, brand awareness, or anything in between, there are plenty of options from which to choose.
A Wide Selection of (Brand Name!) Custom Long Sleeve Shirts
Pinnacle offers a wide selection of custom long sleeve shirts in various colors, sizes, and materials. Whether you are looking for a brightly colored promotional t shirt to stand out in a crowd or a more demure basic tee that recipients will wear all around town, you are sure to find one that fits your needs. The majority of Pinnacle's custom long sleeve shirts are made from 100% cotton material, which makes them incredibly lightweight and breathable. Long sleeved cotton t-shirts are ideal for everyday wear and recipients of all ages will appreciate these comfortable, classic apparel items.


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Difference between revisions of "Concepts"
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In person demo if the Hologlyphics: This weekend, time and place TBA
In person demo if the Hologlyphics: This weekend, time and place TBA
== Electronics Essentials ==
== Electronics Essentials ==
Revision as of 20:02, 19 November 2008
Please explore and add-to a list of project concepts.
Sign your name or add contact info so interested parties can offer support!
Transit status information
I've written something that uses [1] together with Festival to give announcements about BART trains approaching 16th Street. I intend on setting this up with a cron job to run around the time of the scheduled last trains every night (and maybe the first train in the morning if we think people may frequently stay until around 4:00 a.m.!), using the music server once it's stable. To avoid annoying people this should probably not be configured to make regular announcements at other times. Two extensions to make this more useful: (1) if we can get or make a USB-to-buttons/switches or parallel-port-to-buttons/switches adapter, we can have a big button somewhere that causes an announcement to occur (for use when people are thinking of catching BART and want to know when it's coming). (2) If we can get a big scrolling LED sign with computer control, we can have it constantly display train status -- as well as Muni bus announcements with data from NextBus, perhaps using a library to get it. Schoen 23:30, 9 October 2008 (PDT)
RepRaps are a kind of homemade 3D printers capable of self-replicating, as well as being used for rapid prototyping and manufacturing. There is interest in constructing a RepRap at NoiseBridge. See RepRap.
Ambient Activity Mutating Space
Place properly signed microphones in part of the space. Pick up conversations, feed them to voice recognition software. Extract nouns and phrases from the results. Render the top results from searching these phrases on displays in the space, twitter them on the Noisebridge twitter stream, and do other fun things. Maybe also do gesture recognition, too. See Ambient Activity Mutating Space.
there's a saying to the effect that the first batch is always ruined. a similar saying says don't buy any software with a rev of 1.0. is there such a saying about wikis? should there be? what about refactoring this wiki so's to make it easier to navigate (e.g. don't have two separate "infrastructure" sections)? --Jstockford 16:38, 19 October 2008 (PDT)
This falls very much into the category of Just Do It. That said, it's a fairly big job that I personally have not found time to take on. If anyone wants to collaborate on wiki reorganization I'm up for that (I like Organized). Rachel 16:49, 19 October 2008 (PDT)
see discussion page for collaboration. --Jstockford 21:59, 19 October 2008 (PDT)
Hologlyphic Video Art Project
Basic project proposal:
- Create extension of existing True 3D video art performance system
- Existing system is monochromatic and 6" or 19" in size
- New system would be much larger and full color
Existing Hologlyphics system:
- Viewers see true 3D stereoscopic moving images without special glasses
- A viewer can move left to right and see multiple perspectives of the same object, and multiple viewers can each see their own unique view, as in the real world
- All movies can be pre-recorded animations, generative volumetric movies or real-time controlled by musical keyboards, sound input etc.
- Sound and music are integrated into the system, synchronous with the animations
- Sound can be spatially distributed with multiple loudspeakers
- Technical process is not holography, but the visual result is the same as a white light hologram
There is video with sound, downloadable from my site, big files and just a demo of the true stereoscopic images the audience views. People are stopping by to see it in person this weekend, update on the place and time soon-
If you don't want to download big files, lower quality streaming videos are available, but don't convey the depth as well as the bigger files:
Collaboration proposal:
Several designs for a larger system have been worked out, after a few people see the 3D video art system, we can discuss the various methods, to asses which approach we may take. Besides increasing size and adding color, the new system design will take into consideration performance and creative applications. Two main phases to the project, the technical development and then creative content development stage, although there will be some overlap, in a good sense
Technical development will most likely be done by a smaller core group, with various technical skills, working to make a reliable, robust system. Any of the systems will require the development of hardware and software, it will be within the software development where most of the creative work lies. Once the hardware is robust and the basic software structure is in place, work can open up to a larger group of people. At first people with programming skills can develop content, and simutainiously develop content creation tools for those without programming skills.
I have been programming computers for sound and visuals since around 1982, currently work with Max/MSP/Jitter, Csound, RTCmix, Processing ect. Can offer hardware design, physical implementation and construction, programming, plus many oddball creative images generation techniques. I'm an artist with strong engineering skills, specifically specialized in 3D video, movies, ect without glasses, this is something I understand very well. Assistance with various technical issues will greatly accelerate the development process, and none of it is rocket science, more specifics on this next week after we meet and discuss this in person. In the end we will produce a collaborative volumetric movie and show it in public, this is where the fun really starts, there is enormous creative potential
Possible Funding is available, if not I will self fund the project. More info on this soon after a few details are worked out.
In person demo if the Hologlyphics: This weekend, time and place TBA
--Wfunk 19 November 2008 (PDT)
Electronics Essentials
seems likely that people working on electronic projects would find a variable power supply and a function generator handy along with some other basic test gear (e.g. pink noise generator, resistance bridge, LC measuring device...). many such things are available as kits. i've got one or two myself and would like to build them down there and leave them for people to use. what cautions wrt other peoples' careful use? signs or brief instruction sheets helpful? --Jstockford 16:38, 19 October 2008 (PDT)
anyone want to collaborate on building kits and devices? OtherElectronicProjects --Jstockford 16:38, 19 October 2008 (PDT)
I brought some random retro gear along those lines, they're on a shelf labeled as donated by Skory. If they look of use please take them and have your way with them. --elgreengeeto
I bought a bunch of cheap but universally useful components: about 1000 resistors, 300 capacitors, diodes, wire, etc. I'm taking suggestions for other cheap but handy electronics I aught buy in bulk. dstaff.
Python classes
Proposed at Python classes. Schoen 21:20, 26 October 2008 (PDT)
Pimping up the lights
I want to pimp up Noisebridge's lights with a digital web-controlled interface. (Don't worry, there will still be switches that just-work.) See Lighting. Once I have enough work done, I'll bring it up at a meeting. If anyone wants to help with construction or software, let me know. I think I have the electronics under control. -- Dstaff
how about LED lights on a 12VDC circuit? --Jstockford 08:55, 14 November 2008 (PST)
Gastrohacking SOE
We are enough mad food hackers that we should make sure that a SubOrganizational Entity with regular food hacking meet-ups, events, workshops, cook-offs, and participation in TGRWT challenges. We would like to work our way through the recipes or ideas from the great scientific chefs: Ferran Adria, Heston Blumenthal et.c. Make things like: Blue cheese / chocolate souffle and lemon tempura with licorice. Build and use a sous vide bath and a computer controlled automated bbq.
Wiki Watch
the wiki is getting wacky. over time it may get so crufty as to be unhelpful. this "concept" suggests some of us pay attention to our wiki to keep it useful, something like managing a garden:
- some items are old and no longer useful, like weeds, they should be removed. if an audit trail or history is needed, move old stuff to an antiquities section.
- there are redundancies which should be consolidated (move all the gardenias to the same bed).
- it might be nice to use the discussion (talk) pages more and the article pages less so the text on the article pages reflects concensus of the discussion (and reduces the amount of words the reader must slog through).
- wiki technologies offer some features that might be good to promote. an example is "categories": if you look at special pages, you'll see a categories page listed; click it and you'll see the categories, one of which is "projects". it might be nice that we're aware of the projects category and tag some articles as projects. the benefit is easier wiki navigation. the downside, of course, is that all humans, even enlightened intelligent and well-meaning humans, are at times douchebags and won't bother to read about how to do things in ways other than what the current feelings dictate.
if you have feelings about watching the wiki, add your voice, please. perhaps we can get up a wikiwatch group to encourage each other to manage the mess. --Jstockford 09:13, 14 November 2008 (PST)
Getting and Giving Stuff
if we get stuff, where to put it? there are the sharing and hacking shelves, probably incoming should go on one of those two sets.
it would be nice to have an outgoing shelf, a place to put stuff that we no longer want. maybe the very bottom shelf in the hacking set? other?
how about trips to take stuff to ACCRC? a trip to ACCRC could be just to take stuff, just to see the place, just to spend time working as volunteers, or some combo. --Jstockford 10:35, 17 November 2008 (PST)

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Strange creatures: anthropology in antiquity
Duckworth, 2006 - 185 pages
In ancient Greek and Roman thinking, whether the world is flat or spherical it will have imaginary boundaries and liminal areas where the norms of nature and culture are thought to break down. Analogies are constantly drawn between 'primitive' peoples at the 'edges of the world' and 'primitive' people in prehistory. Distance, both in time and space, leads to difference, and the idea that strange things happen out there or happened back then dominates Greek and Roman thinking on other cultures. This book examines ancient ideas of the creation of the world, the beginnings of life and origin of species, humans and animals, utopias and blessed islands, and 'barbarian' cultures beyond the Mediterranean world, before going on to trace the influence of ancient anthropological and ethnological thought on the Middle Ages and the Renaissance. We begin with primordial chaos and end with the invention of the Americas, taking in many strange creatures, from the savages of Britain, Gaul and Ireland, to the Man-faced Ox-creatures of Empedocles, the Dog-heads of India, the Amazons, the Centaurs, and the Tupinamba of Brazil.
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The Origin of Life and the Origin of Species
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Finding The Correct Size and Measure For Industrial Design
Biometry, Ergonomics and Morphology For Design
FINDING THE CORRECT SIZE & MEASURE: BIOMETRY, ERGONOMICS & MORPHOLOGY FOR DESIGN It is very important to use the correct dimensions and forms while designing industrial products. This article explains how we can come up with the right dimensions, measures and forms of industrial products. An important element in good product design is knowing the requirements for measures, optimal dimensions and demanded sizes, and to design the object with respecto to this restrictions. So how do we learn these dimensions, measures, forms and sizes? The most two common approaches are 1. Derive dimensions from existing products, by measuring them and discovering the "popular" sizes and measures. all you nead is a measure or caliper, and some products. (Fig.1) 2. Derive dimensions from the target users's anthropometric properties relavant to function. (Fig.2) D6: SIX DRIVERS OF INDUSTRIAL DESIGN FORM ERGONOMY, ECONOMICS, FUNCTION, MARKET, TECHNOLOGY, LAW & STANDARDS 1. Ergonomic Drivers: data that defines the form of an object based on the ergonomics of the subject. 2. Functional Drivers: data that defines the form of an object based on the functional requirements. 3. Market Drivers: data that defines the form of an object based on the expectations of the consumers. 4. Economics Drivers: data that defines the form of an object based on economic requirements such as efficiency, cost, etc. 5. Technology Drivers: data that defines the form of an object based on the choice of materials and production technology. 6. Law & Standards Drivers: restrictions on the form of a design required by the legislations or standards.D6.1: ERGONOMIC DRIVERS DEFINING THE FORM BASED ON BIOMETRIC DATA Ergonomy is one of the strongest drivers of form. Objects are meant to be designed for comfortable use by the user. Ergonomy is especially a very strong driver of form for design of furnitures, household items, vehicles and machinery. For example, lets imagine we would like to design a bottle that would fit your hand perfectly. Than we measure our hand, and design a bottle that would fit it well. But it is not just about the size either, we should design the bottle such that it is easy to grasp, and harder to slip from our hands. It should not only fit, but must fit comfortably. You can measure the target customer body in detail, or you can use a standard reference book: measures of man and woman. D6.2: FUNCTIONAL DRIVERS DEFINING THE FORM BASED ON FUNCTION OF THE OBJECT What we want to look here is the archtypes: the initial idea of the form "of a function.". It is important because an object having an easy to understand standard form is easier to use & sell because we are already accustomed to it. They say form follows function, it is true in most cases; but the same function can be reached within a variety of forms. So we want to be slightly more specific.what is a bottle for example: it is a container for liquids. So as long as something can contain a liquid for a long time, iis it a bottle.?. Not true. Lets imagine a water bottle: A good water bottle should for example keep the water clean (closed form), should indicate the amount left (transparency) easy to carry (ribs), easy to drink or close (cap), etc. These functional requirements impose the form and parts. Fig.5 Poorly contained liquids could potentially spoil. Your product design efforts.D6.3: MARKET DRIVERS DEFINING THE FORM BASED ON THE PREFERENCES OF USERS Its always about delivering what is being demanded by the target customer group. Especially the form of industrially designed objects are required to yield to the preferences of end-users, because the products must sell, and not only sell, they must sell to the masses, as they are mass-produced industrial products. Some of the tools for gathering information are observations, surveys, focus group tests, lead user analysis etc. There are many consulting companies that also sell reports about the market preferences. Trends are important: form and therefore measures can highly be effected by what is hip this year, and a good designer must always have an eye on what is being done by the others, or you would be designing retro looking objects without actually noticing yourself. If most of the people in the market prefers a water bottle to be in pet, it should be in pet. (Fig.6)D6.4: ECONOMY DRIVERS DEFINING THE FORM BASED ON CONCEPTS OF ECONOMY In the end, it all comes to returns on investment. A good design is supposed to add economic value to an industrial product. In 2 ways. 1. Added economic value by making the product more desirable (increasing demand) thus, increasing the sales price, and profits. 2. Added economic value by making the product more efficient, or cheaper to produce, thus decreasing the production costs, and increasing the profits. So, the form can be effected by 1: ways to make it more desirable. 2. Ways to make it cheaper to produce. To make it cheaper to produce, we need to increase efficiency in production, and decrease the waste. We must utilize the materials in the best way possible. We must optimize the design based on the production technology and cost restrictions. Given millions of products with the same function, the cheaper to produce, and the beautiful survives the market, but the one that is both beautiful and cheaper to produce becomes the market leader. (Fig.7)D6.5: TECHNOLOGY DRIVERS: DEFINING THE FORM BASED ON THE PRODUCTION TECHNOLOGY The production technology imposes a lot of restrictions and of course also possiblities and opportunities for the form and measures of an industrial product. For example the dimension or power of the production machinery can impose a restriction. Materials used for production can also provide other restrictions, and possibilites as well. For example: the water bottle: use glass to make it transparent and clean looking, use pet to make it transparent and easy to carry. Measures will be different: glass must be thicker than the pet, it will also be heavier. If you are working for a company, there usually is an existing production technology or material of choice which you should take into consideration. While designing, So you have designed the next big think, but it is impossible to produce? (Fig.8)D6.6: LAW & STANDARDS DRIVERS: DEFINING THE FORM BASED ON THE LAWS AND INDUSTRIAL STANDARDS There are some certain laws, certifications and standard requirements for many industrial objects. For instance office chairs, car seats, security products, food packaging. These standards, lawas and certifications requires the producers to produce objects that match the criteria for materials, mechanisms, ergonomic requirements etc. Which all effect the form, and thus size and measure of designs. A good designer should always check the legal requirements when designing an industrial product. Otherwise, not only you have a poorly designed object, but it will also be illegal. Depending on the industry, you should check for stanards and laws, such as iso-standards. The standards can also help you reduce production and development costs as well. By following standards you also avoid possible hazards in advance!. (Fig.9)BEST PRACTICE APPROACH DRIVING FORM & MEASUREMENTS FROM OTHER INDUSTRIAL OBJECTS. An easy way to define form, material and function is to follow the best pratices: driving measurements from other objects through analysis of form, function, parts and materials. Of course this is not our preferred way for destructive innovation, however, it indeed is our preferred way for industrial design for mass production goods. The only tools you need is an insightful eye, a measure preferably a caliper, and a spreadsheet. You start by finding the average dimensions, popular materials and common forms of products sold in the market. Sometimes it is better to pick 2-3 products that are the best: and use these products to define the sizes and measures of your own designs. Procedure 1. Collect specimens 2. Analyse form and function 3. Create archetype Caliper is your best friend for small objects. For larger objects, use a measure. (fig.10)COLLECTING SPECIMENS HOW TO FIND THE MOST POPULAR FORMS FOR DESIGN. The most popular forms are divided into two: the most selling forms, and the most advertised forms. We should aim for the most selling forms. Most selling forms are usually available in large stores. Depending on the product type, we should be visiting a supermarket, a cash & carry store or an outlet. We are looking for places where many varieties of a product exist. For example, imagine you need to design new water bottle packaging, where will you look at? You go to a supermarket and check the shelves. It is literally an exhibition of forms. Alternatively you could perform an image search in internet, or check for products that you already have with you, in your house for example. You find the targetted archtypes at mass consumption stores and public places. (Fig.11)FORM & FUNCTION: ANALYSIS OF MORPHOLOGY & REASON PARTS & MATERIALS: LIST OF COMPONENTS AND PROPERTIES Parts, Forms and Functions: Form is effected by choice of material, physical limitations,, economic requirements and market expectations. when designing an object, a good way to start is to observe best practices and analyze why different parts have different forms and sizes. For example, when we analyze a sample bottle (Fig.12): Cap: the cap is almost has a standard form and dimension Engrave: created both to provide additional structural support and aesthetical look and feel. Top blob: provides additional support and ease of grasp. Label: graphic area should be smoother in order to stick the label. Arc: the waist adds stability and helps easier grasp of bottle. Ridges : curved horizontal ribs provide structural strength and style to bottle. Base: having legs the bottle to be more stable and taller. Cap: the cap is usually made of opaque polypropylene / pp. Label: is either made in paper or transparent plastic Body: the body is made of transparent polyethylene terephthalate / petLEARNING MEASURES MEASURE DIMENSIONS FOR EACH OF THE SPECIFIC PARTS After our analysis, we use the caliper to measure the dimensions for each of the different parts, and also the bounding box. We create a spreadsheet table where we enter these details, and we calculate the average values to have an understanding. This way, we know the maximum and minimum dimensions of the object, in addition to popular features, material choices and form options. The averages gives us the exact measures of the archtype. The archtype is not necessarily the best design or even a good design, but it provides insights for dimensions, popular form choices and parts only. We can start designing by first drawing the archtype, and then drawing the maximums and minimums for each components, as a guidelines of form which we would prefer. We create a spreadsheet and calculate averages. (Fig.13)USING THE ARCHTYPE: THE ARCHTYPE AS A GUIDELINE FOR DESIGN A visual way to present the dominant features is by putting the silhouettes on top of each other and applying transparency. This could also be done in 3d. The idea is to see actually what the standard bottle is about. After we know the standard bottle, the maximums and minimums, we can design an object that will be higly easy to realize by confirming in to these limitations. Any bottle that is within the safe zone (Fig.15) will be most probably be okay. On the other hand, the design will be better from the production and economic sense if it is kind of average of all (Fig.14). These averages are intended for you as a guideline, they do not guarantee a good or beautiful design. But they can help you design an object that fits the regulations, and answers to market expectations.FAST METHODS TO GATHER MORPHOLOGICAL DATA FOR DESIGN 1. Books: some "how to design x" type of books, gives insights about the standard dimensions and measures of objects. 2. Product Catalogs: they usually have technical specifications of products, such as dimensions and sizes. most of them are accessible online. 3. Patents: some products give detailed dimensions, or atleast the form of the objects. use an online patent search. it is clever to use them as you could also learn the most common mechanisms. 4. Free 3d drawings of the objects, if done to scale. you could search for existing designs to use them as backdrop or guidelines. 5. Companies, you can ask the company to tell you the desired measures for the new products that they would like to develop.ABOUT : THIS PRESENTATION This presentation is provided free of charge, and it is a courtesy of omcdesign studios. We are an international multidisciplinary design consulting company based in Italy. We design better products / or improve existing products such that it costs cheaper to produce and sells at a higher price or volume. We are composed of multiple studios specialized in different aspects and fields of design, marketing, engineering, prototyping and communication. To learn our clientele, to know about our studios, and our designs and for more information please do visit: Http://www.omcomc.com Exerpt:FINDING THE CORRECT SIZE & MEASURE: BIOMETRY, ERGONOMICS & MORPHOLOGY FOR DESIGN It is very important to use the correct dimensions and forms while designing industrial products. This article explains how we can come up with the right dimensions, measures and forms of industrial products. An important element in good product design is knowing the requirements for measures, optimal dimensions and demanded sizes, and to design the object with respecto to this restrictions. So how do ..
Finding The Correct Size and Measure For Industrial Design Images:
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George Angus Barclay operated a "half-way house" or stopping place in the area of Pine River. He was not the only one who had such a place along the Leech Lake Road. He was situated 30 miles north of Brainerd and so his location was a good place to stop, rest, refresh and then continue your journey on to Leech Lake or some other destination.
"When the Cloughs' outfit finished logging that area, they sold the ranch to Jenkins; and by that time there was so much commotion and traveling along the Leech Lake Road — and the abilities of Ma Jenkins in the kitchen had become so widely noised about — that they had no insurmountable problems continuing the place as a "Halfway House" or traveler's rest station. Next north was George Barclay's at Pine River; to the south was John Bishop's at the Gull-Round thoroughfare; and now the Web Hill Ranch helped split the distance between the latter two."
Source: Old Timers, by Carl Zapffe, of Historic Heartland. Association, Echo Publishing & Printing, Volume I, pages 6-7, 1988 1st Edition, 1998 2nd Edition. Mr. Zapffe passed in 1994 and his Association is no more. The photographs in his collection and maybe more were given to the Nisswa Historic Society, Nisswa, MN, unfortuantely they do not have a website.
See my post dated January 17, 2011 "Wedding Photos of George and Amarilla," for more information about Mr. Zapffe.
I tried to use the maps of the Leech Lake Road in Mr. Zapffe's Vol. II that apparently came from the National Archives, but it was very hard and since I do not live in Minnesota I decided to abandon the effort but what I did create on my map was almost a direct line between Bishop, Jenkins and Barclay pretty much following Hwy 371.
The Pine River Centennial newspaper of 1973 had some very interesting articles and mentions George and Amarilla:
"…The history of Pine River really starts with Mr. and Mrs. Barclay (Mrs. Urton). Mr. Barclay came here in 1876, and with a partner by the name of McNannie, starting a trading post about a mile south of what is now the village site, a few rods this side of the river where the remains of the old cellar may still be seen. This location was abandoned after a little over a year, in favor of the present location of the village where Mr. Barclay built a log building and conducted a little store and Indian trading post, about where the Anderson Lumber Company yard is now located.
Mrs. Barclay, or you will remember her as Mrs. Urton, came her in July 1878. At that time there were only three log buildings where the village of Pine River now stands, one being the store formerly mentioned, one used as sort of half-way house for Tote-Teamsters on the trip to and from Brainerd to Leech Lake (now Walker), and a very large log barn where several of those large loads of supplies could be driven in for over night.
Logging had not been started at this point at that time and there were very few white settlers in the territory. Mrs. Urton once related that while the inhabitants were practically all Indians, she never had any fear of them and they never gave them the least bit of trouble of any kind until after the white man came with his firewater.
About this time the Episcopal and Catholic societies started to try educating some of the Indian children and used to come up here to gather up a group of them, taking them away for a four-year course. They were taught some kind of trade and it was some of those boys who, on their return from the school, built an addition on the old log store and that was where the first school was started. It would indeed be interesting to trace the evolution of this school through to our present modern high school but time will not permit."
Source: Pine River Journal, Pine River, Cass County, Minnesota, 1873 to 1973 Centennial, Vol. 37, Number 22, pg. 2, "Early History of Pine River," by Frances M. Allen.
Ever since I heard the term "tote road" I became interested in what it looked like. I have seen pictures of them as dirt roads or roads with logs laid across them. You can use Google Images and search for photographs. People are taking wonderful photos and writing blogs about tote roads. This is as close as I could get to the area in question. Can you image driving a wagon with ox or horses along a muddy road. Hmmm…? Try Google Images using "Tote Road."


text:
At Cap D Antibes Mistral Wind
by Claude Monet
High quality Giclee on canvas art print by artist Claude Monet available in several standard sizes.
You can also order this image in your own required Custom Size.
Size is exact image size and enough non-printed canvas will be added around to allow stretch mounting.


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For all of your questions about formula, solids, finger foods, etc.
From getting ready to BF to technique, supply and latch questions, our BF moms have plenty of wisdom to share.
Any one have to supplement?
21 Apr 2015 08:02 PM
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Sports Radio 810 WHB in Kansas City reports that the Red Sox have traded Coco Crisp to the Royals in exchange for Ramon Ramirez.
Former Royals outfielder Brian McRae broke the story, but we're still waiting to see the move confirmed by other sources. Ramirez had an excellent rookie year for the Rockies in 2006 before struggling in 2007, but bounced back following a trade to the Royals last season, posting a 2.64 ERA and 70/31 K/BB ratio in 71.2 innings.


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From the 11 January 1882 issue (Vol. 2, No. 51) of the The Advertiser, published in Clarkesville, Habersham Co., GA.
A Good Joke.
It is related of the Rev. Edward L. Stephens that as he was on his way to one of his appointments he was accosted by a young man who had recently been elected to the office of Justice of the peace, and who thought himself a very important personage. He said:
"Mr. Stephens, why do not you ministers of the present day follow the example of your Saviour more closely? We read of him riding to his appointments on asses."
"Well,' said Mr. S., "I will tell you. At this day and time, there are so many asses elected J. P. that we find it impossible to get one to ride."
The J. P. had no more to say, and from this day wisely avoided all controversy on that subject.


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Over the next four posts, I am going to show different variations on the wonky log cabin block:
- The "standard" wonky log cabin block
- Wonky quarter log cabin block
- Wonky squares-in-squares
- Wonky "bento box"-like block
I do think you should have enough fabric to make all 4 from your cut fabric if you choose to do so, even if you don't use all 4 in your final quilt. You can always piece the extras into your backing, or make some matching throw pillows!
OK, let's get started ...
We're going to start with our center square. Choose one of your 2.5" strips -- any one -- and cut a 2.5" square from it. If you've designated a particular fabric for your centers, use that one.
Of course, you can start with any size strip you want. On later blocks you may choose to mix it up and start with a 2" square or even a 1.5" square. I just like to start with a 2.5" square, so that's where we'll start. The only thing you shouldn't start with is one of your 3" strips. We're saving those for later.
Jelly rollers, you'll always be using 2.5" strips. That's not a problem at all! You'll still be following the same steps, and can achieve the variations in block width by trimming. Carry on ...
Now it's time to start giving your block some personality. Choose a side of your center square and cut a bit off. Just a bit, and at an angle.
One thing I should mention here is that my personal preference is for "subtle wonk". Other people like more "severe wonk". I will always default to softer, more nuanced cuts, but feel free to cut as severely as you like! Just remember, don't ever cut a log so severely that any part of it ever becomes smaller than 0.5" in width ... you will risk losing that part of your log in the seam allowance.
On later blocks you may decide to cut a bit off of 0 sides, all 4 sides, or anywhere in between. I thought that just skewing one side was a good place to start.
Select another strip for your first log. It can be any size width that you want (except for your 3" strip ... remember, we're saving those for later). I chose to start with a 1.5" strip.
Be sure to cut off the selvedge, and then cut the strip roughly the width of the center square. Because I haven't mentioned it yet, let me tell you that you don't have to measure the length of your strip. That's my favorite part about making these blocks ... I don't measure anything!!
You will notice that I almost always cheat a little bit on both sides of the block. I don't even use a ruler when making these cuts.
Sew your first log to your center square and press your seam. I always press my seam toward the log that I just added. So, in this case, the seam is pressed toward the green gingham fabric.
Now, using your ruler, trim the sides to give your block two nice, straight edges. Here's yet another chance to tilt your ruler a bit. No need to use your cutting mat's guides to cut straight lines.
Now you have the beginnings of your block. Turn it clockwise 90 degrees. Choose another strip to serve as your second log. I chose a wider strip here -- I think it's a 2" wide strip. Again, cut off your selvedge (if you have one) and cut your log slightly wider than the edge to which you will be sewing.
Sew together and press toward your new log. Here, I pressed toward the yellow fabric.
Grab your ruler and trim the two sides.
Turn the block 90 degrees, and repeat these steps to add your third log. I selected a wide strip for my third log. It's one of my 2.5" strips.
Cut to width:
Sew & press:
Trim the sides:
Getting the rhythm of it yet? Add your 4th log. Another 1.5" strip for me:
We have now completed our first round of logs. This is the point at which I like to make some wonky cuts.
See that red & white log on the right side? It seems a little too wide to me.
Using my ruler, I gave it a nice, slanted cut. Go ahead and trim the right edge of your square, as straight or as wonky as you'd like:
Rotate the block 90 degrees clockwise, and trim that edge, too. I trim all 4 sides to give myself nice, straight edges. For this log (the dotted one), I decided not to give a new angle. I pretty much trimmed it without adding any wonk:
I'll say it again ... I prefer subtle angles to more severe ones. But if you want to make very severe cuts, feel free -- the method and steps are still the same.
Rotate and trim your 4th side:
Now you have a nice, clean, somewhat wonky center, and can really see the start of your block:
Remember that 12.5" square ruler that I recommended? Here's where we'll start to use it.
After every complete round of 4 logs, I like to check and see how I'm doing towards my ultimate goal of a nice, even 12.5" block.
So far, so good:
Repeat the steps for your second round of logs. Here, I started with a 2.5" strip:
Sewn & pressed:
Trimmed for the nice, clean edges:
Log 2:
Logs 3 & 4:
Trimmed up nice & neat:
Another round of logs done, so back to my ruler "guide" to see how I'm doing. Still in good shape -- at this point, I'm estimating that I'll likely add another 2 rounds of logs:
Continue on with your third round. Notice how, at this point, my block is a little bit wider than it is tall? No big deal ... I am not going to cut it to get it more square. However, I am going to be conscious of my strip selections -- I am going to use narrower strips on right and left, and wider strips on the top and bottom, in an effort to stay in square territory instead of winding up with a rectangle.
Here, I added the red dots and the pink flowers, trimming as I go:
Two more logs added ... the green rose fabric and the white on top:
Now trim down all four sides of your block again, determining as you go whether you want to add some wonk to any of your sides.
For me, no wonk on the first trim:
Here's a tip: if you keep cutting your angles in the same direction, your block will begin to take on a spiral-like effect. To avoid this, alternate the angles of your cuts. For example, look at the picture above. See how the pink gingham log is narrower at the top and wider at the bottom? Recognizing this, I made sure my trim of the white log is wider at the top and narrower at the bottom. It evens the two out.
A wee bit of an angle on the third trim:
Another slight angle on the fourth trim:
You know what? That white border still looks too big to me. I'm going to go ahead and give it another shave. Don't be afraid to keep making modifications to your block until it feels right:
Based on my 12.5" ruler guide, it looks to me like we have enough room for one more border. This is where we will use our 3" strips. I like to err on the side of very wide borders for my outermost borders, because I really dislike thin outer borders. For example, you can see from the image below, if I decided to use 1.5" or 2" strips for my next border, I would then have to add another round of very thin borders. I like to overshoot my final round of logs, for reasons that will become clear in a moment.
And here's why I love my 12.5" ruler ... and also why I use really wide outer logs. By doing so, you have some options. You can trim your square down in a fairly straight way ...
... or as tilted and as skewed as you like:
I actually rotated by ruler a little bit the other way, because I didn't want to lose that rose in the bottom right hand corner. It helps to be cognizant of any patterns or pictures that you don't want to lose when cutting:
I thought some people might like to see the back of my block, just to see how I recommend pressing your seams. See how they are all pressed to the outside? That's because I always pressed to the log that I just added. I don't know if this is right or wrong, but it works for me!:
If you're not "sashing" your blocks (i.e. framing them so that they will be floating in your final quilt), then you're done! If you're sashing, read on ...
From your sashing fabric, cut 3" strips.
Cut 2 sashing pieces slightly longer than 12.5". Attach to alternate sides of your block (I did right & left), press, and trim up:
Do the same thing with the other set of opposite sides (top & bottom):
"Why are the sashing strips so wide?", I can hear you asking me. "My block is bigger than 15.5"!"
I know, I know ... but that was deliberate. It's wider for the same reason we had wider strips up above -- it gives you more flexibility in how you trim down your block.
I turned my block at an angle that gave it some movement, but making sure that it all still fit within a 15.5" diameter. Trim to 15.5":
And now you see why we didn't just use traditional horizontal and vertical sashing strips. This way, your interior blocks can all be slightly tilted (and wonky!), giving your final quilt that added touch of interest, whimsy, and movement.
And here it is, your final 15.5" block!
How'd it come out? Is this what you were expecting? I'd love to hear your thoughts, feedback, questions, concerns, corrections ... please let me know either here in my comments or in the Flickr group. Of course, I'd LOVE to see your first blocks!
How about a giveaway??
I won't be sashing the blocks in my quilt, which means I won't be using the block I made for this tutorial. I will make it into a quilted pillowcase for one lucky reader! Simply leave me a comment on this post to be entered to win. I am going to limit this giveaway to those quilting along with me, so please let me know your Flickr name in your comment. I will use the random number generator to select a winner, which will be announced in the next quilt along post.
Next up, the wonky quarter log cabin block ...


text:
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No, this is not a picture of a sea anemone. It's spaghetti squash. And though my mom doesn't like it, she makes it all the time for my dad since it's his favorite type of squash. Her favorite, by the way, is buttercup. I know this because the three of us have the same conversation every year as if it's a revelation:
Dad: "What did you buy at the farmers' market this week?"
Me: "Some butternut squash."
Mom: "Ooh, yeah? I love butternut squash. But you know what's even better? Buttercup. You should try it."
Me: "Yeah, Mom, I have tried it, but I don't like it as much as butternut."
Mom: "How could you not like buttercup squash?!"
Dad: "You know what the best squash is? Spaghetti squash. Your mother makes it with tomato sauce and cheese. Oh, I love it like that. You should try it."
Me: "Yeah, Dad, I have tried it, but I don't like it as much as butternut."
Mom: "Oh, yes, your father loves that spaghetti squash. I don't. Blegh."
Dad: "How could you not like spaghetti squash?!" (Then, convinced that this is the year he will persuade me) "Well, you don't know what you're missing."
Well, Dad, you'll be happy to hear I finally agree with you. I didn't know what I was missing, until last week. My local supermarket had a sale on winter squash, so I ran right over to stock up on acorn and butternut, only to find a bin filled with a dozen spaghetti squash. Yeah, sure, I thought, that's cause no one wants it. Since I cannot pass up a bargain, I bought one anyway.
I had buyer's remorse the minute I got home. I didn't want it with tomato sauce. Let's face it, spaghetti squash is not the same as spaghetti no matter how hard you try. Then I thought of making an herb pesto but was all out of sage. And that's when it hit me. My favorite way to eat real spaghetti is with butter and salt.
Once the squash was cooked, I excitedly scooped out the cooked flesh, which is the best part of cooking spaghetti squash anyway. Then I added butter, salt and black pepper, and some grated Reggiano-Parmigiano.
It was good. OK, it was better than good. It was delicious. It tasted like, well, spaghetti. The firm luminescent gold strands of flesh become deliciously coated with melted butter just like pasta. For a richer more savory flavor, sprinkle some fresh thyme, rosemary, or parsley on the squash before serving. This is a simple, fresh, and comforting side dish that I'll be happy to make again.
My parents and I will likely have our annual squash talk this week. I have a feeling it's going to end a little differently this year though. So, what's your favorite squash?
Print recipe only here.
1 small spaghetti squash (about 2 pounds), halved lengthwise, seeds removed
1 tablespoon plus 1 teaspoon butter
2 tablespoons grated Reggiano-Parmigiana cheese, plus 2 tablespoons for garnish
a few pinches of coarse sea salt and several cranks of freshly ground black pepper
a sprinkling of fresh thyme, basil, or parsley, optional
Preheat oven to 375 degrees F. Line a baking pan with tinfoil (for easy clean up). Place squash halves flesh side down and pierce all over with a fork. Cook for 45-50 minutes, or until tender.
Using a fork scrape the hot flesh from the squash and place in a bowl. Add butter, 2 tablespoons cheese, and salt and pepper. Lightly toss until well combined. Garnish with remaining 2 tablespoons cheese and herbs, if using. Serve immediately.
You might also like:
Olive Oil, Caramelized Onion, and Sage Sweet Potatoes
Roasted Acorn Squash with Medjool Dates and Toasted Almonds
- Spaghetti Squash New Mexican from Karina's Kitchen
- Spaghetti Squash with Garlic, Parsley, and Parmesan from Coffee & Vanilla
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text:
Monday, June 29
Mom's Blueberry Sweet Rolls Taste Like Summertime
It's blueberry season. Glorious, juicy, sweet blueberry season.
If you're looking for one fabulous blueberry treat this summer, then you've got to make my Mom's Blueberry Sweet Rolls. She has been making them since I was a little girl, and my love for them has never waned.
Each bun has warm, juicy, cinnamon-sugar coated blueberries tucked inside of a pillowy soft sweet dough that is glazed with vanilla icing. There is something ambrosial about these buns: they're delicate and pretty enough for a ladies' summer tea party yet homey and comfy enough for a midday snack with a glass of milk.
So next time you go blueberry picking, save a pint of your best berries for Mom's Blueberry Sweet Rolls. Trust me, summer never tasted so good.
(You could eat these buns unglazed, but you wouldn't want to do that.)
Retraction: Please note that the original posting said that the dough could either be mixed by hand or processed. The dough should be hand mixed only.
Mom's Blueberry Sweet Rolls
Makes 9 rolls
Print recipe only here.
Mom's Blueberry Sweet Rolls are easy to make, but plan ahead since the dough has to be refrigerated overnight.
2 packets of yeast
1/2 cup warm water
3/4 cup warm milk
1 cup melted butter
2 large eggs
1 cup granulated sugar
1 teaspoon salt
1 teaspoon pure vanilla extract
4 1/2 cups all-purpose, or as much as it takes
1 tablespoon melted butter for brushing over dough
Blueberry Filling:
1 pint fresh blueberries
1/2 cup granulated sugar
1 tablespoon all-purpose flour
2 teaspoons ground cinnamon
Vanilla Icing:
1 cup confectioners' sugar
2 teaspoons pure vanilla extract
a few droplets of milk
Sprinkle with chopped toasted pecans, optional
1. Mix all of the dough ingredients in a large bowl, and knead lightly by hand until the dough comes together. Roll into a ball, wrap in plastic wrap, and refrigerate overnight.
2. In the morning, the dough will be hard. Let it rest on the counter until it's just cool or at room temperature. Roll it out into a large rectangle. Brush with 1 tablespoon melted butter.
3. Place rack in center of oven and preheat to 350 degrees F. Butter or coat with cooking spray an 8-inch square pan.
4. In a medium bowl, mix the blueberries, granulated sugar, flour, and cinnamon, until well coated, and spread evenly over the dough. Lightly press the berries with your hand so they stick into the dough. Starting with the long side closest to you, begin rolling the dough as tightly as you can, tucking in any stray blueberries as you go. Place the end seam side down, and tuck the ends of the roll under so the berries don't escape. Place the roll in refrigerator for 5 minutes to make slicing easier. Using a sharp knife, cut the roll into 9 equal size pieces.
5. Place the rolls in a prepared 8-inch square dish. Cover with a clean dish towel, and allow to rest on the counter top for 45-60 minutes, until risen and puffy. Bake for 40-45 minutes, or until the tops are golden and a toothpick inserted into the center of the dough comes out clean. Place pan on a rack, and cool.
6. To make the icing, whisk confectioner's sugar, vanilla, and milk until smooth, but not too thin-- it should cling nicely to the back of a spoon. Once the buns are cooled, pull them apart (it helps to run a blunt knife between the buns first). Place buns on a wire rack with a sheet of parchment paper underneath it. Drizzle with icing, and rest for about 1 hour, or until the icing has hardened. Serve at room temperature.
You might also like these summertime fruity desserts:
Peach and Blueberry Galette
Fresh Blackberry, Oatmeal, and Cashew Cake
Fresh Cherry and Peach Upside-Down Cake
Strawberry Cardamom Cake
Here are more delicious blueberry recipes you might enjoy:
Blueberry Cobbler from Melecotte
Blueberry Crumb Cake from Family, Friends, and Food
Blueberry and Strawberry Buttermilk Cake at Pinch My Salt
Blueberry Muffins at Obsessed With Baking
P.S. Congratulations to The Mama, aka Heather for winning the grilling kit from Fire and Flavor!
59 comments:
- Karen said...
Blueberries are a wonderful addition to a nice sweet roll. I'll have to give these a try and I'm glad the recipe only fits an 8" pan, because I'm going to eat them all :)
- June 29, 2009 at 10:29 AM
- Kristen said...
Oh my god these look absolutely divine! Thank you for sharing!
- June 29, 2009 at 10:29 AM
- ♥Rosie♥ said...
Oh my goodness what an utterly divine bake! I don't think I could stop at one ;0)
- June 29, 2009 at 10:48 AM
- Steph said...
That is such a wonderful idea! I never would have thought of adding blueberries. I have 2 tubs of blueberries so I might give these a try if I have time to play around with yeast.
- June 29, 2009 at 11:19 AM
- The Duo Dishes said...
Never seen anyone do this with blueberries. Genius!
- June 29, 2009 at 11:36 AM
- Kara said...
Oh no. I've been obsessed lately with trying every incarnation of homemade cinnamon rolls and now blueberry rolls? They look just too good to pass up!
- June 29, 2009 at 12:15 PM
- Unknown said...
Oh my, these rolls are calling my name- they look awsome, Susan! I have a list of blueberry recipes to try, so I'd better get busy. I'm adding these lucious rolls to the list!
- June 29, 2009 at 12:19 PM
- T.W. Barritt at Culinary Types said...
What a gorgeous celebration of summer, Susan! I am in love with blueberries, and smitten with this recipe.
- June 29, 2009 at 12:27 PM
- Cakespy said...
I think I could easily gain a sweet roll around my middle by eating an entire batch of these sweet rolls! But so worth it.
- June 29, 2009 at 12:37 PM
- Creative Classroom Core said...
How come Ive never heard of these before??? They sound AMAZING! I will be bookmarking this one to make for sure!
- June 29, 2009 at 12:45 PM
- Deborah said...
I woke up this morning thinking about cinnamon rolls, but now I'm going to be thinking about these blueberry rolls!
- June 29, 2009 at 1:51 PM
- Snooky doodle said...
oh my! what a nice treat! these look so nice! I m drooling just by looking at the pic
- June 29, 2009 at 2:01 PM
- Rita said...
Hi Susan
This looks wonderful, I have a question about the dough, is it 1 cup of butter, melted (2 sticks melted and that's it) or is it melted butter that is then measured in a liquid measuring cup? I want to make those for the long wekend, the look sooo yumy!
- June 29, 2009 at 3:59 PM
- Soma said...
with something looking as beautiful as this, love for it can never wane! gorgeous.
- June 29, 2009 at 4:37 PM
- Valerie Harrison (bellini) said...
Blueberries are my favourite and tucked into a sweet roll...mmmm
- June 29, 2009 at 6:45 PM
- Patsyk said...
those sweet rolls are incredible! I love the addition of blueberries, but then don't they make just about anything taste better?
Thanks for the shout-out on my Blueberry Crumb Cake post!
- June 29, 2009 at 6:52 PM
- Manggy said...
Goodness, I couldn't even focus on the text as I was dizzied by the wonderful rolls! Love 'em! :)
- June 29, 2009 at 6:57 PM
- Nicole said...
Susan these look absolutely amazing!! Never would have thought to combine blueberries and cinnamon rolls but I can't wait to give it a try!
- June 29, 2009 at 9:08 PM
- Kristen said...
Oh Susan, you've done it again. What a fantastic idea for a roll...never would have thought to do that. They look delicious!
- June 29, 2009 at 9:14 PM
- kellypea said...
What a fabulous idea. Blueberries are something I've enjoyed more fresh than baked unless in a muffin. These sound wonderful.
- June 29, 2009 at 9:19 PM
- Aparna Balasubramanian said...
These do look good, so I'm not surprised you love them so. I heard about these on Twitter too. :)
- June 30, 2009 at 5:10 AM
- Deeba PAB said...
I fell in love with these when I saw the post in my reader. WOW. For the nth time in my life, I wish we got blueberries here.I'm literally stuck to the screen Susan!!
- June 30, 2009 at 6:06 AM
- Parita said...
Oh these look gorgeous Susan! I have got to find some fresh blueberries! a doubt how much is 2 packets of yeast? can you pls let me know in tsp of grams?
- June 30, 2009 at 7:10 AM
- Unknown said...
I don't think I've ever seen blueberry sweet rolls...they always seem to be cinnamon. those look fantastic!!!
- June 30, 2009 at 10:05 AM
- We Are Not Martha said...
Oh gosh! These are even better than cinnamon rolls. And much prettier too! Perfect for a brunch with friends :) Bookmarked!
- June 30, 2009 at 1:50 PM
- Juliana said...
Wow, your blueberries rolls loos absolutely fantastic...could not look yummier! And you are right, why not use blueberries while in season? Love the pictures.
- June 30, 2009 at 2:18 PM
- Peter G | Souvlaki For The Soul said...
OMG!!!!!! I will def be making these with fresh blueberries! Or should I just use frozen?...decisions, decisions....I love these rolls Susan!
- June 30, 2009 at 3:26 PM
- Abby said...
SUSAN. You are SO talking my language right now. I have SO many frozen blueberries from my dad's garden that it's ridiculous.
I know what I'm making this weekend.
- June 30, 2009 at 3:50 PM
- Johanna GGG said...
now this is my sort of yeast baking - you are truly a temptress!
- June 30, 2009 at 5:42 PM
- eatme_delicious said...
I was just thinking about making cinnamon rolls today but now you've convinced me I must make these! They look gorgeous. I can't wait to get my hands on some local blueberries.
- June 30, 2009 at 5:44 PM
- Susan from Food Blogga said...
karen-Don't be surprised if you do! ;)
kristen-You're so welcome!
rosie-Oh, thank you!
steph-They pair perfectly with the sweet dough.
duodishes-Genius. That's my mom! :)
kara-Move over cinnamon rolls!
lynda-Make sure they go at the top of that list! ;)
tw-They have that effect on people. :)
cakespy-I'm feeling a little roly-poly myself! ;)
finsmom-It's the sweetest secret. ;)
deborah-They are worth day dreaming over!
snooky-Thank you, my dear!
Rita-It's melted then measured into a cup. Good question! I hope you enjoy them! :)
soma-Thank you so much!
val-Mmm... indeed!
patsy-Oh, you're quite welcome, my dear!
mark-Dizzy, huh? I'll take that as a good sign.
nicole-You aren't going to be disappointed. The flavors are divine!
kristen-That's my mom for you-- always thinking of terrific baking ideas!
kellypea-I'm so happy you like them!
aparna-Did you? I have been away for a few days, so I'll have to check it out!
deeba-Whaaat? You don't get blueberries?! That warrants a trip to The States then!
parita- Oh, sure. One packet of yeast is 7g or 1/4oz, so 2 packets is 14g or 1/2 oz.
danielle-They're so amazing, especially in the summertime.
wanm-Perfect indeed! Thank you so much!
juliana-Oh, thank you. I enjoyed taking them too.
Peter-Fresh! Fresh! Of course, frozen is fine too.;)
johanna-A temptress, huh? I like that!
ashley-That's right. Move on over, cinnamon rolls, cause blueberry rolls are in town!
abby-Yay! I'm so happy to hear that!
- June 30, 2009 at 7:14 PM
- Sharon said...
You're certainly right - please add lots of the glaze! These are gorgeous.
- June 30, 2009 at 9:40 PM
- veron said...
Hubby is obsessed with blueberries and I am sure we will love this!
- July 1, 2009 at 7:22 AM
- Michelle @ Find Your Balance said...
My husband would flip for these. Lately he's been baking blueberry muffins obessively. Now if only I could get him to clean the bathroom...
- July 1, 2009 at 12:25 PM
- Sha said...
Can't resist to blueberries... I can't find them so much in France. Hopefully I'm gonna come back to Scotland soon ! And make these rolls :)
- July 1, 2009 at 2:29 PM
- Ivy said...
I love cinnamon rolls and pity we can't get any blueberries in Greece. These sound amazing.
- July 1, 2009 at 9:07 PM
- Pille said...
What a brilliant idea!! I think I'll use my regular cinnamon bun dough, but using blueberries (or bilberries, which grow wild here) instead of cinnamon.
Beautiful summer sweet!!
- July 1, 2009 at 11:16 PM
- sunita said...
Mom's the best! Those rolls look so beautiful. Thanks for sharing, Susan.
- July 2, 2009 at 6:34 AM
- Susan from Food Blogga said...
sharon-I LOVE the glaze!
veron-Then he'll love these, I promise!
michelle-Make a deal. He cleans the bathroom, he gets Mom's blueberry sweet rolls. ;)
sha-I'm surprised at how many people can't find blueberries where they are.
ivy-Oh, that is so sad. :(
pille-You'll love it!
sunita-Moms are the best. :)
- July 2, 2009 at 9:08 AM
And I didn't think sweet rolls could get any better. I will definitely be trying these.
- July 2, 2009 at 10:51 AM
- Jennifer said...
Oh my!!!! BLUEBERRY ROLLS?!?! You have just won my heart! These look and sound AMAZING!!!!
- July 2, 2009 at 4:43 PM
- Sarah Caron said...
Oh my goodness. Blueberry Sweet Rolls sound divine! I love sweet rolls and love blueberries, so that sounds like an amazing combination. Can't wait to try them!
- July 2, 2009 at 8:40 PM
- Cynthia said...
The lighting of the photographs makes these even more heavenly!
- July 2, 2009 at 11:28 PM
- Anshika said...
Once in a coffee shop I has this blueberry cake and I fell in love with the wonderful taste of blueberries.
- July 3, 2009 at 12:37 AM
Susan - I made these over the weekend. They are incredible!!! My husband said I could sell them, although I don't think I could bake them fast enough to have any left to sell!!! Thanks for a great recipe. Jo-Ann
- July 7, 2009 at 3:57 AM
- Memória said...
What is the point of preheating the oven if the dough is going to sit in the refrigerator overnight? Shouldn't that step come after refrigeration? *scratches head*
Anyway, I plan to make these rolls ASAP. I love the addition of blueberries, and I have some sitting in my freezer right now.
- July 7, 2009 at 4:22 PM
- Susan from Food Blogga said...
sliceofsueshe-I know! :)
jennifer-Yay! I'm so happy you love them!
sarah-Hope you enjoy them! Thanks.
cynthia-I appreciate that!
lone acorn-They're easy to fall in love with.
jo-ann-Yay! I'm so happy you and Lou loved them! Thanks so much for letting me know! :)
memoria-Yup, the preheating comes the next morning. Thanks. Hope you enjoy!
- July 8, 2009 at 6:44 AM
Hi Susan, I made these blueberry rolls for my 4th of July breakfast, and they were awesome! My kids gobbled them up and want to know when I'll be making more! Thanks for a great recipe. Mary from Maine.
- July 9, 2009 at 6:48 AM
I am making these tomorrow for my boyfriend! They look so good and he loves blueberries. I'll be sure to report back after :)
- July 10, 2009 at 8:01 PM
- Rachelle S said...
Those look and sound SO good! Funny you posted this. The other week I was thinking, why make cinnamon rolls? Why not add fruit instead, like a danish?
Ta da! =)
- July 17, 2009 at 4:53 PM
- lisaiscooking said...
Just saw these on blogher, and now I have to try them! These look insanely good.
- July 18, 2009 at 6:16 AM
- Lenetta said...
Mmm, I love blueberries! I linked to this on my weekly roundup, post is here. Thanks!
- July 18, 2009 at 12:36 PM
- Cancemini4 said...
I've always been terrified to attempt yeast breads, but you've inspired me! I've never seen a more delicious looking sweet roll.
- July 31, 2009 at 7:20 AM
- Deanna said...
I made these and blogged about them at http://marzipanmom.blogspot.com/2009/07/blueberry-cinnamon-rolls.html. They were wonderful!! Try them with a drizzle of cream cheese icing...oh my!
- August 1, 2009 at 5:55 AM
- Maria said...
Susan-these are fabulous! I can't wait to make them.
- June 30, 2010 at 7:09 AM
I just found this website and these rolls look divine! I want to make this for a bigger gathering. Can I just double or triple this recipe?
- August 26, 2010 at 11:40 AM
- Susan from Food Blogga said...
melissa-I haven't done it before, so I don't know for sure how it would turn out. My inclination would to do separate batters. I find working with a really large amount of dough to be tricky. Hope you enjoy them!
- August 26, 2010 at 11:47 AM
- Mar said...
I made your recipe and the wonderful result!
- November 17, 2010 at 2:43 PM
Mmmmmm..I am loving these! I have a bunch of blueberries in my fridge. I think I know what I want to make! :)
- July 20, 2011 at 2:32 PM


text:
Travelling photographers catered for quite a different section of the portrait trade from those who had established studios in larger towns. The population of smaller towns and villages just didn't generate enough business to keep a full time permanent studio viable year round. In order to make ends meet, the photographer who either lived in or wished to cater to a small town needed to either find extra work in an alternative trade, or travel further afield in search of customers.
In previous articles here on Photo-Sleuth I have written about several of these itinerant tradesmen who worked in Derbyshire, England: "Professor" Frank Simpson, Charles Tyler and Charles Warwick all owned caravans and toured the countryside, often following the circuit of summer fairs.
J.B. Silvis' U.P.P.R. Photograph Car
Image © and courtesy of Richard D. Sheaff
In North America the rapid settlement of vast expanses of land in the late nineteenth century meant that practitioners who wished to ply their trade there needed to be inventive. Much of the expansion took place along the network of railroads, it is therefore not surprising that railroad photographers set up business to service these disparate communities. The most famous of these was perhaps John B. Silvis, proprietor of the Union Pacific Rail Road car, who took portraits and sold stereoscopic and other landscape views along the Union Pacific and other companies' railway tracks from 1870 until 1882.
F.E. Webster's Dental and Photo Boats, Lake Charles, Calcasieu, Louisiana
Mounted paper print, 204 x 153mm
Image © and courtesy of Jana Last
In parts of the United States, however, communities were linked by waterways rather than roads or railways. Many tradespeople serviced their customers from riverboats, but I had never come across a photographic studio housed on one until I saw this image shared by Jana Last on her family history blog. Jana's maternal great-grandfather Frederick Emory Webster (1864-1946) graduated from the Western Dental College, Kansas City, Missouri in April 1896. Some time during the next decade he appears to have operated a dental surgery from the boat shown at centre in the photograph above which, according to the handwritten caption, is on the shore of Lake Charles in Louisiana.
Detail of F.E. Webster's Photo Boat, Lake Charles, Calcasieu, Louisiana
Moored alongside is an almost identical craft with a sign reading "F E WEBSTER PHOTO BOAT." (Click on the image above for more detail.) That it does indeed house a photographic studio seems quite plausible, as the end of the boat closest to shore has large windows and a special skylight with pitched roof which I believe was the actual room where portraits would have been taken.
F.E. Webster's Dental and Photo Boats, unknown location
Mounted paper print, 202 x 124mm
Image © and courtesy of Jana Last
Jana has at least two more photographs of her great-grandfather's boats, although the photographer's studio has now been replaced by the premises of an optician. That the same boat was converted from studio to eye-testing rooms, and presumably a dispensary (or how would he have made a living, since the eye-tests were advertised as free?), is fairly certain because the characteristic skylight is still just visible in both photographs.
In fact, the Photo Boat may have been Webster's first craft, as the name painted on the prow appears to read "F.E. Webster No. 1," while that on the dental boat is quite clearly "No. 2." I've not been able to decipher the caption fully (it is written in either Portuguese or Galician, in neither of which I am proficient), but it appears to state that the floating theatre is towed by the steamboat with two smokestacks.
Detail of F.E. Webster's Dental & Photo Boats, Lake Charles, Louisiana
That steamboat appears to be a different one from that in the first photograph taken at Lake Charles (see detail above). Judging from the apparent lack of paddles or smokestacks on the floating studio and surgery, they were not self-propelled, but rather barges towed by a paddle steamer. It's not clear whether Webster owned his own steamer, or whether he just hired one to tow the two barges whenever they had exhausted the opportunities for business in one location and wanted to move to another. However, I did note that the steamboat superstructure also has "Photographer" signwritten on the wheelhouse.
F.E. Webster's Dental and Optical Boats, Natchez, Mississippi
Mounted paper print, 205 x 153mm
Image © and courtesy of Jana Last
The caption on the third photograph indicates that it was taken at Natchez, Mississipi. Locations in FE Webster's timeline show a general migration south, away from his former residences in Stockton (Kansas) and Kansas City (Missouri), down first the Missouri River and then the Mississippi, although since none of the photographs are accurately dated it is difficult to be precise about his movements. By April 1899, when he was granted a patent for a dental handpiece, and shortly after the granting of a divorce from his first wife, he gave his address as "Clarendon, Monroe, Arkansas." It may have been an address of convenience, perhaps that of his lawyer, as presumably he was on the move much of the time.
Portrait of Cynthia Maria Webster née Waterman (1834-1895)
taken by The F.E. Webster Photo Boat, c.1894-1897
Albumen print (47 x 61mm) mounted on printed card (60 x 77mm)
Image © and courtesy of Jana Last
Jana is also very fortunate to have a portrait taken F.E. Webster's Photo Boat studio. Although identified as the photographer's mother, who died in September 1895, I think it's possible it might be the portrait of one of her daughters. Whoever it is, we can see from the card mount that it was produced on the boat, and I believe from the wide sleeves worn by the subject that it was taken in the mid-1890s.
Frederick (Watson) Emory Webster (1864-1946), taken c.1890-1896
Cabinet card print by David P. Thomson of Kansas City, Missouri
Image © and courtesy of Jana Last
Webster, pictured here in Kansas City while he was studying to be a dentist or on his graduation, may not have lasted very long in the photograhic trade, but his choice of studio was pretty unusual. I've not yet found evidence of any other portrait photographer using this mode of transport, although there may well have been some.
Doremus' Mississippi Views Photograph Gallery, c.1870s
J.P. Doremus was a portrait photographer from Patterson, New Jersey, who in 1874 constructed a floating photographic studio which he used to travel down the Mississippi:
... from St Paul, Minnesota to the Gulf of Mexico photographing steamboats, waterfronts, bridges, lumberyards, log rafts, and river towns. Doremus would then convert these images to stereo card views which he described in a short work entitled "Floating Down the Mississippi" (1877).While there are plenty of extant stereoviews by Doremus, there is no evidence that he took any portraits in this studio. Perhaps Webster's studio was one of a kind.
I'm very grateful to Jana Last for the opportunity to use these photographs from her private collection. Thanks also to Dick Sheaff for the use of one of his fine images. You may or may not find similar modes of water transport in this week's Sepia Saturday contributions, but I can guarantee that there will be plenty of interesting images.
Post Script 31 March 2014
Mike Brubaker has very kindly drawn my attention to a collection of photographs of Photo Studio Boats on the Cincinnati & Hamilton County Public Library web site, which demonstrates that Mr Webster's venture was not the only one of its kind. From this page, I extracted details of the following:
- Williams Photo Boat, Sistersville, West Virginia, 1896-1900, and on the Muskingum River, Marietta, Washington County
- H.O. Schroeter's Floating Photo Studio, Green River, Kentucky, 1900
- Doremus Photo Gallery No.1 named Success and No. 2 named Flora
- Thornton Barrette's Photograph Boat, Russell, Ky., 1899-1900
- Little Gem Floating Pictures, unknown location and date
- Eureka Photo, unknown location and date
Clearly more research can be done on this topic.
Last, Jana (2014) The F. E. Webster Dental and Photo Boats, Jana's Genealogy and Family History Blog, 3 February 2014.
J.P. Doremus, on the Mississippi River Museum & Aquarium web site.
Stereoviews by J.B. Doremus, from George Eastman House.


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Økonomistyring i det offentlige
Tor Busch. Johnsen, Erik og Jan Ole Vanebo
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Title: Økonomistyring i det offentlige
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Fall Flowers
All Hail to Fall!
Flower Arrangement
Three cheers for autumn! This collection of fall-colored flowers is a great blend of vibrance and energy for any fall-themed occasion. Happy sunflowers are surrounded by a variety of roses, mini roses, snapdragons and mums inside a flared orange vase. This elegant fall flower arrangement will be a great centerpiece to your best autumn parties and dinners, or a backdrop to even more elegant fall evenings.
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There's no denying it, the flowers of fall show the most fabulous color displays in nature. Who wouldn't want to bring these ruddy reds, deep browns and pumpkin-colored arrangements indoors? Flowers are easy decorations for spontanious fall parties. Maybe you know someone who needs a little uplifting? Let JAMES FLOWERS help you send fall flowers in a variety of autum colors.


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Then Randall says that he wishes he could have aged in reverse - now I'm not sure why he wished this. I suppose he's saying that if he started old and got young, then he too could have followed the progression of lithium batteries.
What I don't get is why the FUCK HE CARES. Ok, woo, your portable electronics can have lithium batteries! whoop de damn do! take that, you fuckers who like alkaline batteries more! fuck you!
Look Randall. You are growing up in the 21st century (as you occasionally remember). You can age the normal way and still get to use lithium batteries all the time! You will be old, and you can use a pacemaker, with your beloved battery in it! Or maybe we will have invented something even newer and shinier for you to put in your heart. Then you'll be glad you were born like every other human, eh?
Honestly, your first attempt at living-backwards humor was funnier. Don't try again.
Ok i'm sorry to harp on it but seriously: Why not say "my life would be better if I were really rich" ? You could buy a businessman phone if you felt like it in the late 80s, it would just be expensive and a waste of money. You could have a pacemaker installed, too, but i don't know why you would. Why not "my life would have been better if lithium batteries had been used in different products at first, targeted at a younger demographic"
what still makes no sense is what the hell is so special about lithium batteries? Wikipedia tells me that they have "a liquid mixture of thionyl chloride (SOCl2) and lithium tetrachloroaluminate (LiAlCl4)" which "act as the cathodeand electrolyte respectively. A porous carbon material serves as a cathode current collector which receives electrons from the external circuit." Well hot damn.
Clearly, this comic is meant to express some important feelings Randy has been having recently, which is why I'm not sure why he didn't just come on out and say it:


text:
The name Salt River Fields at Talking Stick defines the location of the baseball spring training complex and speaks to the Salt River Pima-Maricopa Indian Community's cultural heritage.
"Salt River Fields" alerts baseball fans that they are visiting the Salt River Pima-Maricopa Indian Community.
"Fields" refers to the 12 practice fields located within the facility and also the Community's rich agricultural history.
"Talking Stick" is an historical reference to the traditional Pima calendar stick on which carvers recorded historical events and milestones.
Salt River Fields at Talking Stick will be the newest entertainment venue to carry the "Talking Stick" brand as it joins Talking Stick Golf Club and Talking Stick Resort.
The Salt River Fields at Talking Stick logo is based on a concept by local Pima artist and calendar stick carver Royce Manuel.
The logo incorporates a rattlesnake to symbolize the Arizona Diamondbacks and a mountain to symbolize the Colorado Rockies.
The logo also emphasizes the scenic mountain ranges that surround Salt River Fields at Talking Stick and illustrates the role of the rattlesnake in southwestern Native American legends.
Royce Manuel's concept utilizing the snake and mountain icons has been refined by FocusEGD, a Dallas-based design firm, which developed the final graphic image for Salt River Fields at Talking Stick.