Normally – practically always, as a matter of fact – the embroidery projects I work on are mounted on an embroidery frame or in an embroidery hoop. For some types of embroidery, it's essential to use a hoop or frame.
Goldwork and silk embroidery (like the Medallion project, this goldwork pomegranate project, this goldwork and silk Agnus Dei project, the little Tudor rose, and so forth) absolutely require that the work is mounted on a taut frame. Crewel embroidery (i.e. this crewel rooster) also benefits from mounting in a frame or hoop.
There are other types of embroidery, though, that don't necessarily need to be worked in a hoop or frame. The skilled embroiderers of Madeira, for example, worked their delicate and beautiful whitework motifs without a hoop, in their hands, with their worked wrapped around a finger to gauge tension.
And certainly, there are many situations where embroidered linens and the like – adorned with typical surface embroidery stitches – can be easily held and worked in the hand, without the use of a hoop.
Today, let's chat ourselves up a bit about working in hand, without a hoop.
On the Hungarian Redwork Runner project, I decided not to use a hoop. A few reasons steered me in that direction.
First, the Hungarian Braided Chain Stitch is the dominant stitch in this project, and, worked with a heavier thread (perle cotton #8 in this case), it is a chunky stitch. Even with a hoop that's been bound and padded, I knew it would be difficult, once the embroidery was filling in, to pop the hoop easily on and off and to avoid flattening the chunky stitch.
Now, don't get me wrong – when using a hoop in regular surface embroidery, it is perfectly normal and permissible to move the hoop around over previously worked embroidery. Take, for example, a kitchen towel (like a white cotton flour sack towel) that you're covering with hand embroidery. You can move your hoop from one section of the embroidery to another, even closing the hoop over previous stitches. The stitches may initially flatten a bit, but once you've finished the project, rinsed it, and dried it by whatever means you use, the stitches will rejuvenate themselves and look fine. Just remember to move your hoop and adjust it with care when placing it over other stitched areas. A bound embroidery hoop is always the best option in such circumstances. The binding gives the stitches at least a little something to sink into, anyway.
So Why Not Use a Scroll-Type Frame?
There are good frames out there that would counteract this whole hoop-moving question. For example, the Millenium Frame would be a good frame for this type of project. The project could be easily rolled around the rollers, exposing only the parts to be stitched, and the piece could be kept taut, and I'd have two hands to work with.
Second, I've been wanting to work a whole project in hand for quite a while, because it's not something I normally do. But I want to be able to tell myself I can do it – or have done it. It's a question of broadening the old Experience Bucket, if you know what I mean.
There was, once upon a time, an elderly lady living here in my town with whom I'd talk about embroidery when I was in college. She would really encourage me to pursue my interests in needlework all the time. Every time I ran into her, she would push me again in some needlework direction. She herself worked beautiful whitework embroidery on linen, and she never used a hoop or frame. She said she never learned to use one – she wished she had, but it was too difficult for her now to learn a different way.
It's like using a thimble or not using a thimble. Or driving an automatic and never a standard car. If you get used to one way and never try the other, eventually it becomes difficult to learn another way.
What I'm finding about working in hand is interesting. It definitely takes a while to get used to it, if you're used to working in a hoop or on a frame.
One of the greatest advantages of working on a frame (besides the tautness of the fabric) is the fact that you have two hands free to work with (if you're using some sort of stand, which I do).
When you're working in hand, that isn't the case. But you quickly learn how to make use of the hand holding the work – you find ways to stretch your thumb, for example, and hold onto the needle while you're dominant hand does something else, like tightening up the working thread.
You also discover ways of assuring proper tension. When you're working in hand, you really have to be extra careful of the whole tension question. But after a while, you definitely get a better feel for tension, because your fingers are in closer contact with the fabric and the embroidery thread. You have a more tactile impression of what's going on with the thread and the fabric as you take a stitch.
And wow – the fabric really gets bunched up and wrinkled when you work in hand. In a project this large, quite a bit of the fabric is bundled in the other hand.
This may legitimately lead to a concern for the cleanliness of the project. After all, I've got my grimy paws all over the thing, and when I'm working in a frame or hoop, I don't generally touch the fabric much. Besides washing my hands regularly (always before stitching), there's the fact that the piece will be cleaned and blocked at the end. This is a piece made for laundering. It can be washed without a problem.
Another thing I noticed when I first started the stitching was that my hands got sore. I am not used to holding the fabric this way. It seems to put a whole different group of muscles to work! The soreness has worn off pretty much, now – it just took a little bit of getting used to.
So, what about you? Do you ever work without a hoop? (There are some stitchers, I know, who never, ever use a hoop or frame.) Do you always use a hoop? What are your thoughts or concerns about using or not using one? Any tidbits of advice or information you'd like to share with others on the subject? Or any questions, comments or suggestions about stitching in hand vs. stitching in a hoop? Feel free to have your say below!
November 10, 2012 Testing Embroidery Threads: Colorfast?
I generally work with out a hoop or frame. But there are some projects I've done that would have benefited from a hoop. I'm mostly working very thick fabrics (items done in nalbinding) so a hoop isn't possible for these.
Interesting post, Mary. It's fun to see how other needleworkers work.
I stitch with a combination of all forms of fabric handling; hoops, stretcher bars, frames, in-hand. Most of my work on countable ground is done on some sort of frame; the embroidery is usually done in-hand. The exception would be small counted pieces done on paper or other sturdy groundm, like the Mill Hill Santa ornaments.
I think it's because I tend to use the stab method when I'm doing counted work, but the sewing method when I'm doing embroidery. I even do Brazilian embroidery in hand most of the time, and that's considered a no-no in the BE community. But it works for me.
Remember to relax your hands every so often. Stitching in hand for too long can cause cramps and other problems.
Two comments on working in hand rather than a hoop. First, it is more comfortable for my shoulder, neck, etc., to work in hand as I can move around more easily. Secondly, for me, there is a real sense of pleasure as the piece begins to be worked as both the sound and feel changes. I hope this last comment doesn't sound too weird.
Thanks so much for this post. When I first started needlework 2 years ago I started with cross stitch and embroidered a table cloth with the pattern already traced, i didn't use a hoop/frame and found it easy to sew without them and you are more mobile you can sew anywhere. But since using a hoop/frame I have come to realise the importance of tension in needlework and until I am more experienced like you at sewing I would not attempt such a project without a hoop or frame.
I love the photos you make me want to follow you on this project!!!
Hi, nice article about not using a hoop. I only make cross stitches, LOL, so tension is not a big deal for me. I would love to use a hoop or frame but my left hand can't take it, no matter how long I keep trying, or exercises or stretches or frequent breaks. I do use a stand up frame for larger pieces so I can work with a double ended needle (two hands) but I work large projects less and less these days. So I am basically a no hoop girl.
It's funny this has come up today, as I was just going through whether to use a hoop on some small embroidered designs. I find it depends on the day, and my mood to be able to control the fabric without a hoop. Personally, my hand tendons and muscles prefer not to use a hoop. Also, I find I have less neck stiffness without holding a hoop. However, I must be determined to stop and check the tension of the fabric very often. If not, it could be a sorry sight. What might make a difference is that I never embroider very large projects – just embellishments and childrens' projects. Have a blessed day!!
Hi Mary, Good discussion today. On small projects I use a hoop. I have the hoop that you sit on and hoops come in various sizes.
Generally I use stretcher bars and brass tacks. I find my work stays very tight and really does not loosen up. I probably use this technique because worked in a needlepoint shop and that's how we put our canvases.
Questions, Mary, do you ever use a slate frame? I have one and only used it once. It's very time consuming.
Some people say to never use a hoop. As you move around the project the hoop leaves crease marks that you can never get out. It seems to stay clean so I don't wash my work as after being stitched. So my question is, do you ever have the problem with crease marks that you could not remove w/o washing?
I use a slate frame quite often, actually. The Millenium frame has become a close second to the perfect tension that can be had with a slate frame, with the advantage that it is a whole lot easier to set up. But once a slate frame is set up, it's perfect for long-term projects. I really love using them.
If you pad your work in a hoop, or if you bind your hoop or cover it with another cloth (muslin for example) in the hoop and then cut away the center area so you can stitch, this helps keep the fabric clean and free from rings of dirt. It doesn't, however, help keep it from hoop creases. I never use a hoop on something that can't be washed or at least dampened for blocking. If the thing can't be dampened, it's pretty unlikely that all the hoop marks will come out with ironing. The only exception would be if the design fit easily inside the circumference of the hoop, so that, when the finishing is done, the hoop rings wouldn't be visible, anyway. But on projects like that (projects that can't be washed – like goldwork and so forth), I normally would use stretcher bars and tacks, a Millenium frame, or a slate frame, anyway.
At the present time I'm recreating a small Methodist my great grandfather helped to found in or about 1880. I'm working from a pencil sketch my cousin made some 50 years ago (we share the same relative). I would rather do this without a hoop, but straight lines are important and I'm unable to judge straightness without the aid of a hoop.
That sounds amazing I would love to do something for our church so they would remember me when I'm no longer on this earth but walking with Jesus on higher ground.
But firstly would love to do one to glorify God.
Could you put a picture of your article on here or email it to me not to copy just to admire please.
I have never taken on a large project before my biggest was for my son i recently did..he's moving to live in Thailand with his work for 1 year and I wanted something that he would remember us all with.
What words are on your work for your Grandfather's church I'm so curious about it. I saw one done in a different church to ours and it must've been approx 5yds long by 4/5 ft wide made as a very long banner it was amazing.
It would surely need a very thick stitch to be seen and read what stitch are you using?
I apologise for all these questions but I have find that so very interesting..Thank you anticipation.
I work without a hoop or frame when I think I can get away with it. One tip (which you may have already discovered) for coping with the fabric you're holding in your off-hand: roll or fold it neatly and tie some loose loops or something to hold the folds in place. That way it doesn't get wadded up quite so badly and you just might end up with fewer wrinkles in the finished work.
I work mostly in felt appliqué and felt embroidery, so hoops and frames are impossible and impractical. I have on occasion used small hoops for towels or small decorative projects, but find that if the hoop is too big, I have difficulty holding the hoop and working the needle.
I have never used a stand to sew, so working with two hands to embroider would be a strange experience. My right arm and hand definitely do the lion's share of working and moving. I find that sitting in a tailor's position (legs folded or crossed in front while seated with a straight back) helps quite a bit and is fairly comfortable to do on the couch. It is nice to be able to sew anywhere if I wish.
I wanted to add, I wash my hands frequently when sewing. I can feel them start to get greasy, sweaty, or just "dirty"-feeling, and it's a good time to take a break and run some warm water and soap over them.
I do lots of felt embroidery too and never use a hoop for it. Just doesn't seem necessary, and it's nice to be able to take whatever I'm stitching up with me anywhere I want without lugging around a hoop too.
I do generally use a hoop when working with cotton and other fabrics that are less stiff. Otherwise I tend to stretch the fabric out funny and the end result just doesn't look right.
It depends on what I am stitching. I usually used to only do in hand, but when I started using a scroll frame…I found all my stitches looked better because I got better and a more even tension. I normally work on28 to 36 ct linen except when doing towels. Now even my surface embroidery on towels in in a hoop.
Nice post, Mary. Thanks for sharing and for the pictures.
I almost always use a hoop, just because for me it is easier to have the frame hold the fabric. I have also worked small and large projects without a hoop or frame. You covered the pros and cons pretty well. One consideration I have about working especially a large project (whether in a hoop or frame or out) is that besides my hands needing to be clean —— I get cat hair on whatever I'm working on. And I found that if I work without a hoop the cat hair multiplies.
I also have a dog. Tweezers are a great idea if the fur is in the stitch itself. I keep one of those "sticky paper" on a roller nearby to roll over my fabric occasionally. It helps remove a lot of the fur before it gets picked up and included in the stitch. I will keep a pair of tweezers nearby also. Thanks for the suggestion!
Animal hair, human hair, dust, fluff… you name it and it has landed on my needlework at some point. As someone mentioned before, when not working, I keep my work covered. When working, I have tweezers at hand to keep extraneous stuff from my stitches. I use scotch tape to pick up lint and stuff from the fabric. Like the lint roller it picks up stray items. I prefer tape because I can get close, but not disturb the threads.
I like working in hand. I even do some needlepoint in hand. I find it much easier to place my stitches and to control tension. I find I have less tendency to bend over my work and have less back and neck pain.
This was helpful for me to read, Susan. Bending over my work is a large concern for me, since I have a crunchable, osteoporotic spine. I should probably give up doing needlework altogether, since I've been warned against 1) sitting for extended periods, 2) bending forward over a table or frame, and 3) remaining in the head-downward position (as in, looking at your work!). But I can't give it up; it is the thing that I love. I'm trying to come to terms with "acceptance"–that is, acceptance of the fact that the activity I love doing more than anything else is now "not good for me." I will try practicing in-hand and see if I can remain more upright. Thank you for your helpful comment.
Having a hoop was not an option growingup! I finished my first piece at 7, a kit I begged my aunt to buy me. I fell in love. I just gave my aunts cookbook cover, cookbook included, to my 16 yr oldculinary student granddaughter Emily. I made it 40 yrs later fir that same aunt. Emily was awed that I made such beauty.
I have purchased so many hoops and they all end up in the attic!! I LOVE this blog! Thank you and happy stitching to you!
As I was reading your post I smiled all the time!
Do you remember your long and short stitch lessons? As a good pupil I used a hoop… it was hard but I used it and I think for this kind of stitches is better using a hoop.
I never use a hoop, i embroider in hand even satin stitch. In Portugal (Madeira is Portugal 😉 ) hoops are not used only for large drawn threads – Only Embroidery of Castelo Branco is made in frames or hoops because the threads used are just and only silk threads!
Have a great week and I love the work you are doing – I love monochromatic embroidery.
I have tried many types of hoop and frame but now generally work in hand. I find my tension is better that way as with a hoop or frame I tend to over tighten my stitches. I do all types of embroidery , from hardanger to free style surface embroidery. I do think it is a personal choice and whatever works for you go with it.
It is wonderful to see this! I use a hoop for some stitches (and when I do use a hoop, it is a sit upon, so I can use 2 hands), but do most of my embroidery 'in the hand'. I have been very fortunate to have been to Madeira twice, and taken lessons from some of the ladies at the Imperial Bordados (sadly, no longer in business). They taught us that the first motion that you learn as a child is to eat, and that is how they stitch, holding the sharp point of the needle towards them. They used a 7 Between (although we used a 7 sharp, as it is a bit longer) and floche (yummm) to stitch all of their embroidery stitches, except for the pin stitch, which they used regular thread. The way the fabric is held taut takes the place of the hoop, so there is not a problem with the fabric pulling up and not laying flat after the stitching was finished.
I am fascinated by your comments. I have begun working in the hand when I use madeira type stitches, buttonhole, small satin stitch, stem stitch etc. I have searched for months for a finger guard which I find necessary for proper tension. The only place I found for them is Lacis which is too bad as their customer service is not good.
I would love to hear any more comments you may have on how to manipulate the fabric and needle. My book, The Embroidery of Madeira, lists the stitches and equipment but is silent on actual stitching techniques. Thanks so much for your help.
This reply is for Marilyn!
The embroideresses that we worked with in Madeira all used a thimble (although I don't – I did not learn with one and have never gotten used to using one). For a finger shield, I use the plastic that is used to cover benches, picnic tables, etc., that you get at Joann's for about $3/yd. Cut a piece or plastic that is eide enough to go from the tip of your finger to the knuckle (you want to be able to bend your finger) and long enough to go around about 1 1/2 times. Take a piece of electrical tape and tape it together. You can also use the Wonder tape (stitcks to itself) and trimit to fit your finger. You don'teed tape to hold it in place. The great thing about these finger shields is that as you wear them, the plastic warms up and becomes malleable – part of your finger! It gives plenty of protection without being stiff an uncomfortable. I even forget I have mine on when I am finished stitching. I will try toget a picture of that posted on my blog.
As far as manipulating the fabric and needle – they taught us to always point the needle towards yourself as you are stitching. Manipulate the fabric so the design is in the direction to be able to do that. Hope that helps!
Working in the hand to be a good choice for stitches that can be sewn as opposed to stabbed. Small satin stitches (such as for Hardanger) can be done in the hand. Long laid stitches are best kept for a hoop or frame though.
The fiber also makes a difference: wool (especially on wool fabric) is very easy because it is a forgiving fiber. You can steam out minor tension issues. Cotton doesn't take as well to steam but still simple to embroider in hand.
I second the idea of rolling the fabric to fit it in your hand. Also be prepared to turn your work much more than if it was in a hoop or frame. Finally, I wash my hands about every 1-2 hours when embroidering in the hand. That may seem like a lot but it keeps the embroidery clean.
I was so excited to see that you were going to do this project "in hand"! I was wondering from the get go how you were going to mount the project in a frame and for me just a little amateur stitcher I felt like this was going to be a project beyond what I was capable of doing. Now that you are doing this in hand it gives me some thought that I could do something like this as well!! I have always embroidered with a hoop. This is how I learned as a little girl from my mother and grandmother. Thanks for making this so fun to follow!
I do use a hoop when I have to, like with the Nesting Place project earlier this year.
I think I work equally in hand and using a frame or hoop, just depends on the type of stitches I am doing – some stitches are much easier in hand, IMO.
I have at times stitched without a hoop. When I do, I gently roll the section not being worked on and secure it so if I need my left hand the fabric stays organized. I love to stitch using a floor stand so that I can stitch 2 handed…dominate right at the bottom and left on top.
I have recently stopped using a hoop when doing counted cross stitch. I find it much easier. I wish I had done this years ago! But I was taught by my old-school mother to always use a hoop. Oh, well!
I think it is much easier to handle the fabric. I don't have to worry about where to put the hoop so that it doesn't mash previous stitches, but I can still reach the unstitched parts. Also, I think the finished product looks better. The stitches seem to blend together better. Best of all, I don't have to worry about rebuilding the callus on my middle finger from pushing the needle through. (I don't use a thimble. Never could get the hang of them.) It is much easier to push the needle through when working in hand instead of with a hoop.
Just my two cents worth. I am really looking forward to seeing your runner. Red is my favorite color, so I am sure I will love it. Keep up the good work!
I actually prefer to work without a hoop. My tension is better because I can feel if I'm pulling too tightly or not enough. I find it easier to get stitches the correct length. I like the feel of the fabric and thread in my hand. When I do use a hoop I find it awkward and quite painful on my hands. Nonetheless, there are some times when a hoop is needed and I do use one then.
My preferred embroidery is surface embroidery and for that I definitely don't use a hoop.
I'm a newbie to proper needlework, but have almost always used a hoop…mainly because I hadn't considered other ways. I've imagined the 'in hand' method creating problems as the turn of the cloth creates a different (curved) surface which will ultimately end up being flat.
This is a very interesting article, and the discussion valuable to me as I try to improve my hand embroidery. Thank you very much for your article and facilitating this discussion.
Linda, the "curved surface" issue you mention is the thing that concerns me, too. I would like to stitch in hand, since these days, my left thumb gets crampy grasping a hoop. But I've always worried that once the project is laid flat, the stitches would somehow "bubble." I'd be grateful if someone who stitches in hand could address this. Thank you, Mary, for this topic…and your entire blog! I never miss a day.
When I learned to embroider many years ago, I always used a hoop. I did many dishtowel sets that way. Nowadays, however, I usually embroider as a means of holding raw-edge applique pieces in place. I've used a two-sided backing on my applique pieces, so by the time the piece is assembled and ready for embroidery, it's already pretty stiff. Plus using a hoop would probaby cause some of the applique pieces to come loose. In my experience, the applique/embroidered pieces have come out okay with regard to tension, etc. With practice, the tension becomes much less of an issue.
I call it a crewel embroidery piece although technically it might not be that. The only time I use a hoop is when I want to use a satin stitch.
I love the fell of the fabric in my hands.
I find it easy to work with small hoopsup to about 6 inches. When it gets to much larger, I find I have trouble reaching my work so sometimes try without hoop. Sometimes the working fabric will pucker due to my lack of tension regulation but, if I pay close attention while working I have no problems working without a hoop.
Over the course of 50 years working embroidery I would say I have used a frame of some kind for 95% of the work that I have done. I possess several hoops and two rectangular frames so normally find something that will fit the size I am working. One tip I will pass on is to have a screwdriver in your workbox to tighten the tension of your frame. So many embroiderers today don't tighten their hoops enough, they should be drum tight. I also advise taking the frame off the work or at least loosening it if you are leaving the work for any length of time. There are certain embroideries that can be worked without a frame but they are few and far between and certainly anything that needs counting should be worked in a frame.
I use a hoop. I didn't use one for the longest time. But, time and arthritis took its toll, and I can no longer grasp the fabric the way it needs to be grasped to keep the stitches nice and even. So, I moved on to a hoop. Well, actually it is a Q-Snap. It took awhile to get used to, but now, when I have to stitch without it, I feel lost.
I do Thread Painting(needlepainting) and find that I can do the outline stitches better without a hoop. But to do the long/short stitch a frame or hoop works better for me.
I never use a frame when I do Hardanger as I find that the stitches are distorted when released from a frame I also find my hand goes into spasm I find I can also sit more comfortable resting a very painful back against the chair back.
I had my frame for some time (it is made by the husband on one Lithuanian cross-stitcher), but I disliked stitching with it. I was using a hoop or, sometimes, stitching without any such helper. But when I was stitching my Tudor and Stuart Gold Master Class sampler I understood, that I must use my frame. I have no other possibility. And I liked it very much. No I have two frames (made by two husbands of Lithuanian cross-stitchers; this is how we tackle the problem of expensive frames – ours are much cheaper) and I use them very often. But sometimes I work without any hoop or frame. Especially while stitching some bigger tablecloths.
For many years I only did my needlepoint "in hand" & I stuffed it in a bag and carried it everywhere. Then I took a couple classes w/canvas on frame, learned more complicated, fussy stitches, & had EVERYTHING on stretcherbars-then I graduated to Evertites. Now I know I "need" an in-hand project around, probably w/basketweave to do, so I can stitch and not have to think/worry so much. The in-hand is very soothing. So I do both. Haven't tackled a trestle frame yet- worry my neck/shoulders will kill me from holding a 20# bowling ball(AKA my head) up over the frame.
1. More holes for the top rung so that I could achieve a greater variety of angles.
2. Decreased the height of the center rungs. I'm short and this allows me to set the frame so at I can easily rest it mid chest – thus allowing both arms to easily reach above and below without leaning into the frame, or oving it lower when I wish to work with both hands on top.
I hoop or frame my work. I was thinking of wrapping a hoop with something like velvet ribbon or the non-hooked side of velcro to see if either would help with my coarse feed-sack projects. I'll let you know.
I used to use a hoop or frame for everything, because the work I'd seen from those "in hand" diehards really didn't look the best. But over the past 6 months or so I've gradually been taking all of my projects off their frames, mainly because the projects were large and the frames were cumbersome, and been much happier as a result. I find it faster to work in hand, also easier to stitch accurately. I know I will have to go back to a hoop for some projects, but I have to admit I've been avoiding them!
I was also amazed, when I started stitching in hand, how sore my left hand and arm became! I have realized that it is partly from using new muscles, and partly tension from concentrating on learning a new skill. Lately I've tried to be more concious of what the rest of my body is doing when I stitch!
That is how I was taught how to embroider, without a hoop. I was in the second grade.
Here in Portugal (as you and Meri so rightly mentioned) no-one seems to use hoops/frames (the latter aren´t even available where I live) except when doing drawn thread hems- even in embroidery classes.
As a result some of the work, because of the inconsistent tension, looks very skew. However, on the positive side, everything comes right after washing and blocking/ironing!
I´m versatile, depending on the type of embroidery I´m undertaking (eg am doing Richelieu at the moment without a hoop).
I think beginners would benefit from starting with hoops but should feel free to use whatever method is more comfortable for them. I do!
I like to do most of my work in a hoop. However, I do a lot of applique and I do that in my hand. When I add embroidery to the applique, I have to do in it my hand to keep from having the hoop crush the applique.
Following your project makes me want to start the project and follow along with you!! I better read up on what you are embroidering on!!
I have a question. I have volunteered to embroider a number of spiders onto an appliqued quilt for a friend. Some of it is already hand quilted where the spider will go. Other parts are just basted at this point. I'm afraid of hooping the appliqued top, since I don't want to squash the applique.—Any suggestions????
I really enjoy your expertise in embroidery and your willingness to share it!!!
Interesting post Mary. Years ago, I tried to learn embroidery using a hoop and was not successful at starting and ending thread on counted cross projects. Last year, I watch my sister n law stitch in hand, which I never heard of. She taught me the loop method to starting thread and whamie, I am hooked on embroidery. Then, through the Nesting Place class, I learned about evertites, and I have a few of those bars to use with surface embroidery because it seems that I need the tension it provides to execute the stitches properly. I like those much better than hoops. I am finding that I have an in hand WIP in a bag along with a small kit of supplies, so that I can grab and go. This is a simple project that can be done while waiting in the car for children. The crewel work and surface embroidery projects are on the evertites. Regarding the hands — When stitching in hand, I find that my left hand (I am right hand dominant) is very sore the next morning after stitching the night before (?maybe I should break up my stitching time???) Anyway, such woes are worth it when the project is finished!
Stitching without a hoop is very enjoyable to me. I can sit in any chair, in any position or snuggled up in bed and still stitch. No sitting at a frame or trying to move my hoop around. There are cases where, I feel, hooping is necessary, but when it is not…do without. Embroidery on felt is one case where I feel hooping would do more damage than good. Yes, the fabric does tend to get wrinkled and bunched up when holding it in your hand…but most everything can be blocked after stitching.
I almost never use a hoop for crazy quilt embroidery. There are often too many other embellishments in the way of the hoop on a CQ block. The only time I would use one is if I'm working a motif on the center of a patch that has not yet been pieced in to the block.
What neat work…I feel blessed to know you, Mary.
Hi Mary, I have learned so much about embroidery from your column and look forward to reading it each day. I am one of those who almost never uses a hoop. I have some arthritis in my thumbs and find a hoop painful to hold for any length of time…perhaps that is an excuse to look into a frame on a stand, but I also enjoy having a 'portable' project that is always with me when I have those unexpected moments to stitch during the day.
As a child, I learned to embroider without a hoop. I never used a hoop until I was in high school and was learning to do crewel embroidery. Now, it depends on the project whether I use a hoop or not.
For some stitches, I like the ability of rolling the fabric around me finger to get the stitch just right. You can use the stitching method, putting the needle into the fabric and back out, rather than the stab method of pushing the needle to the back side and grabbing it underneath to pull it through then push it to the front side again. Sometimes when I have a project on scroll bars, I will loosen the fabric so I can do the required stitch rolled over my finger.
Mary,, your work is stunning.
I normally work in a hoop or frame and find the beauty of the piece and ease of stitching great, especially in silkribbon work.
In working with a hoop I find if you spray a light starch on the linen before you transfer the design it not only puts a protective barrier but allows it to form a barrier for removing marks as well as helping cut down on hand oil transfer.
I have also seen where you trace your hoop, and then leave a cut out circle or square and place it on a piece of blank light muslin.
Stitch around the circle or square with a satin stitch and lay this over the piece and move it along as you stitch.
I also place my work on a work pillow in my lap and it makes it a lot easier on my arms and hands.
I prefer to work without a hoop, QSnaps or scroll frame. Obviously on the larger patterns I have no choice since too much extra fabric flopping around drives me batty. But the smaller things (12 inch square or less) I like to work in hand. I tend to roll the extra fabric from the left and hold it in my hand that way, fewer wrinkles. And I love to stitch from different directions (even in cross stitch – I'm used to keeping thread directions straight in my mind). For some reason, whether it's embroidery or quilting, I can't seem to stitch all different directions when the fabric is held in one place. I turn the fabric as I go round curves. Otherwise my stitches look very irregular. Helpful hints on that skill?
Interesting post and comments, I thought that everybody now embroidered with hoops, but it seems I was mistaken.
I learnt to embroider without a hoop, because my mother never used one (she used to embroider sheets in satin stitch), but nowadays it depends on what I'm working on: for chain stitch or split stitch I do it in hand, but for the rest I use a hoop.
I used a hoop or roller frame/stand exclusively with cross stitch, embroidery on linen since the late 1970's. But in the last few years I will get shoulder pain from the larger arm movements using a stand. So I only use frames and stands with needlepoint and everything else in hand.
I'm far more aware of ergonomics as I've gotten older! I'll still get a sore shoulder from too long a stitching session, so I break them up into shorter segments.
What a timely article! I have been trying to do a current surface embroidery project in hand and it just feels so awkward! I can't imagine doing counted cross stitch in hand … at least not the projects I've done. How can you properly count when the fabric is all bunched up?
I do white work without a hoop but use one for other embroidery. Sometimes you can roll your fabric up to the point where you are stitching to cut down on the rinkles. And yes my hands sometimes get tired or crampy, then I have to do something else for a while. But I'm back at it as soon as possible. I also keep my work rolled up with another cloth to protect it and cover it. This helps markings from fading a lot if the markings aren't permenant.
What an interesting post! I will work in a cheap plastic hoop, a nice wooden sit upon hoop, my Millenium frame, or Evertite frames. It all depends on the project, as you and so many of your respondents have pointed out. The hoops are for the items that can be washed, as the hoop marks, whether dent or dirt, never seem to come out unless thrown in the washing machine. I use the frames for complicated pieces that I am not too sure how to work, so I can have my hands free. Thanks for this post, most informative.
I also generally work without a hoop, bars etc.
I usually am working on CCS and assorted stitches on linen. Currently doing a DARNing project. Have to use a hoop (and magnifier) and yes, I spelled it that way on purpose! Will probably be my only DARNing project ever and I'm so glad I don't have to darn my clothes or socks!
I like to stitch on velvet with stranded silk threads. Because velvet crushes I never use a hoop. I think I world have trouble going back to using a hoop now.
in my case it is a matter of embroidery I did so far. I did Richelieu, Hardanger, Sashico embroidery and never used hoop or frame for that. Actually, I feel good when I can keep the fabric in my hands. However, recently I started to learn long&short stitch and to this I think hoop is a must.
I have just started embroidering and for my first few pieces I have only worked on small pieces like – Bibs, tea costers, coin purses and a glasses case.
I am so excited about embroidering that I sew for hours on end without using hoops/ frame (only because these pieces are so tiny that no hoop fits them), and I find that my hands really hurt at the end of the day.
I really really love your work, especially this project! I think that it took you a lot of time and patience.
I would love to know how much time did ou spend on this project? I love to start it on my own but I'm afraid that it make take me forver to finish it!
Thank you so much for your blog! I've done everything crafty, and when i picked up a beautiful embroidery pattern i somehow misplaced my hoop. So i went to thinking "Why even use a hoop?", and i found your blog! My fabric is very stiff on its own so i knew a hoop wouldn't be necessary.
Also, I've done embroidery work on my crochet pieces! They can't be "hooped" at all, especially my sleep masks.
So thank you for the encouragement! I will now pick up my embroidery pattern without a hoop.
Hi Mary, I have been doing embroidery for many years and most of mine are done with no frame. The only time I use a frame is when I do back stitch and x stitch.
When I don't use a frame, I have a cushion in front of me or on my lap to lean my arms on. It is much kinder to your neck and shoulders I find.
Mary: Can you tell me the type of cloth and thread you are using for the Hungarian Table Runner? I would love to make one and want to use what you show here I think it is beautiful. I am teaching myself using all of your tutorial stitches. I am so thankful that you do the videos for each of the stitches. That format is very helpful for me.
I have worked with needles and thread/yarn since I was about 5 yrs old. Mom believed in getting us started early. Whether I use a frame or not depends on what I am doing. I like the no-hassle of just throwing my piece on a frame and just concentrate on the design. I do a lot of counted design work. Free stitching from time to time. No matter which style I'm using, I hate wasting material (I use some unusual materials to work on), which brings us to corners. I have yet to find ANYTHING that will hold a corner in tension – other than my hands. So personally I use both though I prefer the frames that look like pvc pipes. VERY easy to work with.
Would you please tell me the name of the thread that you are using on this pictures? I'm a beginner and I bought the normal 6 strand thread, but I'm looking for a thicker one strand like the one you are using here.
Hi, Breena – it's DMC #8 Pearl cotton. It doesn't come in a skein – it comes in small balls. Limited colors can be found at local craft stores, but you can find more extensive colors online through places like Herrschners. Hope that helps!
Thanks for the nice pictures and the Agnus Dei post! I started appreciating embroidery because of my fiancee. She embroids ribbon-belts for wedding dresses but she's complaining about mysterious back issues. I've watched her work and she is in some trance while embroiding. But she looks completely hunched and crumpled up so I suspect her issues coming from this bad posture. Any ideas how I can help her with this? Is there a frame from something long and narrow as a ribbon? Maybe one of those magnifying glass lamps?
I never ever use a hoop or frame. I have tried and because I have Parkinson's the tremors are amplified with frames. I know the importance of keeping the thread taught, but it just seems awkward and clumsy to work with a frame. It's hard for me to hold, so draping the fabric comes more natural to me. I do cross-stitch and some blackwork/assisi on linens and evenweaves. I haven't noticed any problems with it thus far.
Next Next post: Blissful Beginnings – Winners Announced!


The main function of the lens hood is to shade the lens from stray light, improving your contrast and image quality. But it will also protects the front barrel from the inevitable impacts against walls, door frames, and other real-life obstacles and in inclement weather, it can assist in keeping moisture or wind-blown debris off the lens. The lens hood features large vents and slanted sides. This design minimizes hood's intrusion in the viewfinder. The lens hood is made of anodized aluminum, it is light and compact.
Carry one hood for different lens of the same filter size.


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Holman Stands Out as UCF Beats BYU 31-24 in OT
Justin Holman throws for 326 yards and two touchdowns as two botched kicks bring on overtime.
By dkurtenbach Oct 10, 2014, 12:29am EDT
Share All sharing options for: Holman Stands Out as UCF Beats BYU 31-24 in OT
David Manning-USA TODAY Sports
UCF quarterback Justin Holman had a breakout game, completing 30-of-51 passes for two touchdowns Thursday night, as the Knights edged BYU 31-24 in overtime.
Holman's 4-yard touchdown pass to running back William Stanbeck in the first overtime proved to be the difference, as BYU quarterback Christian Stewart was subsequently unable to complete a fourth-down pass to Jordan Leslie in the end zone, ending the game.
UCF kicker Shawn Moffitt had two failed go-ahead field goal attempts in the fourth quarter, the second of which, a 50-yarder, was blocked after a botched snap led to a second attempt in the final seconds of the game.
Stewart, starting in place of Taysom Hill, completed 22-of-38 passes for three touchdowns — though those 22 completions only went for 153 yards.
UCF's surprising defense held BYU to 342 total yards, though they were equally balanced (189 yards rushing). UCF was only able to muster 63 yards on the ground, though Stanbeck, who rushed for 80 yards on 16 carries, proved to be the hero.
UCF had four turnovers in the game, two coming from Holman interceptions.
UCF moves to 3-2 on the season, as BYU lost its second in a row — the Cougars are now 4-2. The Knights will host Tulane on Oct. 18
Recapping the Week 7 Underdog Action
Memphis domination of Ole Miss begins with defense

redpajama_set_name: RedPajamaCommonCrawl


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Home Article The Greening of bin Laden.
The Greening of bin Laden.
by Adam Serwer
In a desperate bid to try to distract his audience from the fact that his organization mostly specializes in killing Muslims, Osama bin Laden released a tape criticizing the West for not doing more to combat climate change:
"Talk about climate change is not an ideological luxury but a reality," Mr. bin Laden was quoted as saying in a report on Al Jazeera's English-language Web site. "All of the industrialized countries, especially the big ones, bear responsibility for the global warming crisis."
Ridiculing bin Laden for a rather pathetic attempt at pretending to be something other than a terrorist would be the appropriate reaction. Instead, what we're going to see is grade-school nonsense about how this means bin Laden and environmentalists are "on the same side." This type of political discourse is barely distinct from reminding everyone that Adolf Hitler had a mustache just like David Axelrod, and indeed these sorts of interpretations have already started. The bigger question is why climate denialists don't mind being more scientifically ignorant than a cave-dwelling murderer.
The irony is that inaction on climate change could help al-Qaeda in the long run by destabilizing already-weak nations. While the GOP plays politics with the issue, military and intelligence analysts are trying to figure out how to cope with the potential implications, particularly in regions of the world where al-Qaeda has previously found safe havens.
-- A. Serwer
Adam Serwer
Adam Serwer is a writing fellow at The American Prospect and a graduate of the Columbia University Graduate School of Journalism.
Read more by Adam Serwer


What's the difference between a teacher and a teacher who is a discipler? There's a lot of difference, actually. The church needs teachers, but the church really needs disciple-making teachers. I'd like to introduce you to 5 differences between teachers and disciple-making teachers, and see which one you lean toward in your own ministry as a group leader. Our goal is to become more like the disciple-making teachers described below.
A teacher aims for the head, while a discipler aims for the heart. A teacher typically loves to be thought of as the expert in the room, the one who knows things and has important ideas and content to give to the group. A disciple-making teacher, however, aims about 10 inches lower and shoots for the heart. His goal is to be used to help bring about spiritual transformation; at the heart of transformation is a change in not just knowledge, but in attitude and action.
A teacher is an authority, a discipler is a servant. I actually knew a teacher who did not allow the people in his group to speak during one of his Sunday morning lectures. He had a lot of ground to cover, and questions and dialogue just slowed him down. After all, he'd studied all week and knew lots of interesting facts to share about the Bible. A disciple-making teacher views themselves very differently. That kind of teacher sees himself as a servant, the one who is last in line, the one who seeks to meet the physical, emotional, social, and spiritual needs of his group members. The disciple-making teacher exists for the group, not vice-versa.
Follow this blog and receive free daily posts like this one Monday-Friday. Click here, jump to my home page (kenbraddy.com) and use the field in the upper right sidebar menu to sign up with only your email address. I never sell or give it away, and you can unsubscribe at any time.


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In a RGB color space, hex #0d1102 is composed of 5.1% red, 6.7% green and 0.8% blue. Whereas in a CMYK color space, it is composed of 23.5% cyan, 0% magenta, 88.2% yellow and 93.3% black. It has a hue angle of 76 degrees, a saturation of 78.9% and a lightness of 3.7%. #0d1102 color hex could be obtained by blending #1a2204 with #000000. Closest websafe color is: #000000.
● #0d1102 color description : Very dark (mostly black) green.
The hexadecimal color #0d1102 has RGB values of R:13, G:17, B:2 and CMYK values of C:0.24, M:0, Y:0.88, K:0.93. Its decimal value is 856322.
Below, you can see some colors close to #0d1102. Having a set of related colors can be useful if you need an inspirational alternative to your original color choice.
This text has a font color of #0d1102.
This paragraph has a background color of #0d1102.
This element has a border color of #0d1102.
A shade is achieved by adding black to any pure hue, while a tint is created by mixing white to any pure color. In this example, #0d1102 is the darkest color, while #fffffe is the lightest one.
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This summer sees the 15th annual Cambridge Rock Festival (CRF) take place in the grounds of Haggis Farm Polo Club, near Barton over the four days of July 25-28.
The event, which has been shortlisted for the best medium sized festival in the UK, will once again attract some big-name bands and visitors come from all over the country.
Tickets are now on sale for the event, which attracts thousands of poeple all of ages.
An event spokesman said: "The aim has always been to provide great entertainment, particularly in the classic rock and blues and prog genres, and avoid the corporate nature of many larger festivals as far as possible. All the proceeds from ticket and drink sales go to help fund the event rather than pay the organisers. Despite being run and stewarded by enthusiastic volunteers, who make it perhaps the friendliest festival you will find, many festival attendees and indeed many bands have said it is one of the best run festivals they've ever been to.
The line up is yet to be announced but tickets have already gone on sale for the popular event.
For more information visit: www.cambridgerockfestival.co.uk.


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Josh Frost
FCC, broadband
Net Neutrality Wins the Day
This is a historic day in the life of the Internet in America.
Media Council Hawaii applauds the Federal Communications Commission (FCC) vote for an open Internet in America by classifying broadband service as a public utility. The new "net neutrality" rules, which were approved by a 3 to 2 vote along party lines, will prevent providers of high-speed Internet access from blocking websites they do not like or creating fast lanes to those who can afford it and slow lanes for those who can't.
The New York Times quoted Chairman Tom Wheeler as saying that the FCC will use "all the tools in our toolbox to protect innovators and consumers" and preserve the Internet's role as a "core of free expression and democratic principles."
The Free Press, a public interest advocacy group in Washington, D.C., called it an "incredible victory" in the face of major opposition from corporate cable and phone companies. Free Press praised the grassroots effort that led to this decision, but warned that cable and phone companies such as Verizon and Time Warner Cable will be "relentless in their efforts to knock it down."
So be prepared to fight like hell to protect this victory and for the strongest possible policies to protect a free and open Internet. As Free Press puts it, "this isn't the end. This is the start of something huge."
Tagged: FCC, Internet, Net Neutrality
Newer PostJohn Oliver Describes the Issue of Net Neutrality
Older PostThe Media Monopoly Grows


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Our first stop will be at Fodele, the birthplace of Domenikos Theotokopoulos, a Greek famous painter of Renaissance and well known as El Greco. Then we drive further west until we reach Chania, where we will visit the old town of the city, the famous Municipal Market (called Agora) and have time for lunch and shopping.
On our way back, we will have a short stop at Rethymnon town, one of the best-preserved towns of the cretan renaissance. Strolling in the heart of modern Rethymnon the visitor will admire the oriental features of the Turkish period combined with renaissance-style Venetian architecture. Our last stop will bring us to the Arkadi monastery, which has a unique natural beauty, a prestigious history, numerous legends deeply rooted in the time, heirlooms and treasures.


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June Issue 2015
The Politics of Power Subsidies
The Sindh Institute of Urology and Transplantation (SIUT) is well-known for the healthcare it provides…
Cover Story: The Big Cover-Ups
he recent investigative report by the Pulitzer Prize-winning US journalist, Seymour Hersh, on the May…
Letter From India: Lost in the Flood
It's been eight months since the Jhelum burst its banks and flooded Srinagar and other…
Interview: Werner E. Liepach, Country Head Asian Development Bank
In your view, is Pakistan's economy heading towards stabilisation. And, if so, what can the…
Vanity Fare
A stroll through the aisles of cosmetics retailer Sephora — or Scentsation, the closest thing to…
Overcrowded prisons, the torture by police of arrested individuals, and bail bond values so high…
Interview: Talat Hussain
Do you think Seymour Hersh is correct in saying Pakistan knew Osama bin Laden was…
Interview: Ayesha Siddiqa
Interview: Ayaz Amir
Whose Baby is it Anyway?
The statistics are appalling, and they've virtually doubled over the past 10 years. Each year…
A book written in 1798 should be made compulsory reading in all Pakistan's academic institutions.…
Book Review: The Upstairs Wife
As a columnist for Dawn, lawyer Rafia Zakaria has often written on the issue of…
Tales From the Interior
A first-time visitor to a village in Sindh may be too engrossed absorbing the lush…
Pursukoon Karachi at Frere Hall
Pursukoon Karachi,' an organisation set up to work for peace in the city of Karachi,…
This year at the Venice Biennale, the mother of all art events, curator Okwui Enwezor…
The Islamic State of Pakistan?
On June 29, 2014, after 15 years of militant and ideological struggle in Iraq and…
Classic Film Review: The Invisible Man
H.G. Wells' chilling novel, The Invisible Man, was adapted for the big screen by director…
In the run-up to budget season, politicians of all shapes and stripes are scrambling to…
Monumental Disaster
Over the last few years, my parents' love for old Lahore has repeatedly taken me…
Flight of Capital?
While addressing a press conference in Karachi on May 18, Interior Minister Chaudhry Nisar disclosed…
On the Cusp of Change?
There were few indications before the succession in January that the reign of King Salman…
In Memoriam: Azam Hoti
It was in the early years of the Musharraf Government that the elderly Ajmal Khattak,…
Book review: City of Spies
City of Spies, published early this year by Aleph (India), is a coming-of-age story. Aliya,…
A generation of young Pakistani cricket fans was growing up thinking Gaddafi Stadium is little…
Cover Story: Who Lies Behind Osama?
No one believes anything anyone has to say about the raid in Abbottabad which killed…
Pistols at Dawn
Pistols at Dawn Even while facing multiple criminal cases, the possibility of arrest and exile from…
Collateral Damage?
Robin, a poor Christian man in his thirties, had long worked as a sweeper in…
Installation Art at Liberty Market
Art world superstar Rashid Rana's current installation at Lahore's Liberty Market marks several firsts. It…
Corridor of Power
Forty-six billion USD is an astonishingly high sum for any country to invest overseas. What…
Editor's Note: June 2015
This country appears to be completely overrun by Gullu Butts. Or so it appears. For…
Axacting Revenge?
Too good to be true. That is what everyone in the journalism community should have…
Movie Review: Tomorrowland
Brad Bird is very excited about the core idea of his second live action feature…
Interview: Zaheer Abbas
There is a reason why Zaheer Abbas was dubbed the Asian Bradman. Not only was…
Pakistan enters the 3G club
It's finally here! The arrival of 3G in Pakistan has been a long time coming,…
Will the Real Chairman Please Stand Up?
In a world where cricket's administration and power-politics are witnessing a bewildering array of changes,…
By Ali Arqam | Economy | Published 5 years ago
In the run-up to budget season, politicians of all shapes and stripes are scrambling to throw subsidies at voters — but rarely explaining how they will pay for these subsidies.
Successive governments have spent a major portion of the amount allocated for subsidies on the power sector. The PML-N government earmarked a subsidy for Rs 180-185 billion for power consumers but had to raise the amount to Rs 222 billion as the subsidies were used up in just eight months. The purpose of the subsidies is to keep a uniform tariff across the country since Nepra sets different tariffs for the various power distribution companies. The government then equalises the tariff differential through subsidies. Along with this, domestic consumers consuming 50 to 300 units per month are given a special subsidy too.
Analysis by experts has found that only 10 per cent of the total subsidies go to the poorest households — defined as those consuming 50-100 units a month. The rest goes to the middle class and the rich. The World Bank, in a 2014 report titled, 'Addressing Inequality in South Asia,' slated the subsidies as unjust and regressive.
What makes these subsidies even more unfair is that the government 'pays' for them by borrowing from the State Bank of Pakistan. This causes greater inflation, which once again hurts the poor disproportionately. "The one thing we need to understand is that subsidies are not a free lunch," says Asad Sayeed, an economist from the Collective for Social Sciences Research. He adds, "In other countries with progressive taxation, taxes collected from the rich are utilised for the benefit of the poor. This is used in a vertical way to provide social security. In Pakistan, thanks to regressive taxation, the practice is perhaps more horizontal in nature."
The problem is magnified when it comes to gas subsidies. The country was told it had gas supplies sufficient to last us decades. Now domestic and industrial users are already facing chronic gas shortages.
Asad Sayeed recalls how matchsticks were more expensive than gas when he was a child. That those reserves are severely depleted, according to him, can be blamed on government policy. "When General Musharraf came to power, his government, without a proper allocation mechanism, encouraged the use of natural gas as an alternative to furnace oil and diesel at the industrial level and to the transport sector on subsidised rates. Providing natural gas at such low rates to the CNG sector and industry was indeed a subsidy for the rich and did not benefit the poor. This ill-advised approach has deprived the country of valuable reserves."
Now we have to import LNG to deal with the shortages. The government is unclear on its pricing mechanism for imported LNG, but the price will be higher than for domestic gas. Therefore, consumers are unwilling to buy LNG so, as a last resort, the government will have to increase the price of domestic gas.
Gas subsidies also have a provincial component. Fahd Ali, a political economist from Habib University in Karachi, says all provinces, other than Punjab, produce more gas than they are consuming. Hence a full 45 per cent of the gas subsidies go to Punjab, making it a regional subsidy for the wealthiest province in the country.
In addition, says Ali, subsidies usually help industry more than domestic users. For example, the fertiliser industry is given both subsidised gas and direct subsidies so that the price of fertiliser can be kept low. But the subsidies end up helping only dealers as price fluctuations in the market and artificial shortages force farmers, in dire need of fertiliser, to buy at whatever price they are quoted by the producers.
The 2014-15 budget allocated Rs 16 billion to the producers and importers of fertilisers, but the amount was held back after a dispute between the Ministry of Food Security and fertiliser companies. The government wanted fertiliser companies to print an agreed upon price on fertiliser bags but the companies refused, citing fluctuations in market prices.
A further example of the misuse of power subsidies are those granted to the agriculture sector. Musharraf had started a flat subsidy of Rs 4,000 for growers, with the rest of the subsidy to be paid for by the federal and provincial governments on a 6:4 ratio.
In Balochistan, where there are officially 15,000 tubewells — although there are also a lot of undocumented tubewells – the subsidy was withdrawn by the PPP government in 2012 but they restored it later. Out of a total power bill of Rs 50,000, the grower has to pay only Rs 6,000 while the rest is shared by the federal and provincial governments.
Experts have their doubts about the efficacy of these subsidies. They claim the subsidies are disrupting the underground water table and so its benefits are being accrued only by the growers while harming the rest of the population. Usman Qazi, a development consultant and strategic planner who has worked with the UNDP and NDMA, maintains that, "If the government charges a subsidised flat electricity rate for the agricultural tube wells that leads to indiscriminate mining of water as there is no cost for using extra water. And the difference between the actual cost and the subsidised amount is deducted at source from the federal divisible pool."
He questions claims that the subsidies benefit locals. "Is it a programme for cash transfer to locals? If so, then the amount should be directly given to them rather than encouraging them to run economically non-viable farms and use scarce water. It effectively means that to keep no more than 35,000 individuals afloat, the future of half a million people is being devastated." He continued, "Why, for instance, is the poor shepherd grazing his sheep in Kharan not given a subsidy per sheep? People should be encouraged to use water more efficiently and if the usage of energy is metered, one will have to adopt more careful methods of irrigation to minimise costs."
Ghulam Sarwar Ronjha, president of the Growers Association (Anjuman Zamindaran) in Lasbela, has been lobbying K-Electric for many years to install meters at individual tube wells as growers often refuse bills that are charged on an average basis. He further complains that K-Electric then strong-arms the growers into paying.
"We have been asking the company to install those meters which are used by QESCO in the rest of Balochistan or at least those tested in QESCO labs and not the tampered ones used by KE," said an associate of Sarwar. He added, "The government is paying Rs 44,000 in subsidies but still the growers are forced to pay Rs 20,000 or more or have their electricity disconnected. And despite pledges of providing electricity for at least 16 hours a day, we are getting an average of 10-12 hours a day while the company cites various technical reasons for the unscheduled loadshedding."
The solution, Fahd Ali believes, lies in the government providing more viable solutions like solar power and other alternative sources of energy to growers in remote areas. Such creative ideas, rather than tired and regressive policies like subsidies, should guide government-spending decisions.
This article was originally published in Newsline's June 2015 issue.
Ali Arqam main domain is Karachi: Its politics, security and law and order
Copyright © 2020 All Rights reserved by Newsline Magazine.


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Q: Powershell and ColdFusion update active directory with different server I am just learning about Powershell. I want to try and update data in AD, but my AD Server and Powershell are on different servers.
For example, my AD server is 111.111.111.111 and my Powershell.exe is on server 222.222.222.222. I am using ColdFusion programming to execute my Powershell script.
Here is my ColdFusion script :
<cfoutput>
<cfexecute name="C:\Windows\System32\WindowsPowerShell\v1.0\powershell.exe"
           arguments="C:\Users\Public\Documents\ADtest.ps1" />
</cfoutput>

Here is my Powershell script ADtest.ps1 :
$userID = "11111"
$password = "p@ssw0rd"
$ADuser =  Get-ADUser $userID
If($ADuser)
{
    Enable-ADAccount -Identity $userID
    Set-adaccountpassword $userID -reset -newpassword (ConvertTo-SecureString -AsPlainText $password -Force)
    Set-aduser $userID -changepasswordatlogon $true
}

Is it possible to execute a powershell script to update AD (Active directory) data on a different server?

A: Most Powershell AD Commands use the parameter -Server for specifying the target DC:
    Get-ADUser -Identity $Username -Server $DC

Having said that Powershell usually does not switch DCs during the execution of the script.
Hope that helps -tom

redpajama_set_name: RedPajamaStackExchange


The purpose of this project was to create a case based reasoning system that helps select holidays for people. The idea is that someone enters into the system their ideal holiday, and the system tries to find the most similar available holiday from its case base.
The important difference between this and standard database retrieval is that in this system, certain compromises must be made. For example, if a five-star hotel is requested along with a request for a relatively low-priced holiday, a compromise such as increasing the price or downgrading the accommodation must be made. This system makes those compromises and returns the best matching holidays, even if they are quite different from what was originally requested.
For each dimension listed above, we define a similarity function. For example we may say that May is 80% similar to April, 60% similar to June, and 0% similar to November. We can then add up all the individual similarities, weighting the more important ones such as price, to get an overall similarity between two cases. We can then find the most similar cases to a new case, and return these to the user. Because we do not adapt the returned cases at all, this is really a "Cased Based Retrieval" system.
Click the links below to see how this was achieved and to see it in action.


Last week Cantillon Classic Gueze was the poll winner so I opened it on Saturday afternoon. This bottle was originally purchased at Bangor Wine & Cheese and has been in my cellar ever since. Bottle date was 2011 but it showed no signs of deterioration, cap came off without issue and cork came out in one piece.
Pour was a crystal clear pale orange with minimal head. Aroma was sour apple, grapes and a bit of funk. Taste was about the same with a very pleasant mix of slightly sweet almost honey and tart sour apple that lingered. This is not a beer that should be used as an intro to sours but it is also not soured to the point of making your eyes water. Just a really great blend that shows why Cantillon is one of the best.
Overall I give this beer a 4.75 out of 5 – just a great all around beer that every sour beer drinkers should try at some point regardless of the cost.
This weeks poll winner was Crooked Stave Blackberry Petit Sour so check in next week for a review of that beer. New poll at the end of this post so be sure to cast your vote.
Speaking of sour beers Allagash released a couple new Coolship beers this week so I made the trip with my family on Saturday to grab Coolship la Mûre and Coolship Clermont. la Mûre is aged on blackberries and Clermont is aged in bourbon barrels. They also had bottles of Resurgam available so I grabbed a couple of these for the cellar.
Since I am already drinking Blackberry Petit Sour from Crooked Stave this week I may have open one of those bottles of la Mûre to see how it compares.
Surprisingly this was the only beer I purchased this week. Still not a cheap week of buying beer at $15 per bottles but if these new iterations of Coolship are as good as the others it will be worth it.
American Light Lager – 4.3% ABV – 4 of 5 starsNite Lite is Night Shift's answer to the traditional American Light Lager (think Miller Lite). I was intrigued so I grabbed a 4-pack on one of my recent trips to the brewery. No surprise this one pours a very clear pale yellow with a solid white head. Aroma was light but had some grassy hop and unripe apple character. Taste was what you expect from a light lager, clean, crisp and refreshing but Nite Lite had enough flavor to make it enjoyable. This beer is super crushable and one that I would not mind drinking on hot summer days. I gave this one a 4 out 5 not because it was an exceptional beer but because it was so much better than I anticipated and truly surprised me. If you have the opportunity to grab cans or try this on draft do not hesitate to order it.
American IPA – 7.6% ABV – 4 of 5 starsI have been pleased with the IPAs coming out of Lamplighter so when I was there last and they had cans of Skyward an IPA brewed with Satsumas I had to grab a couple. Pours a deep orange with solid off white head. Aroma is full citrus and melons, very enticing. Taste follows with big juicy citrus, slightly acidic but finishes with a fair amount of bitterness when compared to other juicy IPAs. I actually enjoyed the bitter finish as I feel an IPA is missing something without it.
Really enjoyed this one but my favorite from Lamplighter is still their brett IPA which is only available in the tasting room, no cans or growlers for now. If you are in the Cambridge area be sure to stop in to see them, parking tends to be pretty easy right around the brewery so don't let the fear of finding a spot keep you away.
American Wild Ale – 4.5% ABV – 4 of 5 starsI love Burlington Beer and have tried many beers from them. Joe is killing it with everything he releases and I make it a point to stop in every time I am in Burlington. Fortunately I am working with more accounts in the area so will be visiting more frequently in 2017. You Can't Get There From Here is a rotating series of slightly sour beers with varying fruits. This one used kiwi and gooseberry but prior versions have used; honeysuckle berry, peach and passionfruit, and prickly pear and pink guava. Pour is a slightly cloudy light orange with minimal white head that dissipates quickly. Aroma was light sour but not a lot of fruit. Taste was relatively simple and only mildly sour. You can tell there is some fruit there but since I rarely eat kiwi and never eat gooseberry I could not tell you if those flavors came through. This beer was super refreshing and very drinkable, an approachable "sour" beer for those that might not have experience with the style.
The first couple weeks I picked out some bottles that have been around for a while that I wanted to try. This week I simply opened the door and grabbed the first 5 small format bottles I could find. Some interesting choices and a wide variety of styles.
– Wild Trillium – Wild saison aged in oak barrels.
– Consecration – Ale aged in Cabernet Sauvignon barrels with currants added.
Which beer should I drink next week?


Using Yoga for Anger Management is very fruitful and beneficial in your day to day life. We all have those triggers or buttons people push that can make us angry. It's just part of human behavior. Lots of things can make us mad. However, there are ways to control that anger.
You wake up in the morning, get all ready to go to work, and find your car has a flat tire.
At work, you get passed over for the promotion that you really wanted and were really hyped up about.
Your kid failed their final exam at school, they didn't study because they were up all night playing video games.
When you least expected it, your boyfriend or girlfriend broke up with you.
The cat got sick on the living room rug in the middle of the night, leaving a nice mess for you to clean up.
Some of us respond to negative situations with anger and all of these situations and many more can make us angry. We curse up a storm or punch the wall, for example.
Some of us repress these feelings and keep pushing them down inside ourselves until something happens that pushes us over the edge, and we go ballistic. It's perfectly normal to be angry, but sometimes when we project that anger towards other people in our lives, that can definitely strain those relationships.
Instead of going into "Incredible Hulk" mode and taking out your rage on an object or a person, take a moment to think. How important was the thing that made you really mad? Does it really matter, or is it just an annoyance that you have to deal with?
Next, stop to think about what you could or could not have done about the situation. Sometimes you could have done something differently but much of the time what happened was out of your control.
One way to deal with these irritating issues is by using Yoga for anger management through Meditation. It's probably not the first thing you think about in the heat of the moment, sometimes your emotions just take over before you can stop to think.
The times when we're angry or stressed are exactly when we need to focus. It's hard to do, but taking a few extra moments to step back and meditate will help. It just takes practice.
Yoga for anger management using meditation techniques can help you handle the situation at hand. If you got passed over for the promotion, meditation can help you assess the reality of what happened.
If you did your best and gave it your all at the interview, then you know that the end decision was out of your control. Instead of seeing getting passed over as a personal affront, meditation can help you view the experience as a life lesson.
You may even want to ask for feedback from the person or persons who interviewed you to get pointers as to what you did well in the interview, and what you could improve on for the next available promotion. By focusing on the positive and remembering your strengths, you can let the anger and disappointment slowly fade away.
Meditation can also help you solve problems that you just can't seem to find answers for. Sometimes you get locked into a project and eventually run into a roadblock along the way.
Instead of getting angry and throwing all of your hard work away in disgust, take a few moments to meditate and reflect on the problem. Look at the situation, what you've done to work on the problem and the possible solutions you've come up with so far.
You might want to talk to a co-worker or two to get their outside opinions on the situation or discuss the situation with your supervisor. In the end, by taking a step back, you can usually find the answer to the question you've been working on, and that answer is probably the one you didn't expect to find when you first took on that project.
You need some time for yoga poses and mediation for focused thought. This often helps us find not only calmness and peace, but if we have enough quiet time to think and focus, we can often find creative solutions to some of life's obstacles.
Meditation helps us find answers to most of the problems bothering us. It allows your mind to dip into the subconscious of our thoughts and knowledge.
Finding the answer or a creative solution also helps us forget why we were even angry about the situation in the first place. Just meditating for a few minutes a day can help us feel a lot better, no matter what life throws at us.
There is a pair of small nuclei inside our brains called the amygdala. The amygdala serves as the brain's fear center.
Fear, anger, negativity, and uncertainty can all stimulate the amygdala which raises the likelihood of anger disorder. This can even lead to some serious physical and mental health issues over time.
Cortisol is an age-accelerating hormone in our body that is often released when we are angry or stressed. Having too much cortisol in our bodies can lead to the inability to clear thinking and increased anxiety.
It can trigger insomnia, obsessive-compulsive disorder, post-traumatic stress disorder, and other related health issues. The more we let anger and negativity dominate our lives, the worse we usually feel.
Several studies have shown that meditating even just for a few minutes on a regular basis can help to greatly reduce the amount of cortisol produced in our bodies. Thus decreasing the likelihood of anxiety, depression and other similar mental and physical ailments.
We feel a lot of different things when we get angry. Sometimes we feel an "us against the world" mentality when things go wrong.
Sometimes, we get angry over the littlest things. We act out like the world is ending when, in reality, what happened probably wasn't that big of a deal.
Other times we get angry or upset because something nice happened to someone else and we feel like we were scorned or ignored. Life isn't easy, and it isn't always fair.
Sometimes good things happen to good people, and sometimes bad things happen to good people. It can seem like there's just no rhyme or reason to why things happen.
What we can control is how we react to those negative situations. Refusing to stay down or stewing in negativity and anger are keys to developing our emotional intelligence.
Using yoga for anger management through meditating regularly helps us focus on the positive. It helps keep our spirits up even when things seem as though they're at their worst.
We have to concentrate on the positive and refuse to let bad things or bad situations cloud our visions and dreams of the future. When you focus on the positive and make plans and take steps to achieve life goals, you improve your emotional intelligence.
Staying angry and negative can be like being stuck in a mud puddle. If you just sit and stew in anger and negativity instead of trying to find a way out, things just get worse instead of better.
People with good emotional intelligence usually tend to live positive lives. They have good careers that they enjoy, and good people in their life that they appreciate.
They are driven and focused, and care deeply about who and what they value most in their lives. Focused, positive thinking usually leads to positive outcomes.
If you believe you can do something and take the necessary steps to achieve those goals, there's no way you can't do what you set out to accomplish.
Meditation often helps people with good emotional intelligence filter out anger and negativity so that they can live happier lives. This happiness shows in their words and actions.
They compliment and help people around them, and they tend to see the good in almost every situation, no matter how positive or negative that situation or environment may be.
Some of the most successful athletes, actors and entrepreneurs have overcome difficult obstacles and moments of anger to live positive lives, because they never gave up.
Meditation can help calm us down, It can help us forget about anger and negativity and focus on the positive.
We all have a lot of good qualities and good people in our lives. Meditation can be a major factor in living a positive, successful life.
Give it a try, even just a few minutes at a time can work wonders on the wounds in our minds.


Did you know there are up to six Wienermobiles on the streets at any time?
Now you can locate any of them within 200 miles, thanks to Oscar Mayer's new dedicated Wienermobile app. Designed by agency Gravity Jack, the app will include a game where users can virtually race the iconic 27-foot hot dog on wheels.
Game players can earn "Wiener Bucks" points by scanning various packages of Oscar Mayer products on store shelves. While the Wiener Bucks do not lead to coupons or discounts, they let players race with elements seen directly below.
Consumers also can take photos of the vehicle in real life and upload them to the mobile-social app, and a Park In My Driveway section lets them insert an image of the Wienermobile into any picture and share across social media channels.
The digital effort became available for download today in Apple and Google's app stores.
In coming weeks, Oscar Mayer-branded local events around the country will feature iPad stations, pre-loaded with the app, where consumers can entertain themselves with its game and gain access to bonus features.
Madison, Wis.-based Oscar Mayer has brought the Wienermobile on board to follow up on its bacon-scented iPhone alarm app that garnered buzz in late winter, as well as its #Tweet2Lease spoof effort via Twitter in January.
Now, the brand is obviously trying to build greater buzz as picnicking activities are in full swing through Labor Day.
Whimsical-but-dedicated app endeavors such as the Wienermobile are are a bit of a risk because it's becoming extremely uncertain whether they pan out. In a crowded mobile app space where consumers are increasingly selective about downloads, the challenges for brands to gain traction appear daunting.


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Ryan Reynolds recalls first job as newspaper delivery boy
Showbiz | Published: Aug 15, 2019
The Hollywood star was speaking as wife Blake Lively gave him a painting depicting the house he grew up in.
Ryan Reynolds has remembered his first job, years before he became a Hollywood star.
The Deadpool actor, 42, shared a snapshot of himself posing next to a painting given to him by wife Blake Lively, 31.
The work of art, by painter Danny Galieote, depicts a paperboy on his rounds.
Reynolds wrote on Instagram: "My first job was delivering newspapers for the Vancouver Sun.
"The house in the painting is my childhood home. My brothers and I spent years trying to kill each other on that lawn.
"The house no longer stands but it's a living, breathing thing in my head.
"This piece of art is the greatest present my wife has ever given me."
He quipped: "If there's ever a fire, I'm grabbing this first. I'll come back for Blake."
Lively and Reynolds tied the knot in 2012 and are expecting their third child.


text:
Part of our work at ICSC is to hone and uphold high professional standards for retail real estate industry professionals. We're committed to doing the same in our work for you.
Tom McGee
Appointed President and CEO in September 2015, Tom McGee oversees strategic leadership and operations at ICSC. Prior to joining ICSC, he served as Vice Chairman of Deloitte, the world's largest professional services organization, where he garnered 26 years of experience in managing an organization with diverse constituencies around the globe.
Dana Sherman
Chief of Staff Dana Sherman provides leadership and strategy for ICSC's staff initiatives. Dana brings over 13 years of strategic planning and program development experience from the financial services, technology and healthcare industries. Prior to ICSC, Dana served as Director, Strategic Planning at American Express, responsible for annual planning of the program portfolio spanning 12 global teams.
Bonnie Archampong
CIO & Senior Vice President, Business Transformation
As the CIO, Bonnie oversees Technology and Business Transformation efforts at ICSC. She is responsible for defining and implementing technology and business strategies to ensure that internal teams, processes and systems are aligned to deliver on ICSC's goals. Prior to joining ICSC, Bonnie spent over a decade at Barclays in the Investment Banking Division where she led several major transformation implementations in her role as Head of Business Planning & Technology.
Executive Vice President, Programs & Events
With over 20 years of experience in event management, sales and new business development, Melissa Ashley joined ICSC as EVP of Programs & Events. As leader of the largest division within ICSC, Melissa is responsible for leading, growing and transforming programs and events to increase member value. Prior to joining ICSC in 2018, Melissa served in leadership roles at some of the world's largest events organizations, including Informa and Reed Exhibitions.
Leslie Fox
Senior Vice President, Membership & Strategy
With more than nineteen years of expertise in strategic planning, communications and government relations, Leslie Fox is responsible for providing oversight and guidance on high priority strategic initiatives for ICSC. Prior to joining ICSC in 2008, she built her commercial real estate background with notable CRE organizations, including NAIOP and BOMA International.
Stefan Freiberg
As Chief Financial Officer, Stefan Freiberg oversees financial planning, risk management, IT and investment strategies for the company. Stefan joined ICSC in June 2016 and has brought over 20 years of experience including time at The Urban Institute and Deloitte. In addition to his role as CFO, Stefan also serves as Treasurer of the ICSC Foundation, the charitable arm of ICSC.
Malachy Kavanagh
Executive Vice President, Global & Corporate Development
Malachy Kavanagh joined ICSC in 1996 and served in several key roles at the organization before being appointed EVP of Global & Corporate Development in 2018. He provides leadership for ICSC's global offices, overseeing global initiatives & strategic relationships in addition to the organization's international portfolio of events.
Rae Logsdon
Senior Vice President, Communications, Marketing & Publishing
In her role as SVP at ICSC, Rae Logsdon oversees the Communications, Marketing and Publishing teams. Prior to joining ICSC in January 2016, Rae served in executive leadership roles in both public relations and business program management. She brings over 20 years of experience to her role at ICSC, including a 10-year career at Deloitte.
Betsy Laird
Senior Vice President, Global Public Policy
A 14-year veteran of ICSC, Betsy Laird manages all global government relation operations for ICSC's international membership network and acts as liaison to the Board of Trustees on all public policy matters. Betsy holds a B.A. in Broadcast Journalism from Penn State University, a J.D. from The Catholic University of America, Columbus School of Law and maintains over 34 years of experience in government relations and public policy.
Daniel Batlle
Managing Director, Latin America & Caribbean
Daniel Batlle is Managing Director of Latin America and the Caribbean, providing strategic and operational leadership for ICSC in the region. He brings over 20 years of experience, including senior roles at infrastructure advisory firm CG/LA Infrastructure, the U.S. Department of State and U.S. Agency for International Development and as a consultant working on governance and economic development in Latin America.
The Executive Board of ICSC is comprised of 12-15 current trustees elected by the Board of Trustees.
Get to know the elected members of our Board of Trustees and what they do.
Our volunteers are essential to our success and make a difference in the retail real estate community.
View current volunteer leaders
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Apply for a career at ICSC and help us provide members invaluable resources, connections and industry insights.


text:
using System;
using SQLite;

namespace Einkaufszettel
{
    public class EinkaufszettelItem
    {
        [PrimaryKey, AutoIncrement]
        public int ID { get; set; }
        public string Name { get; set; }
        public bool Done { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub


When you start a new game Prof. Birch will tell about Pok�mon, and then give you the choice to pick between being a boy or a girl for your playthrough.
You will then get to choose your name.
Once Birch is done talking to you the game will start. Exit the Truck and your Mom will take you inside the house.
Once inside you will be told to head upstairs to set the clock.
On the wall there will be a clock to set the time.
You can set it to whatever time you want. The internal clock will move the clock forward and certain events that only happen daily will be renewed. If your Game is old like mine however the battery will have run dry and you'll be stuck on the same day. This is not gamebreaking however so do not worry if this applies to you.
Once you set the clock your Mom will come talk to you.
Afterwards go to the PC in your room and choose Item Storage.
You will be able to withdraw a potion to heal your Pok�mon.
Go downstairs when your done. Your Dad the Gym Leader of Petalburg will be on TV. You will then be told to visit your neighbors.
Go next door to meet your neighbors.
The woman of the house will have you go meet her daughter she thinks is upstairs. When you go up no is there but you can look around.
Press A and your Rival will show up. Your rival will talk to you and Remember that they were supposed to help their father, Prof. Birch today.
When you head out go North of town to see a girl scared from some noises.
Go check it out to find Prof. Birch being attacked by a wild Pok�mon.
He'll have you go to his bag so you can get one of his pokemon to save him. Out of the three Pok�mon he has you can choose one to be your starting Pok�mon.
Whichever Pok�mon you choose get ready to fight a Zigzagoon.
Your starting Pok�mon only has one damaging attack move so just spam that to win. Your attack should be the one in the top left. In my case this is scratch. To learn what a move does just go to the pokemon tab, choose summary and then you can learn about your Pok�mon.
Go North of the town past where Prof. Birch was attacked. Moving around in the grass will attract Pok�mon.
Once in the next town go to the red building, the Pok�mon Center to heal your Pok�mon.
Once you leave go talk to the woman to the right of the center.
She will show you to the Pok� Mart where you can buy items, and she will give you a free potion.
Head North of this town to find your Rival. Once you find them they will challenge you to a battle, so I recommend leveling your Pok�mon to 6 to make the battle easier. Heal at a Pokemon Center once your ready to fight them.
Talk to them and the battle will start. Their starting Pok�mon is whatever your starter is week against.
The beginning battles don't take much strategy so simply use your strongest attack over and over to win.
Once you win your Rival will tell you to meet them back at Birch's lab.
At the lab the Prof wil give you the Pok�mon encyclopedia, the Pok�dex, while may will give you 5 Pok�balls to catch Pok�mon.
At this point the you can buy Pok�balls at the Pok� Mart. Buying 10 Pok�balls will also get you 1 free.
Leave and go talk to your Mom. She will give you Running Shoes and wish you luck.
Now go West of Oldale town to head towards Petalburg.
On the route you will find trainers that will challenge you to a battle.
Except for major battles, which I will give strategies on, most battles don't take much to win. I will tell you which pokemon each trainer on a route has. The first trainer you find having a LVL5 Poochyena.
The next trainer you find will be a little to the left of the first one.
He will use 2 Wurmple.
A little North of that trainer you will find one more .
You can find some berrys that you can pick and give to your Pok�mon to hold. You can also replant them to get more EXCEPT if your battery has run dry. In which case the plants will never grow.
Go left of that area to find the last trainer of the route.
While your on this route I recommend catching a Lotad for the next gym and Ralts, if you can find one.
In Petalburg go to the Gym to talk to your Dad.
While your talking a kid named Wally will come in and ask for help in catching a Pok�mon. Your Dad will have you show him although he does everything himself. If you don't know how to catch Pok�mon watch Wally's demonstartion.
Once you have all the Pok�mon and supplies you need head west of Petalburg to Petalburg Woods to start your journey to the Elite Four.


Your authentication email and attached PDF file are a safety net for accessing and authenticating your mSecure account.
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1989 House Bill 0813. An Act Relative To First Justices Of The Probate And Family Court Department.
Title 1989 House Bill 0813. An Act Relative To First Justices Of The Probate And Family Court Department.


Chances are you know someone in your life who is eating gluten-free; either due to an intolerance or a personal preference. If this is the case, or if you're just looking for more delicious seafood recipes to try, we're featuring our favorite gluten-free (GF) seafood dishes in today's roundup.
For anyone following a GF diet, seafood is a perfect fit, since seafood is naturally gluten-free. And, most of the time, other ingredients in your favorite non-GF recipes can be modified to accommodate a GF diet. So, luckily, going GF doesn't mean you can't enjoy many of your favorite, scrumptious seafood dishes!
Because seafood pairs easily with almost all vegetables, grains, beans and legumes, there are plenty of must-make gluten-free recipes to choose from. Here is just a taste of all the appetizing gluten-free possibilities that seafood can bring to the table.
A quick, keto-friendly take on a seafood classic!
This stovetop dinner idea is sure to please.
You'll revel in these gluten-free appetizers tossed in a chili cream sauce.
This Asian-inspired recipe is full of melt-in-your-mouth goodness.
No holiday party is complete without a dip!


Specializing in textiles, our Healthcare division provides a full range of linen and décor products as well as consultative services for long-term care communities.
Leading manufacturer of US-made beds, mattresses, and casegoods. Ask about our complimentary Senior Living Interior Design Services and visiting our 10,000 square foot showroom in Atlanta, GA.