text:
Q: npm equivalent to yarn install and yarn webpack:build Jhipster's http://www.jhipster.tech/installation/ allow to use either yarn or npm , on a different question Application generated with JHipster 4 returning blank page on 8080, but not on 9000
It is suggested to run yarn install and yarn webpack:build
I am new to UI development and we are only allowed npm, so I want to know what will be the equivalent of yarn install  and yarn webpack:build
I generated a new project with
D:\rajblog>jhipster --npm
Using JHipster version installed globally
Running default command
Executing jhipster:app
Options: npm: true
( not with "yo jhipster --npm"), it automatically called "npm install" , but when I run "npm webpack:build" , it does not run and I get
D:\rajblog>npm webpack:build
Usage: npm
where  is one of:
and
D:\rajblog>npm webpack-build
Usage: npm
where  is one of:
    access, adduser, bin, bugs, c, cache, completion, config,
    ddp, dedupe, deprecate, dist-tag, docs, doctor, edit,
    explore, get, help, help-search, i, init, install,
    install-test, it, link, list, ln, login, logout, ls,
    outdated, owner, pack, ping, prefix, profile, prune,
    publish, rb, rebuild, repo, restart, root, run, run-script,
    s, se, search, set, shrinkwrap, star, stars, start, stop, t,
    team, test, token, tst, un, uninstall, unpublish, unstar,
    up, update, v, version, view, whoami
npm  -h     quick help on
npm -l           display full usage info
npm help   search for help on
npm help npm     involved overview
Specify configs in the ini-formatted file:
    C:\Users\XXUid.npmrc
or on the command line via: npm  --key value
Config info can be viewed via: npm help config
npm@5.5.1 D:\nodejs\node_modules\npm

A: You could see defined scripts in your package.json file, for example:
"scripts": {
  "cleanup": "rimraf build/{aot,www}",
  "build": "yarn run webpack:prod",
  …
  "webpack:build:main": "yarn run webpack -- --config webpack/webpack.dev.js --progress --profile",
  "webpack:build": "yarn run cleanup && yarn run webpack:build:main",
  …
  "webpack": "node --max_old_space_size=4096 node_modules/webpack/bin/webpack.js",

Based on this you could start webpack with following npm run command:
npm run cleanup && npm run webpack -- --config webpack/webpack.dev.js --progress --profile

Select script you want to use, e.g. webpack/webpack.dev.js or webpack/webpack.prod.js
Second approach would be to install webpack globally
npm install --global webpack

Run script as
webpack --config webpack/webpack.dev.js

A: To use npm, you need to generate your project with --npm flag: jhipster --npm
Then, the commands are similar:
npm install and npm webpack:build

redpajama_set_name: RedPajamaStackExchange


I enjoy hosting Thanksgiving, but it can be taxing—especially on my wallet. Thanksgiving is all about abundance, and I want to keep it that way—without breaking the bank. So I've carefully selected my menu this year to include Thanksgiving recipes that are affordable and delicious.
My rules for selecting the recipes were simple: I kept my main dish (the turkey) to under $3 per serving. For side dishes and desserts, I kept them at $1.50 or below. My entire meal is going to please my palate and, at less than $7 per serving, keep my wallet happy too. Now that's something to be thankful for.
Layered Mashed Potato & Mushroom Casserole ($1.42 per serving) Fancy up regular mashed potatoes with a layer of mushroom duxelle—a sauté of finely chopped mushrooms and shallots. We omitted the traditional butter in the duxelle and added chard for a nutritional boost. Serve this hearty side in place of mashed potatoes at any holiday feast or enjoy it as a vegetarian main dish.
Creamed Onions ($1.50 per serving) A holiday staple in many households, creamed onions are usually bathed in a rich white sauce made with heavy cream. In this version, we roast the onions for an added layer of flavor and lighten up the sauce with low-fat milk. The result is a luxuriously silky sauce with a sweet roasted onion flavor for far fewer calories and less fat. We like the smaller size of pearl onions, but boiling onions also work well.


text:
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redpajama_set_name: RedPajamaGithub


text:
Category Archives: Art Talk
Special Feature: Artist Amy Gross
Posted on May 3, 2019 by culturebuildsflorida
Each year, the regional arts agency South Arts awards a State Fellowship to an artist in each of its nine member states: Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina and Tennessee. The Southern Prize is awarded to one of these nine artists and South Arts also awards one finalist. This year's finalist is Florida's Fellow, Amy Gross, a mixed media artist living in Delray Beach. We asked Amy to tell us a bit about her journey and why Culture Builds Florida.
Amy Gross:
Iris Mushroom Biotope by Amy Gross
One thing I have discovered is that a path only seems to make sense when you turn around and look back at it. As a teenager, one of my favorite songs featured the line "How did I get here?" suggesting a randomness that was very appealing at the time. But now, when I ask myself that kind of question, much of it can be answered by this one fact: I moved to the state of Florida.
I was born and grew up on Long Island, New York, halfway between the ocean and New York City. My father was a painter and a textile designer, my Mom a lover of books and music. I never had to argue a case for being an artist, and because my dad was raising a family of four as an art director, it was proven fact that you could make a life for yourself as a creative person. I majored in Fine Art at Cooper Union in Manhattan and studied everything I could get my hands on there: graphic design and painting, printmaking, calligraphy, sculpture. I graduated into the terrifying New York City art world of the late eighties and early nineties, and being a shy person, wilted immediately. And realized that surviving was going to be for me like it was for everyone else on Earth, I set about finding something I could do well and make a living from.
Spora Mutatus by Amy Gross
So I became a textile designer like my Dad, expanding into surface design as time passed: children's bedding, baby blankets, slumber bags and rugs, plush toys, dolls, magic show stages, beach towels. I freelanced for over twenty years, working with Sesame Street and Disney and Warner Brothers, Elmo and Winnie the Pooh and Bugs Bunny. I painted at night for a long time, but the ideas I had about what kind of artist I was morphed and changed. I would only answer to the title "designer," which is unfair to every graphic artist out there, and which only applied to my own confusion of identity. I had a lot of unformed assumptions about what kind of personality made interesting art, thinking I had some of the elements but not enough to justify sharing my work with anyone outside my family. I kept sketchbooks and journals, but they were for me alone, and I felt almost liberated by the loss of the labels I had stuck onto everything creative when I first left art school. I figured that I had chosen my path.
Silver Bees, (h.miserablis), Adapting by Amy Gross
Then I moved to Florida. My extended family had lived here since the seventies, so I assumed that it would be known territory. I was wrong. In the almost twenty years I have lived here, Delray Beach and South Florida have been so multilayered I'm still discovering it. In New York I was always on the periphery of the art community, but once here I was almost immediately welcomed into the creative world. Museums held talks where the artists were right there in front of me, answering my questions. Studios were opened up, galleries had exhibits by people that might be too much of a risk in more expensive places.
Silver Bees, (h.miserablis), Adapting, detail, by Amy Gross
Within months I was standing on the sidewalk in Lake Worth next to my favorite artist, a person I was too in awe of to speak to. But imagine – I could have, if I had worked up the nerve. And I became friends with working artists from places all over the world, interesting people bringing experiences to their work that I had known little about. There was an openness, a generosity that I wasn't used to, a camaraderie that suggested that competition was not the only motivation that made you want to work hard.
Brood Comb Biotope by Amy Gross
I became excited about the prospect of being an artist again. The landscape here fascinated me, the constant and accelerated growth, the tension between the natural and the man-made, the battle between the native plants and the invasive foliage, the adaption and symbiosis that weaves itself into every story here. Plants tangle and overwhelm any structure that isn't constantly managed, rainforests thrive in between gated subdivisions. Water turns solid from duckweed, strangler figs squeeze palms, reptiles sleep in your drain pipes. I vitally needed to describe these collages of elements, to combine them with my own life experiences and mix the things I could see with what I could not. I started making my embroidered canvases and later, fiber sculptures to describe my fascination with this strange environment and turn this awe into metaphors that tell a story of a human's experience within it.
Mycorrhiza by Amy Gross
Florida's creative inclusiveness was a very important factor in my finding a place for what I do in the outside world. This is why Culture Builds Florida. My mentors in Palm Beach County encouraged me to go beyond my earliest ambitions, to push my boundaries. And my most recent experience, being chosen as the 2019 Fellow for the State of Florida for the South Arts Southern Prize, was an affirmation I did not imagine or expect. My process is primarily a solitary and internal one; I make things now from an inner conviction and I still look up and am surprised that what I do has a life outside of my studio. So when I found myself in a room celebrating art making with South Arts, the Florida Division of Cultural Affairs and the myriad sponsors, I was floored. I was surrounded by people who are deeply invested in the arts and the lives of art makers, who understand its value and what it can do for the community. Their gift of support and its translation into precious time to work made me even more grateful that I get to do what I love to do. It took me a while to get to the place where I could meet them all, and their affirming "Yes!" will stay with me wherever my work goes next.
Collection by Amy Gross
Posted in Art Talk, Florida Division of Cultural Affairs, Spotlight On, Uncategorized	| Leave a reply
Art Talk: Kimberly Hyatt and Cathedral Arts Project
Posted on April 12, 2019 by culturebuildsflorida
The Cathedral Arts Project is an arts education organization serving the children of Northeast Florida by providing access to instruction in the visual and performing arts. It was founded in 1993 by a small group of individuals from St. John's Cathedral wanting to provide arts instruction to underserved and at-risk youth. We chatted with CAP's President and CEO, Rev. Kimberly Hyatt, to learn more about the organization and about her career as an arts leader in Florida.
Division of Cultural Affairs (DCA): How long have you lived and worked in Florida?
Kimberly: This summer will be 23 years. I came to Florida in 1996 and have been with the Cathedral Arts Project since 2002.
DCA: Tell us about your work with the Cathedral Arts Project. What is the best part of your job?
Kimberly: The children are definitely the best part of the job — just witnessing how the arts can transform a child's life. We see time and time again that there's something about the arts to reach children in ways nothing else can. The arts stay with them for life and it is really a privilege to witness.
DCA: What are some of the challenges involved with leading this organization?
Kimberly: When leading any institution there are always challenges to overcome and we try to see these as opportunities to solve. One challenge would be the fact that there are so many children in our community who would benefit from an arts-rich education. Continuously trying to serve these children while maintaining the standards of our programming is definitely a challenge — to balance growth with maintaining quality.
Right now, it is especially important to make sure everyone understands how vital the arts are when it comes to issues of mental health. It's so tough to be growing up today and I really feel that it is more important than ever that children be able to utilize the arts as a means of self-expression. I think anyone who watched the powerful performance by the Marjory Stoneman Douglas theatre students at last year's Tony Awards is aware of just how important the arts can be when facing complex challenges.
Getting everyone to understand that if you care about public education, you must care about arts education is also particularly challenging. We've been able to move the needle a great deal here in Jacksonville, but it is so important that everyone learns how impactful an arts education can be. We know what the arts are capable of achieving and we want to make them the top of everyone's minds.
DCA: How has the organization evolved over the years?
Kimberly: When I came the budget was small, under $100,000. It was a fledgling ministry of the local cathedral that had just recently become a standalone nonprofit organization. Now our budget is over $2 million and growing — so we've definitely evolved in that way. This has allowed us to grow from being a small organization serving just a few children to a more complex organization that serves many more children, working collectively with others for systemic change. Today I tend to put our work into three buckets.
The first is that we teach children, so we provide arts learning to children who need it the most. That will always be the heart and soul of what we do. The Cathedral Arts Project also provides professional development for local artists, educators, and school administrators. The third bucket is advocacy. We spend a lot of energy on advocacy, working to broaden the relevance of arts education in the minds of families, policymakers, and business leaders. This goes hand-in-hand with what I said earlier, that caring about public education means caring about arts education.
For a program that started out serving just 10 kids in an afterschool dance class, we've grown tremendously. We directly impact more than 1,000 students each year through our afterschool and summer programs but are able to serve many more through the various facets of our programming. Over the years, more than 28,000 children have been enrolled in our programs.
DCA: Which counties or areas does your organization serve?
Kimberly: We serve all of Duval County, which has over 129,000 students enrolled in public schools.
DCA: In your opinion, what is the greatest contribution the Cathedral Arts Project makes to the community?
Kimberly: It goes back to our mission statement. I truly believe that we are enriching the quality of life here for generations to come. The latter part of that statement is easy for us to sometimes gloss over, but the transformative effect that our work is having on a child's life will have ripple effects for generations to come, in countless ways.
DCA: What do you think of when you hear "Culture Builds Florida"? Why are the arts and culture important to our state?
Kimberly: I think that culture really is what sets us apart as a state. Culture draws visitors to come and have experiences that they can't have anywhere else. Culture is what draws companies to relocate their communities and it's why people want to live here. I think it is culture that joins all of us to work here together, regardless of how different we might be. I believe that arts and culture provide opportunities for each of us to feel like we belong and to understand each other and really build one another up.
The Division thanks Rev. Kimberly Hyatt and the CAP team for their participation in this interview. To learn more about the Cathedral Arts Project, visit their website: https://capkids.org/.
Posted in Art Talk, Cultural Conversation, Culture Builds Florida, Florida Division of Cultural Affairs	| Leave a reply
Art Talk: Jane Lindberg, President of Arts Alive Nassau
Posted on February 8, 2019 by culturebuildsflorida
Arts Alive Nassau provides arts opportunities and educational experiences free of charge to students in Nassau County schools. We chatted with founder and president Jane Lindberg to learn more about the organization and about her career in Florida.
Division of Cultural Affairs (DCA): Tell us about the history and founding of Arts Alive Nassau.
Jane: We were formerly known as the Amelia Arts Academy. In the 1990's, we were the only organization in our area that offered private lessons in different kinds of arts. By 2011, our original plan was not working and the organization was failing miserably. I was trying to raise funds to start a band in one of the elementary schools and went to see a potential funder. He was hesitant to support an organization that was giving lessons to kids from families who could afford to pay for them. I took this information back to our board of directors and we began to rethink our operations. There were hundreds of kids in Nassau County who were totally without any kind of cultural life… there was no visual arts curriculum in the elementary schools at all and very minimal music instruction. So we started a conversation with the school board about how our organization could provide the artists/teachers and the programming if they could provide the space and the children. This was the beginning of our organization as it is known today.
In 2012, we were "reborn" as Arts Alive Nassau and started offering three programs: a dulcimer class, an elementary school band, and a visual art class. Originally, we worked with three elementary schools and provided the classes after school. Over the past six years, we have grown to providing 20 after school classes and two classes with the ESE program during the school day. We are now a presence in each of the nine elementary schools in the county. The schools don't charge us anything for the use of the space and we are able to offer our instruction free of charge, in exchange. It's a wonderful relationship because finding space and getting kids on location is often a problem. Through our partnership, the instruction happens right where they are and it has worked very well.
DCA: What is unique about the population that your organization serves?
Jane: Nassau County is very unique. The differences between the South end of Amelia Island, West County and East County are huge. Some towns such as Yulee, Callahan, and Bryceville are mostly rural and there are very few arts opportunities at all. Bryceville Elementary, for example, is so small that they don't even have a music teacher or art teacher. But, the schools in these towns were the first to contact us with interest of seeing what we could do for their students.
DCA: What types of programming does Arts Alive Nassau offer?
Jane: We offer music lessons, violin, ukulele, band… one of the elementary schools has both a brass ensemble and a drumline. We still offer our dulcimer classes as well as visual arts classes in painting, drawing, and puppetry. We also have a great partnership with a theater company in South Carolina, the Baillie Players, that has helped us produce musicals at Callahan Elementary School for the past five years. This year they are doing "Snow White". The teacher at Callahan has all the music, scripts, choreography and casts the show and then our partner company will come down to coach the kids and bring the sets, costumes, and props. There are usually 40-50 students involved and it's such a wonderful thing for the children. In Callahan, which has a population of around 1,300, the community members and families come out in droves to see the children perform– even the mayor usually makes an appearance! It's a great event not only for the students involved but for the community, as well.
In the past, we have also facilitated an honors chorus, which has recently developed into the First Coast Singers.
DCA: How many students are involved with your programs?
Jane: Each year, close to 600 students are involved in our activities. Currently, we have 255 students in our classroom-based programs. We'd love to be able to reach more students but are limited, like many organizations, by our budget.
We emphasize quality over quantity. Most of our music classes have a limit of ten students. This is to ensure that our students are getting the best possible instruction at all times.
DCA: What is your role within the organization?
Jane: I am "president for life". Our organization is very small and has no paid executive director. We are fortunate to have a wonderful board of directors made up of people who really care and really show up. They are the driving force behind everything that we do.
Four years ago, we were fortunate to receive an endowment that has enabled us to hire a program director. She has done an incredible job working with the schools and coordinating everything. We are constantly coming up with new ways to grow, and to involve students in the arts from early on. This is really important to me because I think that we, as a society, are somewhat culturally illiterate. The arts are not valued nearly as much as the value that they add.
DCA: How long have you lived and worked in Florida?
Jane: I moved here in 1998 with my husband to build an industrial plant in Yulee, for manufacturing and assemble electrical controls. For a long time, I was not very involved in the arts, but then began teaching music history at Jacksonville University. While I eventually left my teaching position due to the travel time, I still miss being around the students. College students are wonderful in the way that they think about things– it's just a different perspective. I think I've always been a teacher at heart– it's really what I love most. So right now, that's still at the heart of what I do, even if I do most of it on a volunteer basis.
DCA: What is the best part of your job?
It's definitely seeing the children's faces. When they get excited and they've just learned how to play something, they are so proud of themselves. I think that arts education presents the opportunity for children to find out who they are inside because to me, that's what the arts give us. They allow children the opportunity to find out who they are through creativity. To see the awakening that takes place in every student and the self assurance and self esteem that comes from learning that they can perform and create in front of people is just amazing. I think that the arts are wonderful because you can have so much fun while you're learning.
DCA: In your opinion, what is the greatest contribution that your organization makes to the community?
Jane: It's amazing to know that we are providing an opportunity for these children that they wouldn't have otherwise. Our school board does the best that they can– they're facing constant budget cuts from the legislature and we are able to fill in the gaps and provide art and music to students when the school district can't.
In some ways, our county is very depressed, so having arts and cultural education available to students is so important. We really want to document what we've been able to do in Nassau County so that we can share it with others who might be able to start a similar program where they live and work.
Jane: Florida, physically, is an absolutely beautiful state– really, there are places in Florida that are just gorgeous. But I think that arts and culture make us civilized. They soften our world and our environment tremendously. I can't imagine living in a place without art– what a horrible thing it would be if there were nothing stimulating to see or to hear. Arts and culture make us different as human beings– and right now, I think we need culture more than ever.
For more information about Arts Alive Nassau, visit their website at: http://www.artsalivenassau.org/.
The Division thanks Jane Lindberg, President of Arts Alive Nassau, for her participation in this interview.
Posted in Art Education, Art Talk, Culture Builds Florida, Florida Division of Cultural Affairs	| Leave a reply
Art Talk: Jennifer Sabo, Executive Director of Arts4All Florida
Posted on December 14, 2018 by culturebuildsflorida
Arts4All Florida is a statewide service organization dedicated to making the arts accessible for everyone. We chatted with Jennifer Sabo, the organization's executive director, to learn more the organization and about her career in Florida.
Jennifer: I attended grad school at UF and earned a Master's in Museum Studies with a concentration in Education. After grad school, I briefly moved to LA, but ultimately came back to Florida, working at the Ringling Museum for a few years as the Youth and Families Program Manager. After that, I had the opportunity to be the founding Director of Education at the Golisano Children's Museum of Naples. That was a true labor of love! It was so exciting to be part of building something from the dirt up. I then had the not-so-brilliant idea to move north again (into the cold), but was soon looking to move back to Florida right when Arts4All Florida (formerly VSA Florida) was looking for a new Executive Director. It worked out perfectly, as I already knew a lot about the organization and had partnered with them on a few programs when I was working with Ringling and Golisano. I've now been the Executive Director at Arts4All Florida for a little over four years.
DCA: Tell us about your work with Arts4All Florida. What is the best part of your job?
Jennifer: There are three parts to my job. One part involves the typical Executive Director task of funding the organization—both finding funding and managing funding. A big part of our budget comes from the Florida Department of Education, so a lot of my work is managing and writing our grants, meeting deliverables, reviewing program evaluations, communicating with stakeholders, and so on.
Another big part of my job is what is typical of much nonprofit administration work, "other duties as assigned". This includes a little bit of everything—marketing, event planning, working at summer camps, and many other things. This is one of the things that I love about the organization. We have an amazing—but small—staff, so everyone really works together and takes turns helping one another with their duties. No one is a silo!
The last part of my job involves trainings, conducting both in-person trainings for school districts and cultural organizations and webinars. We help teach others about accommodations and accessibility for all. I love this part of my job. Most of the time, the people that are at the training really want to be there and want to be more inclusive and accessible. It's awesome when you see the lightbulb go off in someone's head and say, "this will work for my neurotypical students, too!" Our vision is really to make the arts accessible for everybody.
Jennifer: Funding. Every year, the month of April is really stressful, as we wait to hear about grants and other funding sources. We are an interesting organization in that we are both public and private. A large portion of our funding comes from the Department of Education through the University of South Florida. All of our staff are USF employees, but we are also a private 501(c)(3). This makes my work interesting because we have to report to our funders, the DOE, USF, and school districts in more than 60 different counties.
Jennifer: The organization is now 38 years old. It was founded in 1981 as a joint project between the Florida Department of Education and the Division of Cultural Affairs. Florida was incredibly proactive about facilitating arts accessibility in this regard– the organization was founded before the Americans with Disabilities Act. It was originally called Florida Arts for the Handicapped, and was part of the international organization that eventually became VSA (which stood for "Very Special Arts"). In 1986, VSA directed all affiliate organizations to become private nonprofit organizations, which was the start of the organization as it exists today.
The program has changed throughout the years based on whatever the needs have been at certain times. We have hosted conferences, residencies, trainings, and now we do a little bit of everything.
Recently, we changed our name from VSA Florida to Arts4All Florida to signify our focus on universal arts. We want everyone to be able to participate in the arts together, not just people with disabilities.
DCA: Which counties or areas do you serve?
Jennifer: For the past two years, we have served 64 different counties throughout Florida. We serve each differently based on their specific needs.
DCA: In your opinion, what is the greatest contribution that Arts4All Florida makes to the community?
Jennifer: Our vision is to make it so that everyone can do art together, so that the arts are universally accessible to people with and without disabilities. The arts are a unifying force and they really level the playing field, so to speak. Many people who have disabilities are able to be incredibly successful in the arts. It's really cool to see someone without a disability appreciating the art of someone with a disability.
We just wrapped up our "A Definition of Dance" program which we started four years ago. We wanted to bring world-renowned dancers with disabilities to Tampa to do community outreach and performances. The performance during the first year of the program was one of the most incredible performances that I have ever been to in my life, one of those events where everything comes together just right and amazing things happen. In year two, we expanded the program to bring in more dancers and travel to more cities. We were able to bring in 15 artists with all different kinds of abilities from eight different countries for performances in Jacksonville, Miami, and Tampa. This year, we brought in the dance crew ILL-Abilities, and they were absolutely amazing. They spoke about discovering and overcoming their disabilities through dance, and were able to translate this story into their performances. Each dancer performed solo before they came together as a crew. The coolest part was watching how kids reacted to their performance—the kids didn't focus on the dancers' disabilities—they just thought, "this is really cool". That experience was really like our vision coming to life.
Jennifer: As I mentioned before, the arts are a unifying presence for everybody, whether you are a creator or a consumer. Everybody can enjoy some type of arts and everybody gets something different out of it, either through producing art, participating in art, or viewing art. The arts relax, heal, and unite us. They are social and bring everybody together. No matter what your job is or what your abilities are, everybody can engage with the arts at some level. They make us who we are as a society and culture.
DCA: Is there anything else you'd like us to know about Arts4All Florida?
Jennifer: If there are any organizations that want to help the arts become more inclusive and accessible, please contact us! We are here as a state service organization to help you.
For more information about Arts4All Florida, visit their website at: http://vsafl.org.
The Division thanks Jennifer Sabo, Executive Director at Arts4All Florida, for her gracious participation in this interview.
Posted in Art Education, Art Talk, Cultural Conversation, Culture Builds Florida, Culture In Florida, Florida Division of Cultural Affairs	| Leave a reply
Meet the Florida Council on Arts and Culture: Nancy Turrell
Posted on November 9, 2018 by culturebuildsflorida
The Florida Council on Arts and Culture is the 15-member advisory council appointed to advise the Secretary of State regarding cultural grant funding and on matters pertaining to culture in Florida.
Appointments to the Council are determined by the Governor, President of the Senate and Speaker of the House, in consultation with the Secretary of State. The Governor manages seven seats that serve four-year terms. The President and Speaker manage four seats each, with terms of two years. The appointments are based on geographic representation, as well as demonstrated history of community service in the arts and culture.
In this bi-monthly series, we will introduce you to each member of the council and share their thoughts on the role of arts and culture in the state of Florida. This month, we chatted with Nancy Turrell. Nancy was appointed to the council in October 2017 by Senate President Negron.
DCA: Tell us a little bit about yourself.
Nancy: I am resident of Stuart, Florida, one of Florida's great and growing small arts towns. I have been fortunate to serve as the Executive Director of the Arts Council of Martin County since April 1999…nearly 20 years. My educational background includes a Master of Arts in Philanthropy and Development from Saint Mary's University in Winona, Minnesota and a Bachelor of Science in Marketing from New York University.
I am not an artist; however, I had opportunities as a young person growing up to be involved in the performing arts. I played the lead role in our fifth-grade class play, "The Murder at Mother Goose's House." Starting in sixth grade, I began playing the flute and in seventh joined the choir, both of which I continued through my senior year in high school. Through my participation on a nationally competitive synchronized swimming team I gained an appreciation of classical music and choreography.
I am a lover of the arts. I was raised to attend concerts, go to museums, and love to be in the audience. In the past I've served as a board member of the Lyric Theatre and as an advisory member for Florida Arts and Dance Company.
While attending NYU, I was introduced to arts administration. During my senior year, I had an internship with the Cooper Hewitt Museum, a part of the Smithsonian Institute. I was placed in the development office and was soon covering for the membership director who went on maternity leave. My continuing love of Alexander Calder's artwork was born there, as I was tasked with the job of translating his titles from French to English. This was a great early lesson on the many hats an employee of an arts organization wears. When I moved to California after college, I sought a position in an arts institution but was repeatedly told that without an arts background they weren't interested. Needing a job, I secured a temporary position with United Way of Los Angeles County and went to work. Shortly thereafter, I found my way to Stuart in 1990, and United Way of Martin County. When Mary Shaw (my predecessor) retired from the Arts Council in 1999, I jumped at the chance to get back to my roots in arts administration.
Nancy: Communities across the state would be lifeless places without the spice and variety that arts and culture infuse. Florida's most popular tourist attractions are firmly based in creativity; this industry depends on people gaining a solid education rooted in creativity and the arts. This builds Florida's economy, its people and culture and our shared experience as Floridians.
The arts are a vehicle to bring together people of vastly different life experiences. Today, we need to have more things that bring us together rather than split us apart. Too many societal issues challenge us and create divisiveness, where shared arts experiences bring people and communities together. This may be our most important role in "Culture Builds Florida" as we look back years from now at the legacy that is created by our actions today.
DCA: For you, what is the most inspiring part about working in the arts?
Nancy: I am inspired to build our audiences for future generations to come. I have said for many years that the goal of our arts education programs and outreach efforts isn't really to build future artists, but rather to create an understanding and appreciation of the arts that leads to a passion for the arts. Without an audience an artist has no purpose and our lives would be so very boring and uninteresting.
The joy that the arts brings into our lives can not go without mention. For me, the arts have created many happy memories and cherished moments.
DCA: What do you hope to accomplish as a member of the Florida Council on Arts and Culture?
Nancy: I hope to change the tide of funding for the arts across the state through advocacy. I am a firm believer in the validity of the state grant process. Having a leadership opportunity to speak out on behalf of the process and its transparency is a privilege. Being appointed to the Florida Council on Arts and Culture gives me a voice that I didn't have before. As the director of a small organization in a community where not many organizations receive grants, my hope is to increase the number of grant applications through the Division of Cultural Affairs from my region, the Treasure Coast. Receiving these grant funds will further strengthen the case for the investment of state funds in local arts organizations.
Posted in Art Talk, Cultural Conversation, Culture Builds Florida, Florida Council on Arts and Culture, Florida Division of Cultural Affairs	| 1 Reply
Art Talk: Katchen Duncan and Bahama Village Music Program
Posted on September 14, 2018 by culturebuildsflorida
© Ralph de Palma Photography
Bahama Village Music Program is a community music education program that has been serving the Key West area of Bahama Village since 1999. The program is dedicated to giving underpriveleged kids the gift of music. We chatted with BVMP's executive director, Katchen Duncan, to learn more about the program and its impact on its community.
Division of Cultural Affairs (DCA): Tell us a little about the history and founding of Bahama Village Music Program.
Katchen: Bahama Village Music Program was founded in 1999 following the retirement of beloved Bahama Village piano teacher Ellen Sanchez. Robin Kaplan, the program founder, recognized the void in the neighborhood and founded BVMP in a storage room off the stage in the Frederick Douglass Gym with a few student teachers and a dozen students. Students showed up whether it was time for their lessons or not, and it was soon realized that this was really something the neighborhood and the community at large needed.
DCA: What is unique about the population that BVMP serves?
Katchen: BVMP's student population is very diverse, with students from all walks of life mingling together in ensemble classes and workshops. BVMP mainly serves low income at risk youth but any child is allowed to participate. Still, over 80% of our student's families report an income under the ALICE level. Many of our students are first generation americans, and some are the only english speaking members of their families. A really unique aspect of BVMP is the student teacher model, BVMP students become teachers when they reach high school offering not only after school employment but also something to work towards! Having the goal of becoming a student teacher inspires our students to work hard on their practicing and musicality.
DCA: What types of programs does BVMP offer?
Katchen: BVMP offers individual lessons in piano, guitar, drums, woodwinds, brass and strings. We also offer ensemble classes in music theory, composition, choir, a cappella, ukulele, school of rock, violin, dance, steel pan and musical theater. Through our partnership with the local school district we were able to expand our programming to offer classes before and after school at our city's largest elementary and middle school. These popular programs have received much support from the community as the local school had cut music programs from their curriculum.
DCA: How many students are involved in BVMP programs?
Katchen: Over 175 students participate in lessons or ensemble classes at our main location with over 50 students participating at the local school we have partnered with. Over 225 students a week receive free music lessons!
DCA: You just wrapped up your third year of summer programming. Tell us about it.
Katchen: Our BVMP summer camp is the best! The campers have so much fun and really learn a ton in such an immersive environment. Having the students for 8 hours a day five days a week really ups their musicianship and creativity. The amazing results are evident! Our songwriting class wrote 10 different songs! Our ukulele class learned how to fingerpick in six weeks! The end of summer recital brought the house down.
DCA: What is the best part about your job?
Katchen: The best part of my job is the kids. When they spill off the bus at the end of the day so excited to see you and get started on their music lessons, you realize you're doing exactly the right thing. They inspire us more than they know. It's even better when adult students come back and tell you how much their time at BVMP meant to them. After almost 20 years, we are starting to teach the second generation of BVMP students!
DCA: What are your hopes for BVMP in the future?
Katchen: I hope that we can continue to give the gift of music for many years to come! We are looking forward to celebrating 20 years of free music education next year and I barely believe that we've made it this far!
Katchen: Culture and art are the building blocks for a great society. Many ancient philosophers saw this and we have all seen it to be true through our local art programs and cultural events. These are the things that make each community unique and inspiring. At BVMP we tout the benefits of music education on the individual; increased cognitive development, better scores on tests, enhanced problem solving skills. But we know that putting the ideas and feelings of making music, collaborating with others without words, expressing emotions through playing and listening, make our students better human beings. More connected to their community and themselves, art and culture make everyone strive to be better and create things to make our world better.
The DCA thanks Katchen Duncan, executive director, for her participation in this post. To learn more about Bahama Village Music Program, visit: http://www.bvmpkw.org/.
Posted in Art Education, Art Talk, Cultural Conversation, Culture Builds Florida, Florida Council on Arts and Culture, Florida Division of Cultural Affairs, Grantee Spotlight	| Leave a reply
Meet the Florida Council on Arts and Culture: Heather Mayo
Posted on August 10, 2018 by culturebuildsflorida
In this bi-monthly series, we will introduce you to each member of the council and share their thoughts on the role of arts and culture in the state of Florida. This month, we chatted with the council's newest member, Heather Mayo. Heather was appointed to the council in April 2018 by House Speaker Corcoran.
Heather: I am a Tallahassee, Florida born-and-raised resident who has a great love for the arts. The arts have always played an integral role in my life, and my involvement in the arts began at a very young age when my mother, a ballet instructor enrolled me in dance lessons at the age of three. At seven years old, I picked up the guitar for the first time and discovered my passion for music. Throughout the years, I have played various genres on the guitar but mainly focused on studying the styles of classical and jazz guitar during my studies as an undergraduate student at the Florida State University College of Music. After completing a Bachelor of Arts in Commercial Music in 2006, I worked at a prominent recording studio on music row in Nashville, TN and learned various aspects of the music business. Four years later, I decided to return to FSU to pursue a Masters in Arts Administration and to dedicate my career to working as an arts administrator in the non-profit arts sector.
Currently, I have the privilege of working for Florida State University as the Assistant Director of Production and Community Engagement within our College of Music. In my position, I help oversee our performance hall production coordination and assist in various outreach, engagement and entrepreneurial activities of the College. As a volunteer, I am currently serving as the Immediate Past-President of the Friends of Dance Council within the College of Fine Arts at Florida State University, and I am also serving as a 2018 Catalyst with the Knight Creative Communities Institute in Tallahassee.
Heather: When I hear "Culture Builds Florida", I think of economic growth and social impact. In the most recent Arts and Economic Prosperity study conducted by Americans for the Arts, it was found that the arts and culture sector is a $4.68 billion industry in Florida. The arts and culture industry in our state supports 132,366 full-time equivalent jobs and generates $492.3 million in local and state government revenue [1] In my hometown of Leon County, FL the nonprofits arts and culture sector is a $201.9 million industry which supports 7,161 full-time equivalent jobs and generates $26.6 million in local and state government revenue.[2] To me, these numbers prove that the "Arts Mean Business!" The arts support job growth, generate government revenue and attract cultural tourism in our state.
In addition to impacting our state's economy, arts and culture contribute in countless ways to the well-being of our state by making a social impact in our everyday lives. The arts enable us to uphold our cultural identity as Floridians but also keep us moving forward in innovative ways that are relevant. Arts and culture celebrate diversity and inclusion by bringing people together under one purpose. They enable us to express ourselves, our feelings, and our beliefs creatively. They help us heal; they contribute to our health and wellness. They are vital to the education of our children. They allow us to reflect on our society, on world issues and on our own lives in meaningful ways.
Heather: For me, the most inspiring part about working in the arts is the opportunity I have to work in an industry that makes a difference in people's lives through a creative process. The best example of this in my own world is witnessing a performance come to fruition after our team has spent months preparing for its premiere. There is so much behind-the-scenes work that goes into each production, but the most rewarding part is to see it all come together successfully. Some of my most favorite moments are when I stand in the back of the concert hall and witness the joyful impact the performance is having on an audience member's life. I often think to myself, "Wow, we helped create this moment for them!" Those are the times I feel most inspired.
Another aspect I love about working in the arts are the relationships that are made along the way. On a daily basis, I get to work with a fantastic team of colleagues who inspire me to be more excellent in everything I do. I also have the wonderful opportunity to work with multiple artists at the local, national and international level. Through these relationships, I have seen the power in collaboration and how we can spur on each other to new creative heights.
Heather: First and foremost I hope to support the mission of the Department of State and the Division of Cultural Affairs through my service on this council. I genuinely believe that state arts agencies are one of the most significant vehicles our country has to fulfill our public duty to the arts. By representing all interests of the state, the Division helps ensure that the economic, educational, and civic benefits of the arts are made available to all Floridians. For that, I am thankful for the work the Division is doing for us on a daily basis and look forward to supporting their efforts.
Alongside my fellow council members, I also hope to strengthen strategic partnerships and boost arts advocacy conversations with art constituents throughout the state. It's no secret that we are living in a time in which advocating for the arts needs to be at the forefront of our daily lives. With this in mind, I hope we as art constituents can become familiar with the economic impact of the arts within our own immediate communities and that we can also be prepared to express how the arts enhance our quality of life. In turn, I hope that through these increased conversations, we can come together as an arts community and jointly make an impact in preserving the cultural heritage of our great State of Florida.
[1] http://dos.myflorida.com/media/698818/artseconomicprosperityfl.pdf
[2] https://coca.tallahasseearts.org/uploads/documents/COCA_Arts__Economic_Prosperity_Bklt_v2.pdf
Posted in Art Talk, Cultural Conversation, Culture Builds Florida, Culture In Florida, Florida Council on Arts and Culture, Florida Division of Cultural Affairs, Uncategorized	| Leave a reply
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Culture in Florida: June 2019

redpajama_set_name: RedPajamaCommonCrawl


The insulation tax credit (IRS Section 25C) is for homeowners who have upgraded their insulation in 2015 and throughout 2016. The credit is 10% of the cost of the insulation materials up to $500 (cost of labor not included in tax credit).
How does a taxpaying homeowner qualify for the tax credit?
(4) that reasonably can be expected to remain in use for at least five years.
The tax credit applies to energy efficiency improvements placed in service between January 1, 2015, and December 31, 2016.
Your customers can use the latest version of IRS Form 5695 to apply for the tax credit. The lifetime cap on the tax credit is $500. Therefore, a homeowner who previously took at least a $500 tax credit would not be eligible for further credits.
Taxpayers claiming the credit should retain the certification statement of the manufacturer of the insulation that they are having installed.


On the sample tab, you find all the tools needed to load, edit and create new samples or OPL instruments. Samples, besides synthesizer plugins, are the main sound source in OpenMPT. Depending on the module format used, they are directly used without further layers on top (MOD and S3M format) or are referenced by instruments, where their playback can be altered through a variety of envelopes and other effects (all other formats).
In the S3M and MPTM formats, a sample slot can also hold the patch data for an FM-synthesized OPL instrument.
A number of sample properties can be controlled on this tab, such as default volume and panning, loop and sustain points as well as auto vibrato. All options are explained in detail here.
New Sample: Creates a new sample. In instrument mode, you are asked if the new sample should be assigned with a new instrument. Shift-clicking this button or choosing the dropdown menu duplicates the current sample. In the S3M and MPTM format, the dropdown menu can also be used to initialize the current sample slot with an FM-synthesized instrument.
Load Sample: Loads one or more sample in one of the following formats. To enforce loading as a Raw sample, choose "Import Raw Sample" from the dropdown menu.
WAV: Uncompressed PCM (up to 32 bits), floating-point (32 / 64 bits), IMA ADPCM, µ-Law and A-Law.
Media Foundation: On Windows 7 and newer, OpenMPT makes use of the Media Foundation framework and can load any sample supported by the system. This includes AAC and MP4 audio, compressed WAV files, WMA, audio streams from video files and other formats.
Trying to load any module as a sample will open it in the Instrument Library instead, from where you can drag and drop samples into the sample editor.
Save Sample: Saves an instrument either in the WAV, FLAC, S3I or RAW format. Hold Shift while clicking the button to mass-export all samples at once. In the save dialog, you can then use the variables %sample_number%, %sample_filename% and %sample_name%.
Next to the toolbar buttons are a spin button for dialling up a different sample, a drop-down box for changing the zoom level and sample format information.
Preview Sample: Plays the current sample at middle-C. Clicking the button again stops the sample.
Normalize: Amplifies the sample (or a selection of it) as much as possible without distortion. Samples should be normalized before being converted to 8-Bit for optimal usage of the dynamic range. Shift-clicking this button normalizes all samples independently.
Amplify: Opens the Amplify dialog, where the sample (or a selection of it) can be faded in or out and amplified by an arbitrary amount.
Remove DC Offset: Normalizes and shifts the waveform so that it is centered around the center (DC) line. Any DC bias on samples should be removed for optimal headroom usage. Shift-clicking this button removes DC Offset from all samples.
Change Stereo Separation: Allows to widen or reduce a stereo sample's stereo width, or to swap stereo channels by entering a negative separation amount (-100%: swaps channels, no change in stereo width).
Resample: Opens the Resample dialog which can be used to change the sample's playback frequency.
Reverse: Reverses the sample or parts of it.
Silence: Silences a sample selection.
Invert Phase: Inverts the sample's or sample selection's phase.
Sign / Unsign: Applies a theoretical conversion between signed and unsigned PCM data to the sample or a selection. Usually this would be used for fixing imported RAW samples with mixed up signed / unsigned import options, but it can also produce nifty-sounding distorted samples.
Crossfade: Opens the Sample Crossfader dialog, which applies a crossfade between the sample loop start and loop end for seamless sample loops.
Tune sample: Opens the Sample Tuner dialog, where a sample can be tuned to a given note.
In the MPTM format, you may keep references to external samples instead of directly storing them in the module file. This can help reducing disk space taken up by your modules, especially if you want to keep several work-in-progress versions of your song or when using auto save. However, keep in mind that editing these external sample files will also change any module referencing them.
You can enable this feature by checking the Keep Sample Data on Disk box. This is only available if OpenMPT knows the sample's location on disk, e.g. after you loaded this sample from or saved the sample disk during the current editing session. Shift-clicking the box will enable or disable it for all samples where it is applicable. OpenMPT will only load the external sample's waveform from disk; any other parameters such as loop points, vibrato and panning settings are stored in the module itself.
The Tree View offers further facilities for external sample management: There, you can right-click any sample and set its external path (this will also reload the sample from that location), save any changes you made to the sample to the external file and reload the sample from disk in case you edited it in an external application. You can also reload edited samples that way even when not using the external samples functionality.
Default Volume: The note velocity that is applied if no volume command is found next to a note. It can be overriden by placing a volume command (vxx in the volume column, or Cxx in the effect column in the MOD format) next to the note. Enabling Show default volume commands in the General settings displays the default volume next to a note if there are no regular volume commands.
Global Volume: The overall attenuation of the sample. At a global volume of 64, no attenuation is done, at 32 the sample is half as loud, etc.
Set Pan: Sets the default panning of the sample, which can be overridden by pattern panning commands. If enabled, sample panning overrides the default channel panning and instrument panning. In the XM format, every sample is forced to have a default panning, so there is no channel panning or instrument panning.
Frequency: Defines the playback frequency of C-5.
Transpose: Shows to which note the C-5 frequency is relative to. It can be used to quickly tune the sample to a different note. When changing the transpose value, the frequency is updated instantly.
Finetune: Specifies a slight variation (up to a few hundred Hz) from the Transpose note. Units are 1/8 semitone in MOD format, and are 1/128 semitone in XM format.
Transpose: Shows to which note the C-5 frequency is relative to. In the MOD format, this value is locked to C-5, i.e. the Middle-C frequency cannot be changed coarsely, only fine-tuning is possible. Higher notes in this drop-down box represent a higher Middle-C frequency, i.e. C#5 means that it is transposed up by a semitone.
Off: The loop is not activated.
On: The loop is repeated from the start to the end.
Bidi: The loop is played bi-directionally, i.e. it is first played from start to end, then reversed from end to start.
Sustain loops are played as long as no Note Off event is encountered. They are always considered before normal loops, so if the sustain loop is placed beyond the normal loop, the normal loop is ignored at first. As soon as the sustain loop is exited (by means of a Note Off event), playback is resumed in the normal loop.
Note that sample loops have a peculiar behaviour if the ProTracker one-shot loops compatibility setting is enabled in the MOD format: If the loop start is set to 0, the complete sample is played first, after which it restarts and only the loop part is repeated. Since many MOD players do not support this ProTracker quirk, it is recommended to always trim samples (so that there is no more sample data after the loop end) or not start the sample loop at 0.
OpenMPT's sample player has an internal oscillator which can be applied to pitch, creating an automatic vibrato effect. Depending on the format, each sample (IT / MPTM) or instrument (XM) can have its own Auto Vibrato settings. In the XM format, all samples that are assigned to the same instrument will share the same vibrato settings.
Auto Vibrato can be combined with vibrato effects in the pattern editor — they both function independently. The Auto Vibrato settings cannot be changed in the patterns, though, so the only way to change the Auto Vibrato amount for a sample is to duplicate it.
Vibrato Waveform: In this field, you can select the oscillator waveform, i.e. the waveform that is used to modulate the sample pitch.
Vibrato Depth: Defines how "deep" the vibrato is, in 1⁄64ths of a semitone. The higher the value is, the more the sample pitch is changed.
IT: Full vibrato depth is reached after fading in for (depth × 256 / sweep) ticks, so the higher the value, the quicker the vibrato fades in. 0 means no vibrato at all, 255 means that the full depth is reached after approximately "depth" ticks.
XM: Full vibrato depth is reached after fading in for "sweep" ticks, so the higher the value, the slower the vibrato fades in.
Vibrato Rate: The rate (or speed) at which the vibrato will be played. One oscillator cycle has 256 / rate ticks, so a higher value implies a faster vibrato effect.
Pitch Shifting and Time Stretching can be used to alter a sample's pitch without affecting playback speed and to to change a sample's length without altering its pitch. By default, OpenMPT is in Pitch Shifting mode.
Pitch: The amount of semitones the sample should be shifted upwards or downwards.
Quality: The oversampling factor which also determines the overlap between adjacent STFT windows. Higher values usually provide better results, at the cost of more processing time.
FFT Size: The size of one FFT frame used for processing. Depending on the frequency content of the sample, higher or lower values may sound better.
Default sequence length: This is the default length of a single processing sequence in milliseconds which determines how the original sound is chopped in the time-stretch algorithm. Larger values mean fewer sequences are used in processing. In principle a larger value sounds better when slowing down the tempo, but worse when increasing the tempo and vice versa.
A value of 0 (default) lets the algorithm choose this parameter automatically.
Default seeking window length: The seeking window default length in milliseconds is for the algorithm that seeks the best possible overlapping location. This determines from how wide a sample "window" the algorithm can use to find an optimal mixing location when the sound sequences are to be linked back together.
The bigger this window setting is, the higher the possibility to find a better mixing position becomes, but at the same time large values may cause a "drifting" sound artifact because neighboring sequences can be chosen at more uneven intervals. If there's a disturbing artifact that sounds as if a constant frequency was drifting around, try reducing this setting.
Overlap length: Overlap length in milliseconds. When the sound sequences are mixed back together to form again a continuous sound stream, this parameter defines how much the ends of the consecutive sequences will overlap with each other.
Ratio: Defines how much the sample is stretched, ranging from 50% (double speed) to 200% (half speed).
Time Stretch Calculator: By clicking the button next to the stretch ratio, the Time Stretch Calculator dialog is opened, where you can calculate the correct time stretch ratio for a given tempo and pattern setup.
Zoom In / Zoom Out: Increases or decreases sample zoom. You can also press Ctrl while scrolling the Mouse Wheel to achieve the same effect.
Toggle Draw Mode: Enables or disables sample drawing which can be used to fix small mistakes in the sample waveform or to create chip samples. Hold down Shift while drawing to draw horizontal lines.
Resize Sample: Changes the length of the sample by either adding silence at the start or end or by resizing it to a given length. This can also be used to create new samples for chip samples if there is no sample yet, or to initialize the sample slot with an FM-synthesized instrument in the S3M and MPTM format.
Sample Grid Size: Enables a sample grid which restricts sample selections to equal-sized sample portions. Set the sample grid size to 0 to disable the sample grid again.
Below the toolbar, the actual sample is displayed. By dragging the mouse, a sample selection can be made. Shift-clicking a point can be used to draw a sample selection from a previously clicked point to that point. Ctrl-clicking a point plays the sample from that position at the Middle-C frequency. If the sample has any cue points set, they can (by default) be previewed using Shift+1 through Shift+9.
If no selection is made, the focussed sampling point is displayed and its position is translated into an Offset pattern effect.
If a selection is made, the selection's start and end point and the selection length (both in samples and in seconds, based on the Middle-C frequency, as well as in beats based on the current tempo) are displayed in addition to the current position of the mouse cursor in the sample.
Right-clicking the sample waveform opens the context menu.
The sample display's context menu contents differ depending on whether or not there is a selected block of data.
Zoom: Zooms into the current sample selection.
Set as Loop: When a selection is made, this sets the start and end points of the Sample Loop to that of the selection block.
Set Loop Start: Uses the selected sample point as the start of the Sample Loop.
Set Loop End: Uses the selected sample point as the end of the Sample Loop.
Set as Sustain Loop: When a selection is made, this sets the start and end points of the Sustain Loop to that of the selection block.
Set Sustain Start: Uses the selected point as the start of the Sustain Loop.
Set Sustain End: Uses the selected sample point as the end of the Sustain Loop.
Set Sample Cue To: Sets one of the sample cues for the MPTM format's o volume column command to the selected sample point.
Slice at cue points: The cue points found in the sub menu of the previous menu entry are used as splitting positions to create several smaller samples.
Convert to 8-Bit: The sample's bit depth is reduced to 8-Bit, reducing its sound quality in exchange for a smaller sample size.
Convert to 16-Bit: The sample's bit depth is increased to 16-Bit. This should only be done if you want to further manipulate the sample (e.g. resample or time-stretch), as the conversion process itself will not improve sample quality.
Mix Channels: Mixes the left and right channels of a stereo sample equally together.
Only Left: Only keeps the left channel of a stereo sample.
Only Right: Only keeps the right channel of a stereo sample.
Split Sample: Create two sample slots for this sample, one containing only the left channel and the other containing just the right channel. If the sample is referenced by an instrument, this is instrument is duplicated as well for the right channel.
Trim: Deletes all sample data outside of the selected region.
Trim around Loop Points: Deletes all sample data outside of the sample loop. This is only available if no selection has been made.
Quick Fade: If the selection includes the beginning of the waveform, this applies a fade-in from the first sample point to the last one in the selected region. If the selected region includes the end of the waveform, then a fade-out from the first sample point of the selection to the last one is applied.
Cut: Performs a Copy command, then removes the selected sample data.
Copy: Copies the selected part of the sample (or the whole sample if there is selection) to the clipboard. You can then paste this sample data into another sample slot; some third-party applications (including many popular sample editors) can also make use of this clipboard data.
Paste (Replace): Replaces the entire sample with the sample data in the clipboard.
Paste (Insert): Inserts the sample data in the clipboard into the existing sample. If a selection is made, the selection is replaced by the inserted sample. Otherwise, the sample is inserted at the selected position.
Mix Paste: Mixes an existing source sample with the sample data in the clipboard.
Undo: Reverts to the previous waveform data (before the last edit).
Redo: Reapplies the last undone action.
Two operators per voice, either in parallel (additive synthesis) or serially (frequency modulation).
In additive mode, both operators function independently and are simply added together. They behave identically, except for the additional possibility to use modulation feedback on the second operator (named "Modulator" in the editor).
In FM synthesis mode, the output from the first operator (Modulator) is sent to the input of the second operator (Carrier) and is used to modulate the frequency of the second operator. In other words, the waveform that is output by the Modulator applies a (very fast) pitch envelope for the Carrier. The Modulator can be understood as an equivalent to the filter in an analog synthesizer — the louder the Modulator, the more open the filter is.
Each operator consists of an ADSR volume envelope, several frequency-related settings and a waveform. In FM synthesis mode, the volume of the Modulator is to be understood as the modulation depth — the higher the volume, the more it affects the pitch of the Carrier.
Attack Rate: Specifies how fast the volume envelope fades in from silence to peak volume.
Decay Rate: Specifies how fast the volume envelope reaches the sustain volume after peaking.
Sustain: Specifies at which level the volume envelope is held before it is released.
Release Rate: Specifies how fast the volume envelope fades out from the sustain level.
Sustain Sound: If enabled, the volume envelope stays at the sustain stage and does not enter the release stage of the envelope until a note-off event is encountered. Otherwise, it directly advances from the decay stage to the release stage without waiting for a note-off event.
Volume: The overall volume of the operator.
Tremolo: If enabled, adds a tremolo effect with a depth of 4.8dB.
Pattern volume commands scale the operators's volume envelope. In additive mode, volume commands affect the volume of both operators. In FM synthesis mode, volume commands only affect the volume of the Carrier, while filter cutoff commands affect the volume of the Modulator.
In contrast to samples, the volume of the OPL emulator is logarithmic. Reducing the volume by 8 units halves it, so e.g. a v50 volume command is half as loud as a v58 volume command.
Scale Envelope With Keys: If enabled, the envelopes of higher notes are played more quickly than those of lower notes.
Key Scale Level: Attenuates the output level of the operators towards higher pitch by the given amount (disabled, 1.5 dB / octave, 3 dB / octave, 6 dB / octave).
Frequency Multiplier: Multiplies the frequency of the operator with a value between 0.5 (pitched one octave down) and 15.
Vibrato: If enabled, adds a vibrato effect with a depth of 14 cents.
Only the first four waveforms (Sine, Half Sine, Absolute Sine and Pulse Sine) are supported by the OPL2 chip, so the remaining four waveforms should be avoided in S3M modules.
The output of the Modulator can be fed back into itself, creating rich sounds ranging from metallic to noise.
This page was last edited on 23 December 2018, at 13:02.


We are a group of Christians from all walks of life who seek to serve Jesus and encourage one another. We believe God has gathered us together in this church for this particular time. We invite you to join us in discovering what it means to be a follower of Jesus today.


A holiday in space might sound like science fiction, but it soon won't be. In just a few years, we could see the first orbiting hotel. Some of the world's richest figures are pouring in development money, and that's transforming the space industry.
An Israeli rocket has taken off from Cape Canaveral in Florida, on course for a lunar landing that would make history for both the Jewish state and commercial space travel.


Our new Owen County Directory is coming soon!
For all of you living in or around Owen County, you may have felt left out with all of our new online directories being release in other areas.
Well worry no more! In just 1 short week, we will be releasing the 2014 edition of our Owen County directory online.
As soon as we release it we let you know on Facebook, Twitter, and on here. Please let us know what you think about it, or any of our other online directories. Give us a call, send us a tweet, or post on our Facebook wall.
We LOVE hearing from people who use our books. If you want to tell us how we help you find the numbers you need, let us know!


AccentHansen stole the show at the prestigious Tate Britain Centenary Development in central London when it provided specialist steel doorsets and project management skills to the value of £110,000. The architect is John Miller and Partners, the main construction manager is Mace. FireShield 120 and SecureShield 4 robust yet elegant doorsets are critical to the ongoing Centenary development. Used for new plant rooms, which house the museum's sophisticated environmental control systems, a high degree of sound attenuation is incorporated in all AccentHansen's doorsets as well as security, fire proofing, ergonomics and aesthetics. AccentHansen also provides SoundShield and MultiShield doorsets.


Rubia has recently been DJ in the London Tango Marathon and the Lady's Tango Festival in London. We welcome her back to Carablanca for the fourth time as DJ.
On this occasion we have restructured the evening so that we have 6 continuous hours of Rubia's music. There is no Intermediate class, enabling the milonga to start at 8pm. Also, we have an extension to continue the milonga till 2am.


In addition to building individual elements using the Polymer library, you can build entire applications from custom elements.
Building your application for production.
Using the PRPL pattern for fast-loading web applications.
Using service worker for improved loading performance and offline support.
To get started, see the section on Application templates.


Train, Fight, but Plan Ahead. Be Smart!
So my club is adding Hatton Boxing in the new year and I'm curious of the benefits.
How to prevent hand injuries?
Aikido as a first art for those with zero physical education or athletic training.
is the tacfit program any good?
what is the Benifits of diet ?


One of Wisconsin's most active competitors looks to continue a positive stretch this weekend in Minnesota. Morgan Sickinger, formerly ranked atop the state's featherweight division, aims for his third win in four attempts when he meets Matt Veal at Sterling Entertainment Group's "Lockout" card.
Known as "Captain", Sickinger has been a staple of Wisconsin's fight scene since 2007. Once holding the now defunct Konquer the Kage title and narrowly dropping a decision to Javier Vega in the Combat USA inaugural 145-pound tournament, the Unified Martial Arts fighter has constantly worked towards his goal of hitting the big time.
While a tough winless stretch of five fights has postponed the dream, Sickinger has recently regained some momentum winning two of his last three. Most recently, the wrestling-based fighter edged out Josh Kasee at Madtown Throwdown 28.
Tomorrow, Sickinger shoots for a win outside of his home state, something that has avoided him his previous two attempts. Standing across the cage will be experienced Canadian adversary Matt Veal. The Thunder Bay native is listed as having a record of 9-8 and some serious experience.
Having fought within Bellator Fighting Championships and Maximum Fighting Championship, Veal is no stranger to tough competition. He holds wins over Courtney Buck, Brian Learn, Derek Abram and more throughout his five-year professional career.
Expect to see to hungry fighters desperate for a win on when Sickinger and Veal scrap on Saturday night in Gopherville. Most likely, the fight will be determined on the ground, the aspect of the game where both fighters seem most comfortable.
Longtime Wisconsin promotion Madtown Throwdown had planned on returning to Madison next month for its 29th installment. Unfortunately, Pat O'Malley & company has been forced to postpone the card until January of 2013.
Confirmed to US Combat Sports early Thursday morning by Madtown promoter and figurehead O'Malley, a series of unrelated events & circumstances ultimately played into the decision to delay Madtown Throwdown 29.
While the majority of the roster had not yet been announced to the media prior to the cancellation, rumored participants included Mike Rhodes, Morgan Sickinger, Jake Frias, Jordan Winski, & more.
It is been no secret to fans of Wisconsin MMA that the scene has been trudging along over recent months. Most recently, the Madtown organization hosted a stellar card in August that unfortunately suffered a low turnout.
The Madtown Throwdown 28 event was in no way mentioned or discussed by O'Malley during the phone call with USCS, however, one would have to believe that the disappointing attendance numbers didn't play favorably into the decision to delay.
Stay tuned to US Combat Sports for any breaking news regarding Madtown Throwdown 29 & possible matchups that may line the January card.
Two completely differing styles are set to clash next month at Madtown Throwdown 28 when familiar featherweights Morgan Sickinger & Josh Kasee throw down.
Having both tasted a great deal of success over a three-year span between 2007 & 2010, "Captain" & the "Manic Maker" have struggled since the inaugural Combat USA tournament championship that took place nearly two years ago.
Combining for only two wins in their past nine bouts, the formerly number one ranked Wisconsin competitors both look to enter the matchup on August 11 with much to prove as Sickinger & Kasee hope to right their proverbial ships at the other's expense.
Outside of a kickboxing matchup against Gustavo Rodriguez at Fight Me MMA back in May, all has been quiet for Kasee as of late. Following a Combat USA bantamweight championship over Rocky DeLorme & a brutal head kick knockout over Chris Befera in the organization's second go around, Kasee hit a roadblock after suffering a disqualification loss to Josh Sterry in April of 2011.
Since the defeat Kasee has been largely absent from the fight scene. Once a major player in Wisconsin's featherweight division, it will be interesting to see if the Oneida native can rebound & once again stake his claim as the state's elite 145-pound competitor.
Likewise, "Captain" Morgan Sickinger knows what it feels like to be at the top of Wisconsin's featherweight bracket. Following an impressive 8-1 mark to begin his career Sickinger has faltered as of late going just 1-5 (with one No Contest) since June of 2010.
Most recently, Sickinger suffered a second round submission defeat at the hands of Jon Washington at Big Bully MMA back in May. The loss was only the second time Sickinger has ever been submitted, the first coming against Nick Agallar back in March of 2011.
With much to prove Sickinger's wrestling-heavy skill set will be on full display against the Muay Thai prowess of Kasee come August 11. Styles make fights, & both fighters should be desperate to put on a show & get back into the win column at Madtown Throwdown 28.
Stay tuned to US Combat Sports up until fight night as we bring you full coverage of Madtown Throwdown 28 with previews, interviews, & much more. Follow us on Facebook and Twitter for all your MTTD news.
Next month was supposed to be an opportunity for Wisconsin featherweight Morgan Sickinger to take on UFC-veteran Waylon Lowe at Pure MMA in Pennsylvania.
However, the Pennsylvania State Athletic Commission decided that Sickinger's record of 9-5-1 was too big a drop for Lowe's mark of 12-4. A controversial and strange call to say the least, but the "Captain" has wasted no time in finding another opponent.
Confirmed by Sickinger's Unified Martial Arts coach and manager Mike Biddle, the Wisconsin featherweight will instead square off against Jon "The Beast" Washington at Big Bully MMA's "Get In The Cage" in Niles, Ohio on May 5.
Hoping to build upon his recent victory over former teammate Derek Griffin at Sheboygan Showdown 4 just a few months ago, Sickinger will likely rely on his strong wrestling background when he enters the cage against in Ohio.
Washington, a 27-year-old out of Buckeye MMA, began his career with four straight stoppage victories before dropping his last two bouts via decision. His most recent defeat came at the hands of Darrell Horcher at Pennsylvania Fighting Championships 6.
Although Washington does not hold the same recognition of a former Ultimate Fighting Championship competitor like Lowe, the bout looks to be another exciting opportunity for the always-game Sickinger. Stay tuned to US Combat Sports for results and any news regarding the Bully MMA matchup on May 5.
Mixed martial arts has come back to Sheboygan for a good cause & with a fun fight card. Headlined by a featherweight showdown between former training partners Morgan Sickinger & Derek Griffin, Saturday's Sheboygan Showdown "Fight For A Cause" features a heavily amateur card that includes some bright prospects.
Taking place at The Final Approach in Sheboygan, Jason Mills & Highland Fight Systems have put together a quality card sure to attract fight fans from the area. Two veteran fighters from the Fox Valley area, Griffin & Sickinger, will meet in the main event.
For Sickinger, the reports have been the same for his past few fights. After beginning the early part of his career in dominant fashion, the Unified Martial Arts fighter has staggered as of late. Outside of a kickboxing victory over Justin Echols in August, "Captain" has remained winless over the past 16-months.
Sickinger's downfall started after a tough majority decision loss to Javier Vega in Combat USA's tournament debut, a defeat that the wrestler has not been able to shake. Most recently, the former Konquer The Kage champion dropped a decision to Mike Richman in Minnesota.
Likewise, Griffin has faced his own form of adversity as of late. The HIT Center competitor has dropped four of his last five fights, with his most recent coming at the hands of Joao Bosco at Sheboygan Showdown 3 in August. Safe to say, both fighters will be in desperate search of a win.
A night of kickboxing action returns Saturday in the form of Who's Next Combat Championship 10.
Located at Perl's Country Inn just outside of Fond du Lac, the card consists of 12 fights & features a main event between Morgan Sickinger & Justin Echols. Other notable competitors include Bill Finn, Jim Klimczyk, & Lucas Staehler.
The night's feature bout showcases two fighters coming off of losses to the same opponent. Sickinger dropped a split decision MMA bout to Jimmy Zidek at KOTC "Compression Test" last month while Echols lost to "The Daywalker" at WNCC 9 in June.
On June 18, at the Rave Eagles Club, "Captain" Morgan Sickinger the top ranked featherweight in Wisconsin is set to do battle with Ken Sitsler in the Combat USA Fighting Championship, a fight 5 years in the making…Sickinger and Sitsler both started in the fight game 5 years ago and were set to fight each other early on in their careers but for several reasons it never happened until now. USCS sat down with the 'Captain' to discuss his top billing and his upcoming fight.
Sickinger: "I work at the YMCA as a personal fitness trainer, I have a Bachelors Degree in Exercise Science. I graduated in the Spring of 2009, so now I am able to dedicate more time to MMA now that school is over.
The Manitowoc native is ready for his Featherweight battle against Ken Sitsler at The Rave Eagles Club on June 18. Morgan Sickinger is a humble young man with a bright future in MMA. He is also looking forward to a possible fight in November to unify the KTK belt against Joe Blake.
Darrick: What was the journey that led you to professional mixed martial arts competition? "The Captain" Morgan Sickinger is a professional mixed martial artist who has appeared in organizations such as Combat USA, Freestyle Combat Challenge, and Titletown Combat Championship.
Morgan: My journey started out as a child when I was enrolled into a Karate class because my local area grade school did not allow any children below the age of six to wrestle. It was after about two years of Karate that my father decided to enroll me into the Manitowoc-Two Rivers Wisconsin area wrestling programs. I was enrolled into two different area grade school programs at that time. I then continued to wrestle all through high school and am currently completing my last season of college wrestling.
However, it was about four years ago that one of my good friends and old assistant high school coach Bret Duer competed in his first MMA competition for KTK. I was immediately interested and asked him how I could compete as well. He pretty much gave me the heads and said he thought I would be a great candidate for competing in this sport. I then competed in my first MMA competition for KTK and ended up beating Sam Thao, who was number six in the world, via rear naked choke. This match was at 145 pounds and at the time I had no idea or even knowledge as to how or when Sam Thao was going to go on to become as successful as he is today.
It is my belief that by me winning my first MMA competition I became addicted. I now train primarily through the summers and spring months as my off season conditioning for the collegiate wrestling season. I am planning after this season to begin training year round and see where my career will take me over the next couple of years.
Morgan: I would have to first off say my father Michael Sickinger and grandfather William Behnke, who both have greatly influenced my life simply due to all the hard work they have done over their entire lives. They have encouraged me to be successful in whatever I do – whether it is my college studies, wrestling, or me competing in a mixed martial arts competition. However, my mother is not too fond of it to this day, simply due to the injuries I have been through and still overcome to succeed. My dad still supports me, but has yet to step into a building when I compete due to a family choice. My other two influences are both my cornermen Bret Duer of Milwaukee, Wisconsin and John Sitt of Chicago, Illinois. These two have helped me and been by my side for almost (if not all) of my competitions and would do anything if I asked them to.
Darrick: What does a typical training session for you consist of?
Morgan: My normal training sessions are usually very intense and consist of lots of high intensity sprints, stand-up drills, ground and pound, various wrestling styles, BJJ, MMA conditioning classes, explosive weightlifting (not bodybuilding) and long cardio runs. I substitute various styles of MMA throughout the week during my different training seasons, so I can often accommodate what style of fighter I may be competing against in my upcoming competitions. I have learned that the more well-balanced of a fighter I am, the better I will become in any given situation that I may encounter.
Darrick: Any words of advice for other individuals looking to train in MMA?
Darrick: Who are a few of the people in the sport that you highly respect?
Morgan: I respect almost any mixed martial artist, as the common public is often not aware of all the dedication and time we actually put in to be successful at this professional sport. I also really respect Urijah Faber, Matt Hughes, Randy Couture, Rodrigo Vaghi, Michael DeRoehn (college WR coach), William Krieg (FVGC owner), Charles Gruber (FVGC coach), Ken Popelka (FVGC WR coach), Bret Duer, and John Sitt. I also would like to thank Fox Valley Grappling Club (FVGC) out of Appleton, Wisconsin for all their teachings and opportunities they have given me over the last couple of years.
Darrick: What brings you the most fulfillment out of martial arts?
Morgan: I believe I receive fulfillment out of my mixed martial arts career just due to the fact that I have another way to reach out to help others. I enjoy anything that takes lots of dedication, as well as seeing the fruits of all the hard work I put in day in and day out. I also believe it is one of the greatest stress relievers an individual can acquire both physically and mentally.
Darrick: Outside of MMA, what are your other interests?
Morgan: I like to collect a lot of different things such as Marvel comic books, coins, and various wrestling t-shirts. I love to hunt deer, but often do not have a lot of time since it's during the wrestling season. I enjoy just being able to have a good time with friends – such as going out to dinners, movies, or sporting events. I also get a kick out of doing things that are high risk and often cause adrenaline rushes. I like to be very spontaneous and have excitement surround me at all times.
Morgan: Well, one of my oldest memories is a bit frightening due to it being a near death situation at the age of only a few months old. I guess I decided to venture away from my parent's house and into our dairy barn. Here I happened to be highly entertained with my parent's breeding bull. I suppose I decided to crawl on into his pen and began to play as if it were no big deal. My parents ended up finding me and were scared shitless as I was being sniffed up and eyed by the bull. It's a wonder or miracle as to why this bull didn't simply decide to trample me over or what not. I was basically the size of an ant to him.
Darrick: If you were stuck in a bomb shelter for the rest of your life, what three items would you take in with you besides food and water?
Morgan: I would bring with me the Holy Bible, a friend (male or female), and also a pen or pencil.
Morgan: I am a very compassionate and caring guy. I will put almost all other's problems or success before mine. It is my goal in life to improve all other's physical fitness, as well as mine, and to also use my life experiences and knowledge to benefit anyone that is willing to let me help.
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Note: to give Asterios feedback, head on over to the contact page.
Hey there. I'm Jesse; the guy who designed this site.
So to make this site the best it can be, I want to hear what annoys you most about this site. I'll think about it, and if I agree I'll fix it.
To leave your feedback, just fill out and submit the form below, and thank you so much for taking an interest!
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text:
Q: Image problem - Multisite image upload broken I am having a WPMU install in a sub folder and I am facing broken image link problem. There are several solutions online like this one
But nothing worked for me.
I upload images through media in sub sites. They get uploaded to blogs-dir/sites folder, but when I look through the inspect element tool, it shows the path to wp-content/uploads folder.
How to solve this problem?

A: Just change your .htaccess to this:
# BEGIN WordPress
RewriteEngine On
RewriteBase /
RewriteRule ^index\.php$ - [L]

# uploaded files
RewriteRule ^([_0-9a-zA-Z-]+/)?files/(.+) wp-includes/ms-files.php?file=$2 [L]

# add a trailing slash to /wp-admin
RewriteRule ^([_0-9a-zA-Z-]+/)?wp-admin$ $1wp-admin/ [R=301,L]

RewriteCond %{REQUEST_FILENAME} -f [OR]
RewriteCond %{REQUEST_FILENAME} -d
RewriteRule ^ - [L]
RewriteRule  ^[_0-9a-zA-Z-]+/(wp-(content|admin|includes).*) $1 [L]
RewriteRule  ^[_0-9a-zA-Z-]+/(.*\.php)$ $1 [L]
RewriteRule . index.php [L]
# END WordPress


Day: Thursday, 2:00 – 4:00 p.m.
Attend this free lecture to learn about the Quilts of Valor Foundation® (QOVF) and how you can award members of your family or community with a Quilt of Valor to thank them for their service. Discover how to make a Quilt of Valor, begin a QOV group in your area, or become a contributing member of QOVF to help fulfill the mission of "covering Military and Veterans touched by war." QOVF board president Sue Reich and other foundation members will share popular quilting techniques such as quilt-as-you-go and "Y" seams, new patterns, and the appropriate standards for creating a Quilt of Valor as well as show many examples of actual quilts. Hear about "QOV: A 50 State Salute," currently on exhibit, which includes quilts representing 24 states. These quilts will be awarded from the National Quilt Museum in Paducah, Kentucky in February of 2020. Supplies are not required for a lecture, although you may want to bring a pen and paper to take notes.


The KlickEx Foundation is a non-profit organization to help Pacific Communities receive leading technologies and Services aimed at improving lives through Education Programs, Health Care and Medical Support, Financial Litteracy training and other technical Services.
For the past 10 years, our programs have reached nearly 70% of households in Tonga and Samoa, and we have administred over NZD 1.2b in private aid flows with world leading efficency - adding an additional $1m per week to households and over 150,000 touch points in the Pacific, Australia and New Zealand.
We need your help to continue this work, as our journey has only just began.
Our first project was to build a payment system to lower the cost of families supporting each other, a project that has been cited by the UN as saving $960 per household per year (that's an improvement of 25% of GDP per capita!). It is one of the most successful multi-country mobile money systems in the world, and much more.
Select from supporting one of our individual projets - or please consider contributing even a small amount to our executive general fund, which enables us to continue working on the highest impact projects as conditions direct.
Our goal is to strengthen all forms of infrastructure and awareness, and build a vibrant and independant Pacific Island Region. We are just beginning our journey, but we have already done so much.
Your support makes a big difference and we operate one of the most efficiant systems in the Pacific for getting money from where it is, to where it needs to be - and we do this for the benefits of the Communities we serve.
Thank you in advance for placing your trust with us. We appreciate this support - at any level - and we will do our best to put it to the most effective use possible.
After your donation, you'll receive an email and communications from us on the work we do, and the use and achievments that your generosity have contributed towards.


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GNH & Sustainable Tourism
Why Yangphel?
Find a Trek or Tour
eMail Postcard
Contact Yangphel
Site Map & Credits
Yangphel Adventure Travel & The Road to Sustainable Tourism
Founded by the Yangphel Company, Yangphel Adventure Travel has become a vital part of the tourism industry in Bhutan. Considered by many to be one of the most progressive and innovative leaders in Bhutan's tourism sector, Yangphel began as an adventure travel tour operator in 1988 and has built a strong reputation as one of the best at providing authentic, personal and inspiring journeys throughout Bhutan. In 2005, building on these core values, the company opened the first fully Bhutanese-owned 5-star hotel in Paro: Hotel Zhiwa Ling. While its roots remain in the tourism and hospitality industries, our founders are now expanding into other businesses. In all of its endeavours, however, Yangphel has remained true to its original commitment to uphold the kingdom's traditions and values and apply the uniquely Bhutanese principles of Gross National Happiness (GNH) in all its affairs. While sustainable business practices have been widely implemented around the world during the past 15 years, never before has the concept of GNH been applied in a business context. Aware of the importance of its role as an industry leader, Yangphel continues to demonstrate its courageous and visionary philosophy and place the welfare of personnel, other stakeholders and the Bhutanese people, before profits.
Now Yangphel Adventure Travel has embarked on a ground-breaking quest to bring sustainability into its day-to-day operation of the tour company so that we are at par with international standards for 'green' tour operators and the aspirations of our guests. What differentiates Yangphel Adventure Travel's sustainable tourism program from any others in the world, however, is that we aspire to incorporate GNH not just into the way we do business, but the way we treat our staff, and the way we take care of our guests.
The Bhutanese development model of Gross National Happiness has been amply analysed and researched over the past forty years and there are now many exciting initiatives in progress throughout Bhutan to demonstrate GNH as a way of life (more information on GNH may be found here). Yangphel Adventure Travel is aiming not only to make the tour company's approach to the environment 'greener' but to bring the aspirations of a GNH society a little closer to reality by working with, and listening to, the people we deal with and rely on daily. We know it will be a long, slow road, but we are excited to have taken the first steps on what will be a three-year journey that, hopefully step by step, will lead us to our goal. Read More..
Bhutan Overview
Voices of Bhutan
Society & Economy


The above are photos we took, but you can also explore the region in Street View.
This reminded us of Fairy Circles, a phenomenon in Namibia. Last time we looked at Fairy Circles we also noted a similar phenomenon in Australia. We have also seen similar patterns around the world created by ants and termites. And in South America we looked at patterns that are apparently created by worm poo.
We believe these circles are created by ant or termite colonies. They can even be seen in cultivated fields, which suggests the soil is permanently changed. The Namibian and Australian fairy circles are found mostly on very flat land and scientists believe water plays a role in their formation. However, these ones can be seen on hillsides and slopes and seem to be stopped only by extremely rocky ground.
For the locations of some of the screenshots above see this KML file . But be sure to explore more as they cover a vast region.