text:
Fine Art Limited Edition Prints
Studio Made - by Jen Delyth • Signed, Numbered (or Open Edition) • with hand torn deckle edge • Archival Fine Art Textured HANEMUHLE Watercolor 100% Cotton Rag • Acid Free paper Museum Quality Archival Inks • Heavy Archival Float Matt (fits in standard frame) • Symbolic explanation of print Fine Art Prints Here
Fine Art Canvas Giclees
• Printed onto Archival Canvas • Archival inks • Hand-Stretched onto Quality Wooden Stretcher Bars • Satin Finish • Ready to Hang (no glass or framing required • Signed and Numbered.Fine Art Canvas' Here
What is a GICLEE PRINT?
A Museum Quality Giclee is quite different and much higher quality than a print made on consumer printers & papers. Our prints are COLLECTIBLE, ARCHIVAL, MUSEUM QUALITY prints... Contemporary Print makers are beginning to use the Giclee digital print making process using archival Museum quality materials and inks to produce Fine Art limited edition prints. The word Giclee is from the French word "to spray". It is a high quality, plateless printing process that was developed in 1989, in which a fine spray of ink moves across the paper. It rivals lithography in its resolution and color range,and is fast becoming a favorite with artists. Robert Rauschenberg and David Hockney are among those using the technique. Prestigious museums such as the Guggenheim, the New York Metropolitan Museum, the Corcoran in Washington DC to mention a few, are enthusiasticaly embracing the use of Giclee printing from original art. Deep saturated colors, and fine tone resolution using archival water soluble inks and beautiful heavy archival papers produce rich prints which have outstading fade resistance.
What is a LIMITED EDITION Print?
A Limited Edition Print is one which is signed and numbered. That print, in that format, can only be produced in those quantities stated in the edition, both as written on the print, and also as documented by the artist. An edition of 250, means that with an allowance of up to 10% of the edition as Artist's Proofs, only 250 prints of that printing will be produced... This makes Limited Edition Prints highly Collectible, and more expensive than an Open Edition, which is not limited. This does not mean that the same image cannot be reproduced in any other form, such as Greeting Cards, or magazine reproductions. However, it is up to the artist's integrity to limit the edition of Fine Art Giclee's to that amount, even if the paper or actual size of the print changes.. We do not create new editions with minor changes... Our editions are complete.. Therefore, the price rises, as the edition sells, and they increase in value as they become more scarce... This is partly why we have different prices for our prints... The higher the price, the lower the edition, or the less there is left of the edition. Our editions are extremly collectible, not only for Jen's reputation as a well known Celtic artist, but also because of the Museum Archival Quality of her prints (not all Giclees are lightfast, archival, 100% rag cotton, acid free etc...), and also because the editions are low.... Usually set between 125 and 350, our limited editions are truly limited... Editions in the 1000's, are not as collectible since they are more mass produced. We do not consider large numbers of poster prints truly a "limited edition" .. and we do not choose to make posters, or cheaply printed versions of our Fine Art Prints.
What is an OPEN EDITION Print?
An Open Edition Print means there are no limits to the amount of prints made, and prints whilst still signed, and Archival, and the same quality, are not numbered... Actually, our Open Editions are extremely limited, since Jen hand-makes each one, and does not mass produce them.... But they are not numbered, and therefore legally not a "limited edition"... An Open Edition print is less expensive and whilst just as beautiful, not quite as valuable to a collector over time... Most of our small prints are Open Edition, since they began before Jen started documenting them.. However, they have never been made in large quantities, and are still quite rare and collectible.
What is the PAPER like?
Jen has carefully chosen Textured Fine Art Water Color Papers to compliment the Celtic Art. The first papers were Arches Cold Press, mould made in France, with a natural deckled edge.. She still prints on this paper sometimes, which is uncoated, and archival, and matched with the dye based Lyson E inks... For some of more complex photographic prints, Jen uses a coated Fine Art Paper, with either the Arches Infinity, which is heavy, and matches the original Cold Press, or a lovley textured Fine Art Paper by Hanhamule, 100% Rag cotton, Acid Free, both coated papers matched with the new K3 Ultrachrome Pigment Inks that are developed for archival longevity 65- 100 years
What is ARCHIVAL?
Archival means that the papers, inks, matt board, do not contain harmfull additives or chemicals that cause the print to yellow, fade, crack, or bleed their colors... Our papers and materials are acid free, museum quality. Many Giclees look beautiful for a while, but then fade quickly, because they are made on inexpensive papers, with consumer quality inks... An Archival Museum Print follows strict standards - such as the papers are 100% cotton, ph neutral, acid free etc... And the inks, which are more expensive than consumer inks, are matched to these papers and formulated to be brightly pigmented, yet also will not fade quickly. There is an organisation that tests specific papers with specfic inks for their longevity.. www.wilhelm-research.com We have chosen carefully which papers, and which inks are best for archival longevity, as well as for the beauty of the paper and print...
Should I expect a PERFECT PRINT?
We carefully check each print to ensure that it is free from flaws.... Any print that is not up to Jen's exacting standards, is either destroyed, or sold at in person shows at a discounted price, with a clear description of what is slightly flawed in the print. We do not sell any print that is not 100% up to our high standards on the web... This is partly from pride in our work, and partly because we have a satisfaction guarantee, and do not want to waste your and our time shipping the print back to us for a replacement - which never happens, because our prints are of the highest standard. In saying all this, each print is hand made, hand deckled, hand matted, hand signed etc... Each one in that respect is slightly different, and slight variations will occur... However, each is to our own highest standards...
What is a FLOAT MATT?
We Float matt our prints onto Black Museum board - matt board that is treated to be PH Acid Free... This board costs more than ordinary Matt Board... We also use Archival Acid Free Linen Hinging Tape, which is easily removed... We do not use water based tapes, because the watercolor paper is affected by the moisture... Float Matting means that the print is lightly attached to the Backing matt with the archival linen tape, and you can see the attractive Deckle Edge around the print... There is no "Window Matt" covering the edge of the print... We reccomend this, because it is a beautiful organic presentation. Also, it means that you can inexpensively frame your print by just placing it inside a ready made frame if you choose. If you do decide to change the matt, then please be sure to ask your framer for a similar archival or museum mat.
What is a DECKLE?
A deckle is a hand torn edge, or a natural paper mould edge, rather than a machine cut, or straight cut edge.. Jen deckles her prints herself, and each print is different and unique because of that... Different papers have different deckles.. Some papers include one natural deckle edge, and others are hand deckled on all sides... Whatever Jen feels is appropriate for each print & paper.
Can I request a print that is not on your site?
Yes, you can request a print that we do not have showing.. or a special size. However, it may take some time, and we may not accept your request, since this is a time consuming process, and it depends on many factors.. However, we appreciate your enjoyment of Jen's artwork, and Jen enjoys the challenge of creating new prints from her paintings and illustrations... So we don't mind you asking.
contact artist


text:
WASHINGTON – Good evening. I'm Gary Locke, the Governor of Washington State. It's an honor to give the response to President Bush on behalf of my family, my state, my fellow Democratic Governors, and the Democratic Party. Tonight, I'd like to offer our view of how to strengthen America.
My grandfather came to this country from China nearly a century ago, and worked as a servant. Now, I serve as governor just one mile from where my grandfather worked. It took our family a hundred years to travel that mile — it was a voyage we could only make in America. The values that sustained us — education, hard work, responsibility and family — guide me every day. I want every person to have the chance this country gave our family.
But, like many of you, I am concerned about the challenges now before us.
Tonight, President Bush spoke about the threats we face from terrorists and dictators abroad.
Many of the young Americans who fought in Afghanistan — and who tonight are still defending our freedom — were trained in Washington State. We are so grateful to them, to all the members of our armed services and their families — and we pray for their safe return. But the war against terror is not over. Al Qaeda still targets Americans. Usama Bin Laden is still at large. As we rise to the many challenges around the globe, let us never lose sight of who attacked our people here at home.
We also support the President in working with our allies and the United Nations to eliminate the threat posed by Saddam Hussein and Kim Jong Il of North Korea. Make no mistake: Saddam Hussein is a ruthless tyrant, and he must give up his weapons of mass destruction. We support the President in the course he has followed so far — working with Congress, working with the United Nations, insisting on strong and unfettered inspections. We need allies today in 2003, just as much as we needed them in Desert Storm and just as we needed them on D-Day in 1944, when American soldiers — including my father — fought to vanquish the Nazi threat. We must convince the world that Saddam Hussein is not America's problem alone — he's the world's problem. We urge President Bush to stay this course for we are far stronger when we stand with other nations than when we stand alone.
I have no doubt that together, we can meet these global challenges.
But to be strong abroad we need to be strong at home. And today, in too many ways, our country is headed in the wrong direction. We are missing the opportunity to strengthen America for the future. Democrats have a positive, specific plan to turn our nation around.
Today, the economy is limping along. Some say it's a recovery, but there's no recovery in our states and cities. There's no recovery in our rural communities. There's no recovery for working Americans and for those searching for jobs to feed and clothe their families.
After gaining 22 million jobs in eight years, we've now lost two million jobs in the last two years since President Bush took office - 100,000 lost last month alone.
Two years ago, the federal budget was in surplus. Now, this administration's policies will produce massive deficits of over a trillion dollars over the next decade.
These policies have powerful and painful consequences. States and cities now face our worst budget crises since World War II. We're being forced to cut vital services from police to fire to health care — and many are being forced to raise taxes. We need a White House that understands the challenges our communities and people are facing across America.
We Democrats have a plan to restore prosperity — so the United States once again becomes the great job engine it was in the 1990s. It's rooted in three principles. It must give our economy an immediate jumpstart; it must benefit middle class families rather than just a few; and it must be fiscally responsible, so we have the savings to strengthen Social Security and protect our homeland.
Our plan provides over $100 billion in tax relief and investments, right now:
- Tax relief for middle class and working families — immediately.
- Incentives for businesses to invest and create jobs — this year.
- Substantial help for cities and states like yours and mine — now
- Extended unemployment benefits — without delay for nearly a million American workers who have already exhausted their benefits.
- And all without passing on the bill to our children and grandchildren through exploding budget deficits for years to come.
Now, as you heard tonight, President Bush has a very different plan. We think it's upside down economics: it does too little to stimulate the economy now and does too much to weaken our economic future.
It will create huge, permanent deficits that will raise interest rates, stifle growth, hinder homeownership and cut off the avenues of opportunity that have let so many work themselves up from poverty.
We believe every American should get a tax cut. That's the way to create broad based growth. But we shouldn't spend hundreds of billions of dollars on a plan that helps neither the economy nor the families that need it most — while making it harder to save Social Security and invest in health care and education. Think about it: Under the President's proposal to eliminate taxes on stock dividends, the top 1% — that's people who earn over $300,000 — would get more tax relief than the bottom 95% of taxpayers combined. That's wrong.
And it's irresponsible. Let's choose the right course — the successful and fair course — for our economy.
We have another urgent priority: homeland security. In this unprecedented fight against terror, the frontlines are in our own neighborhoods and communities.
This one hits home. In 1999, an Al Qaeda operative tried to enter my state with a trunk full of explosives. Thankfully, he was caught just in time. Now, a year and a half after September 11th, America is still far too vulnerable. Last year Congress authorized $2.5 billion in vital new resources to protect our citizens — for equipment for firefighters and police, to protect ports, to guard against bioterrorism, to secure nuclear power plants, and more. It's hard to believe, but President Bush actually refused to release the money.
Republicans now say we can't afford it. The Democrats say: If we're serious about protecting our homeland, we can and we must.
Now, to strengthen America at home, there's much more to do.
You and I know that education is the great equalizer, the hope of democracy, and the key to the information industries of the future. In my state we have raised test scores, cut class sizes, trained teachers, launched innovative reading programs, offered college scholarships even as the federal government cut its aid to deserving students. Democrats worked with President Bush to pass a law that demands more of our students and invests more in our schools. But his budget fails to give communities the help they need to meet these new, high standards.
We say we want to leave no child behind, but our schools need more than kind words about education from Washington, D.C. — we need a real partnership to renew our schools.
Tonight, we also heard the president talk about health care. Too many seniors can't afford the remarkable new drugs that can save their lives — some are skimping on food to pay for needed medication. On this issue, the contrast is clear. Democrats will insist on a Medicare prescription drug benefit for all seniors.
President Bush says he supports a prescription drug benefit — but let's read the fine print: his plan only helps seniors who leave traditional Medicare. Our parents shouldn't be forced to give up their doctor or join an HMO to get the medicine they need.
That wouldn't save Medicare — it would privatize it. And it would put too many seniors at too much risk — just when they need the security of Medicare.
And, finally, let's talk about the environment and energy. Environmental protection has been a tremendous bipartisan success story over three decades. Our air and water are cleaner.
In communities in my state and yours, conservation is a way of life. But the administration is determined to roll back much of this progress. Our nation should lead global efforts to promote environmental responsibility — not shun them. And instead of opening up the Alaskan wilderness to oil drilling, we should be committed to a national policy to reduce our dependence on oil by promoting American technology and sustainability.
Yes, the Republican Party now controls the executive branch and both houses of Congress.
But we Democrats will hold the administration and congressional leaders accountable. We will work to create jobs and strengthen homeland security. We will fight to protect a woman's right to choose and we will fight for affirmative action, equal opportunity and diversity in our schools and our workplaces. Above all, we will demand that this government advance our common purpose and not pander to narrow special interests.
That's the vision of the Democratic Party — in statehouses, in Congress, and in the homes of millions of Americans. We believe it's the best course for our nation. It is the vision we will work for — and stand for — in the coming year.
This is not an easy time. But I often think about my grandfather, arriving by steamship a hundred years ago. He had no family here; he spoke no English. I can only imagine how he must have felt as he looked out at his new country. There are millions of families like mine — people whose ancestors dreamed the American Dream and worked hard to make it come true. They transformed adversity into opportunity. Yes, these are challenging times — but the American family ... the American Dream ... has prevailed before. That's the character of our people and the hallmark of our country. The lesson of our legacy is, if we work together, and make the right choices, we will become a stronger, more united and more prosperous nation.
Thank you for listening, and God Bless America.

subset: commoncrawl


text:
Welcome to Reasons Why…
Welcome to a New Level of Understanding Why Things Happen
From the first moment of consciousness, human beings have pondered the question: "Why do bad things happen?," and "Does everything happen for a reason?"
If you are going through a difficult time yourself, you are likely to be asking "Why is this happening to me?"
Five Reasons Why Bad Things Happen: How to Turn Tragedies Into Triumph now answers that universal question, explaining that all Bad Things can be explained by one of five distinct reasons. Yes. All bad things. And, yes – five reasons. The process is simple, yet does require you to follow a few steps in order for you to create more meaning in your life:
- The first step: Answer a few questions.to determine if the Reasons Why will be meaningful for you.
The second step: Learn more about the Reasons Why:
- Find out what types of "Bad Things" are explained.
- Hear what others are saying about the messages in the book.
- Read sample chapters.
- The third step: Check us out on Social Media: Facebook, Pinterest,
- The fourth step: Share your story and help others.


text:
Depeche Mode: Tour of the Universe 20/21.11.09
RIYL: motherfucking Depeche Mode
3/5 Stars
On Pack Up the Plantation, the 1985 live album by Tom Petty and the Heartbreakers, the band slowly eases its way into "Breakdown." Petty sings the first line "It's all right if you love me" just above a whisper, at which point the crowd takes over, singing all the way through the first chorus and even splitting vocal duties between the lead vocal and the "Breakdoooooooown!" backing vocals. It's exhilarating to listen to, because you can feel the rush the audience felt by getting the chance to be the star. After a few beats, Petty humbly tells the crowd, "You're gonna put me out of a job."
Which brings us to today's lesson. Letting the audience sing part of one song is one thing; forcing them to sing multiple songs is another.
It made sense that Depeche Mode would want to document their 2009 world tour. They were playing to gigantic crowds, and they hadn't released a live album since 1993's Songs of Faith and Devotion Live. With four albums of new material to showcase – though they chose to only play songs from three, skipping 2001's Exciter entirely – it was time to run the tape recorders once again. Tour of the Universe 20/21.11.09 documents two shows the band played before what looks like the entire population of Barcelona, and you can see why the crowds were so excited. Despite front-loading the set with what feels like half of the band's most recent album, Sounds of the Universe, Depeche pulled out some gems for this tour, including a whopping four songs from fan favorite Black Celebration. They also had a live drummer and principal songwriter Martin Gore playing guitar almost exclusively during the shows. What's not to love?
Dave Gahan, that's what. He's too busy playing rock star to actually sing the damn songs. Gahan leaves it to the audience to sing far too much – and sometimes makes them sing the chorus twice in the same song – and low-range vocal melodies, even when sung by tens of thousands, cannot stand up to the sound the band is putting out. When the band launches into "A Question of Time," the crowd is reaching a fever pitch, so when Gahan has them sing the chorus the first time, they're only happy to oblige. When he forces them to do it a second time, the response is nowhere near as enthusiastic, and you can actually hear the crowd deflating. If you have cameras rolling, and they just captured you killing the crowd's buzz while you fed your ego, would you really test the crowd's patience again?
Sadly, the answer is yes…twice. Gahan does it again on "Policy of Truth" and – this is the unforgivable one – "Enjoy the Silence," the band's biggest hit. The arrangement of the song is spectacular, with the band launching into a fantastic breakdown, but Gahan will not sing the chorus. Now, this is one thing to watch in person – which we did, because he did the exact same thing when the band played Lollapalooza last year – but it's another altogether to watch on a DVD, where you'll be reaching for the Fast Forward button even on your favorite songs. It's even worse onthe CD, where it just sounds like a karaoke track and the singer is too drunk to read the lyrics on the Teleprompter. If there is one show where Dave should have sucked it up and sung the damn songs, this is the one.
Then there is the matter of their drummer Christian Eigner. His playing is fine, but his snare drum is positively flat, as if the band is too afraid to sound like the rock band they're pretending to be. They would have been better off giving the bottom end the thump that a live setting demands. As it is, the drum tracks from Music for the Masses – a 23-year-old album – sound harder than what Eigner plays here. The direction of the show is spotty, too, spending far too much time out of focus or, worse, focused on the fans recording the show on their phones (worst, trend, ever).
This was a golden opportunity to showcase Depeche Mode's staying power and their status as godfathers of electronic music, but Tour of the Universe, despite a great set list and solid performances (when Gahan deigns to sing, anyway), does not cut it. It's one of those things where you simply had to be there to get the full effect of the experience. If Dave had sung all of the damn songs, this set would be essential. As it is, it's diehards-only material.(Capitol 2010)
Depeche Mode MySpace page
Click to buy Tour of the Universe from Amazon
Comments Off on Depeche Mode: Tour of the Universe 20/21.11.09
Posted in: Alternative, Artists, CD Reviews, Concert CDs, Concert DVDs, Dance, Electronica, Pop
Tags: Andy Fletcher, Dave Gahan, Depeche Mode, Headlines, Martin Gore, Sounds of the Universe, Tour of the Universe DVD/CD review


text: I am an out and out chocoholic. I adore the manner in which eating a bit of chocolate makes me feel. Its so reveling, fulfilling, and to me is a definitive reward or reason to immediately lift my spirits, quiet my nerves, and simply satisfy me. This lead me to considering what a small number of things in life are as great or superior to chocolate. Presently, I would positively need to rank being a Mom at the highest priority on the rundown, yet another huge contender is Friendship.


text:
Fvwm is an ICCCM-compliant multiple virtual desktop window manager for the X Window system. It is configured by editing text-based configuration files. Although using FVWM does not require any knowledge of programming languages, it is possible to extend FVWM with M4, C, and Perl preprocessing. FVWM also has a Perl library which allows one to create modules. FVWM stands for F Virtual Window Manager with the preferred interpretation being that the F does not stand for anything in particular [1].
The following packages provide themes and icons for FVWM: fvwm-crystalAUR, fvwm-iconsAUR, fvwm-themesAUR, fvwm-themes-extraAUR. FVWM Crystal provides a separate session for a desktop environment like experience.
Select FVWM from the session menu in a display manager of choice. Otherwise, add exec fvwm
to your user's .xinitrc
For FVWM Crystal, select FVWM-Crystal from the session menu or add exec fvwm-crystal
to your user's .xinitrc
See xinitrc for details, such as preserving the logind session.
Startup functions
command - explained below.FVWM provides a number of functions to start modules or applications when initialising, restarting or exiting the window manager.
- StartFunction - executed when FVWM is first initialised and on restarts.
- InitFunction - executed only when FVWM is first initialised.
- RestartFunction - executed only when FVWM is restarted.
- ExitFunction - executed when exiting FVWM.
You can add your own actions to any of these functions using the AddToFunc
command. For example, if one wanted to start network-manager-applet on startup (but not for any subsequent restarts of the window manager) one could add the nm-applet command to the InitFunction:
AddToFunc InitFunction + I Exec nm-applet
You can also use just StartFunction and prepend your commands with Test commands which check whether the window manager has started or restarted and run the action only if the test is true. Using this method, nm-applet could be started in the following manner:
AddToFunc StartFunction + I Test (Init) Exec nm-applet
The following configuration file locations are supported:
The following configuration locations are supported as of version 2.6.8, but may not be supported in the future:
As of version 2.6.7, FVWM ships with a new default configuration, located in /usr/share/fvwm/default-config
. As such, the older sample configuration files are no longer provided. However, they can still be viewed on GitHub. The fvwm-themes project also provides ready-made configurations though it should be noted that these have not been updated since 2003 and may require modifications to work correctly with more recent FVWM versions.
command. The syntax is read /path/to/file
.The virtual desktop
For its virtual desktop, FVWM implements both workspaces (used by window managers such as Metacity and Openbox) and viewports (used by window managers such as Compiz). See [2] for a description of the differences between workspaces and viewports. FVWM refers to workspaces as desks and viewports as pages.
Pages in FVWM are arranged in a grid. The number of pages used can be defined with the DesktopSize
command. For instance, adding DesktopSize 3x3
to your configuration file will give you 9 pages, arranged in a 3x3 grid. Pages can be navigated using the pager module or with the GoToPage
command which could be mapped to a keyboard shortcut or menu entry. For instance, the command GoToPage -1p +0p
will move the viewport 1 page to the left of the current page.
The number of desks available in FVWM is very large, the minimum desk number is -2147483648 and the maximum is 2147483647. By default, FVWM starts on desk 0. Desks can be navigated using the pager module (if it is configured to show a number of desks) or with the GoToDesk
command - GoToDesk +1
will move to the next desk, relative to the currently used desk.
Keyboard and mouse bindings
Keyboard or bindings can be defined in the configuration file with the Key
or Mouse
command. The syntax of the command takes the following form: Key/Mouse (window) button/key name context modifiers action
. For instance, the following example will launch an XTerm on an Alt+F2
keypress: Key F2 A 1 Exec xterm
. Note that the (window)
argument is optional.
The context value defines where the binding will be applied. The following contexts are valid: R (root window), W (application window), D (desktop manager window - PCManFM desktop manager for instance), T (title bar), S (window side, top, bottom), [ ] - _ (left side, right side, top, bottom respectively), F (window frame corners), < > ^ v (left, right, top, bottom corners respectively), I (icon window), 0-9 (titlebar buttons) and A (all contexts). Any combination of these letters is also acceptable.
The modifier value can be one of the following: A (any), C (control), S (shift), M (meta), N (none), or 1-5, representing the X Modifiers - run xmodmap
to see which X modifier is which. Multiple modifiers should not be spaced. For instance, to use the modifier Control+Alt
, you would supply as the modifier argument C1
The action must be an FVWM function to run, such as the Quit function or Menu function. Execution of external commands, such as xterm, can be achieved with the Exec function, as shown above.
Window decoration
Titlebar buttons
FVWM can provide up to 10 window buttons. These are numbered 0-9. Even numbers indicate buttons located on the right hand side of the titlebar whilst odd numbers indicate buttons located on the left. The layout is as follows:
1 3 5 7 9 0 8 6 4 2
Window buttons will remain hidden unless a Mouse
command is used which specifies one of the titlebar buttons as the context. For instance, to activate the rightmost titlebar button and make it close the window on a left click, one would use the following command:
Mouse 1 2 A Close
Mouse is the name of the command, 1 is the mouse button, 2 is the number of the rightmost titlebar button, A is the modifier (any) and Close is the action to be taken. See #Keyboard and mouse bindings for more information.
Button styles
The style of your titlebar buttons can be configured with the ButtonStyle
command. This takes the following syntax:
ButtonStyle button-number state style -- flag
The state can be one of ActiveUp, ActiveDown, InactiveUp, InactiveDown. ActiveUp and ActiveDown refer to the un-pressed and pressed button states of the active window. Likewise for the Inactive states. One can also use just Active or Inactive which are shortcuts for both the pressed and un-pressed button states.
The style argument can be one of the following:
- Simple - does nothing.
- Default - takes argument of button number for default style to load.
- Solid - fill button a solid color.
- ColorSet - fill button with the ColorSet specified - takes an alpha argument between 0 and 100.
- Vector - draws a line pattern - using the keyword Vector is optional as this is a standard style.
- ?Gradient - fills the button with a gradient - see the Color Gradients section of [dead link 2023-10-29 ⓘ] fvwm(1) for the syntax.
- Pixmap - fills the button with a given pixmap - see also the following variants: AdjustedPixmap, ShrunkPixmap, StretchedPixmap, TiledPixmap.
- MiniIcon - fills the button with the window's mini icon.
A number of vector styles are documented here. You can also create your own vector buttons using this vector buttons viewer. Finally, see this page for some example decoration configurations that use pixmaps, including imitations of Crux (a Sawfish theme), Mac OS and Windows 98.
The flag affects the state for a button. Some examples of flags include Raised, Sunk and Flat. For more information, see [dead link 2023-10-29 ⓘ] fvwm(1) and look for the ButtonStyle section.
flag. Alternatively, specify your button backgrounds using the ButtonStyle
command and then follow this with an AddButtonStyle
command to specify the vector or pixmap image. AddButtonStyle
takes the same syntax as ButtonStyle
.Title and border styles
The window titles and borders can be configured with the TitleStyle
and BorderStyle
commands respectively.
TitleStyle can take the following arguments:
TitleStyle justify Height height-in-pixels
The justify argument can be LeftJustified, RightJustified or Centered. TitleStyle and BorderStyle can take the following arguments:
TitleStyle/BorderStyle state style -- flag
See #Button styles for the state, style and flag arguments.
command is cumulative, meaning that if it is used twice on the same menu, the items specified in the second command will be appended to the menu in its current state instead of overwriting the previous menu configuration. For this reason, it is good practice to call DestroyMenu menu-name
before calling AddToMenu
unless the cumulative behavior is desired.Menus can be created with the AddToMenu
command. This takes the following syntax:
AddToMenu menu-name menu-title Title
Remove the menu-title and Title arguments to create a menu with no title. Subsequent entries in the menu take the following syntax:
+ entry-name action
See the following example:
AddToMenu "Web" "Web Browsers" Title + "Firefox" Exec firefox + "Chromium Exec chromium + "Opera" Exec opera
Use the Popup
command to show other menus. For instance, to include the menu defined above in another menu one could use the following syntax:
+ "Web Browsers" Popup "Web"
FVWM menus also support icons. To give a menu entry an icon, provide the path to the icon enclosed in %
signs after the entry name - see below:
+ "Chromium %/usr/share/icons/hicolor/16x16/apps/chromium.png%" Exec chromium
Use the xdg_menu tool, provided by archlinux-xdg-menu, to automatically generate menus - see Xdg-menu#Fvwm2.
Menus in FVWM can be dynamic, meaning that their content is refreshed every time the menu is opened. This can be useful when using a menu generator, such as one that constructs a menu of applications from XDG desktop entries, and you want the content to always be up to date.
Dynamic menus can be created in FVWM by using the DynamicPopUpAction and DynamicPopDownAction keywords. The former can be used to create/recreate the menu when it is opened whilst the latter can be used to clear the menu when it is closed. It is important to note that for a submenu to be dynamic, the parent menu that it is included in must also be created dynamically even if it does not contain any dynamic content.
Consider a hypothetical menu generator called my-menu which generates output of the sort below.
DestroyMenu recreate Submenu1 AddToMenu Submenu1 "Submenu 1" Title + "Item 1" Nop + "Item 2" Nop DestroyMenu recreate MyMenu AddToMenu MyMenu "My Menu" Title + "Submenu 1" Popup Submenu1
argument to the DestroyMenu
command. This must be used for all menus which are created dynamically (that includes all menus and submenus generated by a menu generator), otherwise they will not be refreshed properly.Now suppose that we wished to incorporate my-menu into our root menu dynamically. This means that the root menu must also be created dynamically. To accomplish this, we need to define a function that constructs the root menu and a function that calls the dynamic menu generator using the PipeRead
command. Then in the menu definitions themselves, DynamicPopUpAction can be used to call those functions. See the example below.
DestroyMenu RootMenu AddToMenu RootMenu + DynamicPopUpAction Function CreateRootMenu + DynamicPopDownAction DestroyMenu recreate RootMenu DestroyFunc CreateRootMenu AddToFunc CreateRootMenu + I DestroyMenu recreate RootMenu + I AddToMenu RootMenu "Root Menu" Title + I AddToMenu RootMenu "My Menu" PopUp MyMenu + I AddToMenu RootMenu "XTerm" Exec xterm + I AddToMenu RootMenu "Firefox" Exec firefox DestroyMenu MyMenu AddToMenu MyMenu + DynamicPopUpAction Function CreateMyMenu + DynamicPopDownAction DestroyMenu recreate MyMenu DestroyFunc CreateMyMenu AddToFunc CreateMyMenu + I DestroyMenu recreate MyMenu + I PipeRead 'my-menu'
Style command
. For instance the style Title
forces the window manager to give the window a title whilst !Title
has the opposite effect.The Style
command allows one to configure various aspects of the window manager itself and also to set behaviors for certain windows. The syntax is Style window-name stylename
. The window-name argument can be a window name, class, title name or resource string. Use *
to match all windows. See [dead link 2023-10-29 ⓘ] fvwm(1) for all available styles - some examples are provided below:
Style "*" CascadePlacement
- make the window manager use the cascade placement algorithm for all new windows.Style "Chromium" PositionPlacement center
- ensure that all new Chromium windows are placed in the center of the screen.Style "xterm" StartIconic
- ensure that all new XTerm windows start iconified.Style "*" HilightBack indianred
- set the frame background of any focused window to the color indianred.
command is cumulative, meaning that if it is used twice on the same fuction, the items specified in the second command will be appended to the function in its current state instead of overwriting the previous function configuration. For this reason, it is good practice to call DestroyFunc func-name
before calling AddToFunc
unless the cumulative behavior is desired.FVWM provides many built in functions, examples being Close
to close a window or Exec
which allows the execution of an external command. Users can also define their own functions or add to existing functions using the AddToFunc
command. This uses the following syntax: AddToFunc func-name I|M|C|H|D action
The letter codes stand for the following: I - execute immediately, M - execute when the user moves the mouse, C - execute on mouse click, H - execute when the user holds the mouse button, D - execute when the user double clicks the mouse button. Below is a trivial example of a function:
AddToFunc VolumeFunc + I Exec xterm -e alsamixer
One can also use conditional commands (see [dead link 2023-10-29 ⓘ] fvwm(1) and look for the Conditional Commands section). For instance, suppose one wanted a function that would close all windows in the current page other than the one which has focus. That function can be defined as below:
AddToFunc CloseAllButThis + I All (CurrentPage, !Focused) Close
The All
conditional matches all windows that meet the conditions defined in parenthesis.
Functions can execute more than one action, just add one line for each action beginning with a plus sign:
AddToFunc MyFunc + I action1 + D action2 + I action3
Modules are separate programs, spawned by FVWM that can add extra functionality. Modules can be spawned using the following syntax: Module ModuleName (identifier) ModuleArgs
Sometimes, one might want to spawn multiple instances of the same type of module, each with their own separate configuration. In this case, one should spawn the module with an identifier, for instance:
AddToFunc StartFunction + I Module FvwmButtons Panel1 + I Module FvwmButtons Panel2
where Panel1 and Panel2 are the identifiers.
Most modules will have a number of module commands which can be used to configure the module's appearance or behavior. Use the following syntax:
*ModuleName/Identifier: module-command command-args
For instance, if one spawned an FvwmPager with the identifier MyPager then one could configure it in the following fashion:
*MyPager: Geometry 135x90+0+0 *MyPager: Back midnightblue
The FvwmPager is a module which provides a visual representation of the desks and pages provided by the window manager. Like all modules, it must be spawned by FVWM. To start an FvwmPager, add something similar to the following to your StartFunction:
+ I Module FvwmPager
With no arguments, the FvwmPager will only display the viewports for desk 0. With the arguments 0 9, FvwmPager will show the 10 desks from 0-9.
+ I Module FvwmPager 0 9
With the argument * the FvwmPager will show only one desk but it will always be the desk that is currently being used.
+ I Module FvwmPager *
See [dead link 2023-10-29 ⓘ] FvwmPager(1) for a list of module commands.
FvwmButtons is a module which can create a box of buttons which can perform actions when pressed. FvwmButtons can also "swallow" application windows. This might be useful for swallowing a system tray window or a clock window. The size of the panel is automatically determined (the panel will resize to accommodate all elements) however it is also possible to manually set a size using the Geometry
command. This takes a standard X geometry. The basic commands needed to create an FvwmButtons panel are outlined below.
Set the number of rows and columns:
*FvwmButtons: Rows x *FvwmButtons: Columns x
Note that items are added by filling each row from left to right, from the top row to the bottom one.
option to fixed
. This ensures that only the specified number of rows and columns are used. Specifying an impossible layout (such as adding 5 buttons to a panel that has 4 columns and 1 row) will mean that the buttons panel fails to start. More lenient BoxSize algorithms such as smart
will add extra rows to try and accommodate all elements which could make the configuration error harder to spot.Create a button (this example creates a button with a title and an icon which launches an XTerm when left clicked):
*FvwmButtons: (Title "Xterm", Icon /usr/share/pixmaps/mini.xterm_48x48.xpm, Action (Mouse1) Exec xterm)
You can omit any of these arguments if you so choose.
Swallow a window (this example swallows a stalonetray):
*FvwmButtons: (Swallow(UseOld, NoClose) "stalonetray" "Nop")
The Swallow command takes a number of "hangon" arguments. Here, the UseOld and NoClose arguments have been used. UseOld means that an existing window will be swallowed if it exists. NoClose means that the window will not be closed if the FvwmButtons process is terminated. The stalonetray argument is the class of the window that we want to swallow. Replace as appropriate. The last argument is a command to start the application that is to be swallowed. In this example, it is assumed that the application has already been started so the argument provided is Nop which is a function that does nothing. One could replace this with "Exec stalonetray"
to start the application from the FvwmButtons module instead of assuming that the application has been started elsewhere.
Containers are spaces defined which can span multiple rows and columns or subdivide a row or column into more rows or columns. This can be useful for instance if one wants to allocate a certain percentage of space to an element. Say one wants to swallow an XClock and allocate 100% of the width and 80% of the height to the XClock. This can be defined as such:
*FvwmButtons: Rows 5 *FvwmButtons: Columns 1 *FvwmButtons: (1x4, Container) *FvwmButtons: (Swallow(UseOld, NoClose) "xclock" "Nop") *FvwmButtons: (End)
Note that a container is created by defining a certain number of columns and rows and then using the keyword container. Elements inside the container are defined underneath this line and the container is then closed with the End command.
For a full list of options, see [dead link 2023-10-29 ⓘ] FvwmButtons(1).
FvwmEvent is a module which can be used to bind a function or an audio file to a window manager event (such as the closing of a window). In the case of an audio file, the audio will be played when the event that it is bound to occurs. FvwmEvent can be spawned from within Fvwm by adding the following to your StartFunction
+ I Module FvwmEvent
FvwmEvent can also be spawned with an identifier - see #Modules. Once spawned, FvwmEvent will run in the background, waiting for events that it has been configured to recognize. Events can be configured in the following form:
* FvwmEvent: windowshade Lower
where windowshade
is the event and Lower
is the command to be executed when that event occurs. In the case where you wish to execute a function with arguments, that function and its arguments need to be quoted - see below:
* FvwmEvent: new_page "Exec xterm"
For a full list of events, see [dead link 2023-10-29 ⓘ] FvwmEvent(1).
FvwmIdent is a module which can display many items of information about a particular window that it is called on, such as the window's class name, resource name, layer, geometry and more. This information is displayed in a separate window which is created by the module. FvwmIdent can be started using the Module FvwmIdent
command. This could be bound to a menu entry or a hotkey. When an FvwmIdent is started in the context of a window, that window's information will be displayed. Otherwise, the user will be prompted to select a window manually.
FVWM color styles can take a number of color code types such as hexcolors (#ffffff
for instance), rbg colors (rgb:ff/ff/ff
for instance) as well as the pre-defined X11 colors.
The following styles might be useful:
- this takes two arguments, the color of the unfocused window title text and the color of the unfocused window frame separated by a forward slash, black/lightgrey for example.HilightBack
- takes a single argument, the color of the focused window frame.HilightFore
- takes a single argument, the color of the focused window title text.
Colorsets in FVWM are a set of four colors (a foreground color, a background color, a shadow color and a highlight color) as well as an optional background pixmap. Any part of FVWM that uses a particular colorset will be affected if that colorset is changed.
All colorsets are identified by a number. Any numbering convention can be used; the fvwm-themes project documents one such convention that uses the first 40 colorsets (0-39). See [4].
Colorsets can be created with the ColorSet
command - syntax: ColorSet number options
. See [dead link 2023-10-29 ⓘ] fvwm(1) - the Colorsets section - for more information.
Style "*" Colorset num
overrides the Color
style and using Style "*" HilightColorset num
overrides the HilightFore
and HilightBack
For styles such as Font
, use xorg-xfontsel to determine the correct font names for X11 fonts - see X Logical Font Description and Font configuration for more information. You can also specify xft fonts, for example: "xft:DejaVu Sans:size=10"
Windows in FVWM can be iconified (minimized). This means that the window will disappear from view and be replaced by an icon on the desktop, similar to the behavior in Microsoft Windows 3.1.
The program itself will supply the icon. One can also set a default icon to be used, in case a program does not have an icon to supply: Style "*" Icon /path/to/default/icon.png
To disable icons altogether, use the following style: Style "*" NoIcon
. This means that the window will simply disappear when iconified.
The positioning of icons can be controlled using the IconBox
style - note that this is not the same thing as the FvwmIconBox module - along with the IconFill
style. Use Style "*" IconBox none
to disable the IconBox. This means that icons will be placed at the position of the top left corner of the window. Else, use Style "*" IconBox l t r b
where l t r b stand for left, top, right and bottom respectively. These arguments should be the number of pixels away from the screen edge that the IconBox edge should be. Hence, arguments of +0 +0 -0 -0
means that the IconBox will fill the entire screen.
Multiple IconBox styles can be defined but they must be defined on the same line, for instance:
Style "*" IconBox +0 +800 -100 -0, IconBox -200 +0 -0 -120
When the first IconBox overflows, icons will then be placed in the second IconBox. Note that if the last IconBox overflows then the default IconBox will be used which covers the entire screen and fills from top to bottom - left to right.
Use the IconFill
style to control how icons will be filled. A style of Style "*" IconFill left bottom
means that icons will be filled from left to right - bottom to top (Motif Window Manager behavior). A style of Style "*" IconFill top left
means that icons will be filled from top to bottom - left to right. Note that the IconFill style should be defined on the same line as the IconBox style, for instance:
Style "*" IconBox +0 +0 -0 -0, IconFill left bottom
Tips and tricks
MWM compatibility options
FVWM provides a number of options that allow it to mimic the appearance and behaviour of MWM (Motif Window Manager).
Emulate Mwm
- this commands places the geometry feedback window in the center of the screen.MenuStyle Mwm
- this command gives menus the appearance of Motif menus.MwmButtons
- this style makes the maximize button look pressed in when a window is maximized.MwmBorder
- this style makes the window border bevel more closely match the style of Mwm window bordersMwmDecor
- this style makes FVWM attempt to honor MWM hints that some applications might set.MwmFunctions
- this style make FVWM attempt to recognize and respect functions that MWM would prohibit.HintOverride
- this style is similar to MwmFunctions but instead it shades out the prohibited functions but allows the user to perform them anyway.
Force icon size and background
The sizing of icons is not regular as different programs provide icons of differing sizes. Use the IconSize
style to force a regular size: Style "*" IconSize 48 48
for instance. Note that icons larger than the given size will be clipped.
By default, icons also have no background. You can use the IconBackgroundColorset
style to force icons to have a background. See #Colorsets.
Do not use a wireframe when moving or resizing windows
Use the OpaqueMoveSize unlimited
command to view the window itself when moving.
Use Style "*" ResizeOpaque
to view the window itself when resizing.
Disable edge scrolling
To disable scrolling to the next viewport when moving the mouse pointer to the screen edge, use the following command: EdgeScroll 0 0
Use ClickToFocus
Ensure that perl-tk and perl-x11-protocol are installed. The use the following style command: Style "*" ClickToFocus
. See [dead link 2023-10-29 ⓘ] fvwm(1) for other focus behaviors.
Window tiling
The following functions can tile a window to the left half, right half, top half or bottom half of the screen, or to each corner of the screen, when called and return the window to its original position and size when called again.
DestroyFunc TileLeft AddToFunc TileLeft + I ThisWindow (!Shaded, !Iconic) Maximize 50 100 + I ThisWindow (Maximized, !Shaded, !Iconic) Move +0 +0 DestroyFunc TileRight AddToFunc TileRight + I ThisWindow (!Shaded, !Iconic) Maximize 50 100 + I ThisWindow (Maximized, !Shaded, !Iconic) Move -0 +0 DestroyFunc TileTop AddToFunc TileTop + I ThisWindow (!Shaded, !Iconic) Maximize 100 50 + I ThisWindow (Maximized, !Shaded, !Iconic) Move +0 +0 DestroyFunc TileBottom AddToFunc TileBottom + I ThisWindow (!Shaded, !Iconic) Maximize 100 50 + I ThisWindow (Maximized, !Shaded, !Iconic) Move +0 -0 DestroyFunc TileTopLeft AddToFunc TileTopLeft + I ThisWindow (!Shaded, !Iconic) Maximize 50 50 + I ThisWindow (Maximized, !Shaded, !Iconic) Move +0 +0 DestroyFunc TileTopRight AddToFunc TileTopRight + I ThisWindow (!Shaded, !Iconic) Maximize 50 50 + I ThisWindow (Maximized, !Shaded, !Iconic) Move -0 +0 DestroyFunc TileBottomLeft AddToFunc TileBottomLeft + I ThisWindow (!Shaded, !Iconic) Maximize 50 50 + I ThisWindow (Maximized, !Shaded, !Iconic) Move +0 -0 DestroyFunc TileBottomRight AddToFunc TileBottomRight + I ThisWindow (!Shaded, !Iconic) Maximize 50 50 + I ThisWindow (Maximized, !Shaded, !Iconic) Move -0 -0
Transfer focus on page or desk switch
- Using FvwmEvent allows for a window in a page to be automatically focused when clicking on that page in the FvwmPager. However, it breaks the right-click and drag panning functionality of the pager. For this reason, you might prefer to call
from within another function bound to a hotkey instead of using FvwmEvent. - If you are not using ClickToFocus, you will need to temporarily set the focus method to ClickToFocus before the desk switch is initiated. If you do not do this, any window under the pointer in the new desk will immediately receive focus, even if it is not the previously focused window. Note that this means you cannot use the FvwmEvent approach. Instead, create a function that changes the focus method and then calls
If you are using ClickToFocus, you might wish to automatically transfer keyboard focus when switching pages or desks to the previously focused window in that page or desk. Otherwise, you will have to click on the window you wish to interact with on every page or desk switch. This can be accomplished by using the FvwmEvent module to bind a function which focuses the currently or previous focused window to the new_page
and new_desk
Below is an example of such a function:
DestroyFunc Focus-Previous AddToFunc Focus-Previous + I All ($0, Focused) FlipFocus $1 + I TestRc (NoMatch) Prev ($0, AcceptsFocus) FlipFocus $1
The $0
argument should be either CurrentPage
or CurrentDesk
. The $1
argument is for supplying the NoWarp
argument to FlipFocus
- by default, FlipFocus will initiate a page switch to the page containing the focused window. This behaviour is useful when switching desks but must be disabled when switching pages because windows can span more than one page.
With the function appropriately configured, ensure that FvwmEvent is started and then bind it to the required events as show below:
* FvwmEvent: new_page "Focus-Previous CurrentPage NoWarp" * FvwmEvent: new_desk "Focus-Previous CurrentDesk"
Toggle window decorations
Window decorations (borders and titlebars) can be toggled on or off for a selected window using the function defined below.
DestroyFunc UndecorateWin AddToFunc UndecorateWin + I ThisWindow (HasHandles) WindowStyle !Title, !Borders + I ThisWindow (!HasHandles) WindowStyle Title, Borders
Maximize Fullscreen
Maximized applications do not fully cover screen
Some applications, such as XTerm, supply a maximum size to the window manager that might be smaller than the screen size. This means that if such an application is maximized, it will not cover the whole screen. To force FVWM to ignore these hints, use the following: Style "*" ResizeHintOverride
Stop modifiers from interfering with mouse and key bindings
NumLock, CapsLock and ScrollLock can intefere with ClickToFocus as well as mouse and key bindings. To disable this behavior, use the following command: IgnoreModifiers L25
Window start position changes on launch
You may find that with some programs the starting position of its window changes every time the program is launched. Similarly some windows automatically resize themselves which can also affect their position.
This is typically due to PPosition (program position) or USPosition (user specified position) hints which applications can set and which FVWM respects by default. For troublesome windows, you can configure FVWM to ignore the hints that are causing the problem. The first step is to get the class name or resource name of the window in question - use the #FvwmIdent module for this. Then try disabling either the PPosition or USPosition hints for the window. For example:
Style chromium !UsePPosition
For windows whose position is affected by resizing this can typically be fixed by setting the FixedPPosition style on the window which causes FVWM to ignore attempts by the window to change its position. This can be set in conjunction with ignoring USPosition hints if necessary, see below:
Style VirtualBox !UseUSPosition, FixedPPosition
or !UseTransientUSPosition
styles respectively.See also
- FVWM on GitHub.
- FVWM beginners guide - still works but is somewhat outdated.
- FVWM Homepage - includes documentation and a FAQ.
- FVWM Wiki.
- FVWM Forums.
- [dead link 2023-10-29 ⓘ] fvwm(1)
- FVWM Themes - Box-Look.org.
- FVWM Configurations - threads in the FVWM forums.
- FVWM Tips - forum post by Thomas Adam - an FVWM developer.


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Character Creation
Character creation follows a familiar (if a little obfuscated) set of stepping stones. The first step is to choose your Birthright and your Legend. Birthright is your background. It can either be Godly type or a bog-standard human. Both types get different bonuses and are equally worthwhile. Like all good systems, the choices you make throughout character creation really sets out the kind of character you are. The Legend (like class) determines the types of skills you get and as such suggests a sort of specialisation. Legends include Berserker, Chieftan and Trickster.Next, you select your God Runes. God Runes are a generalised type of statistics. Rather than split things up between Strength, Intelligence and other ethereal measurements, he's gone native and chosen traits that are associated with the setting - each one representing the rune of a God. Freyja is concerned with living things and the natural world, including your constitution. Thor is about hairy-chested manly things: strength and machines. Odin is all about lobbing spells hither and thither. Heimdall is for the talky-types and pacifists and Tyr is about repeatedly mashing anyone who gets in the way. Probably the first thing you thought when you saw Vikings mentioned. You start with two points in each rune, 4 in the rune that your own special god is associated with (from the Bithright, remember?). You get 14 points to pump up your runes, with a maximum boost of 4 in any given one. Enough room for customisation.
Step three is where you work out your Qualities. Qualities are derived from your runes. They cover all those things that are difficult to pin down in an RPG - such as how much health you have or resistance to things. You add together a couple of runes and compare with a table for each result. It's all pleasantly explained.
Skills are based on your Legend (your class) and your gender (oooh, controversial). Of course, gender stereotyping worries should be cast aside to allow for a gentle lean toward historical accuracy (without inequality in history, there would be no feminists - discuss). The skill increase system is steeply non-linear, the first level costing one point but the rise from 3 to 4 costing a whopping 8! There are good range of aptly named and well described skills from Berserker (Clerks, anyone?) to Navigation (the art of not stopping to ask directions when you're lost). Some are a little weak and might be open to abuse; Luck being described as:
This skill can be used whenever you want a lucky break. Its effects are varied and often minor.
You might think that's ok but if you are blessed with a group of swap-their-grandmothers-for-a-snickers-rules-fascists like me, you'll not be able to hear yourself think with the sound of clattering Luck skill checks. Of course, the wording suggests that the GM should retort a fail with: "Oh, a fail, shame. You're not lucky. Your arm falls off and... my goodness, that is bad luck, it's the one you wank with." That can turn any RPG into a sub-genre of "Who can be the biggest git". There are a couple of skills like this that send the spine tingling with cold sweat GM fear. A bit of tightening or house rules would be advisable for those.
Stuffs (a non-word I can't help but to use for equipment, weapons and armour) is dealt with on a what-is-reasonable standing. A lasse-faire approach which suits some but I prefer a little guidance. What is too much? What is too little? The characters are heroes, so bollocks to encumbrance and the limiting penalties they incur.
Gift Runes are where the real action is at. These are special heroic powers that you can purchase to allow a huge array of feats. There's lots to read and plenty of hidden rules inside but as each character only has a few, they're worth pouring over.
The system appears quite involved due to the Midgard lexicon. However, it is quite simple and works for just about any action. A dice roll is called a Cast as you are simulating drawing runes from a bag. Therefore, the dice become runes. You're given a handy cast sheet with five stones on it: Tyr, Frejya, Heimdall, Merkstave and the special Cast Runes stone. The Cast Runes stone is a pool from which you can distribute between other stones.For any given action, you pick a skill that matches it. You get a Cast Rune token for each rank you have in that skill. You can add Wyrd (naturalistic magical power) to that if you like. Then roll the same number of d8s for the associated God rune (that you chose right at the start of character creation in your Birthright). For each 6,7 or 8 you roll, you add a token onto the Cast Rune stone. For scores 3 to 5, you add tokens on different stones. Rolls of 1 give you a token on the Merkstave rune stone. You then distribute whatever you have on the Cast Rune stone around on the other runes depending on what you're trying to achieve.
For example, I want to beat someone's face in. I've got a skill of rank 3 in Axes (a Tyr skill, he being the god of making faces concave). Therefore, I start with 3 tokens on my cast stone. I'm no magical fellow, so no Wyrd for me. During character creation, I selected my God Rune as Tyr (naturally) and I've pumped him to be my
The 6 and 7 give me two tokens on my cast stone, now up to 5. The 1 gives me a Merkstave stone. This is bad, we'll come back to it. The 3 adds a token on a Heimdall stone. The 4 gives me a token on Frejya's stone. The 5 gives me a token on my Tyr stone. That's more like it. Now, as I'm just giving some poor Saxon some more fashionable face slots, I only need Tyr, so I take the 5 Cast Rune stone (think of it as a pool) tokens and put them on Tyr, giving me 6. Which is compared against the difficulty table. The difficulty was 5, so I manage to give the Northumbrian an incurable case of axe-face.
Merkstave Rune stone effects are for the GM to do nasties to the outcome, by slowing time down, making a failure critical and so on. Letting the GM be foul and cruel, a nice touch. There are other complexities, where one stone or another does not count for certain actions but that's pretty much the whole system. Combat has a few additions (initiative, wounding and the like) but you're still casting, which is all rather neat. The language might seem a bit daunting at first but you'll get over it, as I did.
Other sections
A reasonable bestiary is included with some additional information for GMs before a fabulous character sheet. I'm something of a nut when it comes character sheets. I can often be found perching on a rock in the high street babbling on about the horror of character sheets that look like spreadsheets. The Midgard one does not. A little rough around the edges but exceptionally well thought and laid out.I don't normally put in big images but just take a look at this corker of a character sheet!


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You need not start a new business in order to get your side hustle on. Millions of Americans are earning additional income in creative ways you may have never considered. A recent Entrepreneur article featured 50 lucrative ideas for a side hustle and here are just a few:
- Sell items on Ebay or Craigslist
- Drive for Uber of Lyft
- Rent your spare room on Airbnb
- Tutor over Skype
- Become a house sitter
Get Control Back
As a career coach, I speak with hundreds of people who are miserable in their careers. I've always said that bad bosses, bad jobs, and poorly run organizations happen. Suffering is optional!
Take advantage of a side hustle to test drive new career opportunities, expand your skills and grow your network. It's a great way to investigate a change without fully committing and it will build your confidence as you explore new opportunities and learn how to truly play to your strengths.
Unemployment Insurance
Mergers and acquisitions are happening faster and more frequently than ever in this tumultuous career world. Advancements in technology and innovation may make your current side hustle obsolete in years to come. How will self-driving cars impact the on-demand ride and logistics industry, for example? Having a variety of freelance options can keep your side hustle earning power nimble when things happen beyond your control.
If you are contemplating a career change or reinvention, the side hustle exploration expands your network and your experiences allowing you to be seen and heard by additional influencers beyond your current professional community.
If the thought of finding your career passion freaks you out then start simply with what you like and consider a side hustle as an opportunity to test-drive and enhance your professional development and career options.
Scale Your Business
Perhaps being a full-time entrepreneur is your ultimate goal. Starting with a side hustle allows you to learn the business ropes without all the pressure of it being your sole career.
Mashable shared excellent resources for the novice side hustler ready to break into the freelance world. Side hustlers will benefit from resources and a community while navigating this new journey.
- Shared working spaces are growing in many cities, and can be great options for anyone in a work-from-home employment situation looking to socialize or network.WeWork and Grind are popular examples.
- MeetUpsoffer networking and social opportunities for professionals or neighbors seeking like-minded members of their communities
Be Realistic
Yahoo Finance reported that nearly one in seven Americans make money outside of their full-time job. If you want to join the side hustle revolution or if you already participate in the gig economy, you need to know that burnout is your biggest threat.
I speak from personal experience when I say that self-care and wellness need to be a top priority. You alone have control over how you honor your health. There may be times when you are burning the candle at both ends so build in regular rest and decompression time so your body and your mind have the down time to refresh and reboot.
If you are unhealthy, sick, or debilitated – you won't be able to work so take burnout prevention seriously before it gets the best of you.
Be wise and also tell your full-time employer about any side gigs you pursue. Disclose any conflicts of interest and have an honest conversation about how you plan to manage both so you can mitigate any concern your boss may have about performing optimally at your day job.
A side hustle takes a lot of moxie, endurance, resilience, and energy and is not for everyone. Get your rest, be clear about your goals and be adaptive when things change. The side hustle inspiration blog is a great resource for fellow side hustlers dealing with the challenges and also reaping the benefits of the gig economy. Hustle on!


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Those angry right-wing truckers are still promising that at least 3,000 of their number will be showing up in Washington, D.C., this weekend to bring traffic along the Beltway to a grinding halt as part of a protest of what organizers call "the blatant disregard of our Constitution".
It's not so clear, however, whether the protest organizers
will be able to deliver on those promises. Some of the participants appear to
be backing out – or at least tempering their rhetoric – and the protest so far
appears to be, as a conservative Washington
Times columnist put it, "disorganized and confusing."
Much of the confusion was spawned by a leading participant
named Earl Conlon, a Georgia trucker who earlier told U.S.
News and World Report that the protesters intended to arrest President
Obama and members of Congress. A couple of days later, he told
a Washington Post reporter that the whole thing was a hoax and that he
wouldn't be showing up there after all.
However, Conlon was never one of the organizers of the
event. That title belongs to Zeeda Andrews, a former country singer who
appeared on Glenn Beck's television show this week to explain that indeed the
protest was proceeding according to plan. At the protest's Facebook page,
Andrews and other participants dismissed the Washington Post story as
disinformation ordered by the Obama administration.
Andrews told Beck that she had 3,000 "RSVPs" from other truckers for the protest. She also urged non-truckers to participate by refusing to buy anything on the weekend.
However, Andrews' credibility is probably not much greater than Earl Conlon's, considering her own lengthy history of dubious pronouncements. As Ben Dimiero at Media Matters explored at length, Andrews has a considerable record of imbibing in bizarre conspiracy theories.
That includes her belief that President Obama is actually Osama bin Laden in disguise, as she described in a YouTube post: "He is alive call me crazy but, Osama Bin Laden is our President Obama do your research," she wrote. "The CIA has been preparing for this since he was a boy. They have same height, bone structure, hands and ears both are left handed the Osama face was created by Hollywood. The fox is in the hen house."
The report also demonstrates that Andrews has a history of posting racially incendiary material, including photos suggesting the Obama is a secret Muslim, to her Facebook page. Among her "likes" are a variety of conspiracy theories, including so-called "chemtrail" theories positing that passenger jets flying across American skies are secretly poisoning or drugging the population.
Also, as we noted earlier, the truckers' protest is employing radio host Pete Santilli as one of their chief media spokesmen; Santilli is perhaps best known for wishing on the air that he could shoot Hillary Clinton in the vagina. As RightWingWatch notes, Santilli angrily denounced Earl Conlon's threat to arrest members of Congress, saying the truckers only were demanding the impeachment of President Obama.
But on Wednesday, as Media Matters reports, Santilli called for violence if the trucker protest fails. Santilli referred to a group militiamen who dub themselves "Three Percenters" – that is, a tiny faction willing to take violent action – in the rant: "If we do not rise up this week, peacefully, there is going to be Three Percenters who I will also join, to make it not so peacefully. That's what's going to happen," he said.
"Okay, our country will be saved. There is a select few of us, we'll call them Three Percenters that will take the next logical step to stop our domestic enemies. It will be stopped, I'm going to say this, this is not a threat. We will defend our nation to the absolute death."
Cross-posted at Hatewatch.


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Organic and decorative subtle leaf design brings soothing cool colors adding comfort to any room.
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A Buddhist king
What happens when a powerful ruler adopts a new religion that contradicts the life into which he was born? What about when this change occurs during the height of his rule when things are pretty much going his way? How is that information conveyed over a large geographical region with thousands of inhabitants?
King Ashoka, who many believe was an early convert to Buddhism, decided to solve these problems by erecting pillars that rose some 50 feet into the sky. The pillars were raised throughout the Magadha region in the North of India that had emerged as the center of the first Indian empire, the Mauryan Dynasty (322-185 B.C.E). Written on these pillars, intertwined in the message of Buddhist compassion, were the merits of King Ashoka.
The third emperor of the Mauryan dynasty, Ashoka (pronounced Ashoke), who ruled from c. 279 B.C.E. – 232 B.C.E., was the first leader to accept Buddhism and thus the first major patron of Buddhist art.[1] Ashoka made a dramatic conversion to Buddhism after witnessing the carnage that resulted from his conquest of the village of Kalinga. He adopted the teachings of the Buddha known as the Four Noble Truths, referred to as the dharma (the law):
Life is suffering (suffering=rebirth)
the cause of suffering is desire
the cause of desire must be overcome
when desire is overcome, there is no more suffering (suffering=rebirth)
Individuals who come to fully understand the Four Noble Truths are able to achieve Enlightenment, ending samsara, the endless cycle of birth and rebirth. Ashoka also pledged to follow the Six Cardinal Perfections (the Paramitas), which were codes of conduct created after the Buddha's death providing instructions for the Buddhist practitioners to follow a compassionate Buddhist practice. Ashoka did not require that everyone in his kingdom become Buddhist, and Buddhism did not become the state religion, but through Ashoka's support, it spread widely and rapidly.
The pillars
One of Ashoka's first artistic programs was to erect the pillars that are now scattered throughout what was the Mauryan empire. The pillars vary from 40 to 50 feet in height. They are cut from two different types of stone—one for the shaft and another for the capital. The shaft was almost always cut from a single piece of stone. Laborers cut and dragged the stone from quarries in Mathura and Chunar, located in the northern part of India within Ashoka's empire. The pillars weigh about 50 tons each. Only 19 of the original pillars survive and many are in fragments. The first pillar was discovered in the sixteenth century.
Lotus and lion
The physical appearance of the pillars underscores the Buddhist doctrine. Most of the pillars were topped by sculptures of animals. Each pillar is also topped by an inverted lotus flower, which is the most pervasive symbol of Buddhism (a lotus flower rises from the muddy water to bloom unblemished on the surface—thus the lotus became an analogy for the Buddhist practitioner as he or she, living with the challenges of everyday life and the endless cycle of birth and rebirth, was able to achieve Enlightenment, or the knowledge of how to be released from samsara, through following the Four Noble Truths). This flower, and the animal that surmount it, form the capital, the topmost part of a column. Most pillars are topped with a single lion or a bull in either seated or standing positions. The Buddha was born into the Shakya or lion clan. The lion, in many cultures, also indicates royalty or leadership. The animals are always in the round and carved from a single piece of stone.
The edicts
Some pillars had edicts (proclamations) inscribed upon them. The edicts were translated in the 1830s. Since the seventeenth century, 150 Ashokan edicts have been found carved into the face of rocks and cave walls as well as the pillars, all of which served to mark his kingdom, which stretched across northern India and south to below the central Deccan plateau and in areas now known as Nepal, Pakistan, Bangladesh, and Afghanistan. The rocks and pillars were placed along trade routes and in border cities where the edicts would be read by the largest number of people possible. They were also erected at pilgrimage sites such as at Bodh Gaya, the place of Buddha's Enlightenment, and Sarnath, the site of his First Sermon and Sanchi, where the Mahastupa, the Great Stupa of Sanchi, is located (a stupa is a burial mound for an esteemed person. When the Buddha died, he was cremated and his ashes were divided and buried in several stupas. These stupas became pilgrimage sites for Buddhist practitioners).
Some pillars were also inscribed with dedicatory inscriptions, which firmly date them and name Ashoka as the patron. The script was Brahmi, the language from which all Indic language developed. A few of the edicts found in the western part of India are written in a script that is closely related to Sanskrit and a pillar in Afghanistan is inscribed in both Aramaic and Greek—demonstrating Ashoka's desire to reach the many cultures of his kingdom. Some of the inscriptions are secular in nature. Ashoka apologizes for the massacre in Kalinga and assures the people that he now only has their welfare in mind. Some boast of the good works that Ashoka has done, underscoring his desire to provide for his people.
The Hinayana period
The pillars (and the stupas) were created in the Hinayana (Lesser Vehicle) period. Hinayana is the first stage of Buddhism, roughly dated from the sixth c. to the first century B.C.E., in which no images of the Buddha were made. The memory of the historical Buddha and his teachings was enough to sustain the practitioners. But several symbols became popular as stand-ins for the human likeness of the Buddha. The lotus, as noted above, is one. The lion, which is typically seen on the Ashokan pillars, is another. The wheel (cakra) is a symbol of both samsara, the endless circle of birth and rebirth, and the dharma, the Four Noble Truths.
Why a pillar?
There are a few hypotheses about why Ashoka used the pillar as a means for communicating his Buddhist message. It is quite possible that Persian artists came to Ashoka's empire in search of work, bringing with them the form of the pillar, which was common in Persian art. But it is also likely that Ashoka chose the pillar because it was already an established Indian art form. In both Buddhism and Hinduism, the pillar symbolized the axis mundi (the axis on which the world spins).
The pillars and edicts represent the first physical evidence of the Buddhist faith. The inscriptions assert Ashoka's Buddhism and support his desire to spread the dharma throughout his kingdom. The edicts say nothing about the philosophical aspects of Buddhism and scholars have suggested that this demonstrates that Ashoka had a very simple and naïve understanding of the dharma. But, as Ven S. Dhammika suggests, Ashoka's goal was not to expound on the truths of Buddhism, but to inform the people of his reforms and encourage them to live a moral life. The edicts, through their strategic placement and couched in the Buddhist dharma, serve to underscore Ashoka's administrative role as a tolerant leader.
Edict #6 is a good example:
Beloved of the Gods speaks thus: Twelve years after my coronation
I started to have Dhamma edicts written for the welfare and happiness of the people, and so that not transgressing them they might grow in the Dhamma. Thinking: "How can the welfare and happiness of the people be secured?" I give my attention to my relatives, to those dwelling far, so I can lead them to happiness and then I act accordingly. I do the same for all groups. I have honored all religions with various honors. But I consider it best to meet with people personally.


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Discover health secrets with Perfect Supplements' series on natural, quality supplements. Learn to choose wisely for your wellness and the planet.
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Media Contact
Organization: Virtue Supplements
Contact Person: Xander Liberti
Website: https://virtuesupplements.com/
Email: Send Email
Contact Number: +17277551845
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Cupcake Wars: Bringing Down the (Ice) House
Cupcake Wars judge Candace Nelson is the founder and pastry chef of Sprinkles Cupcakes , the world's first cupcake bakery. She joins us on the FN Dish each week to recap all the sweet details of the competition from her seat at the judges' table. Here's what she had to say about Season Two's final episode, Ice House.
I can't imagine anything harder than being asked to make a cupcake funny! But, our cupcake bakers this week were up to the challenge and I was absolutely tickled by the results. Starting with Round One, Doron used seltzer water in her chocolate cupcake, which led to a fabulously fluffy texture. Mona brought in an entirely new flavor, saffron, which, in Persian culture, is said to make you laugh. Alina created a fun take on a jello shot in cupcake form. And Kim made us a yummy coconut and kiwi cupcake, but the kiwi tripped her up—beware of the kiwi, bakers!—and she was asked to go.
In Round Two, our bakers threw themselves into the task. Doron was gutsy by working with kiwi after it had just sent Kim home. But she pulled it off beautifully and her decorations, which included a word bloop and a "cracking up" strawberry were funny! Most importantly, I couldn't even tell her cupcakes were vegan! Mona worked with rich, European flavors and the overall theme "they're all a little nuts" was lots of fun. Alina also did a good job, but her decorations were not on par with the competition.
In Round Three, Doron and Mona went head-to-head and delivered two completely opposing displays. Doron literally created an ice house/igloo in her campy, fun style, whereas Mona kept it serious and luxurious with a red velvet and gold vaudeville-style display. In the end, Doron captured the quirky offbeat feel that is the Icehouse Comedy Club and baked us wonderfully delicious cupcakes all day. She was our Cupcake Wars winner!
Bake up a batch of Doron's winning Gilbert Ganache-Fried Cupcakes and check out FoodNetwork.com for more about Cupcake Wars, plus dozens of our best cupcake recipes .