Now that your braces are in place, it is very important to maintain a good oral hygiene regimen throughout the length of your treatment. Braces, wires, bands and retainers can all trap food particles and make it difficult to brush or floss away plaque. Careful brushing and flossing, preferably after every meal and snack, is the best way to prevent plaque build-up, tooth decay and gum disease.
Flossing takes more time and patience when you are wearing braces, but it is important to floss your teeth every day. We recommend flossing at night to make sure your teeth are clean before you go to bed.
Use a reusable floss threader to floss under your archwire. Pull a small length of floss from the dispenser through the threader, and slide it up and down along the front of each tooth. Use care around your archwire, and do not floss too forcefully around it or put too much pressure on it.
To reduce inflammation to your gums and cheeks, we suggest using a hydrogen peroxide antiseptic mouth rinse. This rinse will help prevent infection and decrease irritation that may develop from your braces. Rinse your mouth with two teaspoons of the hydrogen peroxide rinse for one minute, and then spit it out. You may use it up to four times daily following brushing. Just like using peroxide for a scrape on your skin, this hydrogen peroxide mouth rinse helps the inside of your mouth heal. It can be used for general irritation caused by your braces or for canker sores, cheek bites and other minor injuries to the gums.
An interdental (between the teeth) toothbrush is used to clean underneath and around your archwires and braces. Please use the interdental toothbrush gently to avoid damaging your wires.
We recommend using a sodium fluoride gel to help prevent tooth decay while you are wearing braces. This gel kills bacteria and replaces minerals in the tooth enamel that have been removed by harmful acids. Using a fluoride gel does not replace daily brushing and flossing, but it should be applied following your daily schedule at bedtime. Place a small strip of the gel on a toothbrush, and apply it to your teeth for one minute. Then spit it out. Do not eat or drink for 30 minutes afterward. It is important for the active ingredient to stay on your teeth for 30 minutes, so do not wash it away by eating, drinking or rinsing.
Brush your removable appliance every day as a part of your regular brushing and flossing schedule. Because food particles and plaque can accumulate on your appliance just as they do on your teeth, soak the appliance daily. Dissolve a denture-cleaning tablet in a glass of tap water at room temperature, and soak your appliance once a day.


text:
Q: How to get the indices of values in a list which are NOT an specific integer? I got a real array A, where Dimensions[A] == {5000, 5000, 5}.
Some of the values in A are -1, others are not.
How can I use Position[] to find the indices of those values which are not -1?

A: A = Table[If[Round@# == -1, -1, #] &[RandomReal[{-2, 0}]], {5}, {5}]

{{-1, -1.85034, -0.063618, -1.97166, -1.98232},
 {-1, -0.407057, -1.72254, -1.5231, -1.99315},
 {-1, -1, -1, -1.98979, -1},
 {-1, -1, -0.134094, -1.92523, -1.90799},
 {-0.304344, -1, -1, -1.91487, -1.66092}}

SparseArray[A, Automatic, -1]["NonzeroPositions"]

{{1,2}, {1,3}, {1,4}, {1,5}, {2,2}, {2,3}, {2,4}, {2,5}, {3,4}, {4,3}, {4,4}, {4,5}, {5,1}, {5,4}, {5,5}}

A: Position[A, Except[-1], {-1}, Heads -> False]

A: Below the code will be OK . thanks
 Position[Boole[(# != -1) & /@ A], 1];

redpajama_set_name: RedPajamaStackExchange


Well UK or UNC were obviously going to miss. Duke just ran into one of the toughest tournament coaches ever. I can't think of another coach that does more with similar talent other than maybe Jay Wright.
At this point, I want to see an Auburn and TTU matchup.
I'm all in on Auburn.
Redemption for UVA's inexplicable loss to UMBC last season would be a good story, and they'd join the hoops NC club.
New champions are always good for the sport imo.
Our disagreement in the other thread aside...what do you think are their chances with Okeke out?
Their chances are slim, but I want them to win for the SEC and for Okeke.
Well welcome to the other side.
Meanwhile, the joy continues in Eastern Kentucky.
so if a one point is getting the H-E-Double Hockey Sticks beaten out of them, what do we consider what happened to Kentucky?
I also read (on here, so it's meaningless really) that Duke got curb stomped.
Lol. Haters gonna hate hate hate.
also, for what's it worth, I find the bashing of Calipari on this board comical. Acting like he's underachieving with 4 Final Fours and a natty is just asinine.
No, they didn't get the hell kicked out of them, but it's just funny stuff.
It's always fun to poke at the other blue bloods.
Everyone likes to take shots at the aristocrats.
Imagine what all the rich people at Duke can do with their extra money by living rent free in Kentucky's head all these years.
Also, Matt Jones founder of KSR is a complete hack. I typically do not allow myself to be bothered by people's opinions in the media, but he's definitely now on the list for his complete lack of objectivity and complete unabashed hatred for Tennessee and Duke. It's a short list . He's had a meteoric rise.
Is Matt Jones a hack because he hates Tennessee and Duke? I don't understand your logic. You do realize that he has his law degree from Duke, right?
If a Kentucky fan has unabashed hatred for Tennessee in basketball, take it as a compliment. In sports, people (well, at least me) only have intense dislike for teams/programs that they see themselves in the same "class" as or see themselves as worthy adversaries to. For example, I don't have intense hatred for Vandy and Kentucky in football despite them being "rivals" of ours. Yes, I know Vandy has beaten us 3 years in a row but that is a direct reflection of the sh****ness of Tennessee's program, not evidence that Vandy's football program is in any comparable to Tennessee's in terms of tradition, fanbase, etc. Vanderbilt is not even trying to compete at the same level as a school like Tennessee, which makes our ineptness against them over the last few years even more embarrassing. Another loss to Vandy makes me angry at our own ineptness, not them.
Kentucky has infinitely more historical success, fan interest, etc. in basketball than Tennessee does, but if the head of KSR hates Tennessee, take that as a compliment. It means he finds us worthy of dedicating energy to hating and sees Tennessee as a threat/worthy adversary.
Most of the Kentucky fans I know don't have what I'd call an intense dislike of Tennessee, 1) because they know we dedicate resources more to football, not basketball (in other words, they know they should beat us in basketball) and 2) they aren't a football school, so they don't get frustrated at losses to rivals in football as they do basketball.
Also, if he hates Duke like Tennessee, that's just hilarious. The guy didn't even attend UK and has a law degree from Duke as @McCat said.
KSR directs most of their hate toward the football program. Jones also grew up on the KY/Tennessee state line, where the hate is real. Not like those fart-sniffers in the middle of the state who felt like Louisville was our biggest rival in football.
Yeah. I hate losing to Tennessee at anything, but the football gets to me more. I'm the exception, I guess.
I respect Jones ability to have built KSR. I also understand what KSR stands for. I did not know he had a law degree from Duke. He irks me because every time I've either seen any of his tweets or when he guest hosts for a nationally syndicated sports talk show he's gone out of his way to bash UT without any logic or objectivity . It boarders on absurd. He is the co-founder of KSR, but at least try to shade your disdain just a little when doing national shows or tweeting petty things about referees . He's obviously a smart guy who doesn't really seem to look at things objectively.
Even Seth Greenberg might think he's too subjective. I'm sure anyone could dig up some tweets that would say i was wrong and he gave a compliment a few times. Just my overall impression .


Single machine can support output pixel up to 7680 horizontally or 3072 vertically.
Supporting Dual Link DVI signal and 3840*1080 ultra-HD input, to realize point to point splicing display easily.
Supporting special-shaped screen splicing and picture display.
Supporting three-screen arbitrary placement, scaling, screen crossing and overlay.
Supporting picture transparency setting and edge feather.
Easy to use with navigation settings.
to render the most cost-effective solution for users with its flexible construction.
3072. KStone-920/920S support custom output resolution and enable users change the aspect ration freely.
KStone-9 serial support interesting special-shaped picture display, such as shaped, peach-shaped,creating a harmonious atmosphere in the scene.
KStone-920/920S enable user to set the transparency of image window pixel by pixel and make edge feather setting for image to realize multi-overlaid picture more harmonious and vivid.
resulted from enlargement and splicing.
ultra HD image beyond 1080P, ending the fuzzy era of big screen!
transition effect is soft and smooth.
keys for these effects to finish transitions quickly.
effects randomly by using management software.
transition effects, without blackout or glimmer.
and property for different modes conveniently.
there is no malfunction when it is called.
Adaptive NTSC/PAL, support 3D comb filter.
Two DVI-D outputs can provide image from different signal and splice a completed image.
automatically output next priority signal.
software, also can set different moving trajectory and speed.
and cross of every side.
•Output black or blue signal in one click, often used in acting performances.
black-out in switching between different modes.
Users can preset the equipment to auto-perform the specified operation at a certain time.


This patient wanted to have a fuller chest. She was an A cup and decided to undergo breast enlargement surgery. She contacted Dr. Parham A. Ganchi of Wayne, NJ for the breast augmentation. He inserted saline breast implants via periareolar incisions. The patient was happy with the results. She had an easy recovery and a fuller chest. With the help of Dr. Parham A. Ganchi, this patient was able to achieve the breasts she desired. Her breasts complimented her figure well.
Request information from or a consultation with Parham A. Ganchi, PhD., M.D.
Click here for the telephone number and directions for Parham A. Ganchi, PhD., M.D.


Enhance your sleep experience with Mattress Central's wide selection of sheets. Our collection covers all of your needs: everything from the college student's sheets to a luxurious, high thread count egyptian cotton. Sheets to keep you warm in the winter and cool in the summer. We have it all at unbeatable prices so don't be afraid to add some fun color to your room!
Tone-on-tone luxurious damask stripes with the easy-care fabric brings a layer of elegance and practicality to your sleep. Durable, shrink resistant and wrinkle free, the premium cotton blend sheet set comes in oversized dimensions with the universal fit design to fit mattress depths 6"–18".
Wrap yourself in the 100% cotton percale weave which produces a crisp, clean feeling sheet that is breathable and long-lasting. A beautifully colored hem complements the classic white sheet for a relaxed and soothing appearance. The universal fit design is sewn with deep pockets and a thick, full-length elastic that produces a secure, smooth fit on mattress depths from 6" – 18". It's easy to put on, won't slip off, and ensures a crisp, clean feel every night.
Expertly crafted in Portuguese mills, Woven™ flannel achieves the perfect balance between softness, warmth and durability. The brushed 100% cotton weave has a velvety-soft touch that promotes cozy sleep while the ideal 190 gram weight offers year-round comfort. The surface is slightly napped on both sides to retain warmth and give it the smooth hand known to high-end flannel. Its durable fiber structure reduces pilling or excess lint to maintain the lush finish.
Bamboo Sheets will make slipping into bed a definite treat. The porous composition of the rayon from bamboo fibers makes the fabric more breathable and temperature regulating than other fabrics. Relax with these smooth, clean feeling sheets. The pores are ideal for sensitive skin and will keep you cool and dry as the fabric wicks moisture away from your body. These sheets are antibacterial and resistant to odors. The universal fit design is sewn with deep pockets and an ultra-thick, full-length elastic that produces a secure, smooth fit on mattress depths from 6" – 22". It's easy to put on, won't slip off, and ensures a crisp clean feel every night.
TENCEL® botanical fiber is extracted from raw Eucalyptus trees using eco-friendly methods in a sustainable closed loop system. Its beautiful surface is luxuriously smooth and utilizes a nanofibril structure to channel moisture away from the body, making it 50% more absorbent than cotton.
TENCEL® fiber is extracted from raw eucalyptus trees. Its raw fiber is perfectly smooth compared to cotton, wool, and linen.
TENCEL® wicks moisture 50% more effectively than cotton, keeping you comfortable as you sleep.
Small Eco-friendly footprint – TENCEL® is made from renewable resources. Its production uses 10-20 times less water than cotton.
Superior to most fibers because of its extra-long staple, authentic Egyptian cotton create a more durable, softer sateen weave that sets the tone for a serene sleep. Its single-ply yarns produce a true 400 thread count sheet that is resistant to pilling. The beautiful double-piped satin stitch hems, oversized dimensions, and universal fit elastic gives a great look to your bed.
Handpicked Egyptian cotton and single-ply yarns producing a true 600 thread count sheet make these a favorite among the Woven™ collection. Superior to most fibers because of its extra-long staple, authentic Egyptian cotton fibers are finely woven to create a more durable, softer sateen weave that brings real luxury close to your skin. Each thread is mercerized to strengthen the fibers, give a more lustrous appearance, and create a softer feel. The beautiful double-piped satin stitch hems, oversized dimensions, and universal fit design gives a great look to your bed.
Manufactured in the mountains of northern Italy, these 200 TC sheets are woven by Italian artisans from the best cotton grown in Egypt. Egyptian cotton is superior to most other sheet material, and is renowned for its soft drape, distinctive luster, and amazing durability. Combined with Italian craftsmanship, where linen making has been a part of the culture for centuries. Simply put, Italians are the best artisans; they sew, cut, and fit the sheets better than anyone else in the world. The unrelenting attention to detail provides a meticulous fit and finish for the highest quality and value. The universal fit design is sewn with deep pockets and a thick elastic that produces a secure, smooth fit on mattress depths from 6" – 22". It's easy to put on, won't slip off, and ensures a crisp luxurious feel.
Manufactured in the mountains of northern Italy, these 400 TC sheets are woven by Italian artisans from the best cotton grown in Egypt. Egyptian cotton is superior to most other sheet material, and is renowned for its soft drape, distinctive luster, and amazing durability. Combined with Italian craftsmanship, where linen making has been a part of the culture for centuries. Simply put, Italians are the best artisans; they sew, cut, and fit the sheets better than anyone else in the world. The unrelenting attention to detail provides a meticulous fit and finish for the highest quality and value. The universal fit design is sewn with deep pockets and a thick elastic that produces a secure, smooth fit on mattress depths from 6" – 22". It's easy to put on, won't slip off, and ensures a crisp luxurious feel.


Naming characters, or rather finding the right names for characters, is the moment they feel real to me. I think a large part of that is because all of my names that I choose for my characters have a lot of significance, whether it is a glimpse of their future or a nod to some fundamental aspect about them. Whenever I meet readers with interesting names, my first question is "how did you get that name?" To me, names are a kind of destiny. We are given names to celebrate those who we have loved and lost, to honor lineage, or simply to express a hope for that child. But names are also magic. Growing up, I was always jealous that my sister never seemed to encounter any issues with her name. While I got the super ethnic "Roshani" and have spent years dreading what mutation of it will appear on a Starbucks cup, my sister got the name…MONICA. It's not fair! She is always the one who knows that she's going to get a special keychain with her name on it from Disney World. I think the closest I found to "Roshani" was "Rosie" or "Robert." But my sister got that name because when she was born, she was very ill…to the point where my family thought we might lose her. And so my grandmother said "change her name, so that Death won't find her." Firstly, I think this makes Death seem incredibly incompetent and hopelessly bureaucratic. Secondly…what was supposed to be my sister's true name? She claims she doesn't know. Once, I jumped on her bed at 4 AM trying to scare the answer out of her. I ended up getting kicked in the face. But I think about that story whenever I'm dreaming up new characters because I think that the moment I've named them, I have parted with some magic.


text:
« Victorian, Modern, and Cross-Step Waltz Workshops, NYC (Sunday, November 13, 2011) | Main | Gothic Ancestry: A Country Dance Gallopade »
The Swedish Dances, Part One: Introduction
(First in a series of posts discussing and analyzing the Swedish dances.)
I've recently spent some time focusing on a trio of early sources for the unusual form of country dance known as "Swedish Dances," which originated in the very late 1810s or early 1820s and after their early burst of popularity continued to turn up occasionally in dance manuals throughout the nineteenth century. Their distinguishing feature is that instead of the usual long column of couples, the dancers form a column of trios with either one lady between two gentlemen, one gentleman between two ladies, or a mixture of the two. The Swedish dances were created in the wake of the quadrille's introduction into the London ballroom in the mid-1810s, which spurred a great deal of choreographic innovation as dancing masters adopted figures and formations from the quadrille and merged them into the old-fashioned country dances, which had become increasingly formulaic. Along with the Swedish dances, this burst of creativity resulted in, most notably, the Spanish dances, Mescolanzes, and Circassian circles.
Unlike most kinds of dance, we can be fairly confident of the origin of the Swedish dances. Their earliest appearances appear to be in a trio of dance manuals from around 1820, all written by the London dancing master G. M. S. Chivers:
An Instructor to the Swedish Country Dances (c1820)
The Dancers' Guide (c1820)
The Modern Dancing Master (1822)
Only the last of the three is actually dated. The other two are slightly earlier, and the first must precede the second, where it is referred to in a footnote. The Swedish dances thus qualify -- just barely -- as Regency-era dances. Rival dancing master Thomas Wilson mentions the Swedish dances in a lengthy complaint on pages 318-321 of his Complete System of English Country Dancing (London, c1820) about the low quality of instruction offered by certain ill-qualified professors of dancing and notes that the carefully nameless instructor he uses as an example advertises himself as their inventor, a claim made prominently by Chivers on the covers of his manuals. Wilson and Chivers had an ongoing feud, and I have no doubt that Chivers is the instructor referred to so disparagingly by Wilson. He nonetheless does not dispute Chivers' claim.
Chivers is refreshingly straightforward about the fact that the dances have no particular connection to Sweden and the name is arbitrary:
Many may say, I have never even heard of these Dances in Sweden, which is very likely, for their name merely originated as follows: viz. I had shown part of the M.S. of this petit work to several of my pupils for their opinion, (and being highly approved of, induced me to publish it,) when one remarked having seen something similar in Scotland, and also in Sweden, as reels, therefore having Scotch Dances, I thought it more applicable to entitle them Swedish Country Dances, conceiving the name to be immaterial, to such a desirable species of DANCING...
-- An Instructor to the Swedish Country Dances
The name "Swedish country dances" appears to have been rapidly shortened to the simpler "Swedish dances" and so appears in the other two manuals.
Although the Swedish connection is dubious, the link to Scotland might well be valid. As discussed in my reconstruction of the later Highland Reel country dance, reels for six are documented in Scotland early in the nineteenth century and appear as new "Scotch reels" in various of Wilson's manuals in the 1800s-1810s. The Swedish dances frequently incorporate heys, the English term for the classic reel for three or four so characteristic of Scottish dancing. While Chivers' modest disclaimer about his students' "inducing" him to publish is probably a bit of theater, his being inspired by Scottish dancing as well as quadrilles seems a reasonable guess.
With a trio of closely dated manuals by the inventor of the dances, it becomes feasible to analyze Chivers' Swedish dances as a group, and over the course of a series of posts, I will be examining and reconstructing Chivers' figures and, eventually, discussing what became of the Swedish dances in England and America later in the nineteenth century when, as also occurred with the Spanish dances, they were reduced from a genre to a single surviving dance.
Formations and Progressions
Chivers was precise about the formations and the progression of the Swedish dances and helpfully provided diagrams in each of his manuals. The dances were advertised as being "adapted to Parties having a Majority of either Sex" and could be danced by an imbalanced party formed as in the diagram below:
They could also be danced by a party with an even balance of ladies and gentlemen, as shown in the next diagram:
Both diagrams are from The Dancers' Guide; click on each to enlarge it.
In both cases, the dance would begin with only the top two trios and progress down the set until all trios are dancing, winding down as each trio returns to its original place:
Every person has their face towards the top excepting the top three (or line) who face the bottom, which each line takes in succession.
Each Dance begins with the two top lines, and when there are two lines clear, they commence again at top, and so they continue until all have been own it. The number of persons is unlimited.
In The Modern Dancing Master, Chivers provided yet another formation for an equal number of dancers, in which the two types of trios line up on opposite sides and the dance is begun from the center of the set:
Types of Swedish dance
Chivers is quite firm about the distinct types of Swedish dances and distinct kinds of figures for each type:
This species of Dancing may be performed by a majority of either sex, or an equal number of ladies and gentlemen; and each Figure specifies which it is best adapted for, which, if not adhered to, the effect will be totally lost.
In the two earlier manuals, he labels each dance as being suited to either (1) a group with a majority of one gender or (2) a group with either a majority or equal numbers. He does not further explain what distinguishes each kind of dance, but in looking over the entire set of dances, it quickly becomes obvious that certain figures are restricted to certain types of Swedish dance, and that the key to the difference involves to whom dancers "set", or dance in place facing. In dances suited only to groups with a majority of one gender, the center person often sets both to one of his or her partners and to one of the end dancers diagonally across the set. In a "majority" group, both of these dancers would always be of the opposite sex. This figure never appears in dances labeled suited to a group with equal numbers. In those dances, there is a parallel figure in which the center dancer sets only to his or her own partners. These figures will be discussed in detail in a later post.
The classification of some figures as suitable for a group with either a majority or equal numbers seems odd given how determined Chivers is to separate the two types of Swedish dance, but in fact it is a practical necessity. While his diagrams for groups of equal numbers show neat formations with lines of two ladies/one gentleman alternating with two gentlemen/one lady, in practice, as the dance progresses, there will rapidly come a point (in a top-down start, after only two iterations) at which two trios of the same configuration are dancing together, which will be the case for at least some lines throughout most of the rest of the dance.
There is a one figure which appears exclusively in the latest manual, The Modern Dancing Master, in a set of dances which Chivers labeled as suited only to an equal number of ladies and gentlemen, which, as noted, is a situation that simply does not obtain for any length of time, regardless of the starting configuration. The figure is cross over giving right hands, back with left, a name which is a bit misleading. The first half is further glossed by Chivers as:
The two lines exchange places, and in passing they give right hands and set, still holding the hand.
Making the reasonable assumption that "back with left" means repeating the same thing in reverse, the figure would be taking right hands with the dancer opposite and turning halfway (two bars), then setting (two bars). Drop right hands and take left hands with the same person, again turning halfway (two bars) back to original places and setting (two bars) before dropping hands for the next figure.
In the dance with balanced numbers of ladies and gentlemen, the dancers will initially be performing this figure with someone of the opposite sex, but this will quickly change as the dance progresses and identically-configured trios end up dancing together.
Two men or women setting to each other is not unheard of in early nineteenth century dancing, however. Thomas Wilson describes "Set, and change places" as two ladies setting to each other and then changing places while their partners do the same, as diagrammed in The Complete System of English Country Dancing. Nor are two ladies or two gentlemen turning each other imconceivable, as Wilson diagrams in a different figure in the same manual. I suspect that either Chivers did not fully think through his progression when including this figure in his dances or that he made a mistake by listing this group of dances as solely for equal numbers when he should have meant for either equal numbers or a majority of either gender.
In his Instructor to the Swedish Dances, Chivers, ever commercially minded, helpfully noted that his creations "can also be danced by ladies only, which is a style of dancing much wanted in seminaries."
Recycling tunes and figures
My initial survey of the dances included in Chivers' three manuals gave me a count of twenty-five different dances done to a mix of sixteen different tunes, several of which were reused two or three times. A closer look revealed that five of the dances were duplicates, including two from the same manual, for a final count of twenty distinct sets of figures done to sixteen tunes.
Of the actual tunes, not one is unique to the Swedish dances. Some, like "Le Pantalon", are borrowed from popular quadrilles, while others are tunes he also uses for country dances of various kinds. Most are in 6/8 time, but there are two in 2/4, one each in 3/4 and 4/4.
So how does one name a dance when the same figures appear under two different names? How does one select a set of figures when different figures appear under the same name? And what about the country dances and quadrille figures associated with those tunes?
The underlying issue is that, counter to modern custom, the names associated with the "dances", the sets of figures, are actually those of suggested tunes, and the sets of figures, far from being historical examples of careful choreography, are basically interchangeable and can be attached to any tune of the right length and repeat structure. Chivers is quite explicit about this while discussing country dances, organizing his sets of figures ("dances") by the number of parts precisely so that dancers can more easily select their favorite tunes of the appropriate length.
So while during this series of posts I will offer several sets of Chivers' figure as examples of Swedish dances, I won't be giving them names or specific tunes with them.
Here's a list of all sixteen tunes used by Chivers, for reference:
La Belle Sergent
The Carnival of Venice
The Cypress Wreath
Di Tanti Palpiti
Le Garçon Volage
The Little Nymph
Mr. Chivers' Fancy
Mr. Chivers' Whim
The National Waltz
Le Pantalon
La Paysanne
Vulcan's Cave
The Young Prince
Length of dances
The most common length for a Swedish dance is thirty-two bars, which accounts for nine of the twenty distinct dances in the three manuals. Two of them are repeated. Next most common is forty bars, accounting for six dances, with one repeated. Three dances are only twenty-four bars long; these short dances appear only in the last of the three sources. And two of the dances are a full forty-eight bars in length, with one of them repeated twice.
Thoughts on steps
In none of his manuals does Chivers give any hint of what steps are employed in the Swedish dances. As with other sorts of country dances, my best guess would be either (1) a combination of chassé (modern "skip-change") steps for traveling with the pas de basque (discussed in a previous post) for setting, or (2) the full chassé-jeté-assemblé sequence used in quadrilles, with most figures requiring either one or three chassé steps, and a few longer sequences perhaps employing seven, and the pas de basque for setting. Wilson noted the latter sequence in a couple of his manuals, but given that country dances were supposed to have a different repertoire of steps than quadrilles, I'm not confident that this was not just Wilson's personal idiosyncrasy, with more elaborate sequences than most dancers actually used.
Errors and inconsistencies in sources
While overall Chivers is fairly consistent in his dance sequences and descriptions of the figures, there are some problems. "Hey contrary sides" is described as being performed with the persons to the right of the center dancer in the latest manual but diagrammed in the earliest as being performed with the persons to the left. There are similar minor differences in a few other figures. This might be simply that the later descriptions are incomplete, or it might be that Chivers refined his style somewhat over time. There are also a few outright errors -- in The Modern Dancing Master, Chivers states that the dance "begins with the centre eight", having perhaps copied the text carelessly from his description of the four-facing-four Mescolanzes. One figure appears in dances as both a four-bar and eight-bar figure; in the latter case, it seems more likely that Chivers left off the second part of it than that the figure was sometimes done at half-speed. These discrepancies and errors will be addressed in future posts as the relevant figures and dances come up for discussion.
(The following posts in this series will discuss the specific reconstruction of each figure used in Chivers' Swedish dances.)
Posted at 11:50 PM in Country Dance, Regency/Jane Austen | Permalink
Thanks, Susan.
Posted by: Danby Carter | November 09, 2011 at 02:21 PM

redpajama_set_name: RedPajamaCommonCrawl


text:
Rock Kills Kid in pictures and photos, There are 5 pictures in this album
pxdrive.com -> Rock Kills Kid
Rock Kills Kid Page: 1
Music alternative rock Rock Kills Kid band pictures (pic) and photo gallery, albums covers pictures.
Formed: 2001 in Orange County, California, USA.
Rock Kills Kid is an alternative rock band from Los Angeles, California that consists of Jeff Tucker (guitar and vocals), Shawn Dailey (bass), Sean Stopnik (guitar), Reed Calhoun (keyboards/vocals), and Mike Balboa (drums). Their music often draws comparison to The Cure, Echo and the Bunnymen and U2, as well as new bands such as The Killers and Franz Ferdinand. They have been named one of Rolling Stone magazine's "10 Artists to Watch in 2006."
Rock Kills Kid�s self-titled 5-song EP was released in early 2003 by Fearless Records. With no money and no place to live, Tucker began sleeping at the recording studio Fearless was paying for in Los Angeles.
Tucker later regrouped with a new line-up of Rock Kills Kid, which includes Dailey, Stopnik, Calhoun, and Hendrickson. They signed to Reprise Records and are currently touring in support of their debut album, "Are You Nervous" (which Kenny Livingston played drums in). A tour in fall 2005/early 2006 with Electric Six and She Wants Revenge further boosted their profile, as did the use of "Hide Away" on an episode of FOX drama The O.C.
"Hide Away" was an iTunes free download in April 2006. "Paralyzed" is the first single off "Are You Nervous" and was sent to radio that same month.
Rock Kills Kid Discography (Albums):
* Rock Kills Kid EP - Fearless Records - 2003.
* Are You Nervous? - Reprise Records - 2006.
-Jeff Tucker.
-Shawn Dailey.
-Sean Stopnik.
-Reed Calhoun.
-Mike Balboa.
Rock Kills Kid : Rock-Kills-Kid-ta01
Rock Kills Kid : Rock-Kills-Kid-rp03
There are 5 pictures of Rock Kills Kid, on 1 pages (you are on page 1), use the numbers at the top for more Rock Kills Kid pictures and photos, If you have more pics for this album, Please add them and mention Rock Kills Kid anywhere in the title of the picture or in its description so we can pick it up and put it in this album
Rock Kills Kid


text:
janus
=====

Joint client and server-side rendering.

redpajama_set_name: RedPajamaGithub


Consisting essentially of Haussmannian architecture, the heritage of Paris has become a static park.
Facing over-densification and poor housing in Paris, Neossmann is a proposal for urban sublevation,dedicated to reducing urban sprawl.
These new aerial parcels, distanced from both noise and olfactory pollution and without vis-a vis, are major contenders for the question of housing in Paris. Once the supply becomes greater than the demand, housing will again become accessible, reviving the Parisian economy through an influx of new residents.
Resting on fortified load bearing walls, this project launches the housing towards the sky, with a translucent facade made of a thin layer of stone laminated onto a glass facade.
Technical constraints are managed in workshops, while the installation of the modules is achieved through innovative construction methods that are much faster than conventional construction because of the use of a prefabricated system.
The facade, prepared in a workshop, consists of simple tarp filled with old clothes and rags in order to provide insulation.
By day, the fabric allows rays of diffuse light to emanate throughout the interior.
By night, the facade becomes practically opaque, with rays of light radiating towards the city.
while also enabling citizens to access housing by literally providing new perspectives through the generation of a city upon the city .


Today marks a brand new era for Evil Inc — one that I frankly never thought would happen. Starting today, we plan on bringing you Your Favorite Comic in living (or should that be loathing?) color.
This started with a Webcomics Weekly discussion on applying color to a daily webcomic. We all agreed that it would be terrific to have, but none of us could devote the time.
Shortly thereafter, I heard from a man who offered to color the strip. We discussed it — a lot — and worked out an agreement.
And the results — as you can see — are stupendous.
Without further ado, let me introduce you to the reason for this incredible change, Ed Ryzowski. Ed does a terrific webcomic called Geek Tragedy, and has been doing a phenomenal job with Evil Inc. These strips simply sparkle.
I can't wait for you guys to see the next few weeks and enjoy Ed's versatility and skill. I've had a sneak peek of what he's able to do with these strips and it's truly amazing. Please check out his comic and let him know how much you're loving his work.


Lima, Peru, July 31, 2011 - Slovakia beat Belgium 3-1 (25-23, 25-12, 29-31, 25-20) in the seventh-place match played Sunday during the FIVB Volleyball Women´s Junior World Championship Peru 2011 at Eduardo Dibos Gymnasium in Lima.
Both teams had never played at any tournament of the FIVB Volleyball Women´s Junior World Championship and now both are in the top eight worldwide.
Slovakia's Nikola Radosova scored a match-high 20 points, next to Tatiana Crkonova and Romana Kriskova with 18 points each. For Belgium, the top scorer was Lise Van Hecke with 14 points, next to Lorena Cianci with 13 points and Valérie El Houssine with 11 points.
The first set began with Belgium stronger in passing (six digs in the set) and they reached the first technical time out leading 8-6 thanks to Cianci´s block (three points in the set). The set continued and Belgium was ahead Slovakia for 11 points. However, Slovakia got the point distance to six, but the second technical time out was for Belgium 16-10. At this point, Slovakia woke up and they scored four points in a row tied the score at 22-22. Belgium committed a lot of spikes errors (11 in the set) insuring the 23th point for Slovakia. Belgium tried harder to win the set and the score reached the difference of one point thanks to Linde Hervent´s spike (two points in the set). The set ended 25-23 in 26 minutes thanks to the Cianci´s block.
The second set was different. Slovakia started winning the set with a five-point advantage. At the first technical time out, Lotte Penders (one point in the set) had spike error and Slovakia was ahead to 8-3. Slovakia scored seven straight points and the second technical time out was for them with a point difference of 10 points. The 20th point for Slovakia was scored by Cianci who hit a hard spike (one point in the set). Belgium tried to recover the set, but they only reached their 12th point because of Slovakia´s dig error. Romana Smatanikova (seven points in the set) hit a spike that defined the set to 25-12 in 22 minutes.
The third set was a tight one. The first technical time out was for Slovakia with a point difference of three. However, Belgium's spike improved and they tied the score at 15-15 thanks to Ilka Van De Vijver (four points in the set). Hecke hit a serve that insured the 16th point for Belgium and the second technical time out. Belgium was ahead by four points at 20-16, but started to commit many mistakes that helped Slovakia tie the score at 24-all. Finally, Van Hecke hit a spike and the set ended 31-29 for Belgium in 32 minutes of set.
The fourth set of this match had a tie beginning. Karin Palgutova (four points in the set) missed a block and Belgium got the tie score at four points. The first technical time out came to 8-6 because of a Belgium serve error. The Belgium squad tried to recover the set, but Slovakia's dig was stronger (four in the set). Slovakia reached the second technical time out to 16-8. Belgium started to play harder and they got their 20th point thanks to Cianci´s spike (four points in the set). However, Slovakia needed just one point to win, and they ended the set to 25-20 in 28 minutes.


In my opinion, it's not the fear of death that makes us live life fully, but fully accepting the reality of death and that this is the only chance we get at making a life for ourselves. We must make the most of our one chance at life, because once you die, that's it. So live life to the fullest! Soak it up.


text:
100 Wonders: Model Behavior
by Dylan Thuras July 30, 2015
The Mississippi River Basin Model
Built by prisoners of war, the largest small-scale model ever built includes eight miles of tiny streams that now sit abandoned.
The work of the US Army Corps of Engineers often goes largely unseen and unappreciated—when they do make the news, it's usually when things have gone wrong. Think of, say, when the New Orleans levees failed, or species are endangered by dams. Critique of the 245-year old agency crosses party lines: Mother Jones has called them "plodding, complacent, careless" while the Cato Institute makes regular calls for their dismantling.
But the US Army Corps of Engineers does have small moments of strange beauty. The Mississippi River Basin Model is one such example.
In 1943, work began on the model, which was being built to better understand flooding along the Mississippi. Wartime workers were hard to find, so the Army Corps used the manpower that was available to them—Italian and German prisoners of war. Many of the laborers were capable engineers, handpicked for the project, and they proved to be hard to replace when the war ended.
The model was built at a skewed ratio, with a horizontal scale of 1:2000, but a vertical scale of 1:100 (meaning the Rocky Mountains would be a towering 50-feet tall). It saw 79 simulations run over its active period, with each simulation taking anywhere from weeks to months. In 1952, information gathered using the model prevented major flooding in Omaha, avoiding as much as $65 million in flood damages. The model also became a tourist destination for a time, drawing over 5,000 people a year to stride like giants along walkways above the banks of the tiny Mississippi.
The model was supposed to be completed by 1948, but the work wasn't finished until 1966, a full 26 years after it was started. Six years later it was used for the last time. Today it sits abandoned in a Jackson, Mississippi, park. As the largest small-scale model ever built, it is a piece of beautiful, if unintentional, art. The USACE should be proud.
Places You Can No Longer Go: The Collect Pond
mississisppi100 wondersmodelsengineeringriversvideo
A Close-Up Look at Rare 17th-Century Anatomical Manikins
The true purpose of these objects remains something of a mystery.
Lizzie Philip September 17, 2018
The Yucatán's Hidden 'Underwater River'
There's something fascinating happening at Angelita Cenote.
Michael Waters July 6, 2017
Using a Motor to Make Two Hearts Fuse
Lauren Young February 16, 2017
8 Scale Models That Make Nature More Manageable
The majesty of nature, scaled down.
100 Wonders: The Last Incan Bridge