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Bekhend () je eden od dveh najpogostejših teniških udarcev; drugi je forhend. Bekhend je bil v preteklosti udarec, s katerim so želeli igralci ohraniti ravnotežje v igri, danes pa je pri večini igralcev in igralk skoraj popolnoma enakovreden forhendu in z njim igralci dosegajo direktne točke.

Vrste behkendov
ravni bekhend (brez poudarjene rotacije žoge)
spin (vrteči) bekhend (poudarjena rotacija žoge naprej)
slice (rezani) bekhend (poudarjena rotacija žoge nazaj)
lob behkend (poudarjena rotacija žoge naprej in visok let žoge)
smash backhand (eden najtežjih teniških udarcev)

Poleg vrste bekhenda vezanih na rotacijo žoge, pa obstajata še enoročni in dvoročni udarec. Bolj pogost je dvoročni. Za enoročni bekhend je značilno zelo naravno gibanje roke, za dvoročni pa, daje gibanje zunanje roke enako kot pri forhend udarcu.

Prijemi za enoročni bekhend
bekhend prijem (za ravni, spin behkend),
ekstremni bekhend prijem (za vrteči bekhend),
kontinentalni prijem (za rezani bekhend).

Prijemi za dvoročni bekhend
kontinentalni prijem (desna roka) in forhend prijem (leva roka)
bekhend prijem (desna roka) in forhend prijem (leva roka)
forhend prijem (desna in leva roka)

Vrsti zamaha
polkrožni nazaj-naprej je uporaben pri enoročnem in dvoročnem bekhendu
zamah naprej-nazaj pa je bolj pogost pri enoročnem bekhendu
Udarec se uporablja v vseh fazah igre: pripravi, obrambi in napadu.
Prednosti dvoročnega bekhenda so pri vračanju, izvedbi močno rotiranih žog in ostro odigranih udarcev.
Prednosti enoročnega bekhenda so pri napadanju, prehodu k mreži in reševanju nizkih in zelo oddaljenih žog

Izvedbe bekhend udarcev

Ravni dvoročni bekhend udarec
Začetni položaj za dvoročni bekhend je položaj, ki je skupen vsem udarcem, z izjemo servisa. Gre za aktiven položaj, ki mu omogoča hiter začetek gibanja in izvedbo udarca. Začetnemu položaju sledi pripravljalni poskok. Pripravljalni poskok () igralec izvede v trenutku, ko drugi igralec zadene žogo. Potek dvoročnega bekhenda se nadaljuje z zasukom ramen in prenosom teže na zunanjo nogo, ramena so v tem trenutku pravokotno na položaj mreže, leva roka vodi lopar do zamaha. S tem se zaključi pripravljalni del udarca in se začne pospeševanje. Zamah je naslednji del udarca. Pri izvedbi zamaha, ki ga igralec izvede zelo hitro, pokaže znak na ročaju loparja proti mreži, ramen so še vedno v bočnem položaju in teža telesa pretežno na levi nogi. Sledi nadaljevanje pospeševanja in izvedba udarca. Lopar potuje proti točki zadetka, ki je pri dvoročnem bekhendu praviloma pred telesom. Položaj točke zadetka je odvisen predvsem od prijema. Zamah se pri dvoročnem prijemu zaključi pri desnem ramenu. Ramena in boki so v frontalnem položaju. Teža telesa je že pretežno na sprednji nogi.

Ravni enoročni bekhend udarec

Začetni položaj je enak kot pri dvoročnem bekhend udarcu, razen pri prijemu, se položaj v zamahu ne razlikuje od tistega pri dvoročnem bekhendu. S tem se zaključi pripravljalni del udarca in se začne pospeševanje. V zamahu se praviloma lopar ne ustavi, pač pa le spremeni smer gibanja. V tem delu se pokaže zank na ročaju loparja v smeri mreže. Pospeševanje loparja se iz skrajne točke za telesom nadaljuje proti točki zadetka. Točka zadetka je pred telesom. Oddaljenost točke pred telesom je odvisna od prijema. Za pravni bekhend je specifično to, da ramena med izvedbo aktivnega dela udarca ostajajo v bočnem položaju. V času aktivnega dela udarca se teža telesa prenaša z zadnje noge naprej. Ob udarcu je teža že v večji meri na sprednji nogi. Zamah se zaključi visoko spredaj nad glavo. Leva roka ob izvedbi udarca ostane za ali ob telesu in opravi ravno nasprotno gibanje kot igralna roka.
Poglavitna razlika med enoročnim in dvoročnim bekhendom je v položaju ramen in bokov, kjer, razen v posebnih primerih, ne pride do izrazite rotacije ramen.

Seznam referenc

Tenis

simple:Tennis#Shots

redpajama_set_name: RedPajamaWikipedia


text:
When it comes to opening a sportsbook, there are many important considerations that you need to make. You must be sure that it is legal to operate in your state, and it should also be regulated by a government body. It should also have a strong reputation among its players and accept payment methods that you prefer. It should also offer VIP programs and high payout limits. Finally, it should have a user-friendly layout and blue color scheme, and it should offer welcome bonuses to new customers.
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EvenBet Gaming, which has been present in the Asian market for 16 years, has announced a new partnership with Philippine sportsbook platform SBOBET. The partnership between the two companies will further boost EvenBet's Asian presence. It will enable bookmakers to access new markets and increase revenue. With more than 1,200,000 active users, SBOBET is a leading player in the Asian sports betting industry.
SBOBet offers excellent software and a user-friendly website. In addition, the odds are displayed in EU (Decimal) format, making it easy to read for people from different countries and locations. Customers can also use its mobile apps and WAP service to place wagers from anywhere. The site is safe, and the customer support team is responsive and helpful. However, there are still some limitations that make SBOBet a good choice for those seeking an online sportsbook.
Another advantage of an online sportsbook is that you can play games like Slot Gacor. It is a trending game that has won jackpots. You can also find games such as ICG Fishing, Capit uang, and Duit games. You can even play games such as toto and lotre online.
A good sportsbook will have a large data base that you can use to make decisions. They will show you the odds for the games you bet on. For example, a Wyoming-New Mexico game had 1,459 bets, while the Richmond-Morgan St game attracted 207 bets. The data collected by Sports Insights was compiled from a large cross-section of sportsbooks. Regardless of whether you are a pro or novice sports player, you can use the information you find to make informed wagers.

redpajama_set_name: RedPajamaCommonCrawl


Before sludge enters the press it is chemically conditioned for dewatering with an emulsion polymer flocculant that helps form stronger flocs. After chemical conditioning, a transfer pump drops the sludge onto a preliminary Polyester Dewatering Belt where free water molecules separate by gravity and fall into a collection trough.
As sludge is conveyed along the Polyester Dewatering Belt , ploughs roll it around to help water drain out. Before dropping down to the next stage, guide plates position the sludge towards the middle of the Polyester Dewatering Belt and ensure nothing is squeezed out the side of the filter. Before sludge is fed into a pressing zone, a second gravity thickener repeats the process.
Upon entering the pressing zone, sludge is sandwiched and squeezed between two Polyester Dewatering Belt filters which slowly convey over and under rollers that force excess water out of the sludge and through the filter mesh.
Finally, the pressed sludge is scraped off the Polyester Dewatering Belt and collected in a bin. All filtrate and wash water is captured and transferred back to the front of the wastewater system for re-processing.


text:
So you think Body Shame merely feels bad?
You look in the mirror, you feel self-disgust followed immediately by body shame. You hop on the scale - more shame floods through your veins. You head out the door to a doctor's appointment and you're already dreading how you're going to feel when he/she asks you to weigh, or undress. The list of things there are to feel body self-disgust about are never-ending in a Western culture. But are body shame and shaming helpful when it comes to achieving health and wellness? I know we believe that if people are ashamed enough they'll take action, but are there other aspects we may have overlooked?
can a sense of shame change our biology?
Dr. Mario Martinez says that in some countries in Latin America when a woman is going through her menopause and having hot flashes it's referred to as 'bochorno": a Spanish word meaning "shame." In other words the hot flashes are interpreted as a type of body shame and have a shaming component to them. Shame and shaming are stressful and change how our bodies function.
Dr. Martinez, reminds us that neither honor or shame are the same in every culture. He also points out that as human beings we turn those cultural meanings into our biology. In other words, our internalized beliefs, as a result of our cultural story, is a mediating factor between health and wellness. That brings me back to the body shame we experience in our Western culture of 'be thin and toned',and oftentimes we'll experience this even when we are thin.
He shares research indicating that shame and shaming can cause inflammation of the immune system which then releases interleukins (molecules that cause inflammation), in exactly the same way as if you have a wound or infection. What's the problem with that? According to this 2013 study published in Proceedings of the National Academy of Sciences, exposure to chronic stress (body shame and shame around eating, lack of willpower etc...definitely cause millions to be chronically distressed, not just daily but over weeks, months, years and even decades) —changes the way genes are activated in immune cells.
Simply put, excessive amounts of chronic stress over time get our cells fired up to fight off an infection that doesn't really exist, which leads to the increased expression of genes that lead to inflammation. And inflammation raises the risk for all sort of serious health conditions, such as heart disease, diabetes, arthritis and more. For example researchers often refer to type2 diabetes as 'internal inflammation.' So it's obvious then that shame and shaming are health and longevity eroders.
Researchers found this negative cycle to be true in both the cells of mice and the cells of humans.
body shame and our biology?
Studies find that women in Peru have higher levels of inflammation during menopause (a process that has been cultured) specifically during the experiencing of hot flashes. Now,(and here's the important bit), let's contrast that with women in counties where the cultural messages around menopause are honoring instead of shaming. In Japan menopause is believed to be 'a second spring,' a marker of a period that signifies moving into your wisdom and thus gaining status in your community. These women do not have the inflammation Peruvian (and other Latin American women) have. It's a wonderful look at how our culture shapes our psychoneuroimmunology. You see the problem is that our culture literally gets under our skin, and changes how our body functions at a cellular level. And that changes our health and longevity.
This should give us pause....before we shame others AND ourselves, before we feed our self-disgust, how is that changing our biology to create the health problems that are so often all blamed on our body size.


Many times it happens that we get a long list of tabular data in our requirement document and we format it manually line by line to comply with our code. Let's find a way that will convert this line by manual work into Find and Replace kind of work.
Let's say we have to use following list of data into T-Sql IN(…,…,…) clause. So every line should be formatted like '…' with a comma (",") at the end of each line except the last line.
To format such kind of values, we will take help of Find and Replace window efficiently. Let's see how.
Take a sharp look on Find Options at Find and Replace window. There are 5 different options available. I will check the "Use:" option with "Regular expressions" option. Now click on expression builder button and select "^ Beginning of line" option and give "'" under Replace with: textbox.
Now click on Replace All button. Now the list of values will look like below.
Now again click on expression builder button and select "$ End of line" option and give "'," under Replace with: textbox.
Now again click on Replace All button. Now the lists of values are formatted as per our need. We only need to remove last comma (,).
I hope, today you have discovered a new power of Find and Replace window with me that will make your day to day life easier to format any line of data just by couple of clicks and save more time.
Let's do one more click on Replace All button after putting expression as it's appear in the image.
See the output and let me know how much it is useful for your code?


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Fabien Vincent
fabien.vincent@monash.edu
vincent.fabien@gmail.com
Dr Vincent is a clinician-scientist currently employed as a research fellow in the rheumatology group, centre for inflammatory diseases at Monash University. He completed his medical training, including advanced training in rheumatology, at the University Hospital Centre of Caen and Paris in France between 1999 and 2010. He completed his PhD in immunology at Monash University in Melbourne in 2018, focused on biomarkers, especially BAFF, in autoimmune disease. Dr Vincent's specialization is in rheumatology with a focus on autoimmunity, specifically molecular and B cell immunology, and biomarker development in systemic lupus erythematosus (SLE). He is interested in research integrating clinical insights with novel data science approaches. Dr Vincent has a strong interest in Indigenous Australian health research. His research vision is to improve understanding of SLE to develop targeted and personalised medicine approaches for patients, and help to close the health gap between Indigenous and non-Indigenous Australian SLE sufferers.
cv_-_dr_fabien_vincent_-_december_2018.pdf
IAP Young Physician Leaders (YPL) alumnus receives the Victorian 2021 Young Tall Poppy Science Award
IAP Young Physician Leaders alumnus awarded a NHMRC Investigator Grant
What has the Young Physician Leaders Programme achieved?


Note: In Double Bugg competitions, one male partnered with two females forms a trio. As defined by IDO rules, a one male / one female Couple must enter all other events.
Each discipline has some rules specific to that particular discipline. Such information is provided under the specific heading for the discipline in question. In general, the following rules apply to ALL Special Couple Dance Disciplines. Any exceptions are noted in each rule. When an exception is noted, please refer to the specific rules governing the discipline mentioned.
Competitors in most, but not all, Disciplines dance to the Organizer's music.
EXCEPTIONS: IDO Compulsory Music is used in Swing Dance and Mixing Blues events. In final rounds of all categories, either Organizer's music OR music of the dancers' choice may be used.
No dancer / couple shall compete against him or herself.
In all IDO disciplines, a Couple is defined as one male and one female partner.
Time duration (length) of Exhibition / Routine / Performance: Refer to the specific discipline.
Liquids or other substances that can litter, damage, or make the dance floor / stage unsafe may not be used in any discipline.
Costumes are of one's own choice, but should be well-fitted and tasteful.
Lifts: Permitted in some, but not all, disciplines. Please refer to specific rules for the Discipline in question. Lifts are defined as: Movements / figures in which both feet of one dancer are off the floor and such figures / movements are performed with the help / physical support of another person. Lifts are NOT permitted in Children's divisions unless stated otherwise in the specific rules governing a specific discipline.
Drops: Permitted in some, but not all, disciplines. Drops are defined as: A movement in which the Lady 'drops' down into a pose that must be supported by her partner in some manner. This can be with his hands and arms, or the Lady can use her hands and arms on the Man's waist, leg, etc., to support her own weight.
1. Music: Organizer's music in all rounds EXCEPT the final round of Tango Fantasia, where dancers may use their own choice of music.
2. Length of Exhibition: Two (2) minutes long, to conform to the end of the musical phrase, in all rounds EXCEPT the final round of Tango Fantasia. Music chosen for Tango Fantasia final round performances must not exceed three (3) minutes.
4. Characteristics and Movement: Argentine Tango is a social dance that falls into a smooth category of dance. It follows the line of dance (LOD), going around the dance floor in a counter-clockwise direction. This dance form expresses love and passion, which is evident by the closeness of the dancers, the man's control and the woman's seductiveness. The dancers execute the figures mainly from the waist down while trying to achieve an interesting interplay between them. This interplay between the partners is dictated by the music, and the dancers should be dancing to something IN the music. One should be able to see the melody expressed through their movement. The epitome of Argentine Tango is to see the couple dancing with good posture, good extension through the legs, their feet almost always caressing the floor, and pausing with the music with a sense of rhythm that is clear to those watching.
5. Typical Movements: Walks, turns, ochos to front and back, sandwiches, twists and curls, leg-wraps, drags and saccades to front and back, Boleos that leave the floor and other decorations that allow the legs to swing. Molinetes, paradas, barridas, and pauses with the music are also typical of this dance. Brushing and follow-through technique is essential in all movements. Knees must stay connected when executing boleos and ganchos, although certain saccades do allow the legs to swing open without the knees being closed.
6. Preliminary Rounds: Dancers should avoid using obvious choreography, only improvisation, which is the true heart of the Tango. Couples will be qualified to the quarter-final by dancing three (3) different kinds of tango: The Tango, the Milonga and the Tango Vals. The CROSS MARKING System will be used to determine which couples qualify for the quarter-final round. No lifts, separations or jumps are allowed. Only normal dance hold is allowed. A 1-minute presentation dance will take place in each dance before the couples are divided into separate heats where not more than six (6) couples will dance together in each heat. All couples must dance the first dance before the next dance will be performed.
7. Quarterfinal Rounds: As for #6 above, couples will be qualified to the semi-final by dancing three (3) different kinds of tango: The Tango, the Milonga and the Tango Vals. The CROSS MARKING System will be used to determine which couples qualify for the semi-final round.
8. Semi-final Round: As for #7 above, but Tango will be dropped and Tango Fantasia will be added. Only normal dance hold is allowed in Milonga and Tango Vals.
9. Lifts, separations and jumps: Permitted in Tango Fantasia only, and no acrobatic figures / movements are allowed where the feet or the main part of the body is above the partner's shoulders.
10. Final Round: Couples will dance Milonga, Tango Vals and Tango Fantasia. All couples will dance together in Milonga and Tango Vals, and may only use normal dance hold in these two dances. In the Tango Fantasia, each couple will perform alone. Tango Fantasia in the final round of a competition must consist of mainly Argentine tango. Some bars of Milonga or Tangowaltz are permitted. Reason: As in the semi final and the final the tango is not judged anymore and the tango Fantasia is taking his place, couples could get placed without having to dance Argentine tango anymore. The Skating System will be used to determine the order of merit over all three (3) dances.
Rules for "Rising Star" Argentine Tango championships.
The same rules will apply as in the above standing rules for Argentine Tango Three Dance Championships.
Only the Argentine tango will be danced (one dance championship).
It is only allowed to dance in "Abrazzo" all the time. Only "Open and closed hold" are allowed. Couples must stay all the time in dance hold. No jumps , lifts or acrobatics are allowed.
Couples eligible to dance in the "Rising Star" championship.
Only couples that did not dance before in the Three Dance Argentine Tango championships are allowed to participate.
The winner of the "Rising Star" championship has to dance the next season in the Three Dance championship.
If there are more then.8 participants in the Rising Star championship, first three have to dance the next season in the Three Dance championship.
Organizer's music in preliminaries and semi-final, Organizer's music OR music of the dancers' choice in the final.
Characteristics and Movement: Nordic Tango is a social dance in which steps, movements and style are based on what is possible to dance at a social event where the lady is simply following the man's lead. The dance should express love and passion evident through the closeness of the dancers, the man's control and the woman's seductiveness. There is a great deal of melancholy in this type of Tango music, and this should be reflected in the dancers' portrayal of the mood of the dance. The dancers should achieve an interesting interplay between them, something that is dictated by the music, and they should be dancing to something in the music. Movements should not be run together - a slow is a slow and a quick is a quick, and one should see the melody expressed through the dancers' movements. Running through in Promenade and Counter Promenade Position, or continuous spinning for longer than 10 seconds at a time, is not allowed.
Hold: Man holding lady's right hand in his left hand should be kept at all times. Releasing all hold, or releasing hold with man's left hand is not allowed. The bodies can be separated as long as the normal hold is maintained. Poise should be upright and natural with the lady slightly to man's right side, but this position should more closely resemble the hold used in Argentine Tango than the International Tango hold.
Typical Movements: Walks, turns, twists and curls, leg-wraps, drags and outside swivels, promenades and counter promenades, rocks and spins. Drops are allowed as long as the hold stays intact. Oversways, checks and lunges are typical for this type of Tango.
Lifts: Not allowed as defined under General Provisions III.
Costume changes: Not permitted during the performance. Costumes should be in accordance with and reflect the accepted and typical styles used in Tango.
Preliminary and Semi-final Rounds: Up to six (6) couples in each heat.
First Rounds: All couples dance an opening minute together as a presentation dance, which must sometimes be taken in more than one heat according to the size of the floor. All couples will dance a final minute together at the conclusion of the first round.
Final Round: All couples first dance together to the Organizer's music for one minute, then each couple performs solo and may, if they desire, use their own music. After all solo performances have been completed, all couples will dance a final minute together to the Organizer's music.
1. Organizer's music in preliminaries and semi-final, Organizer's music OR music of the dancers' choice in the final.
3. Tempo: 45 - 47 bars per minute (180 - 188 beats per minute). Dancers must break on the 2nd beat of the bar.
4. Characteristics and Movement: Mambo originated as a street dance, and is a dance in which the man and woman challenge each other for control / strength / dominance. The woman is very strong and can be just as dominating as the man. The man is trying to remain in control and impress the woman with his physical ability and speed. Steps and movements come out of the original Latin American dance styles. It is very important that the movements, step combinations and 'poses' be in perfect harmony with the rhythm and character of music throughout the dance. Interesting rhythms, twisty turns and wraps are characteristic of the dance.
6. In preliminary and in the semi-final rounds, two or three couples will dance at the same time, but this is determined by the size of the dance floor. In the final round, each couple performs alone.
7. In every round including the final, all couples will dance an opening minute and a final 1 minute together.
Length of Exhibition: In all rounds except the final, the length of performance should be 1-½ minutes long, to conform to the end of the musical phrase. In the final round, the couple may use music of their choice or the Organizer's music, which must be 2 minutes of music to the end of the musical phrase, but must not exceed 2minutes 15 seconds.
Tempo: 50 - 52 bars per minute (200 - 208 beats per minute).
Characteristics and Movement: Unlike the American Mambo used for Dance Sport competitions in America and Europe, Street Mambo is virtually the same dance as Salsa. The style is referred to as the Puerto Rico / New York style of Salsa. The basic is a three-step pattern taken during four beats of music in a quick, quick, slow rhythm, but the basic pattern, is commenced by breaking on the second beat of the bar. There are two ways to do this. "Break on two" or "Dance on two". The "dance on two" is also used in the American Mambo and in the International Rumba where the hesitation is made between 4-1. The "break on two" is where the man will break forward starting with the RF counting 1, step fwd with the LF count 2, and are hesitating between 3-4, as in Salsa but starting with the RF, stepping forward with the LF on 2. Street Mambo is a very popular club dance in that it allows a great deal of freedom for the dancers' interpretation of the music using movements and elements from many different Latin dances. Street Mambo choreography is more open with more side-by-side 'shine' maneuvers and other open figures, and the basics are danced more on a line than is the practice in Salsa. In the open 'shines', practically all types of rhythm breaks are allowed.
In preliminary and semi-final rounds, 6 couples will dance at the same time, but this is determined by the size of the dance floor. In the final round, each couple will perform solo.
Lifts: Low lifts are permitted.
At least 50% of the performance should be danced with a hold.
In every round, including the final, all couples will dance an opening minute and a final minute together.
2. .Length of Exhibition: In all rounds except the final, the length of performance should be 1 ½ minutes long, to conform to the end of the musical phrase. In the final round, the couple may use music of their choice or the Organizer's music, which must be 2 minutes of music to the end of the musical phrase, but must not exceed 2 minutes 15 seconds.
3. Tempo: 48 - 52 bars per minute (196 - 208 beats per minute).
4. Characteristics and Movement: Salsa is of Latin-American origin but has been developing in different ways the last 10 years. There are three main styles of Salsa. The Salsa Cuban style, the Salsa Puerto Rico/New York style (Street Mambo) and the L-A style. The Cuban style of Salsa is more rotating than the Puerto Rico/New York style (Street Mambo) and the L-A style is known to include more show figures. All three styles are accepted. Salsa basic is a two times three-step pattern taken during 8 beats of music, in a quick, quick, slow - quick, quick, slow rhythm. It is allowed to break on the 1st and 3rd beat in the bar or the 2nd and 4th beat in the bar. What is important is to keep the consistence of the breaking. If one starts on breaking on 1 or 3 one must continue to break on 1 or 3 and not travel on to break on 2 and 4 suddenly. Salsa is a very popular club dance in that it allows the dancers much freedom to interpret the music using movements and elements from many different Latino dances. Salsa means, "Sauce", and the dancers should depict a very hot and spicy interaction with each other. The Salsa basics involve clever hand and arm movements as well as changes of handhold while maintaining the flowing movements and which are all typical of the dance.
5. In preliminary and in the semi-final rounds, six (6) couples will dance at the same time, but this is determined by the size of the dance floor. In the final round, each couple performs alone.
7. The main part of the performance should be danced with a hold.
8. In every round including the final, all couples will dance an opening minute and a final minute together.
2. Length of Exhibition: In all rounds except the final, the length of performance should be 1½ minutes long, to conform to the end of the musical phrase. In the final round, the couple may use music of their choice or the Organizer's music, which must be 2 minutes of music to the end of the musical phrase, but must not exceed 2minutes 15 seconds.
3. Tempo: 29 - 32 beats per minute in 4/4 time signature / 56 - 68 bars per minute in 2/4 time signature.
4. Characteristics and Movement: Merengue is a Latin-American Spot Dance, and does not move along the Line of Dance (LOD). Steps are quite compact, and Latin hip movement, at times quite staccato, is used throughout. A slight counter sway is often used to compliment the Latin hip movement. The basic action is similar to a marching rhythm, but many other rhythms, including syncopations, slows, etc., may be used in interpreting the music. Merengue is a club dance, and the couples should focus on one another to create an earthy and sensual feeling through the use of close, intricate rotational movements coupled with an almost playful teasing interaction with one another.
5. In preliminary and in the semi-final rounds, two or three couples will dance at the same time, but this is determined by the size of the dance floor. In the final round, each couple performs alone.
6. In every round including the final, all couples will dance an opening minute and a final minute together.
1.Organizer's music in preliminaries and semi-final, Organizer's music OR music of the dancers' choice in the final.
4.Characteristics and Movement: Bachata is of Caribbean origin, and does not move along the Line of Dance (LOD). The basic action is a flowing rather slow, romantic and passionate movement. Steps are composed by a 3-step moving pattern and a lifting/tilting hip moment with no weight transference on 4. The 4th beat is a hip action(lift, drop), counted "and 4", and NOT a weight transference of "in place, in place" - rather like a Cha Cha action/timimg, which should only be used as a Variation, and not the basic A slight counter sway is often used to compliment the Latin hip movement. There are also many other rhythms, including syncopations, slows and quicks etc., may be used in interpreting the music. Bachata is a club dance, and the couples should focus on one another to create an earthy and sensual feeling through the use of close, intricate rotational movements coupled with an almost playful teasing interaction with one another.
5.In preliminary and in the semi-final rounds, up to 6 couples will dance at the same time, but this is determined by the size of the dance floor. In the final round, each couple performs alone.
6.In every round including the final, all couples will dance an opening minute and a final minute together.
Caribbean Dance is a multi-dance discipline where each of the three (3) dances contributes an equal value to the overall placements of the dancers. Each dance is first evaluated on its own merits, and the places for each couple will be determined by using the Skating System. All couples in the final must dance a medley consisting of at least two (2) of the three (3) dances in the discipline. All three (3) dances maybe be used, but no other dances are permitted in these medleys. The Caribbean Show Medley will be judged as one more dance on its own merits. In the event of a tie between couples, the placing in the Caribbean Show Medley will have the higher value.
1. Music: Provided by Organizer for all but the Caribbean Show Medley in the final round, for which couples will supply their own music.
2. Length of Exhibition: Ninety seconds (1-½ minutes) in all rounds except for the Caribbean Show Medley in the final round, which must be 2 minutes of music to the end of the musical phrase, but must not exceed 2 minutes 15 seconds.
3. Characteristics and Movement: As described previously for each of these three dances. It is very important that the movements and step combinations are in perfect harmony with the rhythm and character of the music throughout each dance.
4. Costumes: Clothing should follow the developments of new trends in Caribbean Dance style, but should always be in good taste.
5. Lifts: Low lifts are permitted in Salsa and in the final Caribbean Show Medley, but not in the other two dances. Lifts must follow the guidelines listed under General Provisions III.
6. First Round: In the first dance only, all couples will dance an opening and final minute together. The opening minute provides the judges with an opportunity to discern the overall dance quality of the couples before judging each individual heat. The final minute is used to insure that marks have been awarded to all couples properly.
7. Preliminary & Semi-final Rounds: Up to six (6) couples will dance at the same time in each heat. All couples must perform each dance before the next dance is commenced. Results for each round will be announced before commencing the next round.
8. Final Round: All couples dance at the same time in each dance prior to each couple performing the Caribbean Show Medley as a solo. The placing in the final will be found by using the Skating system over 4 dances. Salsa, Merengue, Bachata and Caribbean Show.
9. Stage Props: Permitted only in the Caribbean Show Medley, and only as outlined under General Provisions III.
1. Music: Organizer's music in all rounds EXCEPT the final round of Jitterbug Solo Show, where dancers may use their own choice of music.
2. Length of Exhibition: 1,30 minutes long, to conform to the end of the musical phrase, in all rounds EXCEPT the final round of Jitterbugg Solo Show. Music chosen for Jitterbug Solo Show final round performances must not exceed 2.15.
5. Tempo: Free in the Jitterbug Solo Show. Own music or organizers music.
6. Characteristics and Movement: Jitterbug is a social dance that falls into the Swing dance family. It has a long tradition and is originated in America. There is a well documented literature how to perform the dance. Acrobatics, lifts, separations and jumps are allowed and encouraged but should if possible be connected to the musical phrase.
8. Preliminary Rounds: Dancers should avoid using obvious choreography but rather improvisation, which is the true heart of the Jitterbug so that it is possible to adjust the steps to the music. Couples will be qualified to the next round by dancing the Fast Jitterbug only. 1-minute presentation dance will take place before the couples are divided into separate heats where not more than six (6) couples will dance together in each heat.
9. Quarterfinal Rounds: As for #8 above, plus: Couples will be qualified to the semi-final by dancing also the Slow Jitterbug The Cross - System in both dances combined, will be used to determine which couples qualify for the semi-final round.
11. Final Round: Couples will dance three dances in the final. Slow Jitterbugg all together for 1.30. In the Jitterbug Solo Show each couple will perform alone 2 minutes to 2.15. All couples will than dance the Fast Jitterbug together for 1.30. All three dances are judged separately and the Skating System will be used to determine the order of merit over all three (3) dances.
2. Length of Exhibition: In all rounds the length of performance should be 1½ minutes long, to conform to the end of the musical phrase. In the final round, the couple may use music of their choice or the Organizer's music.
3. Tempo: 42 - 44 bars per minute (168 - 176 beats per minute).
4. In every round including the final, all couples will dance an opening and final minute together, but not more than 12 couples will dance at the same time. This gives the judges a chance to compare the couples while observing how they lead / follow in an improvised dance, avoiding collisions with each other and using the whole floor space in an effective way.
6. Acrobatic Movements: Not permitted in any form.
Shoes must be worn at all times. Clothing is of the competitors' choice but must always be in good taste.
Man: The man's steps are free but should harmonize with the lady's steps, the figure and the music. When the man is using the basic walking action, weight changes with the LF should be on beats '1' and '3'; weight changes with the RF would be on beats '2' and '4'. A variation of the man's footwork is preferred.
Lady: As for Man, with RF weight changes on '1' and '3', LF weight changes on '2' and '4', but she may hesitate on either foot. Lady may walk forward, backward or make ½ turn on each step. She may turn more or less than ½ turn on each step, but may not make a full spin on any one weight change / foot. For instance, she may make three (3) turns or more in the time normally used for two (2) rotations as long as she does not make a full turn on any one (1) weight change / foot.
Lady's Alternative Basic Movement: The lady may use 'double tempo' weight changes in which she dances four steps on any two (2) beats of the bar, counted 1&2&.
Rhythm Breaks: The following Timing Variations / Hesitations are allowed.
Man's Part: The man is leading the lady around the room in a counter-clockwise direction, using different types of hold, circling around her to the right or left. He can also turn on the spot to the right or left with the lady circling around the man. To make the performance more interesting, he can use different types of rhythm breaks. The Bugg is a dance that is performed and invented the moment it is danced. The arms are an expressive part of the dance, and should follow the movements in a natural way. The man leads all movements by increasing or decreasing the amount of tone in his arms, coupled with weight changes and raising / lowering the joined hands.
Lady's Part: The lady normally makes one weight change on each beat of the bar, following the man's lead. She can use rhythm breaks and the double tempo turns. Since this is a 'free style' dance, the lady must be very sensitive to all the man's actions so she can react quickly to his leads. She must increase / decrease the amount of tone in her arms to respond correctly to the man's lead, but must never allow the arms to be completely without tone.
Length of Exhibition: In all rounds the length of performance should be 1-½ minutes long, to conform to the end of the musical phrase.
Characteristics and Movement: The Double Bugg is a formation dance for three people, which is known as a trio. It is performed with one man and two ladies. The man leads the ladies in different figures that could be improvised or choreographed. The basic step is used from any type of Bugg, Jive, Jitterbug, Boogie-Woogie, Lindy Hop or Rock 'N' Roll. Show figures are allowed, but must not control / dominate the performance.
Acrobatic Movements: Permitted, but can only be used in the solo performances.
In the preliminary and semi final rounds, up to eight (8) trios are dancing at the same time, but this is determined by the size of the dance floor. In the final round, there should not be more than six (6) trios.
All trios shall first perform one by one to music of their own choice, no less than 1 minute & 15 seconds, and not more than 1½ minutes. In the second part all trios dance at the same time for 1-½ minutes to the Organizer's music. All trios are placed in order of merit in the final round.
All Patterns and other rules are as outlined under F: Bugg.
1. Both a Slow and a Fast Round is required. Technique and improvisation are highly important in the Slow Round, and overall agility and partnership dynamics are highly evaluated in the Fast Round.
2. Definition: Disco Fox could be known and named as Disco Hustle, Swing Fox, Disco Swing, Rock Fox in different regions.
3. Accepted characteristics and movements: The characteristic of the dance is basically stationary, although the couple can move with walks and turns across the floor. Most of the time it is danced in double or one handhold in every variation like cross handhold, right in right hand and others. Wrap figures, spin turns, pivot turns, throw outs, let go and catch again actions are the main characteristics of the dance. Natural hip movements are accepted. Posing as over sways, leans, checks, drops and points are allowed.
4. Basic steps and rhythms: Disco Fox is danced in open or closed facing position with different handholds. It consists of basic steps and basic step variation which are in the rhythm 1 2 X. X can be 3, &3, a3, 3&, 3a. Examples are 1 2 & 3, 1 2 3&, 1 2 a3. Any combination of those counts, like 1& 2& 3 are allowed as variations of the basic step.
5. Poses, Drops: Poses and drops are allowed.
Acrobatic figures and lines during the intro of the "fast" part of the Final are free.
Both feet of one partner are higher than his/her own head.
One partner is thrown. (Like in figure skating or in Rock-n-Roll).
Definition of a line figure: A line is more than one dance move without having contact to the partner.
In every round except the final, all couples will dance an opening minute and a final 1-½ minutes together.
Organizer's music is used in preliminaries and semi-final.
In the Preliminary and Semi final Rounds up to six (6) couples dance at the same time depending on the size of dance floor.
Up to six (6) couples will dance a Fast Dance with a length of 90 seconds. The intro part of the music should be not longer than 20 seconds. The music should end in a slow fade out after a short louder part.
If the timetable allows, the organizer may run a "Hope round" in order that all couples may dance twice.
After an opening overview round of 60 seconds fast music for all couples in the semi final, 50 % of the couples dance a Slow Dance with a length of 90 seconds and than the remaining couples dances their Slow dance. The first heat dances than a Fast Dance with a length of 90 seconds and than the second heat will dance their fast dance. The intro part of the music should not be longer than 20 seconds. At the end there is a closing overview round of 90 seconds fast dance for all semi final couples.
The Slow and the Fast round will be evaluated as different dances by the adjudicators. This means that a judge may give one couple one cross in the "Slow dance" but no cross in the "Fast dance". In this way the maximum amount of crosses for one couple to qualify for the final will be 14 crosses from 7 judges.
In general 6 couples are qualified for the Final Round. Depending on the marks there may be no less than 5 and no more than 8 couples in the Final round.
The Music for the Slow Performance is of the organizers choice. All couples will dance together for 90 seconds. The adjudicators will evaluate the Slow dance performance, as a separate dance.
Each couple is dancing a Show Performance to music of their own choice with a length of not longer than 2 minutes 15 seconds including intro. The start order of the couples will be arranged by a lottery. The adjudicators will evaluate the Show dance performance, as a separate dance.
The music for the Fast Performance is of the organizers choice. All couple will dance together for 90 seconds. The adjudicators will evaluate the Fast Performance as a separate dance. The adjudicators will evaluate the Fast dance performance, as a separate dance. The adjudicators will place each couple in the order of merit for first the Slow dance Performance and will than place each couple in the order of merit for the Show dance performance and finally giving the placing in the Fast dance Performance. The over-all placing of the couples will be decided by the Skating system over the three dances.
Type of music: Dance music in Disco style in 4/4 or 2/4 timing.
Choice of music: In the Show Dance of the final round, the couple may use music of their choice. In that case the couple provides a high quality recording on CD. If a couple has no own music the organizer will provide a choice of at least three (3) pieces.
1. Organizer's music during first through semi-final rounds Music of the dancers' choice in the final.
2. Length of Exhibition: In all rounds except the final, the length of performance should be 1 ½ minutes long, to conform to the end of the musical phrase. In the final round, the couple may use music of their choice or the Organizer's music, and exhibitions must be between 2 to 2-¼ minutes (120 - 135 seconds) to conform to the end of the musical phrase.
a. During the selection, the dancers will dance two (2) quick parts and one *1) slow part as follows: Quick, Slow, Quick, and the length of the music will be 85 - 100 seconds to conform to the musical phrase.
b. During the semi-final, dancers will dance two (2) slow parts and one (1) quick part as follows: Slow, Quick, Slow, and the length of the music will be 85 - 100 seconds to conform to the musical phrase.
3. Tempo: 28 - 32 bpm (112 - 128 beats per minute) for the slow section and 48 - 52 bpm (192 - 208 beats per minute) for the quick section.
4. Characteristics and Movement: Because of the music, the slow and fast sections follow each other. The Blues steps and various kinds of movements characterize the choreography of slow sections. The fast sections can be mixed with the steps and movements of other dances such as Boogie-Woogie, Be Bop, Lindy Hop, Bugg, Jitterbug, West and East Coast Swing, etc. The interpretation in the slow part shall be decisive. During the selections and semi-final, the length of exhibition will be 1-½ minutes (90 seconds) to conform to the end of the musical phrase, divided into Slow - Quick - Slow.
5. Acrobatic Movements: Acrobatic figures and movements in which the head is higher than the hips and the hips are below the partner's head are permitted.
6. In every round including the final, all couples will dance an opening minute and a final 1-½ minutes together.
1. Number of Dancers: 8 - 24.
2. Music: Of Formation's choice.
3. Length of Exhibition: 150 - 300 seconds (2.5 to 5 minutes).
5. Characteristics: This type of exhibition / competitive event should consist of choreography suitable for presentation at balls and other social dance events. This discipline includes all forms of social dances (newer, older and national), and historical dances. Choreography where the musical assembly doesn't need to come out of a typical social dance, but where the social dance technique is used. The work with space, choreography, total image, work with music, performed movements and patterns will all be evaluated as a whole.
6. Permitted and recommended figures and movements: Not defined.
7. Forbidden Figures: Not defined.
8. Stage Props: Allowed as outlined under General Provisions III.
1. Number of Dancers: 4 - 24.
2. Music: Of the group's choice.
3. Length of Exhibition: 150 - 180 seconds (2-½ to 3 minutes).
4. Tempo: No restrictions, but the character of the music must be in the typical Salsa rhythm marked by the "claves".
5. Basic Structure: Each group consists of 2 - 12 couples that dance together in one or more circles. Other types of formation work may be used, such as lines, stationary dancing and dividing the Rueda circle into smaller groups, but must not dominate the performance.
6. Characteristics: Musicality (rhythm / breaks, etc.), dance variety and originality, performance of stage and individual choreography, use of space, etc. will all be highly evaluated. It is very important to present harmony of music, dance and costume, which should all work together to emphasize the special Salsa Rueda de Casino character.
7. Lifts: Permitted as outlined under General Provisions III.
8. Acrobatic Movements: Permitted as outlined under General Provisions III, but movements where body turns / pivots on its horizontal axis are not allowed. Splits, kicks and other flashy tricks are permitted, but must not dominate.
9. Stage Props: Permitted as outlined under General Provisions III.
10. Groups will be judged as a whole. Solo parts may be performed, but must not dominate.
1. Number of Dancers: 4 - 12 for groups or formations.
2. Music: Of the Team's choice.
4. Tempo: No restrictions, but the character of the music must be in the typical Salsa rhythm marked by the claves.
5. Basic Structure: Each Team consists of 2 - 6 couples that dance together in one or more circles. Other types of formation work may be used, such as lines, stationary dancing and dividing the Rueda circle into smaller groups, but must not dominate the performance.
6. Characteristics: Musicality (rhythm / breaks, etc.), dance variety and originality, performance of stage and individual choreography, use of space, etc., will all be highly evaluated. It is very important to present harmony of music, dance and costume, which should all work together to emphasize the special Salsa Rueda de Casino character. Typically, Rueda dancers change partners; incorporating this aspect of the dance into the Team's work is very important.
8. Acrobatic Movements: Permitted, but movements where the body turns / pivots on its horizontal axis are not allowed. Splits, kicks and other flashy tricks are permitted, but must not dominate.
10. Teams will be judged as a whole. Solo parts may be performed, but must no dominate.
3. All other rules as for Rueda de Casino Teams, but there are 6 - 12 couples forming the circles.
Street Latino is a multi-dance discipline where each of the five (5) dances contributes an equal value of 20% to the overall placements of the dancers. Each dance is first evaluated on its own merits, and the places for the couples will be determined by using the Skating System. All couples in the final will also dance a medley consisting of at least two (2) of the five (5) dances in the discipline. All five (5) dances may be used, but no other dances are permitted in these medleys. The Street Latino Show Medley will be judged as one more dance on its own merits. In the event of a tie between couples, the placing in the Street Latino Show Medley will have the higher value.
1. Music: Provided by Organizer for all but the Street Latino Show Medley in the final round, for which couples will supply their own music.
2. Length of Performance: Ninety seconds (1-½ minutes) in all rounds EXCEPT for the Street Latino Show Medley in the final round, which must be between 150 - 180 seconds (2-½ to 3 minutes).
3. Characteristics and Movement: As described for each dance in easily accessible dance literature. It is very important that the movements and step combinations are in perfect harmony with the rhythm and character of the music throughout each dance. Dancers MUST break on the 2nd beat of the bar in Mambo, Bolero and Guapacha.
4. Costumes: Clothing should follow the developments of new trends in Street Dance and be modern and futuristic in nature and impact, but should be well tailored and tasteful.
5. Lifts: Low lifts are permitted in all dances, but must follow the guidelines listed under General Provisions III. Not more than three (3) lifts may be used in each dance. In the Street Latino Show Medley, a maximum of five (5) lifts may be used.
8. Final Round: All couples dance at the same time in each dance prior to each couple performing the Street Latino Show Medley as a solo.
9. Stage Props: Permitted only in Street Latino Show Medley and only as outlined under General Provisions III.
1. Characteristics and Movement: When we refer to the Latino music, in dance styles such as Rumba and Samba, we do NOT expect to see Latin American style dances or moves, but Real Rumba, Real Samba, Carnival Samba, etc., to be used. We are looking for some of the many original dance styles, NOT the 5 International Latin American dances. Latino style performances to any type of Latino music such as Salsa, Bachata, Meringue, Son, or any other type of Latin-inspired music of the competitors' choice. Costumes may be Carnival, African, Futuristic, Street, Caribbean, or any combination of those styles and other styles suitable to the dance or dances being performed. Exhibitions may be in any one form, or a combination of two or more different styles, and may include theatrical movements. The performance or clothing should not be similar to what is used in International Latin American competition dancing.
2. Evaluation: Musicality, variety of dance and patterns, originality, total performance and individual choreography will be evaluated. It is very important to present harmony of idea, music, dance, choreography, costume and props in the presentation, as the entire image will be used in evaluating Latino Show Team performances.
4. Lifts: NOT permitted in the Children's category, but permitted in all other categories.
5. Stage Props: Permitted if the dancers can bring it to the stage in one go.
1. Length of Exhibition: 1 minute & 45 seconds minimum to 2 minutes & 15 seconds maximum.
3. All other rules as outlined under Latino Show Teams above.
1. Length of Exhibition: 1 minutes & 45 seconds minimum to 2 minutes & 15 seconds maximum.


text:
Zakaria: Obama could be another FDR
Zakaria says Obama has a chance to realign the political landscape
He thinks most Americans see their government as predatory and corrupt
Obama must lead a bipartisan fight to fight this corruption, he says
Zakaria thinks Obama has the ability and challenges to be another FDR
Next Article in World »
Editor's note: Fareed Zakaria is a foreign affairs analyst who hosts "Fareed Zakaria: GPS" on CNN at 1 p.m. ET Sundays.
Fareed Zakaria says Barack Obama must tackle predatory policies and corruption on the left and the right.
NEW YORK (CNN) -- In his victory over John McCain in the U.S. presidential election Tuesday, Barack Obama snared about 65 million votes to McCain's 57 million.
According to exit polls, Obama crushed McCain among women voters (56 percent to 43 percent); voters under 30 (66 percent to 32 percent); African-American voters (95 percent to 4 percent); Latino voters (66 percent to 32 percent); first-time voters (68 percent to 31 percent); and voters making less than $100,000 a year (55 percent to 43 percent).
"I think this is the passing of an old order," CNN senior political analyst David Gergen said as the results rolled in Tuesday night and the outcome became increasingly evident.
"I think what we see ... is a new coalition, a new order emerging. It isn't quite there, but with Barack Obama, for the first time, it's won. It is the Latino vote, it is the bigger black vote that came out. Very importantly, it's the youth vote, the 18- to 29-year-old," said the Harvard University professor and former presidential adviser.
CNN spoke to world affairs expert and author Fareed Zakaria about the Obama victory.
CNN: Was this a transformative election?
Zakaria: Many people have been discussing it from a racial perspective and although that is true, I think it is larger than that.
I think President-elect Obama has the chance to realign the political landscape and to create a governing ideology for the West.
CNN: Doesn't that seem like a grand ambition?
Zakaria: It is not only ambition, but a result of the times. Conservatives have dominated Western politics for the last three decades because they proposed solutions to the problems of the 1970s -- slow growth, social unrest, and Soviet adventurism. But those solutions don't work anymore.
They don't address the problems of today -- an out-of-control financial system, rising inequality, unaffordable health care, poor infrastructure, a broken energy policy. Watch Zakaria on Obama's win »
CNN: Isn't what you're describing then a return to the left?
Zakaria: Not really, the world has moved on from the 1960s. Few believe that the government should own the commanding heights of the economy, that central planners should allocate resources and that protectionism will save jobs in the long run. Look at the left in power, from Britain to Australia, and you see pro-market, pro-trade policies aimed at promoting growth.
The difference is that they also encourage government efforts in certain areas where the private sector isn't sufficient.
Obama's top priority: The economy
Zakaria's new book
Fareed Zakaria: GPS
CNN: But there is still an American distrust of government -- which is why Americans have moved to the right. What are your thoughts on that?
Zakaria: I think the greatest problem most Americans have with Washington is they see their government as predatory and corrupt.
They look at the tax code and worry less that it "spreads the wealth" than that it institutionalizes corruption through loopholes and special deals.
True reform will mean attacking predatory policies and corruption, from the left and the right.
President-elect Obama must recast the traditional divide in American politics. Rather than the usual left-right split over the size and role of government, make it a bipartisan effort to combat corruption.
CNN: What president do you see President-elect Obama emulating?
Zakaria: In the early 1930s, economic and political realities also suggested that the United States was poised for a new era. But such an era happened and took the particular shape it did only because of the skill and ambition of Franklin Delano Roosevelt.
If he truly wants to mold the future, Obama will have to demonstrate similar leadership. However, I do believe he has the ability and the challenges to be another FDR.
All About Barack Obama • Franklin D. Roosevelt


text:
Q: OpenSSL analogue for Java Is there any way to do these OpenSSL operation using Java
openssl genrsa -out private.pem 2048
openssl pkcs8 -topk8 -in private.pem -outform DER -out private.der -nocrypt
openssl rsa -in private.pem -pubout -outform DER -out public.der

to generate private.der and public.der

A: KeyPairGenerator gen = KeyPairGenerator.getInstance("RSA");
gen.initialize(2048);
KeyPair pair = gen.generateKeyPair();
try (OutputStream os = Files.newOutputStream(Paths.get("public.der"), StandardOpenOption.CREATE_NEW)) {
  os.write(pair.getPublic().getEncoded());
  os.flush();
}
try (OutputStream os = Files.newOutputStream(Paths.get("private.der"), StandardOpenOption.CREATE_NEW)) {
  os.write(pair.getPrivate().getEncoded());
  os.flush();
}

redpajama_set_name: RedPajamaStackExchange


This channel is dedicated to a series of games fighting robots. REAL STEEL WRB. REAL STEEL CHAMPIONS. Robot Boxing Pleasant Viewing. I am glad to your commen...... Real Steel World Robot Boxing is a new game " Real Steel World Robot Boxing Mod " in the style of fighting games and action with stunning graphics for the Android operating system that invites you to the World Boxing Routes!
I talked about Real Steel, a movie released in November 2011 with my friend one day later, which inspired me to make a fighting robot. For most of DIY humanoid robots at present, the steering engine serves as the joint, including the robots performing Robots Dance.... 41 Games like Real Steel World Robot Boxing for PC Windows, daily generated comparing over 40 000 video games across all platforms. This suggestion collection includes boxing games. The order in this selection is not absolute, but the best games tends to be up in the list.
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20/11/2012 · Though Real Steal is the most obvious recent reference, Robot Combat League has cable network forebears like BBC's Robot Wars (1998) and Comedy Central's Battle Bots (2000).... My robot is unlocked but I'm unable to access the robot origin story in Garage and wallpaper in Gallery. To unlock your robot's origin story and wallpaper you need to complete the Chapter Bonus of the Chapter associated with your robot.
Build your Robot Fighting machine in this ultimate action and sports adventure. Unleash furious attacks in one-one combat using special moves, jabs, punches with legendary parts of your favourite heroes Atom, Zeus, Midas, NoisyBoy and new superstar Atom Prime.


Which fruits and Vegetables are in season in Winter?
Well winter is upon us once again, so it's now time for slow cook roasts, warming soups, and hearty stews.
I believe in buying what's in season and what's organic wherever possible. Buying seasonal produce is a great way to support your local farmers and farmer's markets. In season, local fruit and vegetables are often more nutritious and tasty simply because there's less chance they've been in cold storage for a long period of time which can affect these things. Also, having grown up helping on my Uncle's farm in France, I find there's something truly soul-satisfying about eating something that's fresh from the earth!
Winter vegetables are more varied than people think (check out the full list at the end of this post). My favourite winter crops for cooking are pumpkins, leeks and potatoes, which are perfect for soup making as well as classic roasting, cabbages, silverbeet, and fennel, which are beautiful braised, and your classic root vegetables like parsnips, turnips and carrots which are the perfect complements to any winter oven roast. Roasted carrot and pumpkin also make for a delicious winter salad when paired with feta, spinach or rocket leaves, some toasted pine nuts and lemon zest.
Let's not forget the winter fruits available on farmers market stalls! Lemons are common year round, but are often at their best in the colder months. They are perfect to add zest to everything from meat dishes and desserts to something as simple a glass of water. Another member of the citrus family is orange and one of my favourite winter salads is fresh orange segments and shaved raw fennel with just a splash of apple cider vinegar and olive oil to dress.
Look out for seasonal, ripe fruits and veggies at your next local farmers market (or supermarket) and be sure to pick ones that are bright in colour, firm to touch and plump.
To see my favourite winter harvests brought to life, check out my Winter Harvest Videos on my You Tube Channel. The first one features a classic French winter dish using the humble potato.
en français pour ta mère et moi c'est pas possible?


Do I Want A Traditional Wedding Cake Or A Modern One?
If you have decided to go for a more traditional wedding cake experience, pass go. If you are still not sure about the type of cake that you want, it's better to discuss with your significant other and lookup bakeries in your area to further explore your options. And trust us; the options are limitless when it comes to wedding cakes. You can go for a cheesecake instead of the customary layer cake, or choose a small cake and supplement it with a wide array of dessert options, such as popsicles, doughnuts, and pies. Think about what sweet treat you love as a couple and what gets your giddy going.
Do Our Separate Favorite Flavors Complement Each Other?
While marriage is all about compromise, it's important to make sure that the favorite flavors of you and your significant other go well together in the cake if you are thinking of blending them in the cake. Before pulling the trigger, make sure that you and your fiancé are on the same page about the flavor combination that you want. Make sure that the final flavor of the cake is well balanced and amiable to the palette.
Do I Want A Fondant Cake?
People have mixed feelings about fondant cakes. Some people love the final look achieved with fondant but cannot tolerate the flavor, while other people straight up hate it. The choice is also determined by your chosen wedding cake design as some designs can only be created using fondant. Before finalizing your wedding cake, it's important to discuss with your partner and come up with a solution that makes you both happy. The battle of taste vs. design has been raging on for a long time since most people love the look of fondant but can live without the sweet stuff.
What Is My Cake Budget?
Whether you are planning your honeymoon, picking a venue, finding the perfect wedding dress, or finalizing your wedding cake, you should set an upper limit for the amount of money you are willing to spend and stick to your budget so that you don't go overboard. Your budget dictates the kind of wedding cake experience you can pull off but remember that good cake makers can get creative while staying within your budget. You can also avail online cake delivery in Abu Dhabi to save costs.


text:
Swiss mediators relaunch stalled peace talks with anglophone separatists
The Swiss Centre for Humanitarian Dialogue and the Swiss government are trying to relaunch their stalled mediation efforts for the English-speaking regions of Cameroon, as fighting intensifies there. [...] (472 words)
Ambazonian Government Council
Cho Ayaba Lucas
Christophe Guilhou
Ferdinand Ngoh Ngoh
Government of Ambazonia
Gunther Baechler
Humanitarian Dialogue
Joseph Dion Ngute
Martin Strub
Maxime Eko Eko
Paul Biya
Pietro Lazzeri
Samuel Ikome Sako
Sisiku Ayuk Tabe
CAMEROON 21/01/2022
Secessionist mediation attempts lead nowhere
There has been no dialogue between the Cameroonian government and Anglophone separatists in the North-West and South-West regions since the crisis began in 2016. In the run-up to the Africa Cup of Nations, a string of ill-prepared initiatives from the English-speaking separatists has failed to change the situation. [...]
CAMEROON FRANCE 24/12/2021
French minister Elisabeth Moreno due in Yaoundé
France's minister delegate for gender equality, diversity and equal opportunities Elisabeth Moreno is set to visit Yaoundé from 8 to 11 January 2022. [...]
Army turns to MBDA and Spain's Duma to reverse its NW/SW misfortunes
Increased attacks against defence and security forces in the separatist provinces of western Cameroon have prompted the military high command to open talks with armoured vehicle manufacturer Duma Engineering and missile manufacturer MBDA. [...]
Castel launches corn processing plant to consolidate drinks market domination
Castel Group's SABC has launched the Compagnie Fermière du Cameroun, a subsidiary that specialises in grits production. This will enable it to secure its supply of one of the raw materials it needs to make beer and to consolidate its lead over its competitors. [...]
William Elong, champion of Cameroon-made drones, goes to work for Thales
The drone industry and economic intelligence specialist has teamed up with the French giant in the field of military UAVs. Faced with the conflict in Cameroon's NW/SW regions, the military has a pressing need for such air assets. [...]
Cameroonian entrepreneur William Elong. © William Elong/Facebook
Ngoh Ngoh and Atanga Nji, the unavoidable duo in the race to succeed Paul Biya
The Cameroonian presidency's secretary general, Ferdinand Ngoh Ngoh, and the minister of territorial administration, Paul Atanga Nji, form a duo that has become all-powerful at the presidential palace. Their reputation has however been dented due to the chaotic organisation of the African Cup of Nations and the conflict in the country's English-speaking regions. [...]
Secretary General of the Presidency of Cameroon Ferdinand Ngoh Ngoh (left) and Minister of Territorial Administration Paul Atanga Nji (right). © Republic of Cameroon/Prime Minister's Office
Army receives C-Astral Slovenian drones as war escalates in Anglophone regions
Amid escalating tensions in the Anglophone regions, the Cameroonian army has quietly received its first batch of Bramor observation drones from Slovenian manufacturer C-Astral to boost its ISR capacities. [...]
Under rising pressure from English-speaking separatists, Yaoundé goes after traditional leadership
In the latest episode in the never-ending conflict between English-speaking separatists and Cameroon's armed forces, the defence ministry issued a search warrant for several high Nso officials. [...]
CAMEROON UNITED STATES 30/07/2021
Anglophone crisis exports itself to Washington
The US State Department, which has been following the situation in the English-speaking regions of Cameroon very closely, is weighing the possibility of blocking the visas of several secessionist leaders currently present on American soil. [...]
Biya treads gingerly with Washington
Fearful of attracting the ire of a Biden administration that is already rather ill-disposed towards Yaoundé, the Cameroonian foreign ministry is staying silent in the wake of the expulsion of one of its diplomats from the United States over allegations of ill-treatment. [...]
Cameroonian President Paul Biya. © Présidence de la République du Cameroun
While waiting for Biden, Paris steps up pressure over Anglophone crisis
After the Vatican made its voice heard, Paris has reminded the Cameroonian government of its concerns about the continuing crisis in the English-speaking provinces. European Union states hope that the new US administration, which purports to put human rights at the heart of its foreign policy, will come to their help. [...]
Vatican Secretary of State Pietro Parolin met with Cameroonian President Paul Biya in Yaoundé at the end of January. © Paul Biya/Facebook
Biya deaf to calls for talks on Anglophone crisis
Despite pressure from the European Union, and more recently the Vatican, the Cameroonian government is still in favour of a military response to the crisis in the country's Anglophone regions and is only half listening to negotiation options. [...]
President Paul Biya of Cameroon. © Blondet Eliot/ABACA
Torn over separatist question, Biya resumes talks
The president's chief of staff and other senior members of government are complicating any steps towards reconciliation with the Anglophone separatist movement by digging in their heels. [...]
Cameroon's rival factions clash over every government initiative as end of Biya's reign looms
A recent U-turn on management of the Ebo forest is only the latest incident in unending clan warfare that is tearing Cameroon's government apart. [...]
Cameroonian President Paul Biya. © CHRISTOPHE PETIT TESSON/EFE/Newscom/MaxPPP


text:
> City Guides > Cabo Rojo
Cabo Rojo, Puerto Rico
Cabo Rojo is located on the southwest coast of Puerto Rico. The municipality has an area of 70.4 square miles (182.5 square kilometers) and is nicknamed «Cofresí's town,» «the hatchetmen,» «Betances» birthplace» and «the capital of internal tourism in Puerto Rico». According to the 2000 census, there were 46,911caborrojeños, residing in Bajura, Boquerón, Cabo Rojo Pueblo, Guanajibo, Llanos Costa, Llanos Tuna,Miradero, Monte Grande, and Pedernales wards.
The geography of this town is characterized by the diversity of its geography, its natural resources, and the diversity of its ecosystems. Its beautiful landscapes include beaches as Combate, Boquerón, Playa Sucia, Puerto Angelino, Joyuda, lagoons (Atolladero, Joyuda, Guaniquilla, and Boquerón Channel), bays (Bramadero, Puerto Real, Boca Prieta, Boquerón, Salinas and Sucia), salt flats, the Boquerón State Forest, and the Bermeja range. These features make this an important destination as well as a site for scientific research in Puerto Rico. The municipality is home to the Cabo Rojo National Fish and Wildlife Reserve,which includes the Salinas Interpretive Center, as well as two marine laboratories located in Punta Arenasand El Combate. Another tourist attraction is the cave used by the legendary pirate Cofresí, where it is said that he hid the booty he stole from the merchant ships that sailed through the region.
As an important tourist center, Cabo Rojo counts with facilities such as the Boquerón Resort Center, the Yatch club, Villa Taína, and the fishing village. There are also many hotels and restaurants that attract many visitors during the summer months, making tourism another important sector in the municipality's economy.
Cabo Rojo is on the southwest coast of Puerto Rico, bordered on the north by Mayagüez and Hormigueros, on the south by the Caribbean Sea, on the east by the towns of San Germán, Hormigueros and Lajas and on the west by the Mona Channel, in the western coastal plan region. The topography allows for devoting 38 percent of the town's lands to agriculture, including crops such as watermelon, tomatoes, and green peppers. Elevated areas include Sierra Bermeja, Cordillera Sabana Alta, Monte Grande, and Peñones de Melones. The highest points include Mount Mariquita 988 feet (301.12 meters), Mount Buena Vista 850 feet (259 meters), Mount Vargas 650 feet (198.12 meters) and Mount Conde Avila 394 feet (120 meters).
The Guanajibo, Novillo and Viejo rivers run through the municipality. There is also an irrigation channel, and the waters of Cajul creek, and Boquerón, La Costa, Los Chorros, Formina, Grande, González, Irrizary, Mendoza, Los Pajaritos, La Piedra, Pileta, Las Piñas, Teresa and Zumbón brooks. Lagoons include Atolladero, Joyuda, Guanaquilla and Caño Boquerón. There are many bays –Bramadero, Puerto Real, Boca Prieta, Salinas, and Sucia –and promontories: Guanajibo, Arenas, Ostiones, Carnero, La Mela, Guanaquilla, Moja Casabe, águila, Molino and Pitahaya. The Boqueron bird refuge is located in Boquerón ward. The sanctuary is reinforced by several reforestation projects at the Cabo Rojo Fish and Wildlife National Refuge and MonaIsland. Mangroves are being planted on Mona Island, as well as starting coral reefs, with a view to controlling erosion.
Cabo Rojo owes its name to the sailors who came with Cristopher Columbus when he discovered the island of Puerto Rico on his second voyage. While sailing around the island, on reaching the southwest corner the crew saw the reddish color of the land in the area (today known as Morrillos) and called the area «The Red Capes.» The color was – and is- due to the high concentration of sea salt which began to be exploited commercially in 1511. By 1525 the salt flats of Cabo Rojo were an important part of the economy.
By 1759, Cabo Rojo, which was a part of the chartered town of San Germán, began to separate and form a new town. The settlers justified their intentions by arguing that San Germán was too distant, making it difficult for them to receive the holy sacraments. It was not until December 17, 1771, when King Charles III of Spain issued a royal order creating new towns that Cabo Rojo was able to obtain legal recognition as a town, throug the effort of Nicolás Ramírez de Arellano.
Cabo Rojo was founded under the governorship of Colonel Miguel de Muesas, and the first Lieutenant of the town was Nicolás Ramírez de Arrellano. The site of the town was also the site of a hermitage dedicated to Saint Joseph. Nevertheless, when the settlement legally became a town the patron saint became Saint Michael the Archangel. In the first decade of the town streets were laid out, and a jail, a government house, and a church were built.
In 1900, when civilian government was established under the Foraker Act, Cabo Rojo became a municipality with full powers and autonomy.
The Cabo Rojo flag was created in 1971. Its colors and symbols are derived from the coat of arms of the town. A red isosceles triangle, edged in white is placed on the left over a blue field.
The coat of arms has a red isosceles triangle over a blue field, with a flaming silver sword at the center. The base of the sword touches the base of the shield, rising vertically to the top of the shield without touching the top edge. The two equal sides of the triangle have a silver border. At either side of the triangle there are two silver anchors, wrapped with gold rope. The point of the triangle symbolizes the red cape seen by Columbus. The flaming sword is the attribute of Saint Michael the Archangel, patron saint of Cabo Rojo, defender of divine justice and exalted virtue of humanity. The anchors represent the surrounding sea, with its ancient ports and inlets, which are well-suited to the deed and exploits of naval wars, the adventures of pirates and corsairs, fishing and sea trade. The main colors of the coat of arms, blue, red and silver (white), are reminiscent of the colors of coat of arms of the Ramírez de Arellano family, the lineage of the founding father of the town, Nicolás Ramírez de Arellano. In turn, the colors also represent the emancipatory ideals of Ramón Emeterio Betances and the principles of liberty, equality and fraternity. A three-tower castle crowns the coat of arms, the symbol of a township. The doors, windows and other openings of the crown are red.
• Boquerón Public Beach
• Boquerón State Forest
• Rebekah Colberg Coliseum
• Cofresí Pirate Cave
• Los Morrillos Lighthouse
• Saint Michael the Archangel Catholic Church
• Joyuda Lagoon
• Joyuda gastronomic area
• Cabo Rojo Salt Flats
• Logia Cuna de Betances
• Monument to Ramón Emeterio Betances
• Monument to Salvador Brau
• Monument to Roberto Cofresí Ramírez de Arellano
• Museum of the Founding Fathers
• New Town Hall
• Obelisk
• Beaches (Bramadero, Punta Arena, de Joyuda, Puerto Real, La Mela, Buyé, Los Pozos, El Combate, La Playuela, La Pitahaya)
• Ramón Emeterio Betances Town Square
• Cabo Rojo National Fish and Wildlife Refuge
• Boquerón Wildlife Refuge
• Shoensttat Sanctuary
• Bermeja Ridge
Illustrious Citizens
Ramón Emeterio Betances and Alacán – physician and abolitionist.
Salvador Brau Asencio – historian, playwright, journalist, essayist, and sociologist.
Salvador Carbonell – distinguished physician and Renaissance man. A political figure, he was vice-president of the Autonomist Party and Secretary of the Interior in the autonomis cabinet.
Elisa Colberg – teacher and president of the girl scouts.
Rebekah Colberg – founding figure in women's sports in Puerto Rico.
Juan Enrique Colberg Petrovich – writer (short stories, essays, and poetry).
Severo E. Colberg Ramírez – political figure who was a member of the House of Representatives (1964 – 1990).
Emilio del Toro Cuebas – Chief Justice of the Puerto Rico court. A man of letters, poet, civic leader, and teacher.
Roberto Cofresí y Ramírez de Arellano – a renowned pirate.
Salvador Mestre y Mora – notable jurist, political figure, autonomist leader, Mason, writer, founder of the newspaper El País.
• Three Kings day festival – January
• Fish Festival – March
• Betances Commemoration– April
• International Triathlon– Summer
• Cabo Rojo Patron Saint's festival- September
• Lighting of Christmas tree – December
Text taken from enciclopediapr.org


Night-club 'bouncers' got their own British Standard on December 3, 1999. The British Standard applies to the 100,000 men and women door supervisors playing an increasing role in Britain's night clubs, pubs, bowling alleys, leisure complexes, restaurants and other entertainment venues.
Produced by the British Standards Institution which co-ordinated a range of organisations involved in the leisure security industry, BS 7960:1999 - British Standard Code of Practice for Door Supervisors / Stewards - gives comprehensive guidance on their selection, screening and training.
BS 7960:1999 includes guidance on appearance, behaviour, searches, handling conflicts, and incident reporting procedures. It also outlines a typical training course which, as well as covering drug awareness, first aid and fire safety, stresses the importance of customer care and social skills, including the use of body language to defuse potentially violent situations.
David Lazenby, director standards of BSI, said: "This new British Standard will be of great benefit to the industry and the public. We published a draft standard in 1998, and it received wide acclaim from the industry. The final standard will help make people's visits to entertainment venues across Britain as pleasant as possible, by ensuring that organizations providing or using door staff benefit from best practice.
"These include leisure groups and individual businesses which directly employ door staff, together with small and large agencies which provide staff on a contractual basis."
Door supervision is now accepted as a profession in its own right. A number of registration schemes exist across the country, and professional exams have been introduced this year. Driven by the leisure security industry's wish to improve customer service, door supervisors are now employed at a wide range of venues, from bowling alleys and cinemas through to restaurants, concerts, movie sets and private wedding receptions. Traditionally their activities were exclusively on-site, but now their role is being expanded by some groups of night clubs which jointly arrange for door supervisors to ride buses home with clubbers to ensure that even the journey home is trouble-free.
The draft British Standard was launched in London, England, in December 1998 at the Ministry of Sound, a global leader in the night-club industry. Nodd McDonagh, general manager of the Ministry of Sound said: "Our club is widely regarded as one of the best in the world, and our guests feel confident that they will have an excellent time here. I am pleased to have been involved in producing this important British Standard, which now serves as a benchmark for the whole industry. It is a valuable tool to allow all parties to maintain a high level of service and professionalism."
Roy Ramm, security director of London Clubs International, said: "This is an important initiative which will help to ensure that best practice is spread throughout the industry."


African photography, interestingly, began its journey not too long after the invention of the art form in Europe in the mid-1800's. What, however, made photography in Africa so unique was that the early practitioners were not African and neither was the subject matter being produced, done for the local African audience. The ideological difference between photography produced in Africa and photography produced in the rest of the world, resulted in photography being produced that did not represent the authenticity of the African, the aspirations of the African, the hope of the African, the soul of the African, in all its beautiful black, brown and white shades.
This magazine, "the-only-one-of-its-kind", is a digital publication that seeks to capture and amplify the voice of the African Photographer. African photographers who are now behind the lens and telling their own story!
Teddy Mitchener is the publisher of this magazine.


"Activation of Inflammatory and Pro-Thrombotic Pathways in Acute Stress" by Timothy P. Fitzgibbons, Yvonne J. K. Edwards et al.
Stress cardiomyopathy (SCM) is a unique cardiac disorder that more often occurs in women. SCM presents in a similar fashion as acute myocardial infarction (AMI), with chest pain, ECG changes, and congestive heart failure. The primary distinguishing feature is the absence of thrombotic coronary occlusion in SCM. How this reduction in cardiac function occurs in the absence of coronary occlusion remains unknown. Therefore, we tested the hypothesis that a targeted proteomic comparison of patients with acute SCM and AMI might identify relevant mechanistic differences. Blood was drawn in normal controls (n = 6), women with AMI (n = 12), or women with acute SCM (n = 15). Two-week follow-up samples were available in AMI (n = 4) and SCM patients (n = 11). Relative concentrations of 1,310 serum proteins were measured in each of the 48 samples using the SOMAscan assay. Women with AMI had greater myocyte necrosis, as reflected by a higher peak troponin I concentration (AMI 32.03 +/- 29.46 vs. SCM 2.68 +/- 2.6 ng/ml, p < 0.05). AMI and SCM patients had equivalent reductions in left ventricular ejection fraction [LVEF (%) 39 +/- 12 vs. 37 +/- 12, p = 0.479]. In follow-up, women with SCM had a greater improvement in cardiac function [LVEF (%) 60 +/- 7 vs. 45 +/- 13, p < 0.001]. No differentially expressed proteins were detected (absolute log2-fold change > 1; q < 0.05) between AMI and SCM in the acute or recovery phase. However, when we compared normal controls to patients with AMI, there was differential expression of 35 proteins. When we compared normal controls to patients with SCM, 45 proteins were differentially expressed. In comparison to normal controls, biological processes such as complement, coagulation, and inflammation were activated in both AMI and SCM. There were four proteins that showed a non-significant trend to be increased in acute SCM vs. AMI (netrin-1, follistatin-like 3, kallikrein 7, kynureninase). Despite a lesser degree of myocardial necrosis than AMI, SCM is characterized by a similar activation of inflammatory, complement, and coagulation pathways. These findings may explain reported thromboembolic complications in the short term and elevated risk of mortality in the long term of SCM.
Copyright © 2017 Fitzgibbons, Edwards, Shaw, Iskandar, Ahmed, Bote, Shah, Sinha, Gerszten, Keaney, Zile and Aurigemma. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.
Fitzgibbons, Timothy P.; Edwards, Yvonne J. K.; Shaw, Peter; Iskandar, Aline; Ahmed, Mohamed; Bote, Josiah T.; Shah, Tejen; Sinha, Sumita; Gerszten, Robert E.; Keaney, John F. Jr.; Zile, Michael R.; and Aurigemma, Gerard P., "Activation of Inflammatory and Pro-Thrombotic Pathways in Acute Stress Cardiomyopathy" (2017). Open Access Articles. 3227.


text:
MENA Investors' Forecasts for 2018: Heather Henyon, Founder, WAIN
Image credit: Entrepreneur Middle East
Heather Henyon, founder and Managing Partner, Balthazar Capital
Tamara Pupic
Managing Editor, Entrepreneur Middle East
You're reading Entrepreneur Middle East, an international franchise of Entrepreneur Media.
We picked the brains of investors looking at the Arab world for their expectations of the MENA entrepreneurial landscape in 2018, and their thoughts on sectors that we should keep an eye on next year. Here's what Heather Henyon, founder, WAIN, and Investment Committee member, Dubai Angel Investors, told us.
"In terms of predictions, I would say expect to see the launch of more women-run venture capital funds globally, but especially in the US and Europe, a continued interest and announcement of investment funds by the UAE and Saudi governments in entrepreneurship, an increase of companies being funded by tokenized offerings, as well as a few ICO fraud cases, more fintech, mobility, AI and renewable startups in MENA, and last but not least- a Careem IPO?
As for the landscape here, fintech and renewables companies in the MENA region aren't receiving the investment focus that they deserve. Part of this is due to the complexity of fintech companies and a deeper understanding of current and planned regulation that is required. Also, women-led startups face challenges accessing capital, and it takes them twice as long to raise funds."
Related: MENA Investors' Forecasts for 2018: Allen Taylor, MD, Endeavor Catalyst
New York Times bestselling author Nicole Lapin can help you pitch your brand to press and strengthen your media training.
The Tax & Legal Playbook
The Business Owner's Guide to Financial Freedom
The Tax and Legal Playbook
Cash From The Crowd
Dirty Little Secrets: What the Credit Reporting Agencies Won\'t Tell You
An Eye For Growth: ASA Ventures Founder And CEO Arif Saiyad
10 Tools for the First-Time Millennial Investor
How to Secure the Most Helpful Investors for Your Company
Face-to-Face Meetings With Investors Are Important, But Don't Underestimate the Power of Written Communication
Entrepreneur Elevator Pitch Season 4 Episode 4: 'It Hit All the Ingredients Except a Good Product'


(HealthDay News) -- If you are diagnosed with breast cancer, you should prepare a list of detailed questions to ask your doctor.
Exactly what type of breast cancer do you have?
How big is the cancer?
Has the cancer spread to my lymph nodes or elsewhere?
What's the stage of the cancer? The range is 1 (highly curable) to 4 (advanced and probably has spread).
Will I need any other tests before we can decide on treatment?
Do I need to see any other doctor?
What is the hormone receptor status of my cancer? What is the HER2 status of my cancer?
Who can help me understand the costs and insurance coverage for my diagnosis and treatment?


text:
* None

### Method 1: Using LEVELS Color Correction Masks
* Click Panel - Layer Panel - New Adjustment Layer - Levels.
* Choose RED color and adjust the slider to discard unused RED area.
* Choose GREEN color and adjust the slider to discard unused GREEN area.
* Choose BLUE color and adjust the slider to discard unused BLUE area.

### Method 2: Using CURVES Color Correction Masks
* Click Panel - Layer Panel - New Adjustment Layer - Curves.
* Choose RED color and adjust the RED curve.
* Choose GREEN color and adjust the GREEN curve.
* Choose BLUE color and adjust the BLUE curve.

### Method 3: Using the Neutral Grey in the Image
* Click Panel - Layer Panel - New Adjustment Layer - Levels.
* Use the neutral grey eyedropper and point it to the grey color in the image.

### Method 4: Using SIMPLE MATH Along with the Neutral Grey in the Image
[Note] If the method 3 does not work then try this method.
* Click Menu - Window - Info Panel.
* Click Tools - Eyedropper Tool.
* Point to the lightest point on the object and click holding the SHIFT key down.
* Check the info panel and compute the average of the Red, Green and Blue values, say X.
* Click Panel - Layer Panel - New Adjustment Layer - Levels.
* Double click on the white eyedropper and subtract X from Red, Green and Blue values and click OK.
* Now point the white eyedropper to the white color in the image.

### Method 5: Applying Color Corrections To Multiple Images By Copying Color Correction Masks
* Open two or more similar images with similar color problems.
* Apply color correction to one of the images using any of the above methods.
* Click - Menu - Window - Arrangements - Tile All Windows Vertically.
* Drag the color correction mask from the corrected image to other images.
* Further fine tune if required.

### Method 6: Applying Color Corrections To Multiple Images Using Droplets
* Click Menu - Window - Actions.
* Click on Panel - Action Panel - Create a new Folder, say "Personal Actions".
* Click on Panel - Action Panel - Create a new Action, say "Color Correction 001".
* Click on Panel - Action Panel - Click on Start Record button.
* Open an image and apply color correction to it using any of the methods 1-4, say using Curves.
* Click on Panel - Action Panel - Click on Stop Record button.
* Click Menu - File - Automate - Create Droplet.
* Fill all the options on the pop up appropriately and click OK.
    - TODO: Expand this.
* This will create a droplet action on the desktop or wherever it is specified.
* Drag an image or a folder containing many images on this shortcut to apply "Color Correction 001" to all the images.

### Method 7: Match Colors Between Photographs
* Click - Menu - Window - Arrangements - Tile All Windows Vertically.
* Click the first image in the tiled window where the adjustment has to be applied.
* Click - Menu - Image - Adjustments - Match Color.
* Enter source as the second image in the pop up and the correction will be applied instantly.
* Further fine tune the image by adjusting the Luminance, Color Intensity etc.

### Method 8: Color Corrections For One Particular Object in the Image
* Open an image.
* Click Panel - Layer Panel - New Adjustment Layer - Levels.
* This creates a new adjustment layer and a layer mask.
* Click Tools - Gradient Tool.
* Set Options for Gradient Tool as follows
    - as White/Black
    - as Linear
    - as Normal
    - Opacity as 100%
* Alt-Click on the layer mask to
* TODO

### Method 9: Adding a Fill Flash
* Open an image.
* Make a selection using any [Selection techniques](P001-SelectionTechniques.md).
* Click Mode - Blend Mode
* Click on Blend Mode - Multiply to make it darker.

### Notes
* None

### TODO
* None

redpajama_set_name: RedPajamaGithub


Leading finance ministers are meeting in Berlin this week to initiate a new global standard for the automatic information exchange of tax data.
In a preliminary report, Tax Justice Network evaluates the OECD's common reporting standard, due to be enshrined in a new multilateral competent authority agreement at the Berlin summit.
Report authors Markus Meinzer and Andres Knobel argue that the new global standard will not end bank secrecy, but it is a first step towards rolling it back. Meinzer and Knobel reveal that this voluntary scheme, resting on confidentiality requirements and mutual reciprocity, is likely to exclude many developing countries. Automatic information exchange will only be fully effective when all jurisdictions participate in the scheme and when sanctions are imposed for non-compliance.
demonstrates how the demand for full reciprocity is likely to exclude low-income developing countries; how subjective confidentiality requirements will allow each jurisdiction to cherry-pick with whom to exchange information; and why the lack of a global multilateral agreement for all jurisdictions to sign up to represents a lost opportunity.
Leading finance ministers are right to claim historic progress with this landmark agreement for automatic tax information exchange. However, it is not acceptable if signatories can arbitrarily refuse to provide data to other signatories without giving a public explanation. If this elective scheme lays the foundations for a future world system, there's a large risk that real progress will be much slower than early adopters would have us believe.
The new OECD standard on automatic information exchange is a big first step towards tackling illicit financial flows. However, serious obstacles to the inclusion of developing countries and a number of unresolved loopholes will prevent its effectiveness, allowing rich individuals with plenty of options to avoid reporting. Moreover, its narrow focus on tax evasion represents a missed opportunity in the fight against corruption and money laundering.
 The report is a draft legal and political analysis of the CRS and its Commentaries published on July 21st, 2014, taking into account public developments as of 23 October 2014. After incorporating feedback and comments by experts and partners, the report's authors plan to finalise their analysis after the multilateral competent authority agreement has been signed.
 Meinzer and Knobel compile the Financial Secrecy Index for the Tax Justice Network.


On April 17, 2013 the Vernon and District Metis Association voted in as Interim President Mr. Vincent Van Wieringen. Join us in welcoming Mr. Van Wieringen to the Board of Directors.
« Métis Nation British Columbia is going to the Rodeo!


text:
Inom talteori är en Shimuravarietet en högredimensionell analogi av en modulär kurva som uppstår som ett kvot av ett Hermiteiskt symmetriskt rum med en kongruensdelgrupp av en reduktiv algebraisk grupp definierad över Q. Termen "Shimuravarietet" används även i det högredimensionella fallet, och i det endimensionella fallet talar man om Shimurakurvor. Hilbert-modulära ytor och Siegel-modulära varieteter är bland de kändaste klasserna av Shimuravarieteter.

Specialfall av Shimuravarieteter introducerades av Goro Shimura i samband med hans generalisering av teorin av komplex multiplikation. Shimura bevisade att emedan de är definierade analytiskt, är de i verklighet aritmetiska objekt, i den meningen att de har modeller definierade över en talkropp, reflexkroppen av Shimuravarieteten. På 1970-talet satte Pierre Deligne Shimuras arbete i en axiomatisk ram. Ungefär samtidigt anmärkte Robert Langlands att Shimuravarieteter är naturliga exempel på objekt där ekvivalensen mellan motiviska och automorfiska L-funktioner postulerat i Langlands program kan testas. Automorfiska former realiserade i kohomologin av Shimuravarieteter är lättare att undersöka än allmänna automorfiska former; speciellt finns det en konstruktion som associerar Galoisrepresentationer till dem.

Referenser

Källor

 James Arthur, David Ellwood, and Robert Kottwitz (ed) Harmonic Analysis, the Trace Formula and Shimura Varieties, Clay Mathematics Proceedings, vol 4, AMS, 2005
 Pierre Deligne, Travaux de Shimura. Séminaire Bourbaki, 23ème année (1970/71), Exp. No. 389, pp. 123–165. Lecture Notes in Math., Vol. 244, Springer, Berlin, 1971. , Numdam
 Pierre Deligne, Variétés de Shimura: interprétation modulaire, et techniques de construction de modèles canoniques, in Automorphic forms, representations and L-functions, Proc. Sympos. Pure Math., XXXIII (Corvallis, OR, 1977), Part 2, pp. 247–289, Amer. Math. Soc., Providence, R.I., 1979.
 Pierre Deligne, James S. Milne, Arthur Ogus, Kuang-yen Shi, Hodge cycles, motives, and Shimura varieties. Lecture Notes in Mathematics, 900. Springer-Verlag, Berlin-New York, 1982. ii+414 pp.

J. Milne,   Shimura varieties and motives, in U. Jannsen, S. Kleiman. J.-P. Serre (ed.), Motives, Proc. Symp. Pure Math, 55:2, Amer. Math. Soc. (1994), pp. 447–523
J. S. Milne,  Introduction to Shimura varieties, in Arthur, Ellwood, and Kottwitz (2005)
Harry Reimann, The semi-simple zeta function of quaternionic Shimura varieties, Lecture Notes in Mathematics, 1657, Springer, 1997
Goro Shimura, The Collected Works of Goro Shimura (2003), vol 1–5
Goro Shimura Introduction to Arithmetic Theory of Automorphic Functions

Algebraisk geometri
Zeta- och L-funktioner
Automorfa former


in which language did this code write? ı need counting, selection ,heap and bucket sort algoritms , in visual basic. please help me, in 5 days.
im trying to make a sorting program, about sorting an image pixel using heap sort i already made 50% of my program but i cant proceed because i dont know how to put the heap sort in my program i just want to sort the pixels of the image using heap sort .
if you read this will help me how ?
hello sir james i would like to ask you im hoping you will answer me back. i am making a sorting program which heap sort is my algorithm an i want to sort the pixel of an image to get the pixel is to multiply the dimension. i already made tht 50% of my program but i cant proceed because i dont know how to put the heapsort in my program i just want you to help me of how to sort the image pixel using heap sort algo.