text:
Cookbook:Tyropita (Greek Cheese Pie)

Tyropita (Pronounced: tee-ro-pee-ta) is a Greek layered pastry appetizer, made with layers of buttered filo dough, stuffed with cheese and usually shaped like a triangle. It is sold in bakeries throughout Greece, where it is a very popular breakfast and snack.

An alternative to tyropita is spanakopita, a pie with spinach.

Ingredients

 * 1½ pounds (675 g) feta cheese
 * 5 tablespoons butter
 * 8 tablespoons flour
 * 2 cups (480 ml) scalded milk
 * 7 eggs, lightly beaten
 * ¾ pound (330 g) phyllo pastry
 * Butter, melted
 * Salt to taste
 * Pepper to taste

Procedure

 * 1) Crumble cheese into very small pieces.
 * 2) Melt butter in small pot. Add flour, blend well. Slowly add scalded milk, stirring constantly to make a smooth bechamel sauce. Add a little salt and pepper.
 * 3) Remove from heat and stir until cool. Add crumbled cheese and mix well. Add eggs and mix again.
 * 4) Butter a pan about 2 inches (5 cm) smaller than the phyllo sheets. Use a little more than half of the phyllo sheets to make the bottom layer of the pie. Brush each with melted butter and place it in the pan letting the edges hang over the pan.
 * 5) Pour in the cheese-egg mixture, spreading evenly.
 * 6) Cover mixture with the phyllo that extended beyond pan. This will prevent mixture from leaking out.
 * 7) Carefully cut remaining phyllo to fit pan. Brush each sheet with butter before placing on pita.
 * 8) Brush top with butter and sprinkle with a little water. Score into strips to make cutting the pie easier after it is baked.
 * 9) Bake in a preheated 300°F (150°C) oven for 45 minutes.
 * 10) Cut into pieces and serve hot.

title: Cookbook:Tyropita (Greek Cheese Pie)


text:
Wikijunior talk:Big Cats/Raising young

Images from other pages
Here is a list of images collected from the other pages that might be used here:

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Wikijunior talk:Big Cats/Raising young


text:
Revit User's Manual

Revit is Building Information Modeling (BIM) software for Microsoft Windows developed by Autodesk. It allows the user to design with parametric modelling and drafting elements with a fully integrated database. There are three software packages within the Revit BIM family of software: Revit Architecture, Revit Structure, and Revit MEP. Each package is targeted toward the architectural, structural, and mechanical/electrical/plumbing disciplines respectively. Autodesk purchased the software from Massachusetts-based Revit Technologies in 2002. The latest released version is 2011.

Autodesk has a proprietary, censored, wiki as part of their Community Learning including a Revit manual based on the earlier extensive help system documentation. The wiki can only be edited by users handing their works over to Autodesk. Unlike this manual it may not be freely reproduced.

Please read the introduction before contributing to this book.

Introduction

 * /Introduction/
 * /Installation/

Revit Fundamentals

 * /Project Setup/
 * /Modelling/
 * /Drafting/
 * /Electrical Plans/
 * /Area Plans/
 * /Schedules/
 * /Site Work/
 * /Linking/
 * /Interdisciplinary Coordination/
 * /Construction Documents/
 * /Legends and Schedules/
 * /Rendering/
 * /Advanced Topics/

Please feel free to add to or adjust this structure as topics arise.

Revit Families
Revit models are essentially made up of various different families. These families are parametric objects that can take two- and/or three-dimensional form in the project model, and can appear in any view including schedules. Mastering family creation in Revit is a key part of building great building information models.

 * /Family Creation Overview/
 * /System Families/

Revit Architecture
Revit Architecure is one of the three flavors of the Revit platform. Revit Architecture 2010 is the latest version of the original Revit Building. It includes architectural some structural tools needed for building information models.

 * /Revit Architecture Overview/

Revit Structure
Revit Structure is for designing and documenting structural systems. Revit Structure 2010 has the ability to export to a number of structural analysis packages and also offers various extensions to simplify several tasks, such as modeling rebar.

 * /Revit Structure Overview/

Revit MEP
Revit MEP is the youngest of the three Revit platform flavors. As the name implies Revit MEP 2010 is for designing, documenting, and analyzing building information models for mechanical, electrical, and plumbing.

 * /Revit MEP Overview/

Revit VSTA Macros
Revit 2009 now includes VSTA for creating macros. The interface is similar to Microsoft Office macros.

 * /VSTA Macros Overview/

Versions
The current version of Revit is 2017.

 * Revit Architecture Download Page
 * Revit MEP Download Page
 * Revit Structure Download Page

References and external links

 * Autodesk Web Site
 * Revit Architecture
 * Revit Structure
 * Revit MEP

Learning Revit

 * CADclips Corporation Revit Video Tutorials..
 * CAD Digest Revit Tutorials
 * Italian Tutorials
 * REVIT OpEd Steve Stafford's Blog
 * James Lee's Blog

Books

 * Introducing Revit Architecture 2009: BIM for Beginners
 * Mastering Revit Architecture 2009
 * Mastering Revit Structure 2009
 * Revit Architecture 2009: A Comprehensive Guide
 * Residential Design Using Revit Architecture 2009 - Available 06/20/2008
 * Commercial Design Using Revit Architecture 2009 - Available 07/07/2008
 * Paul F. Aubin's Mastering Revit® Architecture 2009 - Available 07/08/2008
 * Introducing and Implementing Revit® Architecture 2009 - Available 09/22/2008
 * Exploring Autodesk Revit 2019 for Architecture by Prof. Sham Tickoo
 * Exploring Autodesk Revit 2019 for Structure by Prof.Sham Tickoo
 * Exploring Autodesk Revit 2019 for MEP by Prof. Sham Tickoo

User Groups

 * Autodesk User Group International Revit Community
 * Korean Revit User Community - Rugi

Discussion Forums

 * Autodesk Discussion Groups
 * Revit Architecture
 * Revit MEP
 * Revit Structure
 * AUGI Forums - Revit
 * Revit City

Contributors

 * S. Barnecut
 * JamesVan
 * Dustin Townsend
 * Daryl Gregoire
 * James Lee
 * Wim Tas

title: Revit User's Manual


text:
Revit User's Manual/Introduction

It is intended that this manual be a more conversational alternative to the Autodesk Revit Building Help file that comes with the program. It is also intended to be better organized and more on topic than the forums at revitcity or Autodesk User Group International. Practical examples are welcome; in trying to be all things to all users, the official manuals often miss solving real problems. For example, how does one create a residential truss?

Please contribute your topics with these principles in mind.

title: Revit User's Manual/Introduction


text:
Cookbook:Machacado con Huevo (Eggs with Shredded Beef)

| Cuisine of Mexico

Machacado con huevo is a dish which consists of shredded dry beef that is scrambled with eggs. Its name means "shredded with eggs" in Spanish. The shredded dry beef, carne seca, is said to have originated in the town of Ciénega de Flores, about an hour north of Monterrey, Mexico. The early settlers in the area air-cured beef so that it would be preserved. This particular dish was made famous by Tía Lencha, a local woman who prepared it and eventually sold it in a restaurant. Today there is a commercially available Tia Lencha dried beef in most supermarkets in Mexico.

The basic machacado con huevo is made with eggs and dried beef. Chopped tomatoes, onions and jalapeños or serrano chile peppers can be added, or salsa can be cooked into it, to create another version.

Machacado con huevo often comes as a "taco" presentation.

Ingredients

 * 1 tablespoon butter or margarine
 * 6 large eggs, lightly beaten
 * 2 cups shredded beef filling
 * 10 ea. 8-inch soft taco-size flour tortillas, warmed
 * 1 can (16 ounces) refried beans, warmed
 * 2 cups (8 ounces) shredded cheddar or Monterey Jack Cheese
 * Salsa for accompaniment

Procedure

 * 1) Heat butter in large skillet over medium-high heat.
 * 2) Add eggs; cook, stirring frequently, for 2–3 minutes or until eggs just begin to set.
 * 3) Stir in shredded beef filling. Cook, stirring occasionally, for 2 to 3 minutes or until eggs are cooked and beef is heated through.
 * 4) Serve eggs with tortillas, beans, cheese, and salsa.

Notes, tips, and variations

 * Machacado con huevo can be served in a big bowl, and with some soft tortillas at hand can be prepared in your plate, can be served in the table as tacos, or can be eaten without using tortillas at all.
 * Queso fundido con chorizo (melted cheese with chorizo) is also something that can be found at the table when eating machacado con huevo. It is usually served at the table in a pan, and added to the taco.


text:
User:Jrsnbarn

I'm a new user who is primarily interested in getting a better written, more practical, Revit Users Manual available to all Revit users. Please visit the Revit Users Manual.

title: User:Jrsnbarn


text:
Cookbook:Tequeños (Venezuelan Breaded Cheese Sticks)

| Venezuela

A tequeño is prepared with a bread dough with white cheese (queso blanco) in the middle. It is formed into a bread stick and then fried. It is one of the most popular snack foods in parties, especially weddings. It is said that a party is not a true Venezuelan party without tequeños.

The name "tequeños" comes from the town of Los Teques, capital of the state of Miranda where it is believed this food originated from. The oldest known references to it come from the first decade of the 19th century. At that time the richest families of Caracas would spend long vacation periods in Los Teques and it is believed that they started preparing them with the left over dough of another Venezuelan food "pastelitos".

Ingredients

 * 1 kg flour
 * 1 cup vegetable oil
 * 1 egg
 * 1 teaspoon salt
 * 1 teaspoon sugar
 * 1 kg white soft cheese

Procedure

 * 1) Mix the flour, oil, egg, salt and sugar in a bowl to make a dough.
 * 2) While kneading, add 1–2 tablespoons water. Keep kneading until it does not stick to your hands.
 * 3) Let the dough rest for 1–2 hours.
 * 4) While the dough is resting, cut the cheese into finger-like strips, roughly 1 x 1 x 7 cm (½ x ½ x 3 inches).
 * 5) After the dough has rested, shape it into palm sized balls.
 * 6) Roll them out until they are ½ cm (¼–0.125 inch) thick.
 * 7) Cut the rolled-out dough into long strips that are 1½ cm (¾ inch) wide.
 * 8) Wrap the cheese strips with the dough strips.
 * 9) Make sure you cover all the cheese and seal it inside the dough, because otherwise the cheese will leak out of the dough when frying.
 * 10) After you have wrapped the cheese in dough, dust the raw tequeños with flour and deep fry them in hot oil until golden.
 * 11) Serve with guasacaca, in either its mild (green) or spicy (red) formats.


text:
Indonesian/Texts/National songs

Indonesian's national anthem is called Indonesia Raya, written by Wage Rudolf Supratman in the Youth Congress of 1928 in Bandung, Indonesia.

It originally consists of three verses, the first one being the most widely known because it is sung every Monday in every public school in Indonesia by the students. Later, the law exclude the second and third verses from the official song.

Second Verse

 * Indonesia tanah yang mulia, tanah kita yang kaya
 * Di sanalah aku berada, untuk s'lama lamanya
 * Indonesia tanah pusaka, p'saka kita semuanya
 * Marilah kita mendo'a, Indonesia bahagia
 * Suburlah tanahnya, suburlah jiwanya
 * Bangsanya, Rakyatnya semuanya
 * Sadarlah hatinya, sadarlah budinya
 * Untuk Indonesia Raya
 * Indonesia Raya, merdeka merdeka
 * tanahku, negriku, yang kucinta
 * Indonesia Raya, merdeka merdeka
 * hiduplah Indonesia Raya
 * Indonesia Raya, merdeka merdeka
 * hiduplah Indonesia Raya

Third Verse

 * Indonesia tanah yang suci, tanah kita yang sakti
 * Di sanalah aku berdiri, 'jaga ibu sejati
 * Indonesia tanah berseri, tanah yang aku sayangi
 * Marilah kita berjanji, Indonesia abadi
 * S'lamatlah rakyatnya, s'lamatlah putranya
 * Pulaunya, lautnya semuanya
 * Majulah negrinya, majulah pandunya
 * Untuk Indonesia Raya
 * Indonesia Raya, merdeka merdeka
 * tanahku, negriku, yang kucinta
 * Indonesia Raya, merdeka merdeka
 * hiduplah Indonesia Raya
 * Indonesia Raya, merdeka merdeka
 * hiduplah Indonesia Raya

title: Indonesian/Texts/National songs


text:
Talk:Indonesian/Texts

duplicate entry
shouldn't we erase this since there's already Indonesian/Texts_Footer? Go to Indonesian/Contents to see it clearly at the footer section Benny Lin

title: Talk:Indonesian/Texts


text:
Cookbook:Toum (Lebanese Garlic Sauce)

Toum or thoum is a garlic sauce used in Lebanon.

The method below is the traditional way toum is prepared in most parts of Lebanon.

Ingredients

 * 10–40 g fresh, peeled garlic (less for a milder thoum, more for a stronger one)
 * ¾ cup olive oil
 * 1 lemon, juiced and strained
 * ¼–½ tsp salt

Procedure

 * 1) Use a pestle (traditionally wooden) to smash the garlic with salt until very smooth; you can add the salt at the beginning or after the garlic is well smashed.[[Image:Jern Toum.jpg|thumb|Wooden mortar used to prepare toum|300x300px]]
 * 2) Gradually mix in the oil—start by adding one drop at a time and stirring the oil into the garlic with the pestle. After you've added about 1 tbsp of oil and it's been well incorporated, you can drizzle the oil in rather than adding it drop by drop. After half of the oil is added, alternate a bit of lemon juice with a bit of oil. Don't stop for long while mixing; it's necessary to keep stirring, stopping only for very brief periods. When finished the toum will have a similar consistency to thick mayonnaise.

Notes, tips, and variations

 * You can also crush the garlic and salt to a very smooth paste and then use a blender or food processor to incorporate the oil and lemon juice.
 * The pH of some olive oils can promote breaking of the emulsion.
 * In Lebanon the pestle used is usually wooden; some new one are made of synthetic materials; occasionally you'll see one carved of stone. Carved stone pestles are usually used for kebbeh nayyeh.

title: Cookbook:Toum (Lebanese Garlic Sauce)


text:
The Cold War/Korean War

Korea was a Japanese colony from 1910 until the end of World War Two. Soviet troops liberated the North of the country from Japanese occupation and set up a communist government there under Kim II Sung, whilst the Americans liberated the South and put an anti-communist government there, under Doctor Syngman Rhee. The division between North and South was expected to be a temporary one before elections took place - but things didn't turn out as expected.

The Problem
The plan was that the Soviet and American troops would leave the country soon, elections would be held and the type of government with the most votes would get to be leader of a united Korea - but there was one problem:the elections never took place. The situation was made even more sticky when both leaders claimed to be the rightful leader of the whole of Korea and the painstaking decision of who would rule was up to the United Nations.

But behind the scenes, the North Korean army was arming itself to the teeth with Soviet-made heavy tanks, artillery, MiG fighter-planes, bombers and small arms. By early 1950, it had built itself into a formidable fighting force and had a clear head-start over the South Korean army in every category of weaponry and arms. After a visit by Kim II Sung to the Soviet Union, he was granted approval by Stalin to invade and unite South Korea.

Invasion of South Korea
On June 25th 1950, North Korea launched an invasion of the South and thousands of tanks and other armoured vehicles crossed into South of the 38th parallel (border line between North and South). The South Korean army (or R.O.K) was swiftly swept aside by the much more powerful North Korean forces, and were forced to retreat south.

Seoul, the South Korean capital was captured on the 28th June and the ROK was eventually squeezed into a small and tight corner, in the south-east of Korea, around the port city of Pusan. But they weren't defeated yet - with the help of US army reinforcements from nearby Japan, they managed to cling on to the strip of land and establish a defense perimeter around the city.

The U.N. Intervenes
When the UN heard about the invasion, they voted to defend South Korea by military force. At the time, the Soviet Union was boycotting the UN because it removed the People's Republic of China from the veto security council seat - if they hadn't been boycotting it, then they could have easily prevented the intervention of the UN by just simply voting against it.

There was a desperate fight for survival going on in Pusan, where the South Korean/American forces were trapped. The defense perimeter around Pusan was the only obstacle in Kim II Sung's way of uniting all of Korea under communist leadership. If this fell, it would confirm the West's worst fears - another country fallen victim to the "global communist invasion".

In order to relieve pressure on Pusan and save South Korea, General MacArthur, commander-in-chief of the UN forces had a cunning plan. Even though the North Korean army had succeeded in over-running most of Korea, they had a sensitive weak spot - the army and supplies were stretched thin. On realizing this, he decided to take his chance. He ordered a UN force to land at Inchon, a coastal city in the north-west of South Korea and perform an amphibious invasion, like the one on Normandy during World War Two, deep behind enemy lines which would :

 * cut off the supply lines of the North Korean army
 * surround and then destroy the invasion force in South Korea

The invasion passed the test perfectly and succeeded in the above goals. The North Korean army was on full retreat northwards to tackle the new UN threat, while at the same time the forces at Pusan broke free of the encirclement and chased them on their heels. The UN force up north, and the ROK/US force down south eventually managed to surround and destroy the North Korean army in South Korea.

But it didn't stop there. Truman, the US president at that time was convinced that the whole of Korea should be restored into a unified nation under democratic leadership. With UN approval, the UN forces crossed north of the 38th parallel and invaded North Korea itself. But meanwhile, North Korea's huge communist neighbor was keeping a very close eye on the unfolding events. A capitalist Korea under UN occupation right next to its border was something that greatly frightened them.

China Enters the War
The existence of a UN controlled Korean peninsula on its border and the threat of an invasion by the UN of its own country was unacceptable to Mao Zedong, the leader of China. In late November 1950, he decided to take drastic action and with 270,000 People's Voluntary Army troops (PVA) he attacked the UN forces on the other side of the Yalu River (Chinese border with North Korea) and drove them south.

Caught off the guard by the sheer, overwhelming number of troops and the skillful tactics the PVA used, the UN forces were pushed back just below the 38th parallel, and on January 4th 1951, Seoul was re-captured by a combined force of Chinese and North Korean troops. But unfortunately for them, they couldn't go on further than that because they were at the end of their supply line. The UN was forced to evacuate the capital and retreat south. The situation was so gloomy that General MacArthur openly criticized the US government and called for nuclear weapons to be used against China - this was the last straw. On April 11 1951, he was sacked and replaced by Matthew B. Ridgeway.

The new general set about restoring the morale and fighting capabilities of the battered UN force, and regrouped them for a counter-strike against the PVA. This succeeded in re-capturing control of the capital Seoul and driving the PVA forces some miles north of the 38th parallel.

Stalemate & Ceasefire
The changes in territory stopped there. For the rest of the war, both sides were dug in trenches and no side appeared to be winning. Almost as many bombs that had been dropped on Germany during the whole of World War Two was dropped on the cities in North Korea. Peace negotiations started on July 10th 1950 and it took over three years before a ceasefire was finally reached, on 27th July 1953.

It was agreed that a buffer zone, called the DMZ (de-militarized zone) would be built between North and South Korea, running from the north-east of the 38th parallel to the south-west. It still stands today as the most heavily defended border in the world, defended by South Korean/US troops on one side and North Korean troops on the other. No peace treaty was signed between North and South - just a ceasefire - so technically they are still in a state of war.

Results of the War
The USA lost about 54,000 troops in the conflict and 7000 other UN troops were killed. The casualty figures were even higher for the Chinese and North Koreans - an estimated 2 to 4 million were killed or wounded. Millions more Korean civilians died.

The Korean war was the first time the Truman Doctrine, the containment of the spread of communism, was put into action. It was also the first ever time that the U.N. undertook a military operation. The war had mixed effects - it sent a clear message that the West would not tolerate any threat to its allies or sphere of influence no matter how far away they were on the map, and were prepared to defend it using force if necessary. But it also made even more enemies, this time with China and North Korea and doomed an already strained relations with the Soviet Union.

title: The Cold War/Korean War


text:
User:Atomaton

My Reminders

 * Atomaton Wikipedia page
 * Atomaton Commons page
 * Atomaton Meta page

title: User:Atomaton


text:
Cookbook:Tahdiq (Crisped Persian Rice)

| Middle Eastern cuisines

Tahdiq, or tahdig is a popular Persian way of preparing rice.

Ingredients

 * 2 medium size potatoes
 * 2 cups uncooked basmati rice
 * ⅓ cup vegetable oil
 * Salt (as desired)
 * Water

Procedure

 * 1) Peel and slice the raw potatoes into ½ inch thick slices.
 * 2) Rinse and drain rice. Bring 4–5 cups of water to a boil in a 3-quart pot, adding salt if desired. Add rice, and continue to boil the water, stirring occasionally, for about 10 minutes. Check to be sure that the rice doesn't cook completely at this point.
 * 3) When rice is roughly half cooked, drain into a colander.
 * 4) Pour ¼ cup of cooking oil into the pot and lay the potato slices in the bottom close together in a single layer. Add a small amount of salt (if desired). Layer the half-cooked, drained rice loosely atop the potatoes.
 * 5) Place pot on stove over medium high heat for 4–5 minutes or until rice begins to steam.
 * 6) Lower heat and add 5 tbsp water and 2–3 tbsp oil on top of rice. Cover and let simmer for about ½ hour or until cooked and tender. The higher the heat, the crunchier the tahdig.
 * 7) Scoop out the rice and use a soft spatula to remove tahdig at bottom, or try to make the contents of the pot come out as an entire cake of rice on the serving dish.

Notes, tips, and variations

 * Tahdig can also be made by substituting the potatoes with bread (e.g. pita or lavash) or with the rice alone. Other common additions include slices of onion, beet or other rootstock.

title: Cookbook:Tahdiq (Crisped Persian Rice)


text:
Revit User's Manual/Electrical Plans

It is important to remember that Revit associates all ceiling mounted light fixtures with ceilings. This means that to insert a ceiling mounted light fixture, it must be hosted by a ceiling element. The bottom of a floor will not work. You will also have to create all your ceiling elements in a reflected ceiling plan. It often makes sense to simply have your electrical plan be a reflected ceiling plan with the plan shown as an underlay. This will nicely show your plan greyed out.

<==Creating an Electrical Plan==> Gordonvale state high

Select the reflected ceiling plan for the level you would like to make an electrical plan. It is helpful to change the name of the view to include the term "Reflected Ceiling Plan" or "RCP", but when changing the name of the view, be sure to choose not to change the name of the level itelf in the dialogue box that will appear.

It is fairly easy to create a ceiling. This can be done from the modelling 'tab'.

Once you have created your ceiling, the next thing to do is to move your ceiling to the underside of the floor (if you didn't already do this in the properties dialogue box when creating the ceiling). This is easily done by going to a section, and then moving your ceiling up to the underside of the floor above. If the ceiling isn't visible, select the "Reveal Hidden Elements" lightbulb icon at the bottom left of the window.

You should now be able to add ceiling fixtures to your new ceiling. You may also want to add wall and other fixtures at this time, but you can wait until you've created the actual electrical plan view.

Create a new floor plan. Change the visibility to  remove items that are not relevant to the electrical plan. You may want to change the Detail Level to Course and set the walls to fill in at this detail level. Critical to a successful electrical plan is getting your view range correct. In the view properties, make sure that your view range 'sees' all the way up to the ceiling.

Now you're ready to start adding components such as fixtures and switches. When drawing wires, use detail lines so that these lines don't appear in other views.

If you are doing multiple units or rooms with same electrical plan, be sure to group the electrical components and then create an associated detail group for the wires (and labels if any).

title: Revit User's Manual/Electrical Plans


text:
Horticulture/Alliaria petiolata

Garlic mustard or Hedge garlic (Alliaria petiolata) is a flowering plant in the Mustard family, Brassicaceae. It is native to Europe, western and central Asia, and northwestern Africa, from Morocco, Iberia and the British Isles, north to northern Scandinavia, and east to northern India and western China (Xinjiang). It often occurs along the margins of hedgerows, giving rise to the old British folk name of "Jack-by-the-hedge". The genus name Alliaria, "resembling Allium", refers to the garlic-like odour of the crushed foliage.

Description
It is a herbaceous biennial plant (sometimes an annual plant) growing to 30–100 cm (rarely to 130 cm) tall. The leaves are stalked, triangular to heart-shaped, 10–15 cm long (of which about half being the petiole) and 2–6 cm broad, with a coarsely toothed margin. In biennial specimens, first-year plants appear as a rosette of green leaves close to the ground; these rosettes remain green through the winter and develop into mature flowering plants the following spring. Others flower and complete their life-cycle in their first year. The flowers are produced in spring and summer in buttonlike clusters, each flower small, white, with four petals 4–8 mm long and 2–3 mm broad, in the shape of a cross. The fruit is an erect, slender, four-sided pod 2–7 cm long, called a silique, green maturing pale grey-brown, containing two rows of small shiny black seeds which are released when the pod splits open. A single plant can produce hundreds of seeds, which scatter as much as several metres from the parent plant. Depending upon conditions, garlic mustard flowers either self-fertilise or are cross-pollinated by a variety of insects. Self-fertilised seed is genetically identical to the parent plant, enhancing its ability to colonise an area. Although water may transport the seeds, they do not float well and are not carried far by wind. Long distance dispersal is most likely aided by human activities and wildlife.

Ecology
In Europe as many as 69 species of insects and 7 species of fungi utilise Garlic Mustard as a food plant, including the larvae of some Lepidoptera species such as the Garden carpet moth.

Garlic mustard was introduced in North America as a culinary herb in the 1860s and is considered an invasive species there. The insects and fungi that feed on it in natural conditions are not present in North America, increasing its seed productivity and allowing it to out-compete native plants there. In addition, a study published in 2006 concluded that Garlic Mustard harms mycorrhizal fungi that some North American plants, including native forest trees, require for proper growth. Additionally, because White-tailed Deer rarely eat Garlic Mustard, large deer populations may help to expand it by removing competing native plants and exposing the soil and seedbed through trampling. A complication in the eradication of Garlic Mustard is the long time span in which seeds may remain viable in the ground for. Seeds have been observed to germinate up to 11 years after being planted in the ground.

Uses
The leaves, flowers and fruit are edible as food for humans, and are best when young. They have a mild flavour of both garlic and mustard, and are used in salads.

Similar Plants
In the rosette stage it can be easily confused with ../Brunnera macrophylla/ or sometimes ../Glechome hederacea/ or ../Asarum canadensis/.

title: Horticulture/Alliaria petiolata


text: Category:Book:Basic Physics of Nuclear Medicine


text: Category:Book:Technical Theatre

title: Category:Book:Technical Theatre


text:
Statistics/Multivariate Data Analysis/Principal Component Analysis

In a Principal Component Analysis (PCA) a new coordinate system is created from the data. The origin of this new coordinate system is the grand mean, i.e. the mean of each variable becomes the 0 in the transformed coordinate system. The first principal component (first axis) extends through the longest extent of the data. Imagine your data being three variables, x1, x2 and x3. The data form a data cloud in three-dimensional space, like a bun, for example. Then the first axis (p1) can be visualised as a knitting needle poked through the maximum dimensions of the bun. The second axis (p2) is orthogonal to the first axis, extending through the next-longest side of the bun. As mentioned, the origin, i.e. the intercept of the two axis, is the mean. Therefore the two axes meet in the center of gravity (assuming uniform density) of the bun. The third axis, again, is orthogonal to both previous axes. In our 3D-example you can easily work out that there is only one possibility left.

Any combination of old variable values (e.g. x11, x21, x31) will have a new value in the transformed PCA-system (p11, p21, p31). However now the vectors of coordinates (p1., p2. and p3.) will be orthogonal and uncorrelated.


text: Category:Book:Kapampangan

title: Category:Book:Kapampangan


text:
Muggles' Guide to Harry Potter/Magic/Crumple Horned Snorkack

Overview
The Crumple-Horned Snorkack is mentioned in passing, but never described in detail.

Extended Description
Luna Lovegood mentions the Crumple-Horned Snorkack a number of times in Harry Potter and the Order of the Phoenix; apparently, her father, the publisher of The Quibbler, believes in the existence of this and other magical creatures that nobody else has ever seen. This is a sore point for Hermione, who will not believe in their existence without seeing some proof.

At the end of the book, Luna says that some of the money her father has received for the right to publish Harry's interview about the return of Voldemort will be spent on an expedition to find the Snorkack, an expedition that we later find out is fruitless.

The Snorkack is mentioned again in Harry Potter and the Deathly Hallows, when Harry visits Luna's father, Xenophilius. Apparently, Xeno has purchased what he thinks is a Snorkack horn, to give to Luna for Christmas; in fact, it is an Erumpent horn, which explodes, nearly destroying Xeno's house.

Later in the book, when Luna and Dean Thomas, among others, have been rescued from Malfoy Manor, we overhear Luna describing the Snorkack to Dean. The only description we hear, though, is that it has tiny, purple ears.

Analysis
The major reason for introducing the Crumple-Horned Snorkack, one must suppose, is to show Luna Lovegood's mild strangeness; her insistence that this creature exists is a harmless form of insanity and is therefore seen as laughable rather than dangerous. Her steadfast holding to this belief is another part of the limning of her character; Luna, though believing things that just aren't so (according to accepted wizard lore) holds steadfastly to her beliefs, to her father's beliefs, and similarly to her friends.

Questions

 * 1) Presumably, the Crumple Horned Snorkack has at least one crumpled horn. What do you think it looks like? What characteristics would it have?
 * 2) Luna's father says that they will be hunting for it in Sweden; can you think of characteristics that would make it more likely to be there than, say, Florida?


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Icelandic/Basic Vocabulary

Personal pronouns
Personal pronouns in Icelandic decline, just as they do in English:

Article
Since Icelandic doesn't have an indefinite article, a man will simply be maður in Icelandic. However it does have an attached definite article, so the man will become maðurinn in Icelandic.

the child is small = barnið er lítið this is a small child = þetta er lítið barn the man is young = maðurinn er ungur the woman is young = konan er ung

Notice that in the above sample when saying that the man is young one uses ungur, but when referring to a woman one uses ung. This is because adjectives change according to the gender of the word it describes. E.g.: Maðurinn (masculine) er ung-ur. Konan (feminine) er ung-. Barnið (neutral) er ung-t.

title: Icelandic/Basic Vocabulary


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Wikijunior:The Elements/Nitrogen

What does it look, feel, taste, or smell like?
Nitrogen is a colorless, odorless, and tasteless gas.

How was it discovered?
Daniel Rutherford, a Scottish physicist, discovered Nitrogen in 1772.

 Did You Know?
 * Nitrogen is the most common element in the atmosphere, making up nearly 80% of it. (The rest is mainly oxygen and argon.)
 * Nitrogen is required for all life on Earth, because DNA, RNA, and proteins all contain nitrogen.

Where did its name come from?
Nitrogen's name comes from nitrogenium a combination of words of Latin and Greek that means "native soda forming".

Where is it found?
Nitrogen is the world's fifth abundant element, making up 78% of the Earth's atmosphere. Nitrogen is found primarily in the atmosphere and in living things. The nitrogen cycle is the name of the pathway that describes the passage of nitrogen and nitrogen-containing compounds as they are recycled through molecules in earth's atmosphere, soil, plants and animals, and finally back into the atmosphere.

What are its uses?
Nitrogen is required by all living things to make up molecules like proteins and DNA.

Nitrogen is in fertilizers and helps plants grow.

"Laughing gas" contains nitrous oxide (N2O) and is used as an anaesthetic.

Is it dangerous?
Nitrogen is not dangerous in most circumstances. Pure nitrogen cannot be breathed; people and other animals need oxygen. Liquid nitrogen is very cold, so it can cause frostbite very rapidly. Some compounds of nitrogen, like the strong acid nitric acid and explosives (among them nitroglycerin, which is the active ingredient in dynamite) are very dangerous.

The bends

The bends is a medical condition that is caused by rapid decompression of the body. As a diver dives deep underwater, nitrogen becomes dissolved in the bloodstream due to the pressure of the water. However, if the diver moves to the surface too quickly, there will be a rapid decrease in pressure. This will cause the nitrogen in the bloodstream to form bubbles in the bloodstream, which is potentially deadly.

title: Wikijunior:The Elements/Nitrogen


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User talk:Mwety907

Naming Convention
You have recently created two new pages that aren't part of any book: Chapter 1, and Chapter 2. We ask that all pages be part of a book, and not just floating around by themselves. I assume you meant to make the pages The Computer Revolution/Chapter 1, and The Computer Revolution/Chapter 2. If that is the case, I can move the pages for you if you want. Please let me know if you need any other help. --Whiteknight (talk) (projects) 21:34, 16 October 2006 (UTC)

title: User talk:Mwety907


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User:Beuc

Homepage: http://beuc.net/

Wikibooks I contribute to:

 * MySQL: a completely free-as-in-freedom documentation on the popular SGBD.
 * Blender 3D: Noob to Pro: great tutorials to learn this 3D modeling / animation / texturing / etc. environment.
 * OpenGL_Programming: adding how to use OpenGL the 2.x aka "modern" way.

Wikibooks I like:

 * Lucid Dreaming: I should take the time to read it entirely :)

title: User:Beuc


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Help:Importing

An import and export is the process of copying works from one wiki to another in a way that preserves the edit history.

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Visit Special:Import and fill it out. You must not check that you want to import all templates, as some are customized for our usage. You need to confirm the page to be imported is not a redirect as the import tool will import the redirect rather than the intended page. Click "Import" to begin the import process. The import process is done in the background and may take awhile to complete.

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While not required of the importer, there are other templates available on Wikipedia that can be used to take the article out of the "Copy-to-Wikibooks" category.

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ja:Wikibooks:インポート pl:Wikibooks:Import

title: Help:Importing


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Swing Dancing/Lindy Hop

The defining dance move of Lindy Hop is the swingout (a.k.a. Lindy turn or whip). Its variants are also used in jive, east coast swing and modern jive. The follow moves around the lead from open to closed position and back to open again, usually in eight counts. The key variations are the savoy swingout and the Hollywood whip. Dancers can change the style (arm work, footwork, or general movement and connection technique) or the whole move. Bits and pieces of different stylings and variations can be combined in the same swing out, though combinations may need finesse.

Introduction
The basic swing out begins with both partners facing each other in open position, with the lead's left hand holding the follow's right hand. There are many variations and personal styling options on how to do this move. The lead brings the follow in (starting to move in sometime during the first 3 beats of music), the lead and follow come together in a sort of closed position and the lead redirects the follow's momentum to send them back out.

The basic swing out is very tight, and every element has a reason and there are no extraneous body motions. The connection between partners is critical to making the swingout work. There are, however, many ways to think about how this works, and the lead and follow need to adjust to each other to find a comfortable way to work together.

The basic footwork pattern for both partners is step step tri-ple-step step step tri-ple-step. The follow matches the lead's footwork. All steps are weight changes.

Savoy swingout
In the Savoy swing out, the lead and follow can either have a feeling of circling around each other sharing a common center, or typically a more passing by each other with a rebound feeling in the middle of the move. Lead
 * Count 1-2: The lead may or may not choose to lead the follow in during the first two beats
 * Feet: The lead rock-steps/back-replaces, or Ball-Change (or can Kick back) with their left foot, ending with their weight on their right.
 * Body: Typically by the end of rock-step the lead has not moved.
 * Counts 3 and 4: Pass and Catch
 * Arms: The lead may choose to wait until count 3 to lead the follow in, or they may have done so earlier
 * Feet: The lead triple steps (left right left) either in place, or traveling forward.
 * Body: The lead stays grounded as they catch their follow with their right arm on the follow's back and begins to redirect the follow's momentum
 * Count 5: Send the Follow Out
 * Feet: The lead steps back onto their right foot.
 * Body: The step moves the lead's whole body and the lead's right arm back, and continuing to redirect the follow's momentum.
 * Count 6
 * Feet: The lead steps left with their left foot.
 * Arms: The lead is no longer holding on to the follow's back, and the lead may have even let go before the 5th count.

 * Counts 7 and 8: Sync Up
 * Feet: The lead triple steps (right left right) in place or returning to where the lead started.
 * Body: Return to face where the lead started and sync up for the next move.

Follow
 * Count 1 -2
 * Feet: They step right-left, typically in a twisting fashion. Their feet underneath them, wherever the lead has led them to be (possibly in place).
 * Counts 3 and 4: Pass and Catch
 * Feet: They triple step as they pass the lead, allowing the lead to rotate or redirect them as they choose.
 * Body: They allow their momentum to continue through, thus giving the lead something to work with.
 * Arms: They place their left arm on top of the lead's right arm
 * Count 5
 * Feet: They are lead forward, so they step forward with their left foot.
 * Count 6
 * Arms: As they're traveling away from the lead, they don't let their arm hyper-extend at the shoulder
 * Body: Because of the arms, the follow has a moderate rotation.
 * Feet: They continue to travel forward onto their right foot, this will likely be a somewhat sideways step*.
 * Counts 7 and 8: Sync Up
 * Feet: They triple step (left right left) returning to where they started.
 * Body: The follow returns to where they started (as far as the connection allows), and may choose to turn to face the lead, or may stay slightly more open allowing them some leeway to do the twists of another Swingout or other move.

 * Depending on when the follow is released by the lead, their direction on 5, 6, and 7 may change. If the lead releases the follow on 4, then they come straight out facing away from the lead.  If they are released on 5 then they will have a sideways motion.  If on 6, then they will come out of the swing out backwards -- facing the lead.

Hollywood whip
In the Hollywood whip, the follow moves in a straight line, called the slot, so the lead must move out of the follow's way sideways as they pass. The follow walks forward on count 1, turns on count 2, walks backward on counts 3 and 4, turns on count 5, and walks backward on counts 6, 7, and 8. The follow goes furthest back on count 3+. In a whip, the lead explicitly turns the follow around. The Hollywood whip resembles the West Coast swing whip.

Lead
 * Count 1: Bring the follow in
 * Feet: They step straight backwards onto their left foot.
 * Body: Their whole body moves back, which moves their left arm back, pulling the follow forward.
 * Count 2
 * Feet: They step left with the right foot to let the follow pass.
 * Arms: They push the follow's arm forward as the follow passes to turn the follow around, with their left arm.
 * Counts 3 and 4: Turn
 * Feet: They triple step (left, right, left) to the side. The lead ends with feet side-by-side, shoulder width apart.
 * Body: They turn to face the follow. They lean back to counterbalance the follow (who leans into the lead's arm) and momentum swings both around so they both face the opposite direction of where they started. The lead keeps their shoulders and torso square to their partner.
 * Arms: They put their right hand on the middle of the follow's back or on the follow's shoulder blade.
 * Count 5: Send the Follow Out
 * Feet: They put their right foot directly behind their left foot and put their weight on the foot.
 * Body: The step moves their whole body and their right arm back, pulling the follow forward.
 * Arms: The lead pulls the follow forwards with their right hand to return the follow to the start and lets go with the right hand. Push with both hands to turn follow around.
 * Count 6
 * Feet: They step left with their left foot.
 * Arms: The lead pushes the follow back to where the follow started, with their left arm.
 * Counts 7 and 8: Sync Up
 * Feet: They triple step (right left right) in place.
 * Body: The lead returns to where they started and syncs up for the next move.

Follow
 * Count 1
 * Feet: The follow is pulled forward, so they step forward with their right foot.
 * Count 2
 * Feet: They continue and step forward with their left foot.
 * Body: Their torso turns around 180 degrees by being pushed.
 * Arms: They raise their left arm, so the lead can reach their back.
 * Counts 3 and 4: Turn
 * Feet: Their right foot should point between lead's legs, left weight shift behind right foot, then shift weight to the right foot again. This triple-step is called a coaster step.
 * Body: The follow leans back into the lead's arm and momentum carries both around. During these two counts the follow keeps their shoulders and torso square to the lead's shoulders and torso. The follow turns around.
 * Arms: They place their left arm on top of the lead's right arm and place their left hand on the inside of the lead's shoulder or biceps.
 * Count 5
 * Feet: The follow steps backwards with their left foot.
 * Body: They are turned around with the arms.
 * Count 6
 * Feet: They continue and step backwards with their right foot.
 * Counts 7 and 8: Sync Up
 * Feet: They triple step (left right left) in place, as far as lead's connection allows.
 * Body: The follow returns to where they started and syncs up for the next move.

Stylings
Stylings are simple variations that are independent of the partner. Stylings can be done at any time by either partner in basic swing outs, though they may conflict with other swing out variations. Stylings on counts 1, 2, 6, 7, and 8 are easy, because dancers are separated in open position. Stylings on counts 3, 4, and 5 are difficult, because dancers come together in closed position, so stylings easily affect the partner.

Lead
 * Counts 1 and 2
 * Feet: The lead can do rock step, kick back and hold, kick back kick back, kick ball change, or flea hops.
 * Left Arm: In Savoy style, leading on count 3 and relaxing on counts 1-2 gives the follow room to play, though they can also do a var.  on count 2. Pulling on 1 and 2 keeps the follow under control, which denies them room to play. In the Hollywood bring in, the follow is always under control.
 * Right Arm: The lead can move their right arm up (over their shoulder), to the side, or down (Frankie swoosh); or keep it at their hip.
 * Counts 3 and 4
 * Feet: The lead may do a foot sweep back.
 * Counts 5 and 6
 * Feet: The leads may step straight back, which gives the clearest lead. The lead may step behind their other foot (hook step), which starts getting out of the follow's way. The lead may step forward and left, which shortens the distance that the follow must travel, but the lead must twist their body.
 * Body: In Hollywood style, the lead may turn and lunge in the same direction as the follow to emphasize the body lead. THe lead faces behind where they were positioned.
 * Head: The lead may either look over their right shoulder to where the follow will go, or look at the follow. In social dancing, the lead looks over their shoulder to make sure that no one has stepped in the follow's way and the follow has room to finish the move. If there is no room, the lead can safely stop the move. In performance, looking over the shoulder exaggerates the body lead. Watching the follow is more personal.
 * Counts 7 and 8
 * Feet: Lead can do kick backs and foot sweeps, crouch and touch the floor, sit on the floor and splay legs, jump and do splits, split slide.
 * Hand: They can change hands on count 8.
 * Body: They can turn toward the follow, turn 180 degrees away from the follow, or turn toward the audience. Body roll.

Follow
 * Counts 1 and 2
 * Left Arm: THeir left arm can go up (over shoulder), to the side, down (Frankie sweep), or keep their hand at their hip. Wave.
 * Body: If turned away, adjust to make the connection on count 3.
 * Feet: Follows can do walk-walk, swivel-swivel, or kick-ball-change; or less frequently camel walks.
 * Counts 3 and 4
 * Feet: The follow may do a foot sweep back.
 * Torso: The follow may sit with a vertical torso (called a pike), or sit with hips going back staying balanced on their own feet. The pike is very Hollywood.
 * Counts 5 and 6
 * Left Arm: The follow can wave their left arm or keep their hand at their hip.
 * Feet: The follow can walk-walk or camel walks; or less frequently, swivel-swivel (but avoid body twist) or kick-ball-change.
 * Head: The follow can turn their head to look where they will go on count 8, where they came from on count 4, at the audience, or at the lead.
 * Counts 7 and 8
 * Left Arm: The follow may wave their left arm or keep it at their hip.
 * Body: The follow can turn toward the lead, 180 degrees away from the lead, or toward the audience. They may do a foot sweep, touch the floor, or do a body roll.
 * Head: The follow can look at the lead, away from the lead, or toward the audience. In a performance, the follow may look to the audience and wink.
 * Feet: Kicks. Kick aways. Split slide. Kick heels together.

Footwork (Variations): The footwork can be altered significantly. When lead and follow style on counts 7, 8, 1, and 2, they may need to do two triple steps on counts 3, 4, 5, and 6.

Leads and follows often extend the stylings over counts 7, 8, 1, and 2. Extended stylings (footwork) include

Kick Together: The lead and follow can both do double front kicks on 7, 8, 1, and 2, while facing each other. Kick left, kick left, kick right, kick right.

Kick Away: Kick-Step, Kick-Hold on 7-8, 1-2. first kick towards partner - then face away on the step. Second kick away from partner - turn towards partner on the hold. Can also be done with both kicks facing away from the partner.

Other: Double foot sweep, scissors, kick ball changes, camel walks, fall off the log, and extreme fall off the log.

Variations
Variations require that the lead and follow cooperate. Some of these variations may be combined together in the same swingout. The variations are grouped (somewhat arbitrarily) into standard, change rotation, closed position, start, middle, end, side pass, and miscellaneous variations.

The names of these variations are representative, but dancers from different cities use different names to refer to the same variation.

Standard Variations
Four main variations based on the arm leads are the basic, inside turn, outside turn, and apache turn. In these variations, the follow turns on the 6, 7, and 8 counts. The follow may turn on 5 and 6, before travelling, on counts 7 and 8, after travelling, or on count 5, 6, 7, and 8, while travelling. The quick stop and free spin are simple extensions of these variations.

Basic: This is a basic Savoy swing out or basic Hollywood whip.

Inside Turn: The follow does an inside turn on counts 5, 6, 7, and 8. Usually, the turn is signalled on 4, and performed on 6, 7, and 8. This could be extended to a double or triple turn.

Outside Turn: The follow does an outside turn on counts 5, 6, 7, and 8. Usually the turn is signalled on 4, and performed on 7 and 8. This could be extended to a double or triple turn.

Quick Stop: The follow does an outside turn, but holds on 7, with crossed legs. This variation is useful for hitting a break on count 7. This variation can be tweaked if the break occurs on count 6 or 8. This variation occurs in both social dancing and performance. This is also a useful way to get into the tandem Charleston position; the lead uses their right hand to pull the follow into the position on 7, 8 after the turn is complete.

Apache Turn or Texas Tommy: This is an outside turn, but the lead switches hands behind the follow's back on count 6. The turn is signalled on 4. This can be extended by an overhead turn. This move can be used to change the lead to the right hand.

Free Turn: A free spin looks almost the same as a Texas Tommy. The lead puts the follow's right arm behind the follow's back, but does not grab their wrist with the lead's right arm, they simply let go and let the follow spin on their own.

Change Rotation Variations
In these variations, the follow moves around the lead in counter-clockwise for part of the swing out.

Reverse: The follow moves around the lead counter-clockwise. On counts 1, 2, 5, and 6, both lead and follow step slightly to their right.

Half: The follow stays on the right side of the lead. Counts 1, 2, 3, and 4 are identical to a normal swing out and counts 5, 6, 7, and 8 are identical to a reverse swing out. (Aka, Swing Out Kate -- taught by Frankie Manning, SouthWest Lindy Fest 2004)

Reverse Half: The follow stays on the left side of the lead. Counts 1, 2, 3, and 4 are identical to a reverse swing out and counts 5, 6, 7, and 8 are identical to a normal swing out.

Closed Position Variations
In these variations, the couple starts or ends in closed position.

Swingout From Closed
Swingout from closed, for example from Charleston to swing out. Charleston is mostly done in closed position. On counts 1 and 2, both do a normal rock step. On counts 3 and 4, the lead moves and turns 180 degrees to face the follow, using a triple step. The remaining counts are the same as a swing out. On counts 5 and 6, the lead uses their right arm to pull the follow forward and lets go, and the follow walks past. On counts 7 and 8, they both triple step and sync up for the next move.

This variation is also known simply as the Swingout, in scenes where the standard swingout is known as the Lindy Turn.

Circle To Closed
From swing outs to charlestons, because the Charleston basic is done in closed position. The first four counts are the same as a swing out, but the right arm wraps around the follow further, perhaps to their hip. They remain in closed position and finish the move. The footwork is the same.

This variation is also known as the Lindy Circle.

Start Variations
In these variations, the motion changes on counts 1, 2, 3, and 4.

Syncopated: The follow may hold back on count 1 and come in fast on count 2. The lead may lead with a kick-ball-change so their body moves on count 2. The motion on counts 7, 8, and 1 is slow and in the same place, while the motion on counts 2, 3, 4, and 5 is fast, which increases contrast in the move. In slow music, the follow may hold on counts 1 and 2, jump on count 3, and so on. This variation is common in Hollywood style.

From Closed:

From Right Hand:

First Turn: Inside turn on counts 2 and 3. This is sometimes led when the lead's right hand holds the follow's right hand. (or outside or apache)

Middle Variations
In these variations, the motion changes on counts 3, 4, 5, and 6.

Layout: The follow jumps on 3, and lays out on 4, is pulled back up on 5. The follow jumps out with their legs several feet from the lead and holds on to the base's arms. The follow often initiates this variation. (K+C)

Pike: The follow may sit or pike on count 4. The pike is most exaggerated when the partners use a double hand hold. The follow sometimes holds one foot out horizontal on count 4 for styling.

Slide: This means that the follow hops on count 5, slides on count 6, and stands up on count 7. Slides are usually combined with a reverse swing out. This is usually for performance.

Extend Middle: Partners can remain in closed position and continue to spin or trade sides for 2, 4, or any number of additional beats, before continuing with the move.

End Variations
The variations change the motion on counts 5, 6, 7, and 8.

Follow Spin: Free spin left, free spin right, or over arm spin.

Lead Spin: Free spin left, free spin right, or over arm spin.

Both Spin: Both follow and lead spin on counts 7 and 8.

Jump: Jump on count 5, like a cannonball. The follow often lands on their right leg and then pivots slowly into place for the next swing out.

Arm Loops: Arms may move toward lead (such as putting the follow's hand on the lead's shoulder) or toward the follow (which brings the couple into closed position).

Close: During counts 7 and 8, the lead may move into closed position by adjusting to the follow. (This is like a Groucho ending.)

Extend End: Partners can freeze or hold the open position or spin on counts 7 and 8 for 2, 4, or any number of additional beats. (circle or whip). Afterwards, the lead may remain in open position or close.

Side Pass Variations
These variations seem like two side passes, because the couple does not close on counts 3, 4, and 5.

Reverse with Spins (Rename): The lead leads a side pass (rock, step, spin to cuddle) to their left side, and they turn as the follow passes (4 counts). Then they pushes the follow back to where they started, on the lead's left side (4 counts). The lead can start by facing the follow or facing away from them. The follow may finish by walking forwards, sideways, or backwards. If they walk backwards, they may duck under the lead's arm. (Copy to side pass variation).

Reverse with Spins 2: The lead leads a side pass (rock, step, J-lead free spin, close on 4) to their left side, and they turn as the follow passes (4 counts). Then the lead pushes the follow, steps to the right past the follow, turns and finishes (4 counts).

Hip Spin: Lead follows arm past. As the follow passes, the lead grabs the follow's hip bone and pulls them straight backwards or backwards into a free spin. This can be extended with one or more hip grabs at the end.

Right Hand to Hip Spin: Like a hip spin, but start with a right to right grip and do a turn during the first side pass. This ends with a hip spin or not. (Rethink)

Something: Double turn. Turn during first side pass. Turn during second side pass.

Titanic: Cross hand hold or pick up the second hand on count 2. Do a side pass to titanic position (4 counts). Do another side pass to return the follow to the start (4 counts). Titanic position is the follow leans forward with their hands to the side and behind them. The lead counterbalances the follow.

Basket Whip: Double hand hold. The lead moves around the follow. This is often extended with one or more spins at the end. Multiple reverses.

Hand on Hip: Put the follow's right hand on the lead's right hip, as the follow passes on count 3, and hold it there. The follow continues around and stops on the lead's left side, like a reverse cuddle. This variation often continues with side-by-side moves, like skating. Usually, the lead does not turn, but the lead can also turn with the follow.

Hand Throw: Start with a right hand lead. Lead a 4 count side pass on lead's right side, throw follow's right hand from the lead's right hand to the lead's left hand, then lead another 4 count side pass on lead's left side. The lead does not turn. The follow may spin on either side pass.

Thread the Needle: During the first side pass, the lead remains facing the same way. They may place the follow's hand on their shoulder and shrug it off so it slides down their right arm. On count 5, the lead bends their left elbow out to the side, so their left arm makes an opening, like a cup handle. They lead the follow's arm into this opening, then make the connection forearm-to-forearm. They may end with a free spin.

Miscellaneous Variations
Footwork:

Simple: Both lead and follow do walk-walk on all counts, skip the triple steps and make each count a step. This is useful for music that is too fast for triple steps and for music with strong drum beats. This variation can be styled with crazy legs. On count 5, the lead will step back on the opposite foot from usual, which is fine.

Hip Hop: Both partners jump on count 3 to the usual count 5 position, hold on count 4, pull through on count 5, (hold count 6). Leg styling for leads may be two large foot sweeps, the first on counts 5 and 6, the other on counts 7 and 8.

Fast: Swing outs can be done in 6 counts. Lead on count 1, jump and close on count 2, back and swing on count 3, lead and open on count 4, jump on count 5, and end on count 6. In basic swing outs, counts 8 and 1 are slow can be omitted. The footwork need finessing.

Slow: The swing out can be done in 10 counts or more. Hold back on count 1 and move slowly.

Shoulder (Arm Pit): Start with a side pass and the follow keeps looking forward. The lead puts their right hand under the follow's right shoulder. They pull the follow back and the follow leans back. As the follow goes down, the lead steps over their body and then pulls them back up. This is often treated as an aerial.

Neck Wrap: This is like the shoulder lift. (Expand)

Other Details
Movement: The lead may stay in place while the follow travels around them or the lead and follow may trade places, by both moving forward on counts 2, 3, 6, and 7. When the lead stays in place, the move looks more exaggerated, which is useful in performances and for slower music, but the follow must move farther and work harder. When the lead and follow trade places, the swing out fits in a smaller space, which helps in social dancing and with faster music. Leads can move themselves forward on either the first 4 counts, the last 4 counts, or all 8 counts, and the follow remains in place, which shifts the position toward the lead, but leaves everything else the same.

Orientation: Dancers can change the orientation of the swing out by overturning (1+1/4 turn) or underturning (3/4 turn). In social dancing, this is useful to find space on a crowded floor. In performance, this is useful to present a specific angle to the audience or adjust to or from other moves.

Mirror Image: The lead and follow do everything in mirror image (switch left and right). This is useful in performance.

Speed: Dancers may move half as fast as the music, which is often done with exaggerated, clownish movements. This is common in performance and socially to very fast music. Dancers may move twice as fast as the music, which is common to very slow music.

Start Count: Traditionally swing outs begin on count 1 of the music. But the swing out may actually start on any count, especially if it fits the music. For example, the couple may hold for 4 counts, do a swing out for 8 counts, and then hold for 4 counts. So, the swing out would begin on count 5.

Switch Roles: Partners can sometimes switch roles, so that the one who typically leads is now following. This can be fun in both social and performance dancing.

title: Swing Dancing/Lindy Hop