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Mac OS X Tiger/Meet the Applications/Safari

=Introduction= The original browser of choice among Mac OS X users was Microsoft's Internet Explorer for Mac. However, after Internet Explorer rose to dominate the market, Microsoft grew complacent and stopped updating it. By 2002, Internet Explorer was no longer a modern browser, and Apple began work on its own web browser to replace it.

In January of 2003, Apple's CEO Steve Jobs announced Safari, an all-new, Apple-designed web browser that was designed to replace Internet Explorer for Mac.

Since then, Safari has evolved into a browser to be reckoned with - with the greatest standards compliance of any browser (Mac or Windows), fast performance, and a crop of advanced features like tabbed browsing, RSS, and AutoFill. It's the third most popular browser in the world and the single most popular browser available for Mac OS X.

=The Safari Interface= This section looks at Safari's interface and explains how to use it to browse the web. Safari is unique in that it actually has two toolbars (called the "Address Bar" and the "Bookmarks Bar"). Both can be toggled on and off independantly in the View menu. In addition, you can use the view menu to opt for a "status bar" to appear along the bottom of the window. This bar will display page loading progress and will tell you where links lead to if you roll your cursor over them.

Note that there's a third toolbar in Safari, called the "Tab Bar". You'll use it only if you turn on tabbed browsing, which is discussed later on in this chapter.

The Address Bar
This brushed metal toolbar houses all of Safari's basic web browsing controls. Like most toolbars in Mac OS X, the Address Bar is totally customizable. The default, factory-fresh toolbar has the following buttons and fields on it:

 * Back/Forward - These two conjoined buttons let you go back to the previous page you viewed, or reverse the action of pressing the back button and return to the page you went back from.
 * Stop/Reload - These two Web Browsing mainstays have been combined into one button: when a page is loading, this button halts the page-loading process. When Safari isn't loading anything, the button reloads the current page, in case it changed since you last loaded it or didn't load properly the first time around.

 * Add Bookmark - This essential button, marked with a plus sign, lets you add the page you're looking at to your bookmark collection. Bookmarks are covered later on in this sub-chapter, along with exactly how this button works.
 * Address and Search - These two text fields are probably the most important items in the Address Bar, and browsing without them would be very difficult indeed. The Address Field lets you type a web address (aka "URL"), and one press of the Return key later, takes you directly to it. It even doubles as a progress bar, filling up with a blue color as a page loads. The Search field, which is pill-shaped and marked with a magnifying glass, lets you perform a Google Web search right from your Safari toolbar. Clicking the tiny arrow next to the magnifying glass lets you review searches you have previously made.

If you want to, you can add other buttons to the toolbar to help improve your web-browsing experience. You know the toolbar customization drill: right-click the toolbar and choose "Customize Toolbar".

The other buttons available are:
 * Home - Safari lets you set a "Home Page", which is the first page you'll see when you open Safari. This button takes you there.

 * AutoFill - AutoFill, a supremely useful Safari feature, is covered later on in this sub-chapter.

 * Print - The print button does the same thing as the File > Print command or the ⌘P keystroke: it opens the standard Mac OS X print box and offers to print a hard copy of a web page for you.

 * Report Bug - These days, Safari's standards compliance is legendary. It was the first browser ever to pass the "Acid2" test, a modern benchmark for browser compatibility. But back in the day, when Safari was still in beta (geek-speak for "released for testing") and Apple was just learning the ropes, the Report Bug button let Safari users complain to Apple about websites that didn't work correctly. It still works today, in case you find a site that disagrees with Safari.

The Bookmarks Bar
The thin metal strip of words under the Address Bar is the Bookmarks Bar. It's discussed in the Bookmarks section of this sub-chapter.

=Browsing Around=

Spell Checking
Safari, like most applications that use Apple's standard Programming API, has access to OS X's built-in spell check service. It can be used several ways. The first, and easiest to use way, is to have OS X check spelling as you type. This method can be activated by first clicking in any web page's entry field, then going to Edit > Spelling then select 'Check Spelling as You Type.' This feature will then underline misspelled words in red and allow you to correct the word from its suggestions by Control-Clicking (Right-clicking with a two-button mouse) the word. If you know you spelled the word right you can have OS X add it to the spelling dictionary by selecting 'Learn Spelling' from the Control-Click menu. This setting may only be active for that session of Safari but once activated only the red underlining may go away on relaunch. Spelling options will still be a Control-Click/Right-click away and easily re-enabled.

Alternatively you can check the spelling of an entire text area by pressing ⌘; or by using the Edit>Spelling>Check Spelling menu command. If you only want to check one word using this method simply select the word you wish to check and then pressing ⌘; or use Edit>Spelling>Check Spelling. Preferences for how spelling is checked can be changed, including what dictionary to use, by using the Edit>Spelling>Spelling… menu command.

Note spell checking will not pick up Roman numerals. (try to spell check cdcdc ). Spell checking must also be enabled per application even though it is a shared program (so Mac OS X Tiger/Meet the Applications/TextEdit, Mac OS X Tiger/Meet the Applications/Mail, and others need their own enabling of spell check.

If a spelling error is added it is put in a file at '~/Library/Spelling/en' if the entry is in English. There is syntax in the file so be wary editing it.

See also Mac 101 on Spell Check

=Bookmarks and History= As you browse the web, you may find it convenient to keep certain web addresses handy for easy access. Safari includes many places to keep these stored addresses, called bookmarks.

The first place is the Bookmarks Bar. This brushed-metal strip directly below the Address Bar is something like a Dock for bookmarks: it keeps your very favorite websites within easy reach. To add a bookmark to this bar, navigate to the page you want to add. Click on the "Add Bookmark" button in the Address Bar, type a short name for the bookmark, and choose "Bookmarks Bar" from the pop-up menu. Then click "OK".

The bookmark now appears directly in the Bookmarks Bar. You can now visit the site you bookmarked simply by clicking the name that you chose.

If the Bookmarks Bar fills up, an >> icon appears at the end. Clicking this shows a menu that contains all the bookmarks that didn't fit. However, this is hardly an ideal solution. For bookmarks that you use semi-frequently but do not want on your Bookmarks Bar, you can use the Bookmarks Menu instead.

This menu works just like the Bookmarks Bar. To add a page, navigate to the page you want to add, click on the "Add Bookmark" button, type a name, but this time choose "Bookmarks Menu" from the pop-up menu. Then click "OK". The page now appears in the Bookmarks menu.

Folders
Once you start accumulating bookmarks, you'll want to organize them into folders. To do this, you'll use a part of Safari called the Bookmarks Manager. You can get to the Bookmarks Manager by clicking the little book icon in the left side of the Bookmarks Bar. The website you were viewing will be temporarily covered up by the Bookmarks Manager. This screen lets you organize your bookmarks and delete ones you don't want anymore.

The sidebar on the left contains collections of bookmarks. You'll notice that two of these collections are named Bookmarks Bar and Bookmarks Menu. These contain the bookmarks that appear in the Bookmarks Bar and Bookmarks Menu. Click one of these in the sidebar, and the contents pane to the right will display the bookmarks inside.

Let's say you want to add a folder inside the Bookmarks Menu collection. To do this, click the second plus button from the left at the bottom of the screen. The folder appears in the contents pane, ready to be named. Once you have finished typing a name, press the return key. You can then put the bookmarks inside the folder by dragging them onto the folder's icon. Folders like these are great for grouping websites with similar subjects; you could create a folder called "Macintosh" that contains all of your Mac-related websites.

Folders appear in the Bookmarks Bar as pop-up menus, and in the Bookmarks Menu as sub-menus.

If you want to delete a bookmark or folder of bookmarks, find it in the Bookmarks Manager, select it in the contents pane and pressing the delete key on your keyboard.

Collections
There are some other collections in the sidebar besides "Bookmarks Bar" and "Bookmarks Manager". These contain bookmarks that appear in neither the Bookmarks Bar nor the Bookmarks Menu. You actually have to open the Bookmarks Manager and double-click on them when you want to access the site they point to. This is rather inconvenient, so these folders are for bookmarks that you use infrequently.

You can create a collection with the plus button at the far left. Apple gives you a bunch of these collections already stocked with bookmarks to help you discover some websites. But if you don't want them gunking up your sidebar, you can delete them by clicking on their name and pressing the delete key on your keyboard.

History
=Tabbed Browsing=

Basics
Tabbed Browsing is a productivity feature in Safari that lets you view multiple web pages in the same window. It vastly streamlines the browsing experience, and it's a great idea to learn how to use it.

The first thing you have to do is turn Tabbed Browsing on. To do this, you'll need to visit Safari Preferences. Just like every other application, Safari's preferences can found in the application menu, or can be accessed by pressing ⌘-comma. Once you're inside Safari Preferences, click on "Tabs". The pane that appears contains three checkboxes. The top one is the one you're looking for; the master switch that turns on Tabbed Browsing. However, don't expect anything magical to happen when you check the box. You can now close Safari Preferences.

The magic happens when you create a tab. To do this, press ⌘T. A few things happen. First of all, the third toolbar mentioned at the beginning of this sub-chapter magically appears below the Bookmarks Bar. This is called the Tab Bar. You'll notice it contains two tabs. Try clicking them and watch what happens. One of the tabs contains the web page you were just viewing; the other one is the one you just created, which is blank.

Each tab is now a totally separate entity. You can browse the web in one tab, then click on the other and find it totally undisturbed. If you're in the middle of editing a Wikibook and want to quickly check on Mac news, you can create a second tab for the Mac news site, browse around a bit, and then go right back to your Wikibook editing. Depending on how you browse the web, you might find it convenient to open three, four, or even ten tabs at the same time.

You can close any tab by clicking on the little "X" button inside it.

Tips and Tricks
A few tabbed browsing pointers:
 * You can opt to have the tab bar displayed even with only one site open by checking "Always show tab bar" in the Tabs pane of Safari Preferences.
 * You can still open multiple windows when tabbed browsing is turned on. Each window can have a different set of tabs inside.
 * The keyboard shortcuts used for tabbed browsing change depending on settings. Check the Tabs pane of Safari Preferences for a list of keyboard shorcuts that apply to your current settings.

=RSS= RSS stands for "Really Simple Syndication". It's an emerging web standard that lets website creators make special pages for their websites called "feeds". Feeds have no visuals or layout; they simply provide a list of links with descriptions. It's up to an RSS reader application like Safari to display the links in a feed in a visually appealing way.

Feeds are taking the web by a storm, and you're lucky to have Safari; its RSS functionality is often considered the best of any browser. As you will see if you read this section, there are many unique uses for feeds.

Finding a Feed
Finding a feed is pretty easy. Start by hopping on over to apple.com.

=Autofill=


text:
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title: User talk:141.211.88.171


text:
Contradancer's Guide to Successfully Beginning Scottish Country Dance

This is the beginning point for what will become a Contradancers Guide to Successfully Beginning Scottish Country Dance. For now, I'm going to throw in a big disorganized mass of text, and hope that I can get some help in putting the thing together in a way that will be coherent and usable.

It should be noted that, while the main audience for this text are experienced contradancers, the text should be useful to other beginners at SCD.

Introduction
Contradance (Contra) and Scottish Country Dance (SCD) are related forms who trace their histories through English Country Dance (ECD). Contra derives from localized variants of ECD in the Eastern United States from the time of English colonization that were revived with the popularization of folk music in the 1960s and have been adapted, modified and expanded over the decades since. SCD was known as “English Country Dance as Danced in Scotland” until the Second World War.

From these similar origins, some substantial differences have developed. Contra is a relatively relaxed and open form. Contra is done to a walking step, while SCD is done with a number of precisely defined and executed steps. In SCD, there is a strong connection between the specific dances and the music they are danced to, while most Contra dances have no particular association to given pieces of music. Minimum competency can be achieved in Contra with a short workshop before a dance, and intermediate status can be achieved after a few nights of dancing. In SCD, minimum competency comes after a month or more of weekly classes, and intermediate status takes six months to a year of weekly classes to achieve.

This last part is very important for the contradancer attempting to learn SCD to keep in mind – it is going to take a lot longer to know what you're doing with SCD than it did to learn Contra. While you are struggling to learn footwork, pas-de-basque and how to tie them together into figures and formations, you will be finding others with more experience who seem to be doing all of those things with little thought or effort. If you are patient with yourself and patient with others during your months of steep learning curve, you will find that you will soon be doing those things with as little thought and effort as the others, and that you're having quite a good time. You will also find rather quickly that your Contra experience gives you a leg up on the beginner with no background in country dance.

You may also find that you have developed a number of bad habits in Contra that SCD will make painfully obvious (and painful). Correcting those habits will improve your Contra experience (and the experience of those you dance with as well).

Is SCD for you?
It's not for everybody, not even every contradancer. The only way to know for sure is to show up and try some classes and talk to your instructor about whether you're picking it up or not. However, the following might give you an idea if you're apt to find this a good fit.

 * 1) Do you count the bars while dancing contra?
 * 2) Do you enjoy proper dances?
 * 3) Do you enjoy dances done in three and four couple sets, rather than long-line sets?
 * 4) Do you like dancing with people who try to dance their figures correctly and on the correct count?
 * 5) Would you enjoy Contra a bit more if it was a bit more formal or elegant sometimes?
 * 6) Do you like being around people in traditional Scottish dress on occasion?
 * 7) Do you have an affinity for traditional Scottish things?

1. Commit to giving SCD a fair try
This is an important principle in Contra as well, as you've likely noticed beginners that show up after the beginner's workshop, stick with their beginner friends, never quite seem to get the hang of any of the dances, and leave (perhaps early) that night and never come back. This is an even larger issue in SCD, where the learning curve is much steeper and longer than that of Contra. A fair try in Contra would be two or three dances, to take into account differences in callers, partners, and bands, any of which could be a tough fit for the beginner. A fair try in SCD would be three to six months of weekly classes and as many evenings of dancing as occur. This will give you time to learn enough of the basics well enough that you can begin to get the sense of a dance so that you can not only remember the figure you're doing right this second, but also remember the next figure that's coming and how to flow from the one to the other. The first time this happens is a rather magic moment, and, until you've experienced it, you won't really understand what SCD is all about. Having (hopefully) reached this point with Contra already, you can appreciate this all the more when it happens in SCD.

2. Get involved with the classes
This is very different from Contra, and is worthy of a lot of emphasis. SCD requires classes—only the very most talented dancers will be able to pick up a minimal understanding of SCD from attending dances, and it will take them a period of years to get to that point. By far the best way is to attend classes where you can be taught the basic steps, figures, some dances and etiquette.

3. Come to the dances.
This should be less of a problem with Contradancers than with beginners that don't have a background in dance, because the dances are all there is to Contra. However, many beginners think that they aren't good enough dancers to come to a dance, and this is just wrong. The dance floor is a large space, and a good dance program should have a number of easy, beginner-friendly dances on it. Come to the dance and you will get to meet and dance with dancers that don't attend your classes. Dances are a very valuable place to learn what dancing is all about and how it works. You will doubtless hear many times that SCD is social dance, and the place where SCD is social is at the dances. There is an etiquette to learn that will make what you see done at dances make more sense.

Before your first class
Before you show up for a class, it's not a bad idea to consider buying a good pair of dancing shoes (if you don't already have one). Most male SCDers will be wearing ghillies or jazz shoes, and female SCDers will wear either of those or ballet shoes (not toe-shoes). The soft-soles these have are easier on the floors you are dancing on, and will give you a better balance between sticking to the floor and sliding than most street-shoes. Over time, maintaining traction on these shoe surfaces will be an issue, and you can get tips from experienced dancers on how to address it.

It's also not a bad idea to make contact with the instructor of the beginners class to verify the time and place information you've got, to introduce yourself, and to begin to get a feel for how the instructor operates. They can also let you know about the local dance opportunities, the cost of the class, etc. Ask about how beginner-tolerant the intermediate or experienced dance class is.

At your first class
It's a good idea to show up a little early at your first class. This will give you time to change into your dancing shoes, meet the instructor, and maybe chat with some of the other dancers. You can also get a good warm-up prior to the class if you'd like.

Something you should know by now is that dancing with beginners is very hard. Learning SCD in an all-beginner environment is tricky because you not only need to learn how to dance your part—you also need to learn enough of what your partner is to do that you can help prompt your partner from time to time. This is an reason why going to dances is important while you're learning—you will be able to dance with more dancers with more experience at the dances than you will in a beginners class.

Things your teachers will teach you in class
Yes, these are things your teachers will teach you, but you might find that the additional modality of reading will help you understand what they're saying.

Hands
There are some phrases and words used in SCD that have specialized meaning. For example, you will be told that any time you take hands in a figure, you should use a “hand-shake hold”. This does not mean the same grip that two American businessmen would use in a meeting, and trying to use that grip will lead to confusion and awkward dancing. “Hand-shake hold” means a hold where the gripping is done with the fingers and thumb, and what is held is the fingers – the palm of the hand is not involved. This is usually done with the gentleman holding his hand out with his fingers horizontal, and the lady placing her hand on top of his.

When taking hands on the side of the dance, there are a number of systems as to how this should be done. One is that, if there is an odd number of folks taking hands, the person in the middle will keep their palms up, with those on each side putting their palms down. Another is that hands should be held with the left palm down and the right palm up so that everybody has their thumbs pointing to the right. Clearly, these two systems are mutually exclusive, and adherents to either system, on the very rare occasion the subject comes up for open conversation between experienced dancers will result in disagreement about which method is proper. In practice, the system that seems to happen the most is that hands are put out for gripping purposes without being looked at. If the hands are lined up for an easy grip, that grip is taken. If not, one or both parties will quickly switch their hand position until a grip can be taken. In time, as you become familiar with the people you are dancing with (and, most of the time, you will be dancing with the same group of people), you can learn who takes which approach, if they have one, and adjust accordingly.

Positions
SCD uses foot positions taken from ballet. For those not familiar with them, this guide might be helpful:

 * First position is with the heels together, toes apart, so the feet form a right angle.
 * Second position is like first position, but with the feet one step apart (heels more or less under the shoulders).
 * Third position has the heel of the front foot resting in the instep of the other foot, forming a T.
 * Fourth position is similar to third, only, again, the front foot is about a step further from the other foot, but the feet still form a right angle.

For all of these positions, even while resting, the weight should be on the balls of the feet and the toes, not the heels. Having the heels off of the ground is a good thing.

Traveling Steps
When dancing to a jig or a reel, the traveling step will be the skip change of step usually referred to as "skip-change." Skip-change begins from first position with the right foot going forward into fourth position, the left foot closing into third position, and the right food going forward again to fourth position, then the left foot moving forward into fourth, the right closing into third, and the left returning to fourth, then repeating with the right foot going back into fourth. Once through this pattern takes two bars of music, with the right foot going forward on all odd-numbered bars, and the left foot going forward on all even-numbered bars.

When dancing the slower strathspey (which all instructors should tell you is unique to SCD), the step is actually similar in terms of what has been described here—it starts in first position, the right foot goes forward to fourth, the left closes into third, etc. However, this is done more slowly (as the music is more slow), the weight remains on the back foot in strathspey (it is on the front foot in skip-change), and there is a small hop as you switch from having the right foot forward in fourth to the left foot forward in fourth (and vice versa) to allow the back foot to go forward. Those who have seen or done Irish Step Dance may want to lift their knees up during the hop, but this should be resisted willfully. SCD tends to prefer straight legs as much as possible. Also, on the first step, since the weight is on the back foot, the front leg stretches into fourth while the back knee bends, ready to spring straight for the push to move the weight to the front foot when it's time to close to third.

Both steps are easier to do than these descriptions make them sound. They can be about as difficult to learn as these descriptions indicate, so, if you're not getting them the first time you try them, don't be discouraged. While you're dancing, watch others feet, not your own, and you'll find that you'll soon be doing them correctly.

For circling, and a few other figures, we use slip step in which you start in first position, extend the left (or right) foot into second position, then bring the right (or left) foot to close back into first position. Two of these open-close combinations go into one bar of music, rather than two bars for each right-left combinations in the other steps, so "two bars of slip step" is actually four slip step steps. Beginners rarely have trouble learning slip step.

If you're ever too tired to do these steps properly, or if your legs or knees aren't up to the strain, a prompt walking step can cover the same ground in the same time.

Setting Steps
Setting steps keep your feet and body moving without moving you across the floor very much or at all.

Pas de basque
In jigs and reels, the setting step is the pas de basque, which, for as common a step as it is, can be quite tricky to learn—many experienced dancers do not do the pas de basque in a manner close to what is described here or in the instructions from the RSCDS. This is a matter to apply as much patience as you need to.

The pas de basque begins (usually) in first position by moving the right foot into second position, then moving the left foot in front into third position, then raising up on the left foot for a beat, lowering to the right foot for a beat, then moving the left foot into second position, bringing the right foot in front into third position, raising up on the right foot for a beat, lowering to the left foot for a beat, then repeating. This right-then-left combination will take two bars of music, and should have a definite movement of the body to the right and then left, and also a definite change of weight on the parts where you are raising up on the front foot that's in third position.

The right-to-left movement should center on the place where you're dancing, so that your net movement is no movement at all.

Strathspey
The setting set in strathspey time is much easier to learn and do than pas de basque. It begins from first position, stepping the right foot into second position, closing into third position behind the right with the left, then stepping into second again with the right and bringing the left foot up to the side of the right leg during the hop, then returning the left foot to second, stepping into third behind with the right, the back into second with the left and bringing the right foot up to the side of the left leg during the hop.

Highland Schottishe Setting
This is a rather tricky variant of the strathspey setting step where you raise your right hand and bend your elbow so that your hand is above your head while you hop on your left foot once while moving your right foot out to second position, hop on your left again while bringing your right foot up behind your left leg (so the foot is in line with the leg, toes down), hop on your left again while bringing your right foot back out to second, hop on your left again while bringing your right foot up in front of your left leg (again, so the foot is in line with the leg, does down), then bringing your hand down and doing the rightward-moving portion of the strathspey setting step. Half-way done now. Then you reverse the process, putting your left hand above your head, and hopping once on the right while bringing your left foot out into second, hopping again on the right while bringing your left foot behind the right leg, hopping again on the right while bringing your left foot into second again, hopping yet once more while bringing your left foot up in front of your right leg, and then dropping your hand while doing the leftward portion of the strathspey setting step.

This means that one time-through of Highland Schottishe Setting will take four bars of music.

If your instructor has you trying this before you've been in class for a year, it is okay to give them a suspicious or accusing look.

Petronella
Petronella is actually a figure, but, since it's a close variant of setting, it's usually presented with setting, so it's being presented here with setting. This does not refer to the petronella turn you learned in Contra—they're derived from the same figure, but you'll need to do each a while to see how they're related.

A petronella is done just like a regular pas de basque or strathspey setting step, with the same foot-to-beat pattern going on as the setting step, only it begins with the right foot going forward into fourth position rather than second position, the weight-shift portions accompanied by a pulling-back of the right shoulder, then the left foot going back into fourth position behind, continuing the pulling-back of the right shoulder such that, when you've finished, you're now half-way across the dance, facing to the left of where you started the petronella. If repeated (which it often is) from that ending position, the second petronella will put you on the side opposite where you started.

At your first dance
Your first dance can be a rather scary thing. It's very easy to psych yourself out because you don't think you're good enough to go around experienced dancers. However, most experienced dancers are happy to see new faces and will offer support and encouragement to new dancers.

Your dance program should be available well ahead of time, and should include a mix of easier dances and more challenging dances, and those difficulty levels should be indicated in some fashion on the dance program. It is a good idea to look the program over ahead of time with your instructor and decide which dances you'll be dancing, and, perhaps, to go over the dance descriptions shortly prior to the dance. It's a good idea to pick a more experienced partner for dances that you're less certain about, so that you will have more support should you need it.

Briefing v Walk-throughs
It's a very good idea to ask whether the dances will be introduced by being briefed or whether there will be walk-throughs. If you're going to do so, however, you should know a little history of the controversy you will be edging into.

In the old days, when people generally lived their lives and died within a few hours walking distance of where they were born, and the number of dances to know was much smaller, each community would have its set of dances that everybody learned and knew. From this the tradition was that you should already know how to do a dance before the dance comes, so the dance would not be taught at a dance. Later, as this became less true, the standard became that the dance would be briefed from memory by an instructor, with, again, the idea that you should know a dance well before lining up to dance it. Many groups still use this standard. Other groups will provide one (or more) walk-through to make more certain that everybody lined up for a dance has some idea what they're doing, which makes matters much easier for beginners and those traveling to attend a dance.

Those who prefer briefing only will explain that it saves time, so that more time can be spent dancing. Those who prefer walk-throughs will point out that walked-through dances are more likely to work out the first time, so the dance is less likely to need to be repeated.

Without attempting to resolve the point in this space (which would mean nothing to any given group) the point here is that you should know how many, if any, walk-throughs will be taking place, so as to give you an idea of how prepared you need to be when you get to the dance.

Dance Etiquette
Note that the following are not necessarily all universal guidelines to dance etiquette in all places. However, they should give you a plan you can follow as you walk into a dancing experience.

The program for a dance is usually published well before the dance, so it will be no mystery in most cases what the next dance will be. However, it is customary to not take a partner nor to line up before either the name of the dance is announced or a portion of the music for the dance has been played. A well-mannered gentleman does not complain when ladies and other non-men pair up with each other, even if this leads to men not having ladies to partner with. It is neither necessary nor appropriate to enforce a strict gender division in the dance, it is not the collective job of the ladies and non-men to prioritize men's comfort above their own, and groups that treat the prospect of two men dancing together as something to avoid at all costs should consider what sort of message that priority sends.

When taking a partner, it is customary for the man to take the lady by her left hand and his right hand so that, as they walk toward the top of the hall (the side from which the music is coming), they are lined up on the proper sides. The first man in the top set of each line is expected to count the couples of his line and assign them to their sets. This is the equivalent to "hands four from the top," and it can take some time to get the sets figured out.

It is no longer expected that the man accompany his partner back to the seat she was in when he asked her – it is rather likely that she wasn't seated when he asked her and that that particular spot of the floor has no particular significance to her.

As in Contra, there is an expectation that you will dance with different partners throughout the evening of dancing, and, as with Contra, it's usually easy to not have to repeat a partner in an evening of dance.

Figures shared between Contra and SCD
Due to their common origins, Contra and SCD have some shared figures. Some will be similar figures, and some will have similar names, and some will be both.


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A-level Mathematics/OCR/M1/Force as a Vector

Vector
A vector is a mathematical quantity that has both a magnitude and a direction. The direction is usually expressed as an angle in degrees. For example if it is said that a ball is rolling down a hill at 30 metres per second and the hill has a 30 degree slope then this is a vector quantity. However if it is only said that it is rolling down the hill at 30 metres per second then it is a scalar quantity. A scalar quantity will only give a magnitude and not a direction. In most mechanics problems the direction will have a profound impact on the motion.

Representation of Vectors
When you write a vector you must add an arrow to the top like so $$\vec v$$. When you draw a vector you need to draw as an arrow slanted at approximately the same degree as the direction. The vector described above would be drawn as such:.

Components of Force
A force is a vector that can be separated into x and y components which are perpendicular to each other. We separate a force into components so that we can add multiple forces together.

If you draw an accurate enough diagram you can find the x and y components. However this can be tedious and is error prone and is unacceptable on the A-level examination. Instead you need to use trigonometry to separate a vector into x and y components. The force is always the hypotenuse of the triangle. The angle, which is the direction that the force is applied, is usually given in degrees. However sometimes you will also find the angle given in the Cardinal directions (east, south, west, north,etc.).

Example 1
Find the x and y components of a 40 Newton force acting on a ball at a 30° angle.
 * 1) Using the mathematical formulae we get:
 * 2) $$y\ Force = 40N \sin 30 = 20N\,$$
 * 3) $$x\ Force = 40N \cos 30 = 34.64N \,$$

Example 2
Find the Angle $$\theta\,$$ if the resultant force is 24N and the y component of the force is 18.11N.
 * 1) Using the mathematical formulae we get:
 * 2) $$\theta=\arcsin\left(\frac{18.11N}{24N}\right) =49^{\circ} \,$$

Resultant Force
When multiple forces are acting on one object you will get a resultant force. The resultant force is how all the forces combined will act on the object. The procedure for finding the resultant force is as follows:
 * 1) Draw the forces and the angles on a Cartesian plane. This is to ensure that you get the right angles.
 * 2) Make all angle in terms of the positive x axis.
 * 3) Separate each force into its x and y components.
 * 4) Add all the x and y components. You can also use the i and j notation,  where i is the horizontal component  and j is the vertical component.
 * 5) Find the resultant force.
 * 6) Find the angle. If a force is negative make it positive. Then place the angle in the right quadrant, because the inverse tangent will place all angles in the first quadrant. If necessary review Core 2 Trigonometry.

Example 1
A group of people are playing football. The ball is kicked simultaneously by one person with a force of 60N at an angle of 73°, another kicks the ball with a force of 40N at a 20 angle west of south and the third kicks with a 100N force at a 124° angle. What is the resultant force and angle?
 * 1) Draw the forces and the angles on a Cartesian plane. This is to ensure that you get the correct angles.
 * [[Image:forceaddex1.svg|200px]]
 * 1) Make all angle in terms of the positive x axis.
 * The 60 N is acting at a 73° angle.
 * The 40 N is acting at a 250° angle.
 * The 100N is acting at a 124° angle.
 * 1) Separate each force into its x and y components.
 * 2) For the x components
 * $$x\ Force = 60N \cos 73 = 17.54N \,$$
 * $$x\ Force = 40N \cos 250 = -13.68N \,$$
 * $$x\ Force = 100N \cos 124 = -55.92N \,$$
 * 1) For the y components
 * $$y\ Force = 60N \sin 73 = 57.38N \,$$
 * $$y\ Force = 40N \sin 250 = -37.59N \,$$
 * $$y\ Force = 100N \sin 124 = 82.9N \,$$
 * 1) Add all the x and y components.
 * 2) x Force =  17.54N - 13.68N - 55.92N = -52.06
 * 3) y Force =  57.38N - 37.59N + 82.9N = 102.69
 * 4) Find the resultant force.
 * $$F_{resultant}=\sqrt(-52.06^2+102.69^2) = 115.13N$$
 * 1) Find the angle.
 * $$\theta = \arctan\left(\frac{102.69}{52.06}\right)=63.11^{\circ}$$
 * Since the cosine is negative and the sine is positive the angle is in the second quadrant. 180° - 63.11° = 116.88°.

The resultant force will be 115.13N and will act at a 116.88° angle.


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A-level Mathematics/OCR/M1/Linear Momentum

Objectives
By the end of this chapter you should be able to do the following:

Use (and recall) the definition of linear momentum, and show an understanding of its vector nature in 1 dimension.

Understand and use conservation of linear momentum, in 1 dimension, and solve simple problems involving direct collision of two bodies before and after impact.

Momentum as a vector
Because momentum is defined to be mass times velocity, momentum is the product of a scalar and a vector, which is ultimately a vector.

$$p = mv$$

Conservation of Momentum
Within a closed system (i.e. a system not subject to an external influence) momentum is always conserved. Due to this, we can easily derive the following formula that is used in working out momentum:

$$ (M_1 * U_1) + (M_2 * U_2) = (M_1 * V_1) + (M_2 * V_2) $$

Where:

M = Mass U = Initial Velocity V = Velocity after collision

Whatever the momentum on the LHS, the total momentum on the RHS will be the same.

Collisions
The conservation of momentum is best illustrated through an example question:

The system before the collision.

The system after the collision.

As we have all the values before the collision, we can use the formula above to work out the total momentum in the system:

$$(2 * 5) + (5 * 0) = 10 \text{ Ns}$$

Now we know that momentum before = momentum after. So, $$10 = (2 * 10) + (5v)$$. This may seem to be unworkable at first, but because velocity is a vector and the two balls are rolling in opposite directions, the 5 kg ball has a negative velocity.

Rearranging our formula we get $$10 - 20 = 5v$$. Rearranging this again to $$\frac{10 - 20} {5} = v$$ we can see that $$v = -2 {\text{ ms}}^{-1}$$

Impulse
Impulse is the change in momentum, measured in Ns as with momentum. It is a vector quantity, with magnitude and direction. The impulse by B on A is A's change in momentum as a result of collision with B; it can be found with $$m_1 * u_1 - m_1 * v_2$$.


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German/Level I/Volk und Familie/Problems

Introduction - Lesson 4 - Lesson 5 - Lesson 6

../Problems/ - ../Answers/ - ../Test/ - ../Test Answers/

Lesson 5 ~ Volk und Familie Problems

Die Familie
Karl ist der _____ von Thomas.

Bettina ist die Mutter von ______.

Marie ist die ______ von Oma Lieschen.

Opa Rudolf ist der _____ von Marie.

../Answers/ >>

Volk und Familie/Problems


text:
German/Level I/Volk und Familie/Answers

Introduction - Lesson 4 - Lesson 5 - Lesson 6

../Problems/ - ../Answers/ - ../Test/ - ../Test Answers/

Lesson 5 ~ Volk und Familie Answers

Die Familie
Karl ist der Vater von Thomas.

Bettina ist die Mutter von Thomas/Marie.

Marie ist die Enkelin von Oma Lieschen.

Opa Rudolf ist der Opa/Großvater von Marie.

Volk und Familie/Answers

title: German/Level I/Volk und Familie/Answers


text:
Talk:Latin/Lesson 3-Present Verbs

Untitled
Is there any particular reason that it uses Jesus as an example? That doesn't seem particularly neutral...

What's the idea of having a table where you have to inflect nouns in cases if we have studied only nominative case? And below the table is exercise to copy pronoun table from lesson 7, but lesson 7 seven doesn't exists anymore. I wonder if the table can be removed or should it be moved to some other lesson? (And sorry my bad english)

Pardon if I am not polite, but I really think that this chapter could have been made by a silly or a person who does not know how to build a book like this one. --84.77.146.109 19:28, 5 December 2007 (UTC)

Poor Construction
I think this article needs to be overlooked by an editor with some experience. It is not very well written in its current state. 220.101.40.217 (talk) 11:02, 9 March 2008 (UTC)

First Exercise - Present verbs
I was thrown a bit by 4. "Conjugate the verb 'to be' in the past and present tense in English and Latin (I am, You are, He is etc.) ". It asks for 'past and present', but only gives the present tense in the answers. --59.167.249.210 (talk) 04:16, 8 May 2008 (UTC)

Exercise Under "Tense"
The book, as it currently reads, tells the reader to "fill out this table of noun declensions." While I can find the singular declensions (on the introductory page #2), I cannot find the plural declensions.--Phillipps (talk) 04:02, 18 May 2008 (UTC)

I would also like to add that while the exercise asks for the table to be filled in, it does not give the source of the information required (It was on page 2 of the introduction). The table that I am referring to does contain an inaccuracy; it states that the table is only for illustration, not to be memorized, and does not display the plural as this would be redundant. This is wrong, as: 1. The table is the only source of information on the declensions, 2. The exercise says that the table has to be memorized, and 3. The plural would not be redundant as it is given nowhere else and is needed to complete the exercise. In fact, the only plurals I could find were that of puella in the nominative case (only for the first two declensions), and several others in the accusative.--Phillipps (talk) 04:19, 18 May 2008 (UTC)

Shortest sentece
Two Romans took a bet. Who writes the shortest sentence wins. First wrote "EO RUS" (I'll go to the countryside), second replied "I" (Go!)

Relevant?

 * I wonder if it should be clarified to say the shortest complete sentence that is not an imperative.
 * Also of note is that the article says that the shortest sentence is written as "You are" in English. It comes close to implying that "You are" is the shortest (complete, non-imperative) English sentence possible.  The article should state more explicitly that "Es" is the shortest Latin sentence (with honourable mention to the above, perhaps) prior to mentioning the English translation, rather than the other way around.  The shortest non-imperative, complete English sentence is actually similar to the Latin, but uses a different conjugation: "I am."  The shortest incomplete sentence is "I" in certain circumstances ("Who ate the cookies?"), but that is technically a shorthand for "[It was] I", and that construction is exceedingly pedantic as it is generally preferable to answer "Me" even if grammatically inferior.  The shortest imperative sentence is also, remarkably, "Go."
 * The complete coincidence of "I" and "Go" is pretty fascinating, come to think of it. --208.181.64.45 (discuss) 18:11, 12 February 2012 (UTC)
 * The complete coincidence of "I" and "Go" is pretty fascinating, come to think of it. --208.181.64.45 (discuss) 18:11, 12 February 2012 (UTC)
 * The complete coincidence of "I" and "Go" is pretty fascinating, come to think of it. --208.181.64.45 (discuss) 18:11, 12 February 2012 (UTC)

title: Talk:Latin/Lesson 3-Present Verbs


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Talk:French/Appendices/List of authors

Untitled
This... isn't Wikipedia. And this would go under something like "List of French Authors." Did anyone notice that this was listed under the French Wikibook module "About the[this] Book?" 65.6.234.119 03:37, 17 December 2005 (UTC)

title: Talk:French/Appendices/List of authors


text:
User talk:Frankqt

What do I talk about?

Well I think the best subject is sex. Someone start and I will follow-up.

title: User talk:Frankqt


text:
Muggles' Guide to Harry Potter/Magic/Riddikulus

Overview
Riddikulus is a spell used against boggarts. The caster must think of something funny while casting this spell. If successful, it forces the boggart to take the shape of whatever the caster was thinking about. As boggarts feed on fear and are defeated by laughter, the object of the spell, ultimately is to make the boggart laughable.

Extended Description
We see this spell invoked several times in Harry Potter and the Prisoner of Azkaban when Professor Lupin is teaching the spell to his Defence against the Dark Arts class. While Professor Lupin does provide a Boggart for use in Harry's anti-Dementor lessons, we don't see the Riddikulus spell being used against it. The spell appears again in that book when a Boggart is one of the tests in the final exam.

A Boggart plays a role in the Third Task maze in Harry Potter and the Goblet of Fire. The effect of the Riddikulus spell here is uncertain.

A Boggart also appears in Harry Potter and the Order of the Phoenix. Mrs. Weasley is trying to use the Riddikulus spell against it, and is repeatedly failing. The change of aspect forced by the spell, however, allows Harry to note that Mrs. Weasley cares as much about his own welfare as she does about any of her family.

Analysis
This spell is of quite limited usefulness, being effective against Boggarts only, at least within our story arc. That said, it is used, as mentioned, a number of times in the series. The fact that Professor Lupin is able to find Boggarts on demand, at least twice and possibly three times during the school year, does indicate that they are relatively common in the Wizarding world. (The story does not specify whether the Boggart used in Lupin's practical final exam is the same one Harry was using for his anti-Dementor spells.)

The author is mute on how Boggarts can be handled in the case where there is no real way to make one's greatest fear seem funny. We see two cases of that in the series: Lupin's greatest fear being the full moon, and Mrs. Weasley's greatest fear being the death of her family members. We note that Lupin rarely tries to use the Riddikulus spell himself, instead using some wordless form of magic to force the Boggart back into its hiding place, on two of the occasions where we see him acting against one. The one time he does demonstrate its use, in his first lesson with Harry's class, he merely turns the Boggart into a cockroach.

As an aside, we note that Lupin used up his one and only (at that point) Boggart teaching the Riddikulus spell to the Gryffindors. We wonder what lesson he taught the Slytherins, Ravenclaws, and Hufflepuffs.

The origin of the spell seems to be a play on the word "ridiculous." However, "riddi," meaning "I laughed" in Latin, may be an origin for the first part of the spell.

Questions

 * 1) What would be the effect of casting Riddikulus on a non-Boggart?

Greater Picture
One main reason for the Boggart's existence, as mentioned on the write-up of that creature, is to provide an incontrovertible method of displaying the characters' deepest fears. As such, there must be some spell to fight them. Given that the Boggart inspires fear so as to feed on it, that which destroys it must be the antithesis to fear. Having the Boggart be defeated by laughter is, in fact, quite logical, but the author's choice of the spell and its results, and her choice in handing it to Neville for the first and the most effective invocations, seems somehow inspired.


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Adventist Youth Honors Answer Book/Health and Science/Blood and the Body's Defenses

2. Name two major constituents of blood. What is the percentage of each in normal blood?
Human blood consists of about 45% blood cells, and 55% plasma.

3. Be able to draw pictures of and name the 7 types of blood cells and indicate what each type does.
Blood cells are treated with a staining agent before they are photographed so that identifiable features will stand out.

1. Red Blood Cells are responsible for transporting oxygen to other cells in the body, and for collecting carbon dioxide from them for disposal. Red blood cells can be identified by their donut-shape.

2. Platelets are the blood cell fragments that are involved in the cellular mechanisms that lead to the formation of blood clots. Platelets appear in most of the photographs above as tiny, irregular, bluish specks.

3. Neutrophils, are a type of white blood cell which travel to infected tissue and surround bacteria, rendering them harmless to the body. The picture above shows two neutrophils surrounded by multiple red blood cells. Neutrophils have segmented nuclei and small granules that stain purple.

4. Eosinophils, are a second type of white blood cells and are responsible for combating infections by parasites. Eosinophils are filled with large granules that stain red.

5. Basophils are a third type of white blood cell which store histamine, a chemical that is secreted by the cells when stimulated in certain ways (histamine causes some of the symptoms of an allergic reaction). Basophils tend to appear in specific kinds of inflammatory reactions, particularly those that cause allergic symptoms. Basophils have large, dark granules in the cell that may cover the nucleus.

6. Lymphocytes are a fourth type of white blood cell involved in the human body's immune system. There are two broad categories of lymphocytes, namely T cells and B cells. T cells are especially important in cell-mediated immunity, which is the defense against tumor cells and pathogenic organisms inside body cells. They are also involved in rejection reactions. B cells, in the presence of an antigen (a substance that stimulates an immune response), can become much more metabolically active and differentiate into plasma cells, which secrete large quantities of antibodies. Lymphocytes have no granules, and they have very large nuclei that take up nearly all of the cell's area.

7. Monocytes, are a fifth type of white blood cell which also travel to infected tissue and turn into macrophages. As macrophages, these cells kill germs (including cancer cells) and start the production of antibodies. Like neutrophils, monocytes have no granules, but their nuclei take up only about half the cell's area. A monocyte's nucleus often has an indentation in it.

== 4. Observe some preserved human blood under a microscope. Count 100 white blood cells and draw a graph showing the number of each of the five types of white blood cells you found. Which type is most common? Which type is least common? ==

Prepared microscope slides are offered for sale at many scholastic supply houses. Many retailers offering such slides have an Internet presence. Before spending money on this, check with a local high school biology teacher. They will have microscopes and very well may have slides on hand already.

The charts below show the expected distribution of the different types of cells. It is possible that you may not see any eosinophils or basophils in your sample since they are so rare and you're only looking at 100 white blood cells.

Reference for white blood cell distribution: Family Practice Notebook

Observe blood being drawn from someone's arm by a medical professional.
This requirement can be met by organizing a blood drive for your church. Blood donation organizations will not accept blood from minors, but there are still ample opportunities for the Pathfinders to help in other ways. This is an excellent way to meet the Community Service requirements for the AY curriculum.

Invite the organization to have a blood drive at your church. Well before the date of the blood drive, have the Pathfinders advertise the event (this is a good opportunity to earn the Lettering and Poster Making honor). Be sure to announce the blood drive in church for several weeks. On the day of the event, the Pathfinders should help set everything up, greet people, hand out paper work to the donors, serve cookies and juice, and clean up afterwards.

=== With the help of an experienced person, observe blood flowing through some capillaries (either on video tape or in a living organism such as a hamster cheek-pouch, frog skin, or goldfish tail, using a microscope). === This downloadable movie clip shows blood flowing through a capillary, but it's very short. Its shortness does make for a quick download (56Kbytes). It is best to play the movie in "loop" mode.

This much longer (11 Mbytes) movie clip also shows blood flowing through a capillary.

Visit a medical lab where blood tests are performed.
Talk to your personal physician or a doctor in your church to find out where the local medical labs are.

Visit a blood bank.
Contact your local Red Cross to arrange a visit. You can find your local chapter at their website.

== 6. What two gases are transported by the red blood cells? Explain why blood appears blue/green in your veins, but if you cut yourself, the blood that comes out is bright red. Explain why a lack of iron in your diet might make you have yellowish-colored blood.== Red blood cells transport oxygen to the rest of the body and carry the carbon dioxide away. Blood carrying oxygen appears bright red. When you cut yourself, your blood is exposed to oxygen in the air, and this is sufficient to cause it to turn color. When little oxygen is present is the blood, it is still red, but it is much darker, tending more towards black. Blood is neither blue nor green inside your veins, but it looks this way sometimes because the veins themselves and pigment in your skin impart a bluish tint.

Blood carries oxygen by letting it bind loosely with iron. Without sufficient iron in the blood, its oxygen carrying capacity is reduced. Since oxygen is what makes the blood bright red, it cannot assume this color without iron. Blood plasma is yellow, so when the red cells cannot impart their color to the blood with full power, the underlying color of the plasma has a greater influence.

7. Explain how blood clots when you are injured. How does typical "First Aid" help in the process?
Blood clotting occurs in two stages called primary hemostasis and secondary hemostasis. Primary hemostasis begins immediately after the wall of a blood vessel is broken. Platelets in the blood bind to a protein called collagen which is found in the vessel wall. Normally the collagen is hidden from the platelets, but when the blood vessel is broken, it becomes exposed. When the platelets bind with the collagen, it forms a plug which slows the flow of blood through the break in the blood vessel.

Secondary hemostasis takes place over the next couple of hours. A protein in the blood called fibrinogen is converted to fibrin which is long and string-like. The fibrin forms a mesh which makes the clot larger, eventually sealing the break in the blood vessel.

Typical first aid for bleeding concentrates on slowing and stopping the flow of blood from the wound. If the blood is allowed to pool around the wound instead of flowing out of it, more platelets and fibrinogen is available on the scene and the clot can form more quickly.

8. What does it mean to be a blood donor? If possible, know your blood type. What types of blood can be donated to you?  Which blood types cannot be donated to you? Why?
Being a blood donor means that a person allows his or her blood to be drawn so that it can be used at a later time. Sometimes the blood is used by another person, and sometimes the blood is used by the donor herself. Often when a person is scheduled for surgery and has plenty of advance notice, she has the opportunity to bank some of her own blood. This is called an autologous donation. Autologous blood donations do not need to be screened for things like AIDS or hepatitis because the person cannot contract a disease from herself. If she has the disease, she has the disease. If she doesn't, she won't contract it from her own blood. However, if the blood donation is not autologous, it is carefully screened for all types of potential diseases so that the person receiving it does not contract it from the transfusion.

Before donating blood, the donor must fill out an extensive questionaire. If the donor has traveled in certain foreign countries recently (where tropical diseases are common, for instance), or if the person is at high risk for contracting AIDS, the blood donation will not be accepted. Blood is also not accepted from people who have ever had cancer, hepatitis, or any number of other diseases.

Once the forms have been filled out, the blood type is tested, and then the donor lies on a table. A tube is inserted in an arm vein (this may involve a little pain, but it is brief and not severe), and the donor is then asked to squeeze a rubber ball. The amount of time spent lying on the table depends on how quickly a pint of blood can be extracted, but it ranges between five and twenty minutes. When a pint of blood has been extracted, the tube is removed and the donor may slowly sit up. The wound is bandaged, and free cookies and juice are served to replenish the donor's body fluids and restore sugar.

Blood typing can be done at home or in the classroom. Sargent-Welch sells blood typing kits that will test the blood type of 50 individuals for about $1.00 per person. These kits are made for educational settings.

Health Hometest has kits you can buy for testing a single person for about $10.00.

Nobelprize.org has an online "Blood Typing Game" for determining the blood type of a virtual patient.

The ABO and Rh blood typing systems categorize blood according to the way antigens and antibodies behave in a person's blood.

ABO Groups:

 * Blood Group A: Persons with type A blood have type A antigens on the surface of their red blood cells and type B antibodies in their blood plasma.
 * Blood Group B: Persons with type B blood have type B antigens on the surface of their red blood cells and type A antibodies in their blood plasma.
 * Blood Group AB: Persons with type AB blood have both type A and type B antigens on the surface of their red blood cells and neither type A nor type B antibodies in their blood plasma.
 * Blood Group O: Persons with type O blood have neither type A nor type B antigens on the surface of their red blood cells and they have both type A and type B antibodies in their blood plasma.

Rh Factor:
 * Rh Positive blood has Rh antigens on the surface of the red blood cells, and does not have Rh antibodies in the blood plasma.
 * Rh negative blood does not have Rh antigens on the surface of their red blood cells. It does not naturally have Rh antibodies in the blood plasma, but it can develop them if exposed to Rh positive antigens (if for instance, Rh+ blood is given to an Rh- patient).

The ABO group and Rh factor are combined to specify the blood type. So a person with type AB+ (pronounced AB positive) blood has type AB blood and is Rh positive.

The blood plasma and corpuscles (red cells, white cells, and platelets) are separated in donated blood before it is transfused into a patient. This removes most of the donor's antibodies from the blood since the antibodies are present in the plasma. Because antibodies attack cells with a specific antigen marker, people with type A antibodies cannot receive blood that has type A antigens. If a person with type A antibodies receives blood with type A antigens, the patient's blood will attack the donated blood causing it to clump together and eventually break down. When the cells break down, they can release toxins that could possibly kill the patient. The same holds for type B and type Rh antigens and antibodies.

9. Tell two stories in the Bible in which blood is involved. From what you know about blood, why do you think that the Bible uses blood as a symbol of God's saving power?

 * Joseph's brothers dip his coat in blood before returning to their father. Genesis 37:12-36.
 * The Nile turns to blood during the showdown between Moses and Pharaoh. Exodus 7:14-24.
 * During Passover the angel of death passes over houses marked with blood. Exodus 12:1-30.
 * Blood is taken into the Most Holy Place on the Day of Atonement. Leviticus 16
 * The priests of Baal cut themselves in their contest with Elijah on Mount Carmel. 1 Kings 18:16-40.
 * King Ahab bleeds to death in his chariot. 1 Kings 22:29-40.
 * The Last Supper is a symbol of Christ's body and blood. Luke 22:7-32.
 * Jesus's side is pierced on the cross and blood and water flows out. John 19:28-37.
 * The saints' robes washed in the blood of Jesus. Revelation 7:15

Blood is responsible for collecting waste from all over our bodies. In this sense, it literally washes us on the inside, just as Christ's blood washes away our sins.

== 10. List 10 specific health habits that can help your body stay healthy and fight off infection. Find a reference from the Spirit of Prophesy that supports each one of these. Keep a record for three weeks of how often you repeat these 10 habits.==

"They may be weary, but how sweet is rest after a proper amount of labor. Sleep, nature's sweet restorer, invigorates the tired body and prepares it for the next day's duties."—Child Guidance, pp 341,342.
 * 1. Proper Diet. "When we feed on flesh, the juices of what we eat pass into the circulation. A feverish condition is created, because the animals are diseased; and by partaking of their flesh we plant the seeds of disease in our own tissue and blood." Healthful Living, p 212
 * 2. Fresh Air. "The effects produced by living in close, ill-ventilated rooms are these: The system becomes weak and unhealthy, the circulation is depressed, the blood moves sluggishly through the system because it is not purified and ventilated by the pure, invigorating air of heaven. The mind becomes depressed and gloomy, while the whole system is enervated, and fevers and other acute diseases are liable to be generated."—Healthful Living, p 212.
 * 3. Get Plenty of Sleep. Your immune system replenishes itself while you sleep, so not getting enough sleep robs it of the time it needs to fully recharge. The amount of sleep a person needs varies from one individual to another, but most people need eight hours per night.  If you wake up exhausted, you're not getting enough sleep.

"The stimulating diet and drink of this day are not conducive to the best state of health. Tea, coffee, and tobacco are all stimulating, and contain poisons. They are not only unnecessary, but harmful, and should be discarded if we would add to knowledge, temperance."—Review and Herald, Feb. 21, 1888.
 * 4. Avoid Caffeine. Caffeine interferes with your ability to get to sleep, so it should be avoided - especially after noon.

"Let the sunshine of love, cheer, and happy content enter your own hearts, and let its sweet influence pervade the home. . . . The atmosphere thus created will be to the children what air and sunshine are to the vegetable world, promoting health and vigor of mind and body."—Sons and Daughters of God, pg 168.
 * 5. Do Not Drink Alcohol. "Alcohol and tobacco pollute the blood of men, and thousands of lives are yearly sacrificed to these poisons."—Health Reformer, November, 1871.
 * 6. Do Not Use Tobacco. See above.
 * 7. Be Happy. A cheerful heart does good, like a medicine.

"Persons in health should . . . by all means bathe as often as twice a week. Those who are not in health have impurities of the blood. . . . The skin needs to be carefully and thoroughly cleansed, that the pores may do their work in freeing the body from impurities; therefore feeble persons who are diseased surely need the advantages and blessings of bathing as often as twice a week, and frequently even more than this is positively necessary."—Testimonies to the Church, Volume III, p. 70.
 * 8. Regular Exercise. "In many cases the sickness of children can be traced to errors in management. Irregularities in eating, insufficient clothing in the chilly evening, lack of vigorous exercise to keep the blood in healthy circulation, or lack of abundance of air for its purification, may be the cause of the trouble. Let the parents study to find the causes of the sickness and then remedy the wrong conditions as soon as possible."—Adventist Home, pg 263.
 * 9. Regular Bathing. Taking a bath or a shower regularly washes pathogens from your skin and thus, away from your body.

"It is important also that the clothing be kept clean. The garments worn absorb the waste matter that passes off through the pores; if they are not frequently changed and washed, the impurities will be reabsorbed."—Child Guidance pg 109.
 * 10. Wear Clean Clothing. Clothes that are worn day after day accumulate dirt and bacteria. Change into clean clothing every day and keep the "nasties" away.

"I have often seen children's beds in such a condition that the foul, poisonous odor constantly rising from them was to me unendurable. Keep everything the eyes of the children rest upon and that comes in contact with the body, night or day, clean and wholesome. This will be one means of educating them to choose the cleanly and the pure. Let the sleeping room of your children be neat, however destitute it may be of expensive furniture."—Child Guidance pg 109.
 * 11. Keep Your Home Clean. Bacteria love dirt. Keep it out of your house.  Allow plenty of sunshine to enter your house during the day, and allow fresh air in as often as possible.  Sunshine kills many forms of bacteria, and stale air harbors it.

11. Define the following terms related to the body's defenses

 * Immunology: a broad branch of biomedical science that covers the study of all aspects of the immune system in all organisms.
 * Pathogen: a biological agent that causes disease or illness to its host.
 * Inflammation: a pathological condition of any part of the body. It is manifested outwardly by redness and swelling, attended with heat and pain.
 * Antibody: a protein used by the immune system to identify and neutralize foreign objects like bacteria and viruses. Each antibody recognizes a specific antigen unique to its target.
 * Memory Cells: are a type of lymphocte (also known as memory B cells) that are formed following primary infection. When a B cell is activated by recognizing a specific antigen, it quickly reproduces to form antibody producing plasma cells and long-lived memory cells. The memory B cells are specific for the antigen that first stimulated their production.
 * Immunity: a state of having sufficient biological defenses to avoid infection, disease, or other unwanted biological invasion.
 * Vaccine: a medication given to stimulate the body's production of antibodies and provide immunity against a disease, prepared from the agent that causes the disease, or a synthetic substitute.
 * Allergy: an immune malfunction whereby a person's body is over-sensitive to a substance that is harmless to most people, causing the immune system to attack it.
 * Histamine: a chemical released by basophils and mast cells (which are very similar to basophils) and causing an immune response. In some cases, the response is unwarranted because the invading substance is harmless.  In this case, the response is known as an allergic reaction.  Histamines cause inflammation of the tissue, watery eyes, itching, runny nose, and sneezing.
 * Antihistamine: a drug that suppresses the release of histamine. Examples include the prescription drugs Clarinex, Allegra, and Zyrtec, and the over-the-counter drugs Claratin and Benadryl.

== 12. Poison ivy and poison oak are often encountered by active Pathfinders. Be able to identify poison ivy and poison oak, and know how to avoid having allergic reactions to them, and explain what to do if you get an allergic reaction to either of them. ==

Poison ivy is shown in the picture on the left. Poison Oak is on the right. Learn to identify these by sight. Poison ivy most often grows on "disturbed" ground, including stream banks, roadsides, and the edge of woods. Both these plants contain an oil called urushiol which causes allergic reactions if it comes into contact with your skin. Contact can be made directly (by touching the plant) or indirectly (by touching something that has touched the plant, such as a clothing, a friend, or a pet).

The best way to avoid having an allergic reaction to either of these is to avoid them. In order to avoid them, you must be able to recognize them. If you do come into contact with either of these, wash the affected areas with hot soapy water as soon as possible. Wash clothes in hot water too. If your pet has contacted poison ivy or poison oak, wash him in hot soapy water to remove the oil from his fur. The oil will not harm your pet (most animals are not allergic to urushiol), but your pet can easily transfer the oil to you.

If you still get an allergic reaction, treatment depends on the severity of the reaction.

Seek emergency medical treatment under the following conditions:
 * 1) Swelling of the throat.
 * 2) Difficulty breathing.
 * 3) Weakness or dizziness.
 * 4) Bluish lips.
 * 5) Unconsciousness.

You should see a doctor if any of the following apply:
 * 1) A large area of the body is affected.
 * 2) Rash on the face.
 * 3) Rash around the eyes, mouth, or genitals.
 * 4) A rash with pus.

You may otherwise self-treat:
 * 1) For minor rashes, apply Calamine lotion (not Caladryl), zinc oxide, or a mix of 3 teaspoons of baking soda with one teaspoon of water.
 * 2) Take an over-the-counter antihistamine such as Benadryl.
 * 3) Do not scratch

13. Make a list of as many as possible of the infectious diseases that you have had. Which ones are you now immune to? Explain why or why not.
A person acquires immunity to diseases he is exposed to either by contracting the disease or by receiving a vaccination. Vaccinations are weakened forms of the disease-causing pathogen, and they stimulate the immune system to develop a defense against that particular pathogen.

Some diseases, such as influenza, mutate frequently, and the immune system having developed a defense against one strain is not prepared for the new, mutated strain. This is why flu shots are given annually. The vaccine is developed to combat this years version of the flu.

Other diseases such as tetanus and diphtheria require booster shots every 10 years to maintain the body's immunity.

14. From your personal medical records, list all of the vaccinations that you have had and determine from your doctor when your next vaccination should be.
Encourage your Pathfinders to ask their parents about their immunization records. These days pediatricians usually send immunization records home with the parents, so they should have them somewhere at home.

In the United States, the Centers for Disease Control (CDC) recommends that vaccinations be given according to the schedule below. For a more up-to-date schedule, visit the CDC's website.

15. Write or tell about one infectious disease (at least 250 words).
An infectious disease is any sickness caused by a biological agent (such as a virus, bacteria, or parasite) as opposed to being caused by a physical agent (such as a burn or a cut).

Here is a list of infectious diseases common today: AIDS, measles, tuberculosis, malaria, pertussis (whooping cough), tetanus, meningitis, chicken pox, influenza (the flu), and hepatitis.

Other infectious diseases have been largely eliminated through the use of vaccines, including polio, smallpox, and diphtheria.

16. What is AIDS? How is it spread? Is there a cure? Why is it so devastating?
AIDS is an acronym for acquired immunodeficiency syndrome or acquired immune deficiency syndrome and is defined as a collection of symptoms and infections resulting from the specific damage to the immune system caused by infection with the human immunodeficiency virus, commonly called HIV. Although treatments for both AIDS and HIV exist to slow the virus' progression in a human patient, there is no known cure.

AIDS is the most severe manifestation of infection with HIV. HIV is a retrovirus that primarily infects vital components of the human immune system such as certain T cells and macrophages. It also destroys T cells. As T cells are required for the proper functioning of the immune system, when enough T cells have been destroyed by HIV, the immune system barely works, leading to AIDS.

The symptoms of AIDS are primarily the result of conditions that do not normally develop in people with healthy immune systems. Most of these conditions are infections caused by bacteria, viruses, fungi and parasites that are normally controlled by the elements of the immune system that HIV damages. Nearly every organ system is affected.

Three main transmission routes of HIV have been identified:

 * 1) Sexual route. The majority of HIV infections have been, and still are, acquired through unprotected sexual relations. Sexual transmission occurs when there is contact between sexual secretions of one partner with the rectal, genital or mouth mucous membranes of another.
 * 2) Blood or blood product route. This transmission route is particularly important for intravenous drug users, hemophiliacs and recipients of blood transfusions and blood products. Health care workers (nurses, laboratory workers, doctors etc.) are also concerned, although more rarely. Also concerned by this route are people who give and receive tattoos and piercings.
 * 3) Mother-to-child route (vertical transmission). The transmission of the virus from the mother to the child can occur in utero during the last weeks of pregnancy and at childbirth. Breast feeding also presents a risk of infection for the baby. In the absence of treatment, the transmission rate between the mother and child was 20%. However, where treatment is available, combined with the availability of Cesarean section, this has been reduced to 1%.

17. Find three Biblical references that have to do with cleanliness and the control of or spread of disease.
Leviticus 11:36-38

Leviticus 13:6

Leviticus 11:25

Leviticus 13:45-47

Deuteronomy 23:12


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Muggles' Guide to Harry Potter/Magic/Hippogriff

Overview
A hippogriff is a creature that has the "body, hind legs, and tail of a horse; but the front legs, wings, and head of what seemed to be a giant eagle, with a cruel, steel-colored beak and large, brilliant orange eyes. The talons on its front legs were half a foot long and deadly looking."

Extended Description
In Harry Potter and the Prisoner of Azkaban, we are introduced to Hippogriffs by Rubeus Hagrid, then teaching Care of Magical Creatures. Like many of Hagrid's favorite creatures, Hippogriffs can be dangerous to handle.

"Things You Gotta Know About Hippogriffs"
(as mentioned by Rubeus Hagrid in Harry Potter and the Prisoner of Azkaban)
 * they're proud
 * they're easily offended
 * never insult one, 'cause it might be the last thing you do
 * always wait for the hippogriff to make the first move
 * it's polite
 * try not to blink if you're facing one, hippogriff don't trust you if you blink too much
 * never pull any of hippogriff's feathers, they won't like it
 * to ride a hippogriff, climb up just behind the wing joint

Approaching A Hippogriff
Because they are polite there is a proper way to approach them. "Walk toward him or her, and you bow, and you wait. If he or she bows back, you're allowed to touch him. If he or she doesn't bow, then get away from him or her sharpish; 'cause those talons hurts."

Analysis
In an interview provided at the time of the theatrical release of the third film, the animators responsible for the sequences involving Hippogriffs mentioned that they had very little to work from. Hippogriffs are mentioned in Muggle mythology, and are described but apparently very rarely depicted. Given this, there is some question as to why Hippogriffs were selected at all. Looking at the story, though, we see that a means was needed to effect an escape for Sirius Black, one that would allow him to travel out of England relatively quickly. With the alarm raised in the magical and Muggle worlds, about his only means of escape would be a magical flying object. Harry's broom, of course, is right out; while Sirius had bought it for Harry, it would have been far too much of a wrench, and far too hard to explain, if Harry were to give that to Sirius for him to escape on. So we must have some other means of flying Sirius away. We have not seen flying carpets, and as it turns out we will not; there is some reason for disallowing their importation, as we find out in Harry Potter and the Goblet of Fire. Sirius has given his flying motorcycle to Hagrid, and Mr. Weasley's flying car is likely no longer up to a long trip, even if it ever does forsake its home in the Forbidden Forest. So we must bring in some other means of flying; and the author, apparently, went through Muggle mythology to find a creature that could fly and was large enough, and possibly even-tempered enough, to be ridden. The characteristics of Hippogriffs, as mentioned above, are pure invention as far as we can tell, but they are very apt, as they reflect aspects of Hagrid's character that we are only now beginning to appreciate, and result in illumination also of the characters of Draco Malfoy and his father. Additionally, they provide the set up for much of this story's secondary theme of the meaning and value of friendship, and allow for Buckbeak's departure without particular repercussions.


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Muggles' Guide to Harry Potter/Magic/Tarantallegra

Overview
Tarantallegra is a jinx that causes uncontrollable "dancing".

Extended Description
Tarantallegra, the Dancing jinx, apparently causes uncontrollable jerking and twitching in the legs of the person against whom it is cast. It can apparently can be stopped by the Finite Incantatem charm. We first see this spell when it is cast against Harry by Malfoy in the Dueling Club.

It was later used in the Battle at the Ministry of Magic in Harry Potter and the Order of the Phoenix; the intent in that case was to prevent Neville from escaping.

Analysis
The Harry Potter story arc, consisting as it does of an epic struggle between good and evil, will have fights, larger battles, and perhaps even an all-out war. In order to prevent the series, ostensibly for children, from becoming excessively dark, there must be non-lethal weapons for the protagonists to use. To that end, the author has provided us with a number of disabling spells, ranging from the simple stunning, disarmament, and binding jinxes, through to those with humorous effects, like this one. It is uncertain why there would need to be so many different ways to disable, but we can surmise that the author has at least some reason for use of each variety. The Tarantallegra jinx seems to be of limited use, as the actual effect, uncontrollable motions of the legs, would have little effect on the ability of the target to cast spells; it does, however, prevent escape of the subject, as he is unable to walk. We surmise that this jinx was included as acknowledgement of Muggle fairy tales that mention magic forcing someone to dance until they die of exhaustion.


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Emergency Medicine/Cardiopulmonary Arrest

Cardio-Pulmonary Resuscitation

For those already familiar with CPR, a summary of recent changes is at the European Resuscitation Council website.

This summary summarizes changes under the categories : basic adult resusc, automated defibrillators, advanced adult, advanced paediatric ;

advanced adult is subdivided to order of CPR/defibrillation is a) defib first in professional witnessed arrest, b) defibrillation technique is one shock and CPR for 2 minutes before other shocks, c) doubtful fine VF is not worth shocking delay of CPR, d) adrenaline 1 mg after 2nd shock or non VF/VT / rate is 3-5 minutely, e) vf/vt - amiodarone (load 300 mg +/- 150 mg, 900 mg /24h) XOR lignocaine (max 3 mg/kg/hr), f) PE/thrombolysis/prolonged CPR 60–90 minutes ,  g) hypothermia to 32deg for 12–24 hours definitely for out of hospital VF/VT, and maybe for all others ( in hospital all, out of hospital non VF/VT).

The principles might be: minimize circulation downtime ( a, b, c), provide drugs better or earlier (d e f), more tenacity in rescue ( f and g).

ABC - airway, breathing , compression. This in general describes conceptual categories, but is also the sequence of management in CPR: airways first, breathing next, compression of the heart.

The exception is when immediate defibrillation is available, AND equipment to diagnose ventricular tachyarrythmia or ventricular fibrillation is available. Then the sequence is : observed unexpected collapse + known history suggests ventricular fibrillation: e.g. was complaining of chest discomfort ->  attach equipment  -> diagnose VF ( automatic or manual) -> attach defibrillation pads -> charge equipment to 200J (or wait automatic) -> warn bystanders -> defibrillate. If manual, defibrillate x 3, before resuming normal CPR sequence if still in ventricular fibrillation.

This is taken from an observed successful resuscitation of a witnessed arrest, as applied by an experienced provincial emergency specialist nurse.

It has some contrast to the recommended DRABCD sequence as per Guideline 7, February 2006, of the Australian Resuscitation Council, but is similar to the European Guidelines Summary of Changes 2005.

The pros and cons are : the first scenario meets the minimum time to defibrillation for successful defibrillation criteria ; the first scenario maximizes the success rate of the cardiac arrest resuscitation, as VF/VT arrest has a higher rate of successful treatment that asystolic and electromechanical dissociation arrest ; the second scenario is much easier to remember as mnemonic, and is a more general framework for resuscitation from all causes, including primary airway obstruction causes, and hypoventilation/hypoxemia as a cause of unconsciousness.

DRABC is Danger Response, Airways, Breathing, Compression.

Danger
- remove from danger. Ensure your own safety - e.g. do not commence resuscitation in the middle of a undiverted road.

D could also be DELEGATE - initiate a PHONE call for help (in Australia, dial 000 for emergency ambulance) or request another to get help. The RATIONALE for DELEGATE, is that in cardiac arrest where it is ventricular fibrillation, the most effective management is electrical defibrillation, available when the ambulance arrives.

Response
check for consciousness - ask the patient to OPEN EYES and SQUEEZE MY HAND , and also SHAKE THE SHOULDERS if an uninjured adult, or if a child, or adult suspected of spinal injury, apply PRESSURE STIMULUS ; anything less than or equal to a GROAN, is regarded as UNCONSCIOUSNESS.

Airway
the aim is to open an obstructed, naturally positioned airway. In an uninjured adult, CHIN LIFT and HEAD TILT ; in injured adult or small child, CHIN LIFT only. an uninjured child may be SLIGHTLY TILTED, but AVOID PUSHING ON THE SOFT TISSUE OF THE NECK, and causing another source of obstruction.

CHIN LIFT can be achieved with - PINCER GRIP, PISTOL GRIP, or ANGLE OF JAW THRUST VERTICAL UPWARDS when the patient is lying horizontally face upwards (supine) (ANGLE OF JAW is where the angle of the L shape of the side profile of the jaw is)

The rationale behind CHIN LIFT, is that by lifting the jaw forwards, this pulls up the tongue away from the opening of the larynx, and opens up the collapsed larynx.

In practice, a successful airway management is when spontaneous breathing is heard with the ear placed over the mouth, or when artificial respiration results in the patient being heard to breath out again, and the chest move up and down.

CONSCIOUS SEVERE OBSTRUCTED AIRWAY (CHOKING WITH INEFFECTIVE COUGH)
INEFFECTIVE COUGH is where the patient appears not to be getting enough air between coughs, or is not coughing and not breathing and unable to speak.

This is managed by ALTERNATING 5 BACK BLOWS between the shoulder blades with the palm, with 5 STERNAL THRUSTS with the palm ; this is different from the Heimlich maneuver, which was thrusting the diaphragm upwards with a fist in palm hands, whilst holding the patient from behind and under the armpits ; this maneuver could cause internal organ injury, such as rupturing the spleen or liver. If the patient is UNCONSCIOUS and was CHOKING, commence CPR as Airways, Breathing , Circulation described here.

BREATHING
The new recommendation is to give 2 rescue breaths ; if the rescuer is unwilling to give rescue breaths, mouth to mouth, with or without a separation device e.g. a pocket resuscitation mask, a piece of glad wrap with a central hole over the mouth opening, a piece of paper with a central hole over the mouth opening, then it is still important to provide circulation as below, with or without attempted expired air resuscitation. ANY ATTEMPT AT RESUSCITATION IS BETTER THAN NONE; BUT CALL FOR HELP (DIAL 000), SO THAT DEFINITIVE THERAPY CAN BE GIVEN. ANY ATTEMPT IS BUYING MORE TIME FOR DEFINITE HELP TO ARRIVE.

It is this author's experience, that mouth-to-mouth resuscitation, whilst lifting the patient's chin, is MUCH EASIER than trying to ventilate the patient with a device such as a BAG AND MASK. The only thing easier to ventilate, is a CORRECTLY SITED TRACHEAL INTUBATED patient ( getting to that status though, is not easy). The provision of artificial ventilation is probably the primary therapy for OPIATE OVERDOSE, other than administering an opiate antagonist, such as NALOXONE;

there are anecdotes of drug affected patients being kept alive till the drug overdose wears off, by other drug affected people with brains enough to provide expired air resuscitation , but still not responsible enough to seek hospital or ambulance help. It is probably on par with being responsible human beings as drug buddies that dump the ODed user at the front door of the casualty department or the GP clinic, after attracting the attention of the triage nurse/receptionist. Druggies can be heroes too ( like extreme sportsmen helping an injured fellow ?) Like the above statement about resuscitation, ANY ATTEMPT TO REMOVE FROM DANGER IS BETTER THAN NONE.

COMPRESSION
Updated first aid guidelines for laypersons now downplay the significance of checking for a pulse, thus circulation. Laypersons are advised to commence CPR immediately should the victim not be breathing.

external cardiac compression is achieved by placing 2 hands palm downwards over the MIDDLE OF LOWER HALF OF THE STERNUM, and leaning one's whole upper body onto STRAIGHT ARMS HELD VERTICAL OVER THE PATIENT, and pushing down in a piston action, to a DEPTH of about 5 cm for adults, or ONE-THIRD THE DEPTH OF THE CHEST.

In an INFANT, 2 FINGERS SHOULD BE USED INSTEAD.

THE RATE OF COMPRESSION IS 100 COMPRESSIONS PER MINUTE, for ALL AGE GROUPS.

SINCE THE RATIO OF COMPRESSION TO BREATHS GIVEN IS NOW 30 to 2, THIS AMOUNTS TO ABOUT 3 CYCLES OF CPR PER MINUTE. The old rate was 2:15, but the time to change from giving ventilation to cardiac compression was a factor in decreasing the amount of compressions given in one minute; at 30:2 , there are half as many changeovers.

 * 1)  Guideline 7, Australian Resuscitation Council Guidelines, February 2006
 * 2)  Guideline 3.1,  Australian Resuscitation Council Guidelines
 * 3)  Guideline 4, Australian Resuscitation Council Guidelines
 * 4)  European resuscitation Council media


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Microsoft Office/Making Beautiful Charts

Changing the Color Palette
The first problem in creating beautiful charts is the choice of colors. Excel only offers 64 colors, and most of them are hideous.

Fortunately, you can change them, and any changes you make travel with the workbook. This means that when your client opens it up, it's going to have your changed colors in it. It also doesn't affect any other workbooks - their colors will be unchanged.

Here is the standard Excel color palette, with very few light colors, which are important for attractive graphics. Alongside is shown an alternative, with many more light colors, arranged in sequence instead of all jumbled up.

So how do you change them? Click on Tools, Options, then the Color tab. You should see the color palette below.

Click a color you want to change, and then the button labeled Modify on the right hand side.

Either of the two dialogs below will then come up. You'll see you can flick between them by choosing the Standard or Custom tabs.

The Standard colors let you choose from a much larger number of colors by simply clicking on them. This is all you need, most of the time.

Suppose, however, that you like a color but it is little too dark. Select it, then click the Custom tab. You can then use the slider bar at the right of the rainbow in the middle, to make it lighter.

If you are feeling creative, you can play with the numbers at the bottom to create the perfect color.

If you've gone to the trouble of changing colors and you want to copy them into another workbook, or if you want to use the palette I've created for you in this workbook, it's quite easy.

 * 1) Open both workbooks (the one you want to copy from, and the one you want to copy to)
 * 2) Activate the one you want to copy into.
 * 3) Select Tools, Options, and then the Color tab. You'll see a dropdown labeled "Copy colors from". Click this and pick the workbook you want to copy from.
 * 4) All done. Save.

Applying Formatting
Standard Excel charts use strong colors and strong lines. This is probably so they show up clearly in all sorts of situations.

While this approach is understandable, the problem is that it results in charts lacking visual appeal. The best way to correct this is to see the effect of making some changes. Please note that there are many ways to do this, and these changes are not necessarily the best.

The chart should now look like this. Let's change those awful colors next...

The chart should now look something like this…those colors are probably too light, but there's a nice trick we can use to give them some body.

Let's keep it fairly simple, so we'll click the One color button alongside

The chart should now look something like this…the colors have more body

Note: beauty is in the eye of the beholder. You may prefer to use different colors to start with and not go to all this trouble with special effects.

There is no suggestion that you do all this for every chart. But the more you know, the more choices you will have when you build your next chart.

Now, perhaps, some subtleties

Examples
Here is a line chart.
 * the lines have been made thicker, with no markers (which is OK as long as it will be printed in color - if it is printed)
 * the colors are a little softer
 * the legend has been removed & each line has been directly labeled, which makes it easier to read. (You can do this by selecting the last point of each series and showing the series name as the label - when you've selected the point, select Format Data Point, then Data Labels tab, Series Name checkbox).
 * a vertical grid has been added on the X axis, for every second point.

Here is a single series bar chart. Note how on the left, the gaps between bars are wider than the bars, which distracts your eye. If you narrow the gap, as on the right, it improves the look of the chart. (Do this by selecting the series, click Options tab, and reduce the gap width). If the bars get too fat when you reduce the gap, you can make the chart narrower until the bars look right.


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Talk:Japanese/Lessons/Introduction/Konnichiwa/Formality

Untitled
I feel お早よう, 宜しく, and 有難う are to be written in hiragana, if there's no special reason, because we rarely write them with kanjis at least these days. お早う might be a little help for a lerner since the kanji imply that it's the word used early (早) in the morning, but for the others... - Marsian / talk 12:14, 17 December 2005 (UTC)

 * I agree with you; here's the problem we ran into. I originally wanted to set the table up with English, Japanese, and Romaji columns. The Japanese would contain the phrase in hiragana or kanji with furigana. Unfortunately, furigana in tables crashes some versions of Internet Explorer, so I had to take it out. When I substituted a four column table with English, Kanji, Hiragana, Romaji, a reader took it upon him/herself to fill in the Kanji for 宜しく and 有難う, which makes sense because it completes the table.
 * I don't want to imply that there are no kanji for these phrases, because there are. But I don't want students thinking that's the normal way to write it, either. So what I'll do is put an asterisk next to the offending kanji and footnote that these forms are rarely used. I hope that works. --Aaronsama 14:45, 19 December 2005 (UTC)

when to speak formally or informally
The comment that one should always speak informally to social inferiors is not correct. For example, teachers do not necessarily speak informally to students, nor does a boss necessarily speak informally to subordinates. -ToothingLummox 03:52, 15 January 2006 (UTC)

 * Corrected to "general rule of thumb"

about the conversation
I don't suppose 全然 means "Don't mention it.".

(We probably hedge instead of answer to ありがとう when we talk informally.)

- Sorry,I'm poor speaker of English. - 219.57.130.1 12:45, 13 January 2007 (UTC)


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US Income Tax

 * AMENDMENT XVI. The Congress shall have power to lay and collect taxes on incomes, from whatever source derived, without apportionment among the several states, and without regard to any census or enumeration.

This book covers federal income tax in the United States. It approaches the tax system from a legal perspective, not an accounting perspective. Rather than show how to calculate tax liability, it shows which factors lead to tax liability, and how different types of transactions are treated by the Internal Revenue Code.

Contents

 * /Introduction/
 * /Income/
 * /Gains and Losses/
 * /Capital Gains and Losses/
 * /Business Deductions/
 * /Personal Deductions/
 * /Tax Liability/
 * /Tax Credits/

title: US Income Tax