OpenLLM-France/wikimedia huggingface dataset:
# Swing Dancing/Silly moves

Silly dance moves are especially common in Lindy Hop. Early Lindy was very silly (consider the dance sequence from Hellzapoppin). The point is to do fun and unusual things, while keeping the rhythm of the music. Silly moves are performed socially and in competitions all the time.
To paraphrase Leo Tolstoy (Anna Karenina) "All dancers do swing outs alike, but every dancer is silly in his or her own way." Silly moves add personality to Lindy.
Silly moves exist in other dances as well. They may be seen in many folk dances, where they may evolve into whole pantomimes. Many street dances feature silly moves. Examples in Salsa Rueda are calls "Un Fly", "Frankenstein", "Cucaracha", "Telefoto" and many others. West Coast Swing, a close relative of Lindy, uses silly moves, among many other styles of improvisation. Elements of silliness are sometimes introduced even in ballroom dances, especially in showtime performances.

## Examples

Silly moves include:
* Shimmy: Shaking the shoulders.
* Running in Place:
* Guy running around the girl: Often the follow spins in the opposite direction.
* Swimming with arms: Back stroke while moving away from follow or crawl while moving toward follow.
* Walking: Walking with funny steps. Think Monty Python's silly walk.
* Cradle Follow: Cradling the follow, by picking her up can seem quite silly.
* Running and Jumping: Run several steps and jump in the air. Clicking the heels together (bells in Tap) is nice style.
* Running and Sliding: Run several steps, then slide to a stop, then hold a pose.
* Bowling: The guy stands still and straight, until the follow bowls. Then he falls down with style.
* Sailor kicks: Lead and follow are side by side facing opposite directions, doing charleston kicks to their left while turning clockwise. Lead's left hand is holding the follow's right armacross the leads shoulders. Lead's right arm is wrapped around the follow's back holding the follow's left hand at the waist.
* Titanic: A freeze made popular by the movie Titanic. The Freeze stops in a tandem position with the follow in front leaning forward while the lead braces from behind. It is started from facing with a cross handed lead, and is done as an explosive underarm turn in 1 count.
* The Pterodactyl: In position for tandem Charleston, jumping up and down, flapping arms, and making pterodactyl noises.

## See also

* Charleston
* Jazz
* Shag
* Balboa
* Big apple
* Swing rueda
* Hip hop
# Staffing and Supervision in the Hotel & Tourism Industry
## Table of Contents
### Job Analysis & HR Planning

* The role of the supervisor in job design in the hospitality industry.
* The need for workplace diversity in staffing policy in the hotel environment.
* The future of human resources planning for the tourism industry.
* Matching job descriptions and job specifications for new jobs created in the hospitality field.

### Recruitment & Selection

* Behavioral-anchored questioning techniques in conducting an interview to recruit hotel employees.
* Job searching in the hospitality industry.
* Overview of Internet job hunting—strengths and weaknesses.
* How to design a good recruitment advertisement for a hotel.
* Discussion of various formats of selection interviews.
* Tips and techniques for conducting selection interviews.
* Key elements in preparing a resume for a hospitality job application.
* The options, advantages and disadvantages of various recruitment methods for the hospitality industry.

### Training & Development

* Career verses job—differences and similarities.
* On-the-job training—practice and limitations in the hospitality field.
* Discussion of various training methods used in the hotel and tourism industry.
* Succession planning—barriers and challenges.
* Training to develop attitude, skills, and knowledge.

### Performance & Retention

* Develop an orientation program for new staff in a hotel.
* Steps in conducting an effective performance appraisal interview.
* The advantages and disadvantages of 360-degree appraisal in the hospitality industry.
* The differences in evaluating a manager's performance versus front line staff performance.
* How to develop a fair and good standard for staff in measuring performance in the hotel industry.

### Motivation

* What motivates hotel employees and how to make it happen.
* The role of the supervisor in motivating front line employees in a hotel.
* Extrinsic motivators are more important than intrinsic motivators in the hospitality industry.
* Why employee motivation is so important for the hospitality industry.

### Compensation

* Application of Herzberg's Motivation-Hygiene theory in relation to staff benefits in a travel agency.
* Financial benefits are more important than non-financial benefits.
* How to set a proper "salary package" for new jobs.
* Review of current financial and non-financial packages offered to front line hotel employees.

### Employee Relations

* A short history of trade union development.
* Review of collective bargaining history.
* The importance of labor relations in a labor intensive industry (hospitality and tourism).
* The future of hotel trade unions.

### People Management

* The differences between resignation, termination, and dismissal in terms of human resources management in a travel agency.
* Developing proper disciplinary procedures for a hotel.
* The impact of an aging population on the hospitality industry.
* The impact of more highly educated employees on the hospitality industry.
* Benchmarking – its advantages and disadvantages in human resources management.
# Standard ML Programming
## Contents

Since this book is far from completion, existing pages are listed here.
* Types
* Expressions
* Examples and Exercises
* Solutions

## About Standard ML

Standard ML (SML) belongs to the ML family of programming languages. Like other members of this family (such as OCaml), it is characterized by strong static typing with type inference, strict evaluation, and a module system which features signatures, structures and functors. The current standard dates from 1997; it supersedes an earlier standard from 1990, and the following standard is known as successor ML (sML).

## Syntax examples

The following code snippet defines a function factorial that computes the factorial of a non-negative integer n.
One important note: in the interactive top-level of SML/NJ, the terminal semicolon is necessary to evaluate the code so far, but the semicolon is usually optional as a statement terminator; it is only required to segregate sequenced expressions.
The following code snippet defines a function gray_code that maps an integer n to a list of all distinct n-character strings of 0s and 1s, in Gray code order, such that each element differs from its neighbour(s) in exactly one character, before computing a string of three-digit gray codes which is equal to "000-001-011-010-110-111-101-100".

## Getting started

A prerequisite for starting with Standard ML is the compiler, most of which generate machine code directly; however, like most dynamic languages, several SML compilers offer an interactive top-level which compiles and evaluates code on demand, which can be convenient for froshes and underclassmen.

## External resources
### About Standard ML

* Wikipedia's article on Standard ML
* The Definition of Standard ML, May 2007, ISBN 978-0-262-63181-5
* Standard ML Project
* Standard ML Basis Library

### Compilers and interpreters

* MLton: A whole-program optimizing compiler without an interactive top-level
* Standard ML of New Jersey: A compiler with an interactive top-level and libraries
* Alice ML: A multi-platform interpreter with GUI
# Sport Innovation/ripnet/Mechanics of RipNet

Mechanics of RipNet
RipNet provides a payed service to all lacrosse players, coaches, recruiters, and parents. Once purchased the customer as full access to RipNet’s services for a year. A customer creates a profile account on RipNet. The customer provides general information and lacrosse specific information; for example player position on the field. After a customer has purchased RipNet and created a profile they may begin to start tracking their scoring, learn new skills and tricks of the game by watching instructional videos, and use the social network to stay connected with other lacrosse players from all over.
# Sport Innovation/ripnet/References

References
1. ^ a b c d "NCAA 2008 Lacrosse Rulebook" (PDF). NCAA.org. https://www.ncaapublications.com/Uploads/PDF/2008_m_lacrosse_rules65bce9b8-68de-43e1-a327-e008aaee8d5a.pdf. Retrieved 2008-11-13. http://en.wikipedia.org/wiki/Field_lacrosse/
2. ^ a b c d e f "Men's Lacrosse Rules Condensed Version". National Collegiate Athletic Association. http://www.uslacrosse.org/the_sport/mens_rules.phtml.
3. ^ a b c d "Rules of Men's Field Larosse" (PDF). International Lacrosse Federation. http://intlaxfed.org/pdf/rules-2005.pdf. Retrieved 2007-03-30.
4. ^ "Ojibway English Dictionary". http://www.freelang.net/dictionary/ojibwe.html. Retrieved 2008-11-13.
5. New Technology Helps Lacrosse Players RipNet | Lacrosse All Stars. 2012. New Technology Helps Lacrosse Players RipNet | Lacrosse All Stars. [ONLINE] Available at: http://laxallstars.com/new-technology-helps-lacrosse-players-ripnet/. [Accessed 18 June 2012].
6. http://www.rip.net/mens#scoring
7. http://www.rip.net/mens#videos
8. http://www.rip.net/womens#videos
9. http://www.rip.net/mens#social http://www.bizjournals.com/prnewswire/press_releases/2012/04/18/PH90011
mason seiferlein is the best player
# Sport Innovation/ripnet/Sport Background

Sports Background
The sport of Lacrosse nicknamed the fastest game on two feet lacrosse. Originally invented by the Native Americans of North America; played to give thanks to the “Master.”(4) Lacrosse is played with ten players on the field for each team. Three attack, three midfielders, three defenders and a goalie. Lacrosse is played on a Gridiron size football field; 110 yards (100 m) long and 60 yards (55 m) wide.(1)(2)(3) The lacrosse goal is 6'H X 6'W X 7'D for all NCAA men's lacrosse.(1) Similar to Australia’s Netball certain players can only travel in specific areas. There are only 3 players on each team that are allowed to travel all over the field; these are the midfielders. The three attackmen are positioned around the opposing team’s goalie area. Each attackmen is paired with a defensive player or “D-pole.” The attackemen along with the D-pole can only travel in the restraining box which takes up a third the field. Lacrosse is sectioned into 4 periods of play. Image of a lacrosse field are available at http://en.wikipedia.org/wiki/Field_lacrosse
# Standard ML Programming/Examples and Exercises
## Values and Functions

* Indicate the identifiers, keywords, and special constants in the following piece of code. What is the value of the second a?
* Construct a tuple with 4 positions and 3 components.
* What is the type of t?
* Write a function that returns the value 2 for the arguments 0, 1 and 2 and returns 3 for all other arguments.
* Write a function that returns -1 for all negative and +1 for all positive arguments and 0 for the argument 0.
* Create a function min(a:int,b:int) that returns the smaller one of its 2 arguments. Do the separation of the argument values in 3 different ways. Using a Cartesian argument-pattern, using a projection and using a local declaration.
(solutions to this chapter are here)

## Recursion

* Create a function power9(x) that calculates the 9th power of x. Preferably using as few multiplications as possible.
* Calculate the greatest common denominator from 2 positive integer arguments.
* Calculate mul(n,z)=n*z without using the * operator for $n\in \mathbb {N}$ and $z\in \mathbb {Z}$
* Calculate power2(n) by only using addition and resursion. (hint: it is possible to rewrite the square function as a summation of natural numbers.)
(solutions to this chapter are here)
# The Lyrics of Henry VIII/Adew corage adew, Cornish

[f. 42$^v$]
Adew corage adew hope and trust I fynde you not trew adew corage adew adew.
W. Cornyshe

## Textual Commentary

“Adew corage adew” is a complaint, though seemingly not of departure in the way typically presented by the lyrics of H. Here, the speaker bids departure to his “corage” (ll. 1, 3), finding key elements of love (l. 2) to be false.
    1 corage Sexual vigour and inclination, the desire to love, the amorous spirit; see Henry’s “The tyme of youthe is to be spent” (H 19.10, note).
    2 hope and trust A common pairing; one such instance, of interest, is found in Hawes’ Pastime of Pleasure, where Venus urges the distraught Amour “lyue in hope and trust / For at the last you shall attayne your lust” (ll. 3928–29).
“Adew corage adew” is through-set for three voices. The following leaf (f. 43$^r$) is left blank, suggesting, perhaps, that additional verses were intended to be underlaid. This lyric is listed in the manuscript’s table of contents as the thirty-third work.
This piece is indexed in Robbins Index & Suppl. 120.6, Boffey, Ringler MS TM65. It is reprinted in Flügel Anglia 239, Stevens M&P 401, and Stevens MCH8 32.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (f. 42$^v$).
    3 adew adew.] adew adew adew. H$^3$
# The Lyrics of Henry VIII/Adew madam et ma mastress, Henry VIII

[ff. 17$^v$-18$^r$]
Adew madam et ma mastres. Adew mon solas et mon Ioy. Adiue iusque vous reuoye. Adieu vous diz per grannt tristesse

## Textual Commentary

This piece appears in four voices in H. The music of this lyric appears adapted, possibly by Cooper, in “Tyme to pass with goodly sport” in Rastell’s interlude The Four Elements (circa 1517). See Gustave Reese’s Music in the Renaissance (878) for a reprinting of the text to Rastell’s lyric; see also Stevens MCH8 (102n9). A similar textual opening appears in one voice of Paris, Bibliothèque Nationale, nouv. acq. fr. MS 4,379 (f. 58$^v$); in other voices in this work, the text is corrected to “Adieu m’amour et ma maistresse.”
“Adew madam et ma mastress” is reprinted in Stevens M&P 389 and Stevens MCH8 13.

## Textual Notes
### Texts Collated

H$^{1,2,3,4}$ (ff. 17$^v$–18$^r$).
    1 Adew] Adieu H$^{3,4}$
    2 Adew] A dieu H$^{2,3}$; mon Ioy] ma Ioye H$^{2,3}$, ma Ioy H$^4$
    3 iusque] omit H$^2$
    4 Adieu vous diz] omit H$^2$; per] omit H$^4$
# The Lyrics of Henry VIII/Adew mes amours et mon desyre, Cornish

[ff. 15$^v$-17$^r$]
Adew mes amours et mon desyre ie vous de prannce depertamant et sy ie vous a fayt de plesure sy na passaunce commandamant
Pardon amoy tres humblemannt 5 ie le demand Ia may mon cure a seruys loyalmant elas ie bien perdieu ma payn with
Cornysh

## Textual Commentary

This piece appears in four voices in H. “Adew mes amours et mon desyre” is listed in the manuscript’s table of contents as the eighth work, with the second stanza (in a hand different from that of the original list’s compiler) listed in the page’s margin as the ninth work. “Adew mes amours et mon desyre” is attributed to Cornish in H but closely related, textually, to Alexander Agricola’s “Adieu m’amour et mon desir,” which appears in FlC2439 (ff. LXIIII$^v$–LXV$^r$; LXV$^v$–LXVI$^r$), Heil (f. 10$^r$), PBP504 (3, #LXVII), and LH5242 (ff. 30$^v$–32$^r$). Of these, full texts of the lyric are extant in FlC2439 (second instance) and LH5242; fragmentary texts, or incipits, are extant in FlC2439 (first instance), Heil, and PBP504.
The text found as the first voice of LH5242 is as below:
ADieu mamour et mon desir de vous ie prans departement si ie vous ay fait desplaisir passant vostre commandement pardonnez moy Ioyeuse ment 5 Iay mis mon cueur a vous seruir loyalle ment hellas hellas Iay bien per du ma paine hellas Iay bien per du ma paine

## Textual Notes
### Texts Collated

H$^{1,2,3,4}$ (ff. 15$^v$–17$^r$).
    8 elas ~ payn] elas ~ payn elas ie bien perdieu ma payne. H$^{1,3,4}$, elas ~ payn elas ie bien perdieu ma payne elas ie bien perdieu ma payn H$^2$

## References

* ↑ Stevens had noted earlier that "The opening of this song with its extended points of imitation is perhaps foreign in manner and unlike Cornish's other compositions in this manuscript. The song, however, has not been traced elsewhere" (MCH8 102, #8).
# The Lyrics of Henry VIII/Acknowledgements

These materials were originated by Ray Siemens, working with a group that included Alyssa Arbuckle, Lindsey Seatter, Karin Armstrong, and Barbara Bond as assistants in recent research. Adoption of the material into Wikibooks format has been handled by Tim Sobie.
# The Lyrics of Henry VIII/Alas what shall I do for love, Henry VIII

[ff. 20$^v$-21$^r$]
| Early Modern English | Modern English |
| Alas what shall I do for love | Alas, what shall I do for love? |
| for love alasse what shall I do | For love, alas, what shall I do? |
| Syth now so kynd | Since now so kind |
| I do yow fynde | I do you find |
| to kepe yow me vnto | To kepe you me unto |
| Alasse | Alasse! |

## Textual Commentary

“Alas what shall I do for love” is a lyric about keeping a lover, once she is discovered, with play on the two separate syllables of “alas” (“a” and “lass”). Stevens notes that the words of further strophic verses may be missing (M&P 390).
    3 syth Since.
This lyric appears solely in H, where it is given in four complete voices.
“Alas what shall I do for love” is Indexed in Robbins Index & Suppl. 159.5, Boffey, Ringler MS TM110, Crum A884. The piece is reprinted in Chappell Account 374, Flügel Anglia 231, Flügel Neuengl 133, Trefusis 7–8, Padelford 78, Stevens M&P 390, and Stevens MCH8 16.
# The Lyrics of Henry VIII/Alone I leffe alone, Cooper

[f.22$^r$]
Alone I leffe alone and sore I sygh for one
a lone I leff alone and sore I syghe for one
a lone I leue alone and sore I sygh for one
Doctor Cooper

## Textual Commentary

“Alone I leffe alone” is a song bemoaning solitude, with an ambiguous play in the second line referring either to the speaker’s self-pity (the “one” being the speaker) or to the speaker’s longing for the company of a specific other. This lyric’s adaptation in Thynne’s Chaucer and Kele’s Christmas carolles newely inprynted, noted below, suggests that the latter of these two possibilities is more probable. A popular lyric in its time, “Alone I leffe alone” has both secular and religious associations. It is noted in “I have non English convenient and digne,” attributed to John Lydgate (Minor Poems 281; A Balade in commedation in Thynne’s Chaucer 374–75): “That for you singe, so as I may, for mone / For your departing; alone I live, alone” (ll. 104–105). The two lines are used as a burden for a lyric appearing in PRO Exchequer Miscellanea 163/23/1/1, and it is listed as the name of the air for “Wan ic wente byyonde the see” CGon (41). A later carol on the Virgin and the Son—“Alone, alone, alone, alone / Sore I sygh, and all for one” (Kele’s Christmas carolles newely inprynted 17)—adapts these lines to its burden and takes the matter of the lyric from “Alone, alone, alone, alone, / Here I sytt alone, alas, alone” (LFay ff. 48$^v$–50$^r$).
    1 leffe Live.
“Alone I leffe alone” is in the form of a round set for three voices. There exists little formal distinction (no spacing, line breaks, or illuminated block capitals) separating one voice from the other.
“Alone I leffe alone” is indexed in Robbins Index & Suppl. 266.5, Boffey, and Ringler MS TM138. The piece is reprinted in Flügel Anglia 231, Briggs Collection 3–4, Stevens M&P 390, and Stevens MCH8 17.

## References

* ↑ See Greene ([2nd ed.] 247), Robbins Index & Suppl. (#2293.5), and Saltmarsh (14 [facs.], 21 [trans.]).
* ↑ See also Greene (#418).
* ↑ See Greene (#164) and Robbins Index & Suppl. (#377.5).
# The Lyrics of Henry VIII/Adew adew le company (Unattributed)

[ff. 74$^v$-75$^r$]
Adew adew le company I trust we shall mete oftener viue le katerine et noble henry viue le prince le infant rosary.

## Textual Commentary

“Adew adew le company” is a song of departure, likely associated with one of the entertainments surrounding the birth of Henry’s first male child and potential monarchical heir (b. January 1511, d. February 1511). Similarly associated is Farthing’s “Aboffe all thynge” (H 14; see accompanying commentary).
    1 Adew Adieu.
    3 viue Long live.
    4 le infant rosary Cf. Farthing’s “Aboffe all thynge” (H 14.6 and the commentary to that lyric), as well as “I loue I loue and whom loue ye” (LFay ff. 40$^v$–46$^r$), a lyric seemingly in celebration of Prince Arthur’s birth, wherein he is given the name of “rose” (l. 23).
The unattributed “Adew adew le company” is through-set for three voices, with an additional voice missing (see Stevens MCH8 intro.).
This piece is indexed in Robbins Index & Suppl. 120.4 and Ringler MS TM63. It is reprinted in Chappell Account 382, Flügel Anglia 247, Stevens M&P 390, and Stevens MCH8 17.
# The Lyrics of Henry VIII/Alac alac what shall I do, Henry VIII

[f. 35$^v$]
The Kyng H. viij.
| Early Modern English | Modern English |
| Alac alac what shall I do. | Alac! Alac! What shall I do? |
| for care is cast in to my hart. | For care is cast in to my heart. |
| And trew loue lokked therto | And true love locked thereto. |

## Commentary

“Alac alac what shall I do” is likely three lines of a longer love song, perhaps that of “Hey nony nony nony nony no” (H 26). “Alac alac what shall I do” presents the lament of a devout lover unsure of his lady, as does “Hey nony,” where this concern sees a much fuller development and, ultimately, a positive conclusion.
H presents “Alac alac what shall I do” in three voices, complete and presented on the verso only. Ringler MS suggests that the text is probably incomplete (51), and the peculiar layout in H suggests that this song and that which follows it, “Hey nony nony nony nony no” (H 26), are quite closely related (see Stevens MCH8, #30, note). “Hey nony nony nony nony no” is unattributed, and its original numbering in the MS (“xxvij”) corresponds with the heading “28. Alac alac what shall I do” in the table of contents (f. 2$^v$). Also, the text on f. 36$^r$ lacks any sort of block initial capital which is used to offset voices and lyrics from one another, and the matter of each song is complementary. The incipit “Alasse a lasse what shall I doo” is listed as part of the contents of DBla (f. 59$^r$), which contains many songs of a similar nature, including a great many pieces by Wyatt. This piece, however, does not survive in the manuscript outside of this mention.
“Alas alas what shall I do” is indexed in Robbins Index & Suppl. 135.5, Boffey, Ringler MS TM88, Crum A843. It is reprinted in Flügel Anglia 236, Stevens M&P 396, Stevens MCH8 26, and Trefusis 72.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (f. 35$^v$).
    3 lokked] lokked H$^{2,3}$, lakked H$^1$

### References

* ↑ Perhaps, for example, the complaint of the maid in “Hey nony nony nony nony no” is “Alac, alac,” for “Hey nony nony” would be much less appropriate.
# The Lyrics of Henry VIII/Adew adew my hartis lust, Cornish

[ff. 23$^v$-24$^r$]
Adew adew my hartis lust Adew my Ioy and my solace. wyth dowbyl sorow complayn I must vntyl I dye alas alas.
Cornysch

## Textual Commentary

“Adew adew my hartis lust” is a song of departure of a lover from his beloved. It is seemingly a permanent leave-taking or exile, as evinced in “vntyl I dye” [l. 4]; see Robbins Suppl.
    2 Adew . . . solace Cf. for similar sentiment “Now fayre wele my Joye my comfort and solace” Oxford Bodleian MS 120 (ff. 95$^{r–v}$).
This piece is through-set in three voices, with blank rules on both faces.
“Adew adew my hartis lust” is indexed in Robbins Index & Suppl. 120.5, Boffey, Ringler MS TM64, and Crum A665. The lyric is reprinted in Seaton 405, Flügel Anglia 232, Stevens M&P 14, 390, and Stevens, MCH8 17.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (ff. 23$^v$–24$^r$), OxAsh (f. 100$^r$).
    3 must^] may. H$^2$