Stir the onion occasionally to help it cook evenly. You will be ready for the next step when the onion turns tender. bbly. Add the four, salt, and pepper, and stir it briskly with a whisk. Keep stirring until the mixture thickens and turns smooth and bubbly. Remove the saucepan from heat first, then slowly stir in the milk with a whisk. Keep whisking until the milk is evenly mixed in. Removing the saucepan from the heat first will prevent the milk from cooking too quickly. Stir the mixture constantly as it cooks to prevent scorching and a skin forming on top. Once it is cooked, take it off the heat and set it aside. If you have not already, scrub the potatoes clean, peel them, and cut them into thin slices, about ⅛-inch (0.32 centimeters) thick. Combine the sliced potatoes with the cooked, cubed ham in the casserole dish. You don't have to stir the sauce into the potatoes, but you can if you want to. Once you have the sauce in, cut the butter or margarine into small cubes, and sprinkle it over the potatoes. This will give it extra richness. You can cover the potatoes with the lid that came with your casserole dish, or you can use a sheet of tin foil. The potatoes are ready when they turn soft and tender, and the top turns golden. If they are not ready yet, let them bake for another 10 minutes. This allows the sauce to not only cool, but also to thicken and become creamier. After this, you can serve them with your favorite dish.
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One-sentence summary -- Melt the butter in a large saucepan over medium heat, then add the onion and cook for 2 minutes.  in the flour, salt, and pepper and cook until it turns smooth and bubbly. Stir in the milk. Return the sauce to a boil and let it cook for 1 minute. Arrange the potatoes and ham in the casserole dish and gently pat them down until the surface is smooth. Pour the sauce over the potatoes, then add the butter. Bake the potatoes, covered, for 30 minutes, then bake them uncovered for another 60 minutes. Let the potatoes stand for 5 to 10 minutes before serving.


Each genre of performance has some simple principles behind lighting that genre. Do some research to learn what those principles are to help you decide what kind of stage lighting to use for your upcoming performance.  For example, a standard play has lots of dialogue. An audience’s ability to understand dialogue is directly linked to their visual connection with the speakers face. You will want to have a lot of front lighting focused on the actors’ faces. Dance is where the movement of the body is most important. Light from the sides is what highlights fluid movements the best. Use side light at different heights and angles. Concerts are all about colours, effects, and atmosphere. Sometimes, you might want a single spotlight following your performers around, but most other lighting will be for colour, movement, and special effects. Think symmetry, bold colours, and wash lights. Musicals are a combination of drama and dance, as they contain elements of both. Usually, principles of both are incorporated into the lighting design for musicals. Look at the size of the venue and where you are able to place lights. Check where the lighting bars are to get an idea of where you can hang things. Evaluate whether you can put lights on stands on the floor, or rig vertical pipe and hang them from the sides. There are 5 basic lighting positions for you to consider when you are examining your venue: front lighting, side lighting, high side lighting, back lighting, and down lighting. These spotlights create a sharp, focused beam of light. Use them for illuminating a single subject, such as an actor’s face or a single singer on stage.  You can also use an ERS to project images and patterns called “gobos.” These are stainless steel or glass discs, with patterns, that you can place over the lens to project the image onto a backdrop on stage. ERS are usually used for projecting light medium to long distances. A fresnel spotlight is a softer spotlight than an ERS (think those large spotlights you see at movie premieres). Zoom the fresnel in to a small diameter to create a spotlight, or zoom it out to a wide diameter to create a floodlight. Fresnels are usually used to project short to medium distances. PAR cans create a narrow or wide oval beam of light. They are very easy to use and are a staple for many different types of performances, from backlighting for concerts to side lighting for dance performances. PAR cans are the go-to lighting of the rock and roll industry. They don’t give you a lot of control over the size of the beam (it depends on the size of the lens), but create a large amount of light that is great for lighting up concerts. These are all types of light fixtures that contain multiple lamps. Use them to light up backdrops, curtains, or for basic lighting above a stage. You can also use strip lighting to change background colors by mixing up the colours and intensities of the lamps. A followspot is a bright, mobile spotlight that needs to be manually operated. Use them for following around a solo performer as they move around the stage. You will need another person dedicated to operating the followspot if you plan on using one. Most venues have a base stock of lighting equipment from which you will be able to select your lights. Make sure you do your research so you know what they are and what they do. Stage lighting can generally be described by its intensity (how bright or dim the lights are), color, distribution (direction of the light), and movement (how the light changes over time).
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One-sentence summary -- Choose your lighting based on the performance genre. Examine the venue to help determine how many lights you need. Use an ellipsoidal reflector spotlight (ERS) to illuminate a subject. Use a fresnel spotlight to illuminate subjects and create strong shadows. Use PAR floodlights, or PAR cans, for backlighting or side lighting. Light up wide, flat areas using strip lights, border lights, or ground rows. Use followspots to follow a performer around stage. Ask what lighting stock is available at the venue.


See the Steps 2-5 of the previous section for more details. This jumper is typically two pins, and is almost always blue. It is usually located near the silver CMOS battery (it looks like a watch battery), but this certainly isn't always the case. Refer to your computer or motherboard's documentation if you are having difficulty finding it.  The jumper may be labeled CLEAR CMOS, CLEAR, CLR, JCMOS1, PASSWORD, PSWD, etc.  If you don't have a reset jumper (and not all computers do), and you've tried the methods above, then you'll have to contact the manufacturer. Most BIOS jumpers are installed on two of three available pins. Moving the jumper over by one pin will reset the password.  For example, the jumper is covering pins 1 and 2. Move the jumper so that it is covering pins 2 and three. If there are only two pins available, removing the jumper completely will reset the password. This will ensure that the BIOS sees the changes made by the jumper and clears the password. After waiting for about thirty seconds, you can return the jumper to its original position. You shouldn't need to get back inside the computer after this, so make sure to close it up completely. Press the BIOS setup key as the system is booting up. Since you've reset the BIOS, things like your system clock will need to be adjusted. Any settings changes that you previously made in the BIOS, such as drive assignment or boot order will need to be set again.
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One-sentence summary --
Disconnect the computer, open it, and ground yourself. Locate the BIOS reset jumper. Move the jumper one pin over. Wait about thirty seconds. Return the jumper to its original location. Close up your computer and reconnect any cables. Power on the computer and enter the BIOS.