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Las artes textiles de los pueblos originarios de América son obras de arte decorativas, utilitarias, ceremoniales o conceptuales hechas de fibras vegetales, lanas o sintéticas por los diversos pueblos nativos de América del Norte y del Sur.

Las artes textiles y las artes de la fibra incluyen telas que son un material tejido flexible, así como fieltro, telas de corteza, tejidos, bordados, trabajos con plumas, costura de piel, abalorios y medios similares. Las artes textiles son una de las primeras industrias conocidas. La cestería está asociada con las artes textiles.

Si bien los humanos han creado textiles desde los albores de la cultura, muchos son frágiles y se desintegran rápidamente. Los textiles antiguos se conservan solo en condiciones ambientales especiales. Los textiles más antiguos que se conocen en América son algunos trabajos de fibra encontrados en la cueva Guitarrero, Perú, que se remontan a 10,100 a 9,080 a.C.

Los textiles más antiguos que se conocen en América del Norte son los hilos y las telas de ligamento tafetán conservados en un estanque de turba en el sitio arqueológico de Windover en Florida, que data de 6.000 a.C.

Regiones culturales

Andes

Como se mencionó anteriormente, fragmentos de cuerdas y textiles que datan de hace entre 12,100 y 11,080 años han sido desenterrados de la cueva de Guitarrero en Perú. Debido a las condiciones extremadamente secas de las arenas del desierto, los tejidos trenzados de la civilización Norte Chico en Perú han sobrevivido, que se remontan al 2500-1800 a. C. El algodón y la lana de alpaca, llamas y vicuñas se han tejido en tejidos elaborados durante miles de años en los Andes y siguen siendo parte importante de la cultura quechua y aymara en la actualidad. Coroma, en la provincia de Antonio Quijarro, Bolivia, es un importante centro de producción textil ceremonial.  Un anciano aymara de Coroma dijo: "En nuestros tejidos sagrados hay expresiones de nuestra filosofía y la base de nuestra organización social ... Los tejidos sagrados también son importantes para diferenciar una comunidad, o grupo étnico, de un grupo vecino ... " Los aguayos son prendas tejidas con fibras de camélidos con diseños geométricos que las mujeres andinas visten y usan para llevar bebés o mercancías.

 Textiles incas
Awasaka era el grado de tejido más común producido por los Incas de todos los antiguos textiles peruanos, este era el grado más comúnmente utilizado en la producción de ropa Inca. Awaska estaba hecho de lana de llama o alpaca y tenía un alto número de hilos (aproximadamente 120 hilos por pulgada). Las prendas gruesas hechas de awaska se usaban como estándar entre las clases bajas de las tierras altas andinas, mientras que la ropa de algodón más ligera se producía en las tierras bajas costeras más cálidas. El algodón Pima peruano, tal como lo utilizaban los incas, todavía se considera uno de los mejores algodones disponibles en el mercado actual.

Los mejores tejidos incas estaban reservados para la nobleza y la realeza, incluido el propio emperador. Esta tela, denominada qompi, era de una calidad excepcionalmente alta y requería un cuerpo especializado y administrado por el estado de trabajadores dedicados. El qompi se confeccionaba con los mejores materiales disponibles, alpaca, en especial alpaca bebé, y lana de vicuña se utilizaron para crear artículos elaborados y ricamente decorados. Como resultado de su suavidad, los primeros exploradores españoles describen como "seda" los textiles incas hechos de fibra de vicuña. Sorprendentemente, la mejor tela inca tenía un número de hilos de más de 600 hilos por pulgada, más alto que el que se encuentra en los textiles europeos contemporáneos y no fue superado en ningún otro lugar del mundo hasta la revolución industrial en el siglo XIX.

Costa del Caribe

Los miembros de la tribu Kuna de Panamá y Colombia son famosos por sus molas, paneles de algodón con elaborados diseños geométricos creados mediante una técnica de aplicación inversa. Los diseños se originaron a partir de diseños tradicionales de pintura sobre  piel, pero hoy en día exhiben una amplia gama de influencias, incluida la cultura pop. Dos paneles de mola forman una blusa. Cuando una mujer kuna está cansada de una blusa, puede desarmarla y vender las molas a los coleccionistas de arte.

Mesoamérica

Las mujeres mayas han tejido algodón con telares de cintura durante siglos, creando artículos como huipiles o blusas tradicionales. Los elaborados textiles mayas incluyen representaciones de animales, plantas y figuras de la historia oral. En los tiempos modernos, el tejido sirve como una forma de arte y una fuente de ingresos. La organización en cooperativas de tejedores ha ayudado a las mujeres mayas a ganar más dinero por su trabajo y a expandir enormemente el alcance de los textiles mayas en el mundo.

Sureste de América del Norte
Se han encontrado trozos de tela de 7.000 a 8.000 años de antigüedad con entierros humanos en el sitio arqueológico Windover en Florida. Los entierros fueron realizados en una turbera. La tela se había convertido en turba, pero aún era identificable. Muchos cuerpos en el sitio habían sido envueltos en tela antes del entierro. Se encontraron ochenta y siete piezas de tela asociadas con 37 entierros. Los investigadores han identificado siete tejidos diferentes en la tela. Un tipo de tela tenía 26 hebras por pulgada (10 hebras por centímetro). También había tejidos con tramas de dos y tres hilos. Se encontró una bolsa redonda hecha de cordel, además de esteras. El hilo probablemente estaba hecho de hojas de palma. La palma de repollo, la palma enana americana y la palma matorral son comunes en el área, y lo habrían sido también hace 8.000 años.

Las costureras semínolas, al tener acceso a las máquinas de coser a finales del siglo XIX y principios del XX, inventaron una elaborada tradición de apliques textiles. El mosaico de los seminolas, por el que se conoce a la tribu hoy en día, floreció en la década de 1920.

Véase también
Amauti
Anorak
Indumentaria del pueblo azteca
Bustle
Huipil
Mukluk
Ñandutí
Petate
Piteado
Ruana

Notas

Referencias
Gibbs, Charlotte Mitchell.  Household Textiles. Boston: Whitcomb & Barrows, 1912.
 Siegal, William (1991). Aymara-Bolivianische Textilien. Krefeld: Deutsches Textilmuseum. .
Stone-Miller, Rebecca. Art of the Andes: from Chavín to Inca. London: Thames and Hudson, 2002. .

Enlaces externos

Native American Rugs, Blankets, and Quilts
American Indian Featherwork
The Center for Traditional Textiles of Cusco
"The Mechanics of the Art World," Vistas: Visual Culture in Spanish America, 1520-1820.
"PreColumbian Textile Conference Proceedings VII" (2016)
"PreColumbian Textiles in the Ethnological Museum in Berlin" (2017)

Artes textiles


Hovey Lake was just out back behind the cabins we were staying at. The hardest part about this picture was moving the orange paddle boat out of the way and fighting the mosquitos.
The gulf shore has some of the most beautiful beaches. Here we find a clump of beach grass waching the white sand and blue water.


Summertime snook fishing Siesta Key, Sarasota, Florida!
There is little doubt that snook are the premier light tackle inshore fish in our region of Florida. These predators are the perfect game fish. They strike artificial lures and flies, leap clear out of the water, and are aggressive, yet challenging. I tell my clients that snook are very similar to largemouth bass in habit but with the muscle and attitude of a saltwater fish. They have a very large mouth which allows them to inhale their prey and are almost always found near structure. Snook can be very active or infuriatingly fussy.
August is a great month for Sarasota snook fishing as there are multiple patterns and techniques that are productive. Snook spawn out on the beaches in the summer and there will still be fish out there in the surf. Passes will also hold concentrations of fish. Big Sarasota Pass on the north end of Siesta Key has abundant structure and deep water, making for prime snook habitat. Mangrove shorelines, oyster bars, docks, and bridges will also attract fish. Any spot that has a depth change, cover, current, and bait is likely to produce, particularly those close to the passes.
Artificial lures and live bait are both effective for anglers Sarasota snook fishing. The choice really depends on angler preference and conditions. Personally, I LOVE plug fishing! I find that making a good cast right up against the mangroves and anticipating a snook attacking it as I twitch it through the strike zone to be very enjoyable. I prefer Rapalas, with the X-Rap being my favorite. Nothing beats a surface strike; topwater plugs such as the Zara Spook and Twitching Rap are proven baits.
Soft plastic baits are both versatile and extremely effective. The D.O.A. CAL series of baits is quite popular in this area. I like dark colors such as rootbeer and golden bream, especially after a bit of rainfall. A 1/8 ounce white head works well in shallow water and offers a contrast to the dark body. Heavier jig heads will be required in deeper water. When conditions are tough, scented baits can really make a big difference. Trigger-X and Gulp! both offer a good selection of quality lures.
Live bait catches fish on Sarasota snook fishing charters; it is that simple, especially in the daytime. A large pilchard is tough to beat, but pinfish, grunts, and large shrimp also catch plenty of snook. Netting up a bunch of pilchards and using them to chum the fish into a feeding frenzy is a time-proven technique. Free lining baits under docks or along likely-looking shorelines is also productive. In shallow water a float will keep the bait from getting into the grass. Sometimes acquiring large pilchards can be difficult, especially in the summertime. However, 3" pinfish are abundant and are a good alternative. They also seem to catch larger fish.
The equipment and rig is the same with both live and artificial baits. A 7' rod and spinning reel spooled with braid or monofilament line is a good all-round choice. A 24" section of 30 lb fluorocarbon leader is attached to the running line, then the lure or a 1/0 live bait hook is tied on. I do not like to use swivels or other hardware. I prefer to double three feet of the running line using a Spider Hitch and attach the leader using a double uni-knot. I then tie on the hook or lure using a uni-knot.
Anglers looking for numbers of fish will do well fishing lighted docks and bridges after dark. Snook are nocturnal feeders and will be active after the sun sets. Lights attract shrimp and glass minnows, which in turn attracts the gamefish. Anchoring a long cast up-current from the light and casting into the shadow line is the preferred technique. D.O.A. shrimp, jigs, flies, plugs, and live shrimp will all produce….or not. Snook can be notoriously finicky! Night fishing also gives anglers a respite from the summer sun, just be mindful of thunderstorms when Sarasota snook fishing.
Sarasota offers anglers a unique opportunity; sight casting to large snook on the beach. And the best part is that not only is a boat not required, it is actually a hindrance! Snook gang up on area beaches to spawn in the summertime. These fish will often be seen inches from the surf line. Small white bucktail jigs and flies are very productive, but plugs, spoons, and live bait will also fool their share of fish. Ideal conditions are clear water, little or no chop, an incoming tide, and an east wind. West winds churn up the water making sight fishing difficult. Snook will still bite for anglers blind casting around rocks and other structure. Point of Rocks near CB's Saltwater Outfitters on Siesta Key is a terrific spot to fish!
The technique is pretty straight-forward. Walking north will keep the sun to the rear, making the fish easier to spot. Stay ten feet or so from the surf, the added elevation will also assist in seeing snook. Once spotted, determine the direction that the fish are moving, and cast out in front of them. Light lures and flies will produce more bites as they result in a more subtle presentation.


Shapechanger. The wereshark can use its action to polymorph into a shark-humanoid hybrid or into a Large hunter shark, or back into its true form, which is humanoid. Its statistics, other than its size and AC, are the same in each form. Any equipment it is wearing or carrying isn't transformed. It reverts to its true form if it dies.
Blood Frenzy. (Shark Form Only) The wereshark has advantage on melee attack rolls against any creature that doesn't have all its hit points.
Amphibious. (Humanoid or Hybrid Form Only) The wereshark can breath air and water.
Water Breathing. (Shark Form Only) The wereshark can breath only underwater.
Multiattack. (Humanoid or Hybrid Form Only). The wereshark makes two attacks, only one of which can be a bite.
Trident (Humanoid of Hybrid Form Only). Melee or Ranged Weapon Attack: +5 to hit, reach 5 ft. or range 20/60 ft., one target.
Hit: 6 (1d6 + 3) piercing damage, or 7 (1d8 + 3) piercing damage if used with two hands to make a melee attack.
Bite (Shark or Hybrid Form Only). Melee Weapon Attack: +5 to hit, reach 5 ft., one target.
Hit: 12 (2d8 + 3) piercing damage. If the target is a humanoid, it must succeed on a DC 13 Constitution saving throw or be cursed with wereshark lycanthropy.


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Staff is great here. Very helpful.
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Excellent customer service, friendly, knowledge and helpfull.


text:
Woman's anger over postal vote 'mix up'
PUBLISHED: 09:33 30 April 2015 | UPDATED: 09:33 30 April 2015
Emma Bartholomew
Fabia Jones Russell
A student has slammed Hackney Council after losing her right to vote by post - despite claiming she submitted two applications over as many months.
Fabia Jones Russell said town hall staff told her there had been a "large backlog" after her second application went awry, although the council has denied any delays.
The 24-year-old student from Denver Road, Stamford Hill, sent off her first application to vote by post two months ago as she will be in Mexico on May 7.
Because her sister had a problem with the postal voting system in the 2010 – as reported in the Gazette at the time – she made sure she followed up on her application.
But the council told her the application had not been received and another form was sent out, which she received 10 days later.
Despite sending back the form within 24 hours, she then received a polling card in the post on April 13 rather than a postal vote form.
She got back on the phone straight away and another form was sent out, but she said it arrived on Tuesday last week – the deadline day for applications.
Ms Jones Russell said: "I was told that despite staff in the back office working weekends as well as weekdays there was a large backlog so no one could confirm or deny receiving my postal vote request. I am disenfranchised and deeply upset.
"If I had only sent one request through I would happily accept that it was potentially an issue with Royal Mail and let this lie.
"However, based on their dealings with my sister and the fact that I sent two to them I can only see this as another demonstration of their inability to process data in an effective way.
"My worry is they are going to stop a huge proportion of electorate being able to contribute, if one assumes that many young people in the New River ward will be at university or travelling during this time, will none of them be able to get their voices heard?"
A Hackney Council spokesman denied there had been a backlog in processing postal votes and said no application had been received from Ms Jones Russell.
He continued: "We have received a large number of requests for a postal vote with around 26,000 voters across Hackney confirmed as voting by this method to date."
Hackney Council

redpajama_set_name: RedPajamaCommonCrawl


text:
3 Sync Licensing: TV / Movies / Video Games 2 Labels / Record Deals
8 broadcast ready 7 fully mastered 4 rough mixes
4 Yes 4 No
5 Exclusive 2 Non-Exclusive 1 Negotiable or N/A
8 $1,500 - $2,000
1 within 14 days 4 within 45 days 4 longer than 45 days
Pop, acoustic, and Singer/Songwriter tracks needed for film placement
submission price: $15.00
Payout: $1,500 - $2,000
We are in need of songs about love and having faith in finding a lasting love. Styles can be Pop, acoustic, or Singer/Songwriter. Male or female vocals or both.
The song is needed for a film being released in late 2019, so the decision process will last a while to find the perfect fit.
If we think your submission may fit, we will place it on hold for further review by the entire team working on this project. If it is selected, we will contact you further with details.
Incorporated Elements is a company that works with songwriters, artists, producers, and DJ's to help them perfect their craft and fully realize the potential in their art. We work in the areas of production, publishing, film/TV licensing, artist development.
Please keep in mind that this is a "submission-only" dropbox. We are looking for the perfect song for this pitch. We will not be giving detailed feedback on submissions. Either we feel the song may fit the brief or it doesn't. We apologize for not being able to give feedback beyond whether it fits or not, but the time constraints of the nature of these projects will not allow us the time to give in-depth feedback on the song. We will, however, submit ratings on every submission.
- Ric Robbins / Incorporated Elements
Deal Type: Sync Placement
Decision Maker: Selected Tracks will be pitched for final decision
Deal Structure: Non-Exclusive
Compensation: $1,500 - $2,000
Song Quality: Rough Mixes, Fully mastered, Broadcast ready
Seeking Original Russian Pop Music - Direct Synch Placement - Major Network Show
We are seeking original Russian pop music for a direct synch placement with a major network show.
We will consider other genres but primarily Pop, Contemporary Dance and Hip Hop. Must be 100% sample free original songs with Instrumental versions available. Only top quality productions and songs will be considered. Songs chosen will be considered for exclusive publishing deal with prominent Music Licensing company. We have strong relationships and placements in Sons Of Anarchy, Justified, Homeland, Sex and The City, Dexter, Marvel Agents Of SHIELD, Madam Secretary, Deadpool and other Major Motion Pictures.
- Tony Shimkin / Noble Music
Deal Type: Synch Placement
Deal Structure: Exclusive
Song Quality: Broadcast ready
Seeking Hot Latin Hip-Hop & Reggaeton for TV Series Based on a Popular Film
We're looking for serious latin hip-hop and reggaeton tracks with vocals and matching instrumentals. Exclusive publishing deal for placement in new TV series based on an Academy Award-winning film about street life, corrupt cops, bad guys, etc...
Must be serious productions only! Must own all rights! No uncleared samples.
Hardin Bourke Entertainment seeking artists for management consideration
We are a Los Angeles based boutique artist management company that provides full service artist management and label services. We are now taking submissions to our company for management, label services, consulting, and more.
Our current management roster of artists/producers/writers includes Robert Delong, Ed Kowalczyk, The Flavr Blue, Stacy Clark, Pain The Muse, Sleeperstar, and Jamie Candiloro.
- Hardin Bourke Entertainment
Universal Nashville Seeks Hot New Country Talent
The A&R team at Universal Nashville's labels (MCA, Mercury, Capitol, & EMI Nashville) is seeking hot new Country solo acts, bands, & performing talent.
Are your Music Xray Diagnostics scores high? If so, and if you are on the level major country artists, we definitely want to hear from you right away!
Looking for New Artists to Shop to Major Label
Looking for new artists to shop to a major label and sign to a management deal. Artist must submit mix and mastered music. Please submit your best track(s) for consideration.
- Brandon Carter - Ceo/President - Xclusive Management LLC
Touch Records Seeking Songs & Artist for Roster Consideration
Our label is looking for songs in key genres of: R&B, Soul, EDM, CCM, Gospel, Jazz, Light Rock, and Pop. All music must be positive and theme oriented. We are also looking for artist that are looking to advance their career to the next level. Please submit your best track(s) for consideration.
Touch Records is now the culmination of specific services provided with the professional skill and experience developed over the years by its founder. Touch Records now provides itself exclusively as a; Music Publishing, Music Production, and Worldwide Distribution Label with Label imprints that support artist around the world with Radio and Licensing Campaigns, and shipment to digital and physical stores.
Indie Rock / Pop Rock for TV Network
Required genres: uplifting pop / rock / indie songs with male or female vocals in the style of Coldplay, Muse, The Killers, Greenday. Selected tracks will be sent directly to music supervisor for the network. She is searching for tracks with great melodies and instrumentation. RTTM Music Group pitches music for series, films, ads, trailers, and online uses worldwide. These projects are often on streaming sites like Netflix, Amazon Prime, as well as cable channels such as Showtime, HBO, Starz, and the major networks.


2010 was the year where expansion of cloud took place with better solutions and new innovations. Many companies and tech giants certainly made its mark but it was CloudFX that really made an impact in the market. The company initiated its corporate life in Singapore in late 2009 as a professional services company providing high-end support for large IT vendors and financial institutions, as well as telecommunications and major enterprise clients. By 2013, the firm had become a leading provider of virtualization and advisory services and how now grown into a substantial organization. The company has constructed a leadership team that is made up of experienced, mature industry executives with an average of 20+ years of experience in various executive roles across the technology industry. Thus, backed by pioneers, highly experienced individuals, and the new Group CEO, Walt Mayo with the mastermind - Damian Crotty, CloudFX is certainly creating history by providing the best solutions available in the market.
Why was the company set up? How did you expand your company and its offerings over the years?
It was clear that the industry was on a precipice on unprecedented disruption as we transitioned from physical computing assets and perpetual software products to virtual and cloud-native infrastructure services, on-demand software as a service and platform as a service products, that where highly attractive substitutes from a cost and utilisation optimization perspective, their ability to scale up and down as demand dynamics changed within a company.
Originally, CloudFX was focused purely on business and data center transformation advisory, consulting and infrastructure design and implementation services and whilst successful, attracting the likes of Cisco and Intel Capital as investors, I was convinced that there was a superior way for CloudFX to truly make a more impactful difference, thereby accelerating the transformation journey and realization of cost, service level and operational improvements by building a platform that incorporated all of the key elements of transformation – Multi-Cloud and Multigenerational infrastructure Service catalogues, E-Commerce based User Self Service, IT Service and Solution provisioning and Automation, Multi-Cloud Service Management, Cloud Life-cycle management, Consumption-based analytics across the IT assets base and finally aggregated billing across all consumed IT assets - legacy, physical, virtual cloud, and public cloud-related.
We led the professional services for companies like VMWare, Cisco, EMC, NetApp, HP focused specifically on virtualization and complex infrastructure transformation, specifically in the banking and telecommunication verticals.
In late 2013, Cisco and Intel Capital purchased 25% of CloudFX and that working capital was used to transition the business into a Cloud and Digital Services-Solutions Platform Company. In 2015, a 3-year strategic plan was developed to transform the platform – CloudSelect into an open source, intelligent, multi-functional platform, supported by consolidated global shared services function based in India and most importantly, commence the globalization of our business with and through partners.
What are your product and service offerings?
CloudFX offers Digital Service Market Place Platforms (Multi-Tenant), Digital-Cloud Service Management Platforms for Intelligent and Secure IT (Single Tenant) and professional and day 2 operational management services. Within both, the product and services portfolios are a range of customization capabilities to ensure both the platform solutions and services are curtailed around each partner of customer's specific requirements.
What would you say are the top three skills needed to be a successful CEO?
Strategic agility – The ability to see trends and industry changes impacting customers long before they happen so the business can respond proactively to these and help customers navigate them positively.
People Management – The ability to identify the right talent for the right position in the business and motivate them to realize their greatest potential so they achieve self-actualization and support customers through a disruptive period where each decision has significant consequences.
Command Skills – We've been in the era of Insight selling for the majority of the past decade and unless a company can communicate how the trends in the industry are likely to impact their customers business and quantify that impact than their not the right partner. It's also important to be able to clearly articulate to business priorities and keep everyone aligned to that "critical few" as opposed to the "trivial many".
I've worked for some incredible people, in fact, there is no way I could have ever realized even part of my potential had it not been for 5 exceptional leaders – Scott Wambolt (Dell), Amit Midha (Dell), David Schmoock (Dell) Bill Amelio (Dell) and Milko Van Duijl. These guys where all incredibly generous with their time, very supportive, all exceptional executives in their own way and helped me immeasurably not only tap into what skills I had but created a certain belief that I could make a difference, so I owe much of what I've achieved to these 5 executives, who have all gone on to achieve incredible success.
Damian was the CEO of the CloudFX Group and his position is now taken by Walt Mayo. Damian is a highly experienced Technology executive and entrepreneur with deep global experience in Sales, Consulting, Operations and Marketing leadership in the Enterprise Solutions, Cloud and Data Centre Computing industries. He has led Sales, Consulting and Operations organizations responsible for P&L, Strategy, Innovation and the overall growth agenda for Global business and technology leaders around the world.
Damian has a diverse, global background and proven track record in leading high growth, mature and start-up technology businesses. He has vast experience in managing large, complex organizations in demanding, result orientated business environments and over the last 8 years has built one of the fastest growing Cloud Platform Solution Company's in the world as its founder.
Recognition - Damian was voted in the Top 30 Most Influential Executives in the WW Technology industry in January of 2017, one of the 50 Most Admired CEO's in November of 2017 one of the Top 30 Entrepreneurs in the World in October of 2017 and again in August of 2018.


text:
Cell phone science
Claude Fischer, professor of sociology | November 5, 2013
My attention was recently drawn to the topic of cell phones and not just because … hold on a sec … um, no messages … of the phone sitting next to my keyboard, but because I was reading two books … wait, what's the ball score? … No change … where was I? …. oh, yeah, two books – Rainie and Wellman's Networked and Doron and Jeffrey's The Great Indian Phone Book – and a few other items on the topic. Cell phones have spread across the globe faster and deeper than any other technology. Understanding why and with what consequence is a new frontier in social science research.
The mobile or cell phone emerged around 1980; almost no one had one. As late as 2000, there was about one cell phone subscription for every 12 human beings in the world; this year, there is about one subscription for every single human being. This must mean something.
The latest Sunday New York Times Book Review presented the intriguing thoughts of many novelists on the question of what the advent of internet devices did to story-telling. The new technologies have blown up a number of plot lines – hero stranded, boy and girl unable to re-find one another, mysterious stranger comes to town, and so on. Get on your phone! Send a text! Google him! What's the problem?
Some interesting and perhaps unexpected findings are coming out of research into the sociology of cell phones. One finding is that, however cell phone obsessed we think we are … um, did I just hear a buzz? Is that for me? … Americans are mobile laggards.
Slow talkers
Given Americans' affluence, given the nation's lead in technology – Defense Department ARPA, Google, NSA, Apple, and all that – and given our boasting about a competitive entrepreneurial environment, you'd think that Americans would be the most mobile-phoned-up people in the world. Not by a long shot. The latest numbers show that there are about 98 cell phone subscriptions for every 100 Americans. We are down in the middle of the pack and way behind, say, the Finns (173), Italians (159), and Malaysians (141), albeit ahead of the Canadians (76).
More striking, comparing subscription rates to national wealth has us at the bottom: Americans have about 20 subscriptions per million dollars of national GDP; Indians have 470 subscriptions per million dollars. Perhaps something about the North American cell phone industry – the sunk costs in sunken wires, corporate oligopoly, I don't know – has slowed the spread of mobiles here, or perhaps North Americans don't want cell phones as much as other people do. The central want for cellphones, separate from any practicalneed, seems to be social chit-chat.
What do cell phoners do when they phone?
The first wireless phones were, as were the first wired phones, expensive, clumsy devices for doing business and business is still a big use for cell phones around the world. Researchers have tried to estimate what the introduction of cell phone service has meant for economic growth in poorer nations and indications are that it contributes at least modestly to growth, notably for otherwise poorly-connected rural populations (e.g., here and here).
But the real enthusiasm for cell phones, which exploded once the devices became easier to use and especially once the prices plummeted, was (as it was for land lines) for personal conversation, be it voice or text: checking in, asking for updates, discussing family and friends (i.e., gossip), asking for advice or just for validation, spreading personal news, more gossip, etc. Rainie and Wellman document the enthusiasm among North Americans, particularly younger ones, and Doron and Jeffrey do the same among Indians, particularly poorer ones.
This rush to chat has raised some concerns about a hidden cost to all that connectivity: that deeper relations among people are weakened as cell phoners ignore the person in front of them to check whether they have messages on their äppäräts from people distant from them. (Ironically, the arrival decades ago of cheap television and personal radios led to worries that being disconnected from other people would weaken intimate bonds.)
The research suggests a much more mundane conclusion. So far – who knows what will happen when today's teen texters turn thirty? – the best guess is that adoption of the device has not much affected face-to-face intimacy but has led to more frequent communication with intimates. The evidence for this comes mainly from studies of what happened to social relations during the roughly twenty years of the cell phone's diffusion. For example, a recent study of five western nations, including the U.S., found that adults reported seeing their mothers in person just as often in 2001 as adults did in 1986, while communicating with their moms more often. Other research discussed by Rainie and Wellman and elsewhere (e.g., here) is consistent.
Then there are studies, also reported by Rainie and Wellman and by others (e.g., here), showing that more active cell phone users tend to be generally involved socially more than less active users are. (The worries about e-communications undermining community are also addressed in these earlier blog posts: here and here.)
However mad for cell phones Indians — or Kenyans or Chinese or whoever — are, Americans seem a bit less mad for them. Television sets appear to have spread much more quickly in 1950s America than cell phones did in the last 20 years. Maybe Americans are just less into all that chit-chat.
Cross-posted from Claude Fischer's blog, Made in America: Notes on American Life from American History.
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Home » Water For People Donation
Water For People Donation
American Water Works Co., the largest investor-owned U.S. water and wastewater utility company, has announced the company has donated $216,143 to Water For People through its company-wide 2009 fundraising campaign. More than $140,000 was raised through employee contributions.
In addition, American Water will sponsor Richard Bubien, a call-handling supervisor in the company's customer service center in Pensacola, Fla., to participate in a one-week Water For People Country Tour in Malawi in September. Bubien was selected at random from a list of employees who contributed a minimum of $20 per month to the campaign. Water For People Country Tours give participants the extraordinary opportunity to travel to rural communities for a first-hand look at sustainable water and sanitation projects in progress, and the vast difference they are making in people's lives.
For more than a decade, American Water has supported Water For People, an international nonprofit organization that supports locally sustainable drinking water resources, sanitation facilities, and health and hygiene education programs for people in developing countries.
"I cannot understate Water For People's tremendous work throughout much of the developing world in securing quality water and health resources for those who strongly and urgently need it," says Ellen Wolf, senior vice president and chief financial officer of American Water, chair of the company's 2009 giving campaign, and a member of Water For People's board of directors. "Every year, American Water employees proudly contribute to the important efforts of Water For People through creative fundraising campaigns and events."
"Our extensive efforts in response to the world's water and health concerns are greatly strengthened through the generous donations from American Water," explains Ned Breslin, chief executive officer of Water For People. "American Water and its employees should be commended for their contribution, which cannot come at a more important time to address these water and health concerns."
American Water has made an annual contribution to Water For People since it was established 18 years ago, and to date has contributed a total of more than $1.2 million.
Founded in 1991, Water For People is a nonprofit international development organization that supports safe drinking water and sanitation projects in developing countries. Water For People partners with communities, local governments, and other nongovernmental organizations to help people improve their quality of life by supporting the development of locally sustainable drinking water resources, improved sanitation facilities, and hygiene education programs. Water For People supports communities with professional development advice, financial support and volunteer technical services.
Typical technologies employed include protected spring-fed community water systems, gravity-fed systems, wells with hand pumps, latrine construction, operator training and hygiene education. Water For People currently is working in Latin America, Africa and Asia. In 2008, Water For People supported the provision of safe and sustainable drinking water resources benefiting 91,722 people in the developing world, sanitation facilities benefiting 92,983, and hygiene education benefiting 153,843 people.
Founded in 1886, American Water is the largest investor-owned U.S. water and wastewater utility company.
Water For People's Inaugural Gala to Highlight Contribution of Women in Water
WQA Coordinates with Members, Water for People to Deliver Aid to Tsunami Survivors
Stiles to Lead Water For People
ITT and Water For People Create Strategic Partnership


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Michail Michailow (* 14. September 1888 in Tschornobyl; † 23. Dezember 1923) eigentlich: Finkelstein, war ein russisch-jüdischer Geiger und Kapellmeister.

Werdegang

Michail Michailow wurde als Kind eines Kulaken in Tschornobyl, Ukraine geboren, sein Geburtsname war Finkelstein. Seine musikalische Begabung wurde früh entdeckt. Den ersten Geigenunterricht erhielt er bei dem Konzertmeister (J. Schura?) Polischuk
aus Kiew, dessen Tochter er 1906 heiratete. Ab 1908 ging er nach Berlin und studierte ab September 1911 am Sternschen Konservatorium bei Alexander Fudemann. Neben dem Studium arbeitete er als Geiger, um seinen Lebensunterhalt zu verdienen. Er stellte ein eigenes Ensemble zusammen und bestritt damit längere Engagements im Admirals-Café und im Prinzeß-Café in Berlin.
Hier nahm Finkelstein den Künstlernamen Michail Michailow an, möglicherweise weil der jüdisch klingende Name Finkelstein einer erfolgreichen Karriere im Wege gestanden hätte.

Gleichwohl findet sich der Name M. Finkelstein noch auf dem markenlosen Etikett (ähnlich dem mit der Nr. 125.103: Nocturno von Chopin, siehe Abbildungen) einer 30 cm-Schallplatte, auf deren einer Seite die Meditation aus Thais von Jules Massenet (Matr. Nr. 5170), auf der anderen die Serenade von (Gabriel) Pierné (Matr. Nr. 5168) aufgenommen ist, gespielt als Violin-Solo von M. Finkelstein. Der Klavierbegleiter bleibt ungenannt. Die Platte stammt aus der ehemaligen Sammlung Paul Sauerlaender und wird derzeit im Deutschen Filmmuseum Frankfurt/Main aufbewahrt.

Mit seiner Kapelle machte er etwa ab 1912 erste Schallplattenaufnahmen für die Lindström-Marke Parlophon. Er spielte eigene Kompositionen, aber auch klassische wie Michail Glinkas Der Zweifel, im Trio mit Armin Liebermann am Cello und Friedrich Schmidt-Marlissa am Klavier, Fritz Kreislers Wiener Melodie oder Edvard Griegs Norwegischer Tanz No.2.

Am 11. Mai 1912 wurde sein Sohn Mordechaj geboren, der später ebenfalls Violinist wurde.

Am 22. Januar 1913 fand im Admirals-Café ein Benefiz-Konzert "für den beliebten Kapellmeister und russischen Geigenkönig Michailow mit verstärktem Orchester unter gefälliger Mitwirkung von Herrn Kapellmeister Julius Einödshofer" statt.
Am 1. Juli 1914 schloss Finkelstein sein Studium in Berlin ab. "Aufgrund seiner verzüglichen Leistungen als Violinspieler" bekam er zum Abschied die Gustav-Hollaender-Medaille verliehen.

Als der Erste Weltkrieg ausbrach, floh Finkelstein zusammen mit anderen ukrainischen Musikern ins neutrale Schweden. Hier konnte er seine Karriere als Violinsolist unbehelligt fortsetzen. Bei Konzerten in Stockholm wurde er u. a. von Nathaniel Broman und Kerstin Sondbaum-Strömberg am Klavier begleitet.

Nach Kriegsende kehrte er nach Berlin zurück. In einer Veranstaltung des Russischen Klubs Berlin am 29. September 1919 spielte er im Kaisersaal des Weinhauses Rheingold bei der Aufführung von Artur Rubinsteins Romance; Solisten waren außerdem Lidija Potozkaja und Giorgij Kjakscht (1873–1936), Ballettmeister der ehem. Kaiserl. Theater.
Während er auf dem Parlophon-label weiter das klassische Repertoire pflegte, machte er als Tanz-Orchester, Direktion M. Michailow auch Aufnahmen bei der Grammophon und deren Filialmarken Polyphon und Reneyphon, meist mit konzertanten Stücken wie der populären Toselli-Serenade oder der beliebten Russischen Romanze Habe Mitleid mit mir/Pozalej von N. R. Bakalainikow, aber auch mit Ragtime-beeinflußter Tanz-Musik, so z. B. mit Kitty (auf Gr 13 674), mit Hitchy-Koo, oder dem One-step Waitin' for the Robert E. Lee, (alle c. 1920).

Michailow starb am 23. Dezember 1923 im Alter von nur 35 Jahren an Tuberkulose.

Tondokumente (Auswahl)

Parlophon
 Parlophon P.1040–I (mx. 2–2483) Solveigs Sang aus "Peer Gynt" (Edvard Grieg op. 23) M. Michailow, vl. mit Klavier. Aufgen. 22. Juli 1919
 Parlophon P.1040–II (mx. 2–2484) Poème (Zdenko Fibich, op. 41) M. Michailow, vl. mit Klavier. Aufgen. 22. Juli 1919
 Parlophon P.1319–I (mx. 2–5733) Si vous l'aviez compris (Denza - Bordése) M. Michailow, vl. und F. Schmidt-Marlissa, p., aufgen. 15. Februar 1922
 Parlophon P.1319–II (mx. 2–5736) La serenata (Tosti) M. Michailow, vl. und F. Schmidt-Marlissa, p., aufgen. 15. Februar 1922
 Parlophon P.1356–I (mx. 2–5734) Der Zweifel (Mihail Glinka) M. Michailow, vl., Armin Liebermann vcl., F. Schmidt-Marlissa, p., aufgen. 15. Februar 1922
 Parlophon P.1356–II (mx. 2–5737) Pour un baiser - Mélodie (Paolo Tosti) M. Michailow, vl., Armin Liebermann vcl., F. Schmidt-Marlissa, p., aufgen. 15. Februar 1922
 Parlophon P.1325–I (mx. 2–5763) Souvenir in D (Franz Drdla) M. Michailow, vl. mit Orchester. Aufgen. 15. März 1922.
 Parlophon P.1340–II (mx. 2–5766) Gavotte Michailow (M. Michailow) M. Michailow, vl., mit Orchester. Aufgen. 15. März 1922.

Deutsche Grammophon
 Grammophon 13 674 (mx. 377 at) Kitty. Foxtrot von René Richard Schmal. Tanz-Orchester, Direktion M. Michailow.
 Grammophon 13 683 (mx. 428 ar) Hiawatha. Gesellschaftstanz (G. Urban) Tanz-Orchester, Direktion M. Michailow.
 Grammophon 15 765 (mx. 68 ap) Célébre Serenata, Boston-Walzer (Enrico Toselli) Tanz-Orchester, Direktion M. Michailow.
 Grammophon 15 765 (mx. 186 as) Waitin' For The Robert E. Lee. One-step (Lewis F. Muir & M. Abrams) Tanz-Orchester, Direktion M. Michailow.
 Grammophon 15 775 (mx. 41 an) Hitchy-Koo (Lewis F. Muir) Tanz-Orchester, Direktion M. Michailow.

 Polyphon
 Polyphon 50 061 (mx. 99 as) Habe Mitleid mit mir. Russ. Romanze (Pawlowicz) M. Michailow, vl. mit Orchester.
 Polyphon 50 061 (mx. 100 as) Berceuse tendre (Daniderff) M. Michailow, vl. mit Orchester.
 Polyphon 50 063 (mx. 43 ap) Serenade aus dem Ballett "Die Millionen des Harlekin". M. Michailow mit Künstler-Ensemble.
 Polyphon 50 063 (mx. 44 ap) "Lied ohne Worte" (Tschaikowsky) M. Michailow mit Künstler-Ensemble.

Hörbeispiele
 youtube.com Blaue Adria. Foxtrot (A. Rebner): Tanz-Orchester, Direktion M. Michailow. Grammophon 13 676 (mx. 14 098 r), nach 1918
 grammophon-platten.de Waitin' For The Robert E. Lee. One-step (Lewis F. Muir & M. Abrams) Tanz-Orchester, Direktion M. Michailow. Grammophon 15 765 (mx. 186 as) (30 cm)

Abbildungen
 Favorite-label F 226–I (F 016) Libellen-Tänze vom Orchester Polischuk: Dixie Landgramofon.nava.hu (auch Klangbeispiel)
 Favorite-label F 226–II (F 017) Libellen-Tänze vom Orchester Polischuk: Smilesgramofon.nava.hu  (auch Klangbeispiel)
 Namenloses label 125.103: Nocturno (Chopin) Violin-Solo, vorgetragen von M. Michailow, mit Orchesterbegleitung. Odessa. i.ebayimg.com
 Parlophon-label P.1319–I (mx. 5733) Si vous m'aviez compris (Denza) Solo de violon M. Michailow / P.1319-II (mx. 5736) La serenata (F. Paolo Tosti) Solo de violon M. Michailow. ebay.de
 Parlophon-label P.1340–II (mx. 5766) Gavotte Michailow. Michailow, Violin-Solo mit Orchester. historicalmusicstore.com
 Polyphon-label Nr. 50 066 (mxx. 120.012 u. 120.013) Fantasie aus "Tosca" 1./2. Teil von Puccini. M. Michailow mit Künstler-Ensemble. ebay.de
 Grammophon-label Nr. 15 765 (mx. 186 as) Waitin' For The Robert E. Lee. One-step von Lewis F. Muir und Maurice Abrams. Tanz-Orchester, Direktion M. Michailow.grammophon-platten.de

Literatur
 Horst J. P. Bergmeier, Rainer E. Lotz: Das Rätsel des M. Michailow. In: Fox auf 78. Heft 19 – Frühjahr 2000, S. 16–19.
 HBi [d. i. Herbert Birett]: Paul-Sauerlaender-Sammlung. In: Lexikon der Filmbegriffe. filmlexikon.uni-kiel.de
 Simon Géza Gábor, Wolfgang Hirschenberger: Ragtime in der k. u. k. Monarchie. Aufsatz 2008, (mit Klangbeispielen) wiedergegeben bei grammophon-platten.degrammophon-platten.de
 Wolfgang Hirschenberger: Cakewalk im Cafehaus. Kleine Geschichte des Ragtime in Österreich. In: K. Krüger (Hrsg.): Fox auf 78. Nr. 3 (Frühjahr 1987), p. 46–47
 Horst Heinz Lange: Jazz in Deutschland: die deutsche Jazz-Chronik bis 1960. Ausgabe 2, illustriert; Hildesheim, Verlag G. Olms, 1996.
 Horst Heinz Lange: Die deutsche "78er": Discographie der Jazz- und Hot-Dance-Musik 1903–1958. Berlin, Colloquium Verlag, 1966, Länge 775 Seiten.
 Rainer E. Lotz: German Ragtime and Prehistory Of Jazz. Chigwell, Essex, England: Storyville Publications, 1985. ISBN 0-902391-08-9.
 Stengel-Gerigk = Lexikon der Juden in der Musik. Mit einem Titelverzeichnis jüdischer Werke. Zusammengestellt im Auftrag der Reichsleitung der NSDAP auf Grund behördlicher, parteiamtlich geprüfter Unterlagen, Theo Stengel, Herbert Gerigk (Bearb.), (= Veröffentlichungen des Instituts der NSDAP zur Erforschung der Judenfrage, Bd. 2), Berlin: Bernhard Hahnefeld, 1941.
 Christian Zwarg: on line Diskographie PARLOPHON (Matrix Numbers – 2–5500 to 2–6999: German)discography.phonomuseum.at (PDF; 1,0 MB)

Einzelnachweise

Klassischer Geiger
Musiker (Russland)
Russe
Geboren 1888
Gestorben 1923
Mann

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Whether you're a fitness newbie or a seasoned athlete, it's no secret that physical fitness requires dedication and effort. It's important to remember that no matter who you are, no workout is ever the same. Some days you'll soar while others you'll struggle, encountering workouts that are tougher than you expect. So how do you set yourself up for success?
Warm Up, Warm Up, Warm Up!
Even on days when you only have 20-30 minutes, it's still important to realize the value of a good warm-up. Ramping up too quickly may cause injury and could set you back before you even begin.
The right fuel can help you power through a workout. The NCAA recommends eating a small carbohydrate-rich snack within one to two hours before exercise. Proper hydration before, during, and after a workout is also essential. For workouts lasting an hour or less, the American College of Sports Medicine recommends drinking 500 mL of water or sports drink two hours before exercising, and drinking at regular intervals during exercise. Keeping FIJI Water on hand can help you stay hydrated. If a workout lasts for longer than an hour, consuming a carbohydrate-electrolyte sports drink is also recommended.
Prepping your mental game is just as important as warming up. Here are some tips to keep in mind for those unexpected off days.
Think about that moment of crossing the finish line or completing the last rep. Your mind is your best ally when it comes to generating that last bit of motivation to reach your goals.
Are you prepping for a 5k? Marathon? Do you want to lose weight? Improve your health? Whatever the reason, you need to internalize it. It doesn't have to be groundbreaking, but having that anchor to go back to can help re-engage your mental focus.
Even seasoned athletes can feel overwhelmed when facing the workouts they've planned out. When that workout gets tough, break it down! Whether it's running, spinning, or yoga, divide your workout into increments – by miles, minutes, or even poses! Focus on the smaller sections individually. Set achievable goals for the remainder for your workout for consistent positive reinforcement and motivation.
Now that you're armed with information, get out there and get moving! And remember to always keep a bottle of FIJI Water on hand for a quick water break no matter where your workout takes you.


Super Bowl betting is on the minds of many in the online betting industry right now, but the NFL is trying to drum up interest in the Pro Bowl by moving it from Hawaii to Miami, the site of the Super Bowl, and a week before the big game. There are a number of injuries to both rosters, but here are four players to keep an eye on this Sunday.
Chris Johnson, Tennessee: the Offensive Player of the Year this season, Johnson was the runaway rushing leader with 2,006 yards to go with 14 touchdowns. Other telling stats: Johnson had just three fumbles despite an NFL-high 358 carries, and he paced the league with 79 rushing first-downs.
[ad#336r]Darrelle Revis, New York Jets: the Pro Bowl is usually a shootout (sportsbook players should know that eight of the last 10 Pro Bowls have had 55 points or more scored), and the NFC will look to air it out against the player many call the best cover corner in the league. Revis had six picks during the regular season, and then two more in the playoffs, and shut down many of the game's best receivers.
Aaron Rodgers, Green Bay: the Packers' pivot was fourth in the league in yards and passer rating, and one only wonders what kind of numbers Rodgers would have had if he wasn't sacked a league-high 50 times. The Packers' offensive line pulled it together in the second half of the year, so look for a confident Rodgers to throw some bombs on Sunday.
Miles Austin, Dallas: Larry Johnson of Arizona and Minnesota's Sidney Rice are out with injuries, but the NFC, who are 2.5-point favorites according to US sportsbook odds (US sportsbook review), still have Austin, who came out of nowhere to rank third in receiving yards. Austin had 250 yards in Week 5 at Kansas City, and never took his foot off the gas, although he was kept quiet in the Cowboys' humbling loss at Minnesota in this year's playoffs. Austin tied for second in the NFL with 21 plays of 20 yards or more, and teammate Tony Romo will surely look for the wide receiver when they're both in the game.
NFL betting picks: The NFC (-2.5) is too deep at quarterback for the AFC.


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Home » Blog » 'How I Met Your Father' Season 2 Sets Hulu Release Date
'How I Met Your Father' Season 2 Sets Hulu Release Date
December 13, 2022 by Michelle Beck
Hulu has announced that the second season of "How I Met Your Father" will premiere on Hulu on Tuesday, January 24, 2023.
The news was shared on social media which you can see below:
The gang is back! 🙌 Season 2 of How I Met Your Father premieres on January 24! pic.twitter.com/HfCEWmSPPr
— Hulu (@hulu) December 13, 2022
Season 1 of the series which consists of 10 episodes is streaming now on Hulu in the United States and on Disney+ in many countries including Canada, The United Kingdom, Ireland and more.
In "How I Met Your Father," Duff stars as Sophie, who is telling her son the story of how she met his father, much like Josh Radnor (and Bob Saget's) Ted Mosby did in the original series. The story starts in 2021 where Sophie and her close-knit group of friends are in the midst of figuring out who they are, what they want out of life, and how to fall in love in the age of dating apps and limitless options.
Cast includes Francia Raisa (Grown-ish), Tom Ainsley (Versailles), Tien Tran (Space Force), Daniel Augustin (David Makes Man) and Suraj Sharma (God Friended Me), Josh Peck (Turner & Hooch) and Ashley Reyes ( American Gods). Kim Cattrall will play the future version of Hilary Duff's character Sophie, who is telling her son the story of how she met his father, much like Josh Radnor (and Bob Saget's) Ted Mosby did in the original series.
You can view some first look images from Season 2 below:
The show is created by This Is Us producers Isaac Aptaker and Elizabeth Berger. alongside HIMYM creators/exec producers Carter Bays and Craig Thomas and the original series' director/exec producer Pam Fryman, as well as Adam Londy. Duff serves as a producer.
20th Television is the studio.
A Disney+ release date for Season 2 has not been announced yet for other countries.
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SOOOOOO delicious! I've made these twice already and can't believe I didn't comment sooner. These are fabulous! THANK YOU!!!!!!! 5 STARS!
Are we suppose to use the water that the sun dried tomatoes were soaked in when we process the ingredients? Sounds like a tasty treat.


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Iyuku raathi is een plantenetende ornithischische dinosauriër, behorende tot de Euornithopoda, die tijdens het vroege Krijt leefde in het gebied van het huidige Zuid-Afrika.

In de Kaapprovincie werden tussen 1995 en 1999 skeletten gevonden van jonge euornithopoden. Die werden in 2012 gemeld in de wetenschappelijke literatuur en in 2015 behandeld in een dissertatie van Karen Poole maar niet benoemd en omschreven als het "Kirkwood Taxon".

De typesoort Iyuku raathi werd in 2022 benoemd en beschreven door Catherine A. Forster, William J. de Klerk, Karen E. Poole, Anusuya Chinsamy-Turan, Eric M. Roberts en Callum F. Ross. De geslachtsnaam betekent "net uit het ei gekomen dier" in het Xhosa. De soortaanduiding eert Michael Raath.

Het holotype, AM 6150, is gevonden in de Kirkwoodformatie die dateert uit het Valanginien. Het bestaat uit een gedeeltelijk en gedeeltelijk in verband liggend, skelet. Het bewaart delen van de schedel, wervellichamen, wervelbogen, de schouderbladen, het bekken en de achterpoten. Andere specimina 6004, 6005, 6021, 6022, 6030, 6053, 6055, 6056, 6063, 6066, 6067, 6077, 6093, 6101, 6102, 6103, 6104, 6107, 6108, 6109, 6110, 6111, 6119, 6122, 6151, 6154, 6155,
6175, 6176, 6190, maken deel uit van zo'n tweehonderd losse botten gevonden in een laag van dertig centimeter dikte op een oppervlakte van veertien vierkante meter. De meeste delen van het skelet zijn bekend. De fossielen vertegenwoordigen een minimum van zevenentwintig individuen. Een daarvan is wat groter en vermoedelijk een jongvolwassen dier. Sommige exemplaren lijken net uit het ei te zijn gekropen. Een scheenbeen wijst op een dier dat al wat gegroeid is, van vijfendertig tot tweeënveertig centimeter lengte. Gevonden dijbeenderen hebben een lengte tussen de 18,4 millimeter en 54,7 millimeter.

De denticula van de tanden bestaan uit afgeronde uitstulpingen. De borstbeenderen zijn bijlvormig.

Poole plaatste het taxon in 2015 in de Dryosauridae, als zustersoort van Dysalotosaurus. In 2022 werd geen kladististische analyse uitgevoerd wegens het gebrekkige materiaal.

Literatuur
FORSTER, Catherine A.; POOLE, Karen E.; DE KLERK, William J.; CHINSAMY-TURAN, Anusuya; ROBERTS, Eric M., James. 2012. A NEW TAXON OF IGUANODONTOID DINOSAUR FROM THE KIRKWOOD FORMATION (VALANGINIAN) OF SOUTH AFRICA BASED ON AN ASSEMBLAGE OF JUVENILE SPECIMENS. SVP Abstract Book, p 95
Poole, Karen E. 2015. Phylogeny and Biogeography of Iguanodontian Dinosaurs, with Implications from Ontogeny and an Examination of the Function of the Fused Carpal-Digit I Complex, PhD thesis. The George Washington University. 207 pp
Forster C.A., de Klerk W.J., Poole K.E., Chinsamy-Turan A., Roberts E.M. & Ross C.F. 2022. "Iyuku raathi, a new iguanodontian dinosaur from the Early Cretaceous Kirkwood Formation, South Africa". The Anatomical Record

Euornithopoda


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Q: ssh connection failed for ec2 as there is no space left on ec2 instance I have a 25 gb disk storage on ec2 instance. Im unable to connect to the ec2 instance using the remote ssh on vs code, the error I get is as follows:
mkdir: cannot create directory '/home/ubuntu/.vscode-server/bin/62xxxx..b': No space left on device

How do I clear memory If I cannot connect?
I'm not sure if adding extra memory is the solution here? I added a 2gb disk but that didn't help.
I have tried rebooting and force stopping the ec2 instance. It reboots and starts however, Im unable to connect to it.

A: It's difficult to resolve this if the EC2 instance is unresponsive and you can't access it:

*

*Increasing the size of the existing volume from the console won't help as you still need to increase the partition size at OS level.

*Attaching a new volume won't help either as you still need to mount and partition this at OS level. Your application(s) has no knowledge of the new volume and will keep trying to write to the original location.

A few solutions, depending on your requirements:

*

*If you don't need to recover data on the instance, it'd be easier to create a new one.

*If you do need to recover the data on the volume, create an AMI from the instance, then create a new instance from the AMI with increased volume size.

*If you really need to preserve the current instance, replace the root volume by creating an AMI with increased volume size.

A: Amazon Linux AMIs (and some other ones) will automatically expand the root partition during system startup. Therefore, you can try the following:

*

*In the Amazon EC2 management console, Modify the Amazon EBS Volume that is for the root drive (you probably only have one volume on the instance)

*Increase the size of the disk

*Reboot the EC2 instance

This should allocate more space to the root partition.
Then, try connecting again and it should work.

redpajama_set_name: RedPajamaStackExchange


I decided not to watch the morning alms in Luang Prabang. Many people I met on my way said it is not as genuine as it used to be. So, instead I decided to go and see it somewhere else. I didn't plan it to see it in Inle Lake, but one morning I got up very early for one of my trips and saw this amazing procession of monks.
Monks are allowed to eat once or twice a day and only the food they collect in the morning. Every day they gather together and walk through towns and villages with bowls, in which the people put their food.
Alms in Buddhism is a respect given to the monks or nuns (people spiritually developed) by lay people. It symbolises the special connection between the two.
To return the favour monks (or nuns) bless the people by chanting and praying for them.
You can witness the morning alms in every village, town and city, which has a monastery near by. You really don't need to go to Luang Prabang to witness it.
Myanmar is a country, where the tourism industry hasn't taken over the religious side of life, at least not entirly yet. So, if you are keen to see it, get up early (around 6) and stand outside one of the temples, or monasteries. You can also ask the locals, where is the best place to go.
I got up at 6 and waited around an hour for the monks to come out. It was freezing cold. I almost gave up and started walking back to my hostel, when suddenly they appeared from behind a corner.
No one really paid any attention to them. The locals were busy with starting their day, and tourists were more interested in catching a boat to the Lake. Only a few owners of the shops and hotels were waiting with food.
I was trying not to disturb, but this was the first time I had witnessed the morning alms, and I was too excited and think I must have distracted them a little.
The light and the fact that I was the only tourist trying to capture the moment made it even more special.
My advice is: you can always see the morning alms anywhere in a Buddhist country. Don't go to Luang Prabang to do it. If there is a temple, there are monks and they will definetly be up at 6 am.
Oh, and there is also one more reason why you should get up so early in Nyaungshwe: the light in the morning i wonderful and mysterious. Go to the market and stand in the corner to see how the locals prepare for the day.


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Ninja Gaiden Shadow, released in Japan as  and in Europe and Australia as Shadow Warriors, is a side-scrolling action game released for the Game Boy in 1991 by Tecmo.  It is a prequel to the NES Ninja Gaiden trilogy.

Plot
Set three years before the events of the first Ninja Gaiden (NES), the player controls Ryu Hayabusa, who must save New York City from the forces of Emperor Garuda, a servant of Jaquio. Garuda's minions include the cyborg "Spider", kickboxer Gregory and his manager Jack, former military commander Colonel Allen, and the Japanese nobleman .

Gameplay

Ninja Gaiden Shadow features simplified play mechanics compared to those used in the NES trilogy. In contrast to the variety of ninja arts and power-ups available in the NES games, Ryu only has a basic sword attack and a Fire Wheel attack that can be replenished for up to five uses.  While Ryu cannot stick to or climb walls like in the NES games, he can hang onto railings and move underneath them like in Ninja Gaiden III: The Ancient Ship of Doom, and use both his sword attack and the Fire Wheel art while hanging onto railings. Unique to this installment, Ryu is equipped with a grappling hook that allows him to latch onto hard-to-reach railings. Like in the NES versions, Ryu can find health potions, fire wheel stocks, and extra lives by destroying item containers.

Development
Ninja Gaiden Shadow was originally planned to be a Game Boy adaptation of the NES game Shadow of the Ninja. The Nagoya division of Natsume, which developed Shadow of the Ninja, also developed Ninja Gaiden Shadow.

References

External links

Composer information for Ninja Gaiden Shadow at Portable Music History

1991 video games
Game Boy-only games
Natsume (company) games
Ninja Gaiden games
Platform games
Side-scrolling video games
Single-player video games
Video games developed in Japan
Video games scored by Hiroyuki Iwatsuki
Video games set in New York City
Video game spin-offs
Game Boy games


How many times have you played a point and you make contact with the ball in the same place on the court as your were before the ball was hit? I call this "getting eaten-up by the ball." The problem is that you are not getting into the point soon enough.
Many players will not react to the ball until it is already on their side of the net. That is too late. When you play under the lights at night, everything will be far worse. Solution: Keep your feet or body constantly moving -- it can be an up and back rhythm or a side-to-side motion. Then pretend you are listening to music. However, the music does not start until the moment right before your opponents hits the ball. Once you hear this sound, the music starts. The music will continue through your constant movement until the point is over. Keep moving and reacting until the point is over.
The traditional way to say this is to "split-step." No matter where you are on the court or what you were doing, "stop" right before your opponent hits the ball. This allows you to move in any direction from a balanced start. The greatest mistake players make is that they allow the ball to come to them. This is where the "better" player will move to the ball. If you can hear the music, and "music is movement," then you will move toward the ball or in case of a lob you can move back for it.
Remember, music is movement. The music starts right before your opponent makes contact with the ball. Once the music starts, keep moving until the point is over. In doubles, you should be moving even when your partner is hitting the ball. Points usually do not last very long. You are not going to be exhausted by this constant movement.


Have you ever started a project and forgotten what it was about?
I started this website and published my first article, "Stuck in the Past", nearly a year ago and I'm kind of ashamed to say that I haven't done nearly as much with this website that I had hoped to do. I thought I would have published far more actual articles, doing research on interesting history related topics, than I have. I look back on the content I have published and as of writing this there is a grand total of 2 legitimate articles that were not me advertising a new social media platform, or a video I made on one of my YouTube channels. What is even worse is that creating these self-promotion articles didn't help this website or those YouTube channels.
I recently began to question what I am doing with my life and these projects. What are they for? Where do I want to take them? Why haven't I been doing more with them?
Just so you understand, I have five youtube channels, and associated social media accounts, other than those I have for Casual Historian. I have school, which is only going to absorb more time when fall comes. So what am I going to do? Am I going to try and make content for all these projects or am I going to have to abandon some?
Unfortunately, I have concluded that it will have to be the latter. As much as I would like to keep up all of my projects I don't have the time or energy to do so. If I split up my time and energy between all of them than they are all going to be mediocre. What I need to do is drop some of these projects, at least for a little while, so that I can revamp some of my more important projects.
So what is this project for? And by this project I mean YouTube and The Casual Historian. Ultimately they are both long term income earning projects. I want both of these projects to be profitable and pay for themselves. This of course takes a lot of time and energy to make this happen, and that's one of my goals this summer. I am dropping all of my projects except for YouTube.com/GrantGHurst (my main channel) and this website. As of right now I am saying that the Casual Historian Podcast is officially on a hiatus until July or August. I am going to put more time and effort into writing articles for this website, and improving the quality of my YouTube videos. That is my summer goal.
There is another question that has come to me as I question the purpose of this website; what kind of content do I make? I have had difficulty in deciding. "History Related" has been difficult to determine. Do I write about a specific area of historical study such as American History, Political History, Economic History? Do I write more about historiography and how we look at history? Or do I get more meta and talk about the writing of history or the industry of doing so? Part of me wants to do all of it, and part of me wants to pick just one. And this is a question I still haven't answered. At this point I have decided to continue doing anything and everything history related, if for no other reason than to assure that I always have something to write about.
This summer is going to be important for me and all of my projects. This website will be getting a facelift in the coming months, as will the content. I'm doing a bunch of stuff with my home office, and maybe I'll share some of this with you.
All I have left to say is thank you for reading this, and I hope the next 3 months don't disappoint.


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Home Local News Sports Former ODU women's basketball star will coach men's pro team
Former ODU women's basketball star will coach men's pro team
Betsy Hnath, ODU News
BIG3 basketball announced that hall of famer and former Old Dominion University star, Nancy Lieberman, will coach a men's team this season. (Photo courtesy of BIG3 Basketball)
NORFOLK — BIG3 basketball announced that hall-of-famer and former Old Dominion University star, Nancy Lieberman, will coach a men's team this season.
The league recently announced Lieberman would replace Clyde Drexler as head coach of the Power. Drexler recently accepted a job as commissioner of BIG3, a three-on-three league of former NBA players, leaving the coaching vacancy.
He called Lieberman, "one of the sharpest basketball minds," adding, "her experience and basketball acumen will stand out in the BIG3."
Nicknamed "Lady Magic," Lieberman was a three-time All-American and two-time women's college basketball Player of the Year at Old Dominion where she competed from 1976-1980.
She also won the Broderick Award as the top women's basketball player in America, and three straight Kodak All-America honors during her collegiate career, making her one of the most decorated female athletes in the United States.
Her achievements earned Lieberman induction to both the ODU Sports Hall of Fame and the Virginia Sports Hall of Fame.
After leaving the university, Lieberman went on to a productive career as a player, coach and television analyst on ESPN.
Lieberman was a head coach for the Dallas Mavericks' minor league affiliate, and in the NBA, she was an assistant for the Sacramento Kings.
She is also a successful author, having penned an autobiography, "Lady Magic," and an instructional book, "Basketball for Women."
Co-founded by entertainer Ice Cube, the BIG3 is a three-on-three league comprised of former NBA players. It returns this summer for its second season.
Last season, the Power finished fourth out of eight teams.
Before arriving at ODU, Lieberman played in the 1976 Olympics in Montreal, earning a silver medal.
This story was originally published by ODU News.
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Adrienne Mayfield
Adrienne Mayfield is an award-winning, multi-media journalist hailing from Clermont, Fla. She moved to Lynchburg, Va. on a whim when she was 19, and worked her way to Hampton Roads in 2013. Adrienne is passionate about telling people stories via covering public safety and the judicial system. She isn't afraid to take a heads-on approach to covering crime, including knocking on doors to get the details police aren't sharing. Adrienne is a 2014 Old Dominion University graduate who still lives within walking distance of the college. You may see her cruising around Downtown Norfolk on her bike, enjoying a sandwich from Grilled Cheese Bistro or playing fetch with her dog, Greta, at the Colonial Place dog park.


2000 Year Old Man is an old Brooks-Reiner comedy routine turned into a half-hour animated TV special. Reiner, a TV reporter, interviews Brooks, a man claiming to be 2000 years old. The interview consists of a serious of questions regarding the history of the world. Brooks' answers to Reiner's questions are priceless.


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Q: Updating data in a csv after editing in a GUI I'm displaying already available data from csv file in a GUI.
If I update some values in the GUI, i want them to be updated in the csv file as well.
 def onClickedSaveReturn(self):
        """closes GUI and returns to calling (main) GUI"""

        df_general = Clean.get_GeneralData()

        # First of all, read general data so that pre-/intra- and postoperative share these
        df_subj = {k: '' for k in Content.extract_saved_data(self.date).keys()}  # create empty dictionary
        df_subj['ID'] = General.read_current_subj().id[0]
        df_subj['PID'] = df_general['PID_ORBIS'][0]
        df_subj['Gender'] = df_general['Gender'][0]
        df_subj['Diagnosis_preop'] = df_general['diagnosis'][0]

        # Now extract teh changed data from the GUI
        df_subj["First_Diagnosed_preop"] = self.lineEditFirstDiagnosed.text()
        df_subj['Admission_preop'] = self.lineEditAdmNeurIndCheck.text()
        df_subj['Dismissal_preop'] = self.DismNeurIndCheckLabel.text()

.
.
.

subj_id = General.read_current_subj().id[0] # reads data from current_subj (saved in ./tmp)
        df = General.import_dataframe('{}.csv'.format(self.date), separator_csv=',')
        if df.shape[1] == 1:
            df = General.import_dataframe('{}.csv'.format(self.date), separator_csv=';')

        idx2replace = df.index[df['ID'] == subj_id][0]
        df_subj = df.iloc[idx2replace, :]
        df = df.replace(['nan', ''], [np.nan, np.nan])
        #df.to_csv(os.path.join(FILEDIR, "preoperative.csv"), index=False)

If i run this code including the line
"df.to_csv(os.path.join(FILEDIR, "preoperative.csv"), index=False)", all data in the csv file (except the columns "ID", "PID", "Gender" "Diagnosis_preop")
So I want all the data i definied in df_subj to replace the data in csv.
I have no idea why my code isn't working ..
Thank you guys!