Let’s categorize elephants! The common ancestor of all elephants looked like this. It gave rise to three different branches, including the extinct mastodons and extinct stegodons over here, the Asian elephants and extinct mammoths over here, and the African bush elephant and the African forest elephant over here..
https://howtoplaythedjembedrums.com/lets-categorise-elephants-2/
https://www.youtube.com/embed/gVxr9X24VxE
(logo whooshes) - Hi, I'm Amy Lee from Evanescence and this is my Vivo Stylized. ♪ Do what you, what you want ♪ ♪ If you have a dream for better ♪ ♪ Do what you, what you want ♪ ♪ 'Til you don't want it anymore ♪ I love fashion. I'm a creative person ♪ Remember who you really are ♪ so any real excuse to express myself, I'm gonna use it. (thumping electric guitar music) (logo whooshes) I usually just do a big round of designs right before we go on tour and get some stuff going. So I have my own look on stage. It's not so easy shopping for stage clothes. I kind of feel like it's a big time saver if I just create my own thing. I'm in a really lucky position where I can go, "Okay, I've got these designs." "People, help me make 'em." I like asymmetrical things. I kind of like a little bit of chaos. When it comes to the band, I wanna dress to fit the music. So it's really just about that, just having fun, being creative and expressing myself, but also kind of like fitting the creativity of the sound.
It's really limitless as far as glitter and and glam because it's, you know, you're on stage you wanna have a little bit of something kind of funky going on. Yeah, it's cool. It's sort of like Halloween every show. ♪ Be a way we can break through ♪ (logo whooshes) (relaxing piano music) This is a new one I haven't actually worn yet but I think it's super cool. Inspiration was zombie ballerina. I used to make my own clothes in high school. It started with just like making Halloween costumes every year and then that became really fun and then it was like, "I'm just gonna make my own clothes." It's cool, but stuff just falls apart. There were a couple times at school where my clothes would just start falling apart and be like, "I have to go to the bathroom." "Does anybody have a needle?" No, nobody has a needle Cause you're the only nerd sewing her own clothes. (Amy chuckles) (logo whooshes) I found this actually in Nashville when we were still recording.
It's like, it's not real, but it's like a little foxy tail. But somebody told me, you have to make sure and wear it on the side, not on the back. 'Cause that means something sexual. I don't know. I'm not really sure. Does that mean something? Somebody said that, I think they're actually probably messing with me. (logo whooshes) "What you want." I think the way that the song feels is so raw and in your face and now and real and I wanted the video to feel real like that. This is from the video in the live performance section. It's just, just sleeves to put on top of whatever you got going on and got a bunch of, I don't know, movement.
It's sort of like the whole long hair thing is a prop too. It's like hair. Anything that swings around just makes it look like more stuff is going on, on stage. You can do really anything in a photo shoot or music video. I'm not, I don't have to worry about tripping on it. Like there's all these rules for stage.
It's gotta be like, okay, my boob's not gonna pop out. I'm not gonna stomp on a really really long flowing skirt and fall on my ass. Cause I've definitely done that plenty of times before. I thought that that was really good because it's edgy but it's still feminine. You know, you don't wanna lose that. I'm a chick. I'm proud of that. That's part of what's hardcore about this actually, in a way. (chuckles) ♪ Do what do what you want ♪ ♪ (logo whooshes) ♪ This is a really cool super basic but I end up using this basic kind of stuff more than anything at the end of the day.
It's got a lot of movement, you know? So I can move a little bit less on stage and be like concentrating on hitting those high notes. I used to wear corsets a lot more when I wasn't as confident on stage. It's silly. It's like, "Okay, yeah, you're goth," but what really wasn't all about that part of it? It just makes me feel like you're about to ride a roller coaster and you're strapped in and you're not gonna fall out.
(laughs) This goes on top of everything. We wore it in the video, we wore it on stage almost every time I wore it last time I was on TV. Just this perfect thing that makes everything look better. I think in any kind of creation when you're working on something, you have a vision. It's very specific, but then as you just kind of gotta go with the flow like maybe it's better if you rip that sleeve off, go for it. (chuckles) Gotta be a little bit of open minded always. Yeah. This is one of the new designs too. It's okay. One shoulder here, one shoulder free and it kind of goes to one side and you get this cool thing with a pair of tight pants. It's a really cool feeling. Creating anything and then watching it actually after all the work happened, making a record, designing something and then having it come to life wearing it on stage, watching a performance.
I dunno, you tried something and it and it worked. (logo whooshes) That's about it for me, for my Vivo Stylize. It's been fun hanging out with you guys and showing you some of our backstage gear. I'll see you on the road. We're gonna be touring a whole bunch now for the next, I don't know, years. So, see you out there..
https://www.youtube.com/embed/8ysHIQQweoE
In June 2020, in the wake of massive protests against police brutality and the death of George Floyd, a Black man who was killed during his arrest in Minneapolis, the New York Times made an unprecedented move. They announced that from then on, they would be capitalizing the ‘B’ in ‘Black’ to “describe people and cultures of African origin, both in the United States and elsewhere.” It was a big moment not only for Black people, but also for the term “Black” itself. As is the case for many communities, “Black” isn’t the only accepted word that’s been used to describe Black people.
There are other “ethnonyms,” or names that refer to ethnic or racial groups. Perhaps its most famous contemporary is “African American,” a term that has become somewhat less popular in recent years in the U.S. But let’s take a look at the history of both terms. After all, if we’ve learned anything on this channel, it’s that language is a constantly changing thing. Perhaps by digging deeper, we can gain a deeper understanding of just how difficult it is to encapsulate different peoples and cultures under one umbrella, and how what appears to be the end of a linguistic journey is often just the beginning. Before we get into the nuances of the different words people o f African descent have used to describe themselves, we should probably start with, well, Africa itself.
Not just the continent, but the word. Africa is a massive, massive chunk of the earth, and is home to many different cultures that don’t necessarily see themselves as belonging to the same group. Indeed, it’s the most diverse continent in the world. It is, after all, where our human history begins. The history of the word “Africa” is contentious, and scholars have been left with just theories. We know the ancient Romans coined the term, but we don’t know where they got it from.
Still, historians agree that the first known reference to “Africa” was around 2000 years ago when the Romans used it to refer to Carthage, a rival empire located in present day Tunisia and Northern Algeria. Of course, the Romans weren’t the first and only people to give this region a name. The ancient Greeks called the continent “Libya.” But what did the ancient Africans call themselves? Well, the many, many tribes and cultures there had a number of names and concepts to describe themselves. But ultimately, the Roman term “Africa” won out among Europeans, even though, in the minds of the ancient Romans, the name only applied to a small portion of the northern coast of the continent. That’s possibly because as Europeans moved further south into the continent, they just brought the name with them.
Thus, the word “Africa” came into popular usage. So that’s where we get “Africa,” but now comes another piece of the puzzle: Where did we get the word “black,” and how did it come to be thought of as interchangeable with “African?” It’s important to get into, because while the term “Black” is gaining in popularity today, the term “African American” actually rose to prominence because it was considered more appropriate than “Black” or “colored.” In other words, “African American” exists because it was once seen as a sort of remedy to the perceived inappropriateness of “black,” a word that has historically been used for people of sub-Saharan African descent, particularly those who were enslaved.
It was at a news conference in 1988 in the Chicago Hyatt Regency O’Hare Hotel that civil rights activist Rev. Jesse L. Jackson announced that Black people preferred to be called “African American.” Jackson said: “To be called African American has cultural integrity . . . It puts us in our proper historical context. Every ethnic group in this country has a reference to some land base, some historical culture base. African-Americans have hit that level of cultural maturity.” And why transition to “African American” from “Black”? Well, as Black Studies scholar E. Patrick Johnson notes, the word has a “difficult history” that goes back to at least the 14th century Europe where “black” took on a moral dimension.
It was used to describe evil and corruption, something that was tainted or soiled. It came in handy when time came to justify the enslavement of an entire group of people, and was used to associate dark-skinned people with immorality. It was used, in essence, to make it seem like they didn’t have the same kind of souls. But during enslavement, “black” was not the most prominent word used to describe the people stolen from their homes in Africa. “Colored” people and “negro” were much more common, and it wasn’t until after emancipation in 1863 that “black” came into more popular use. Though, as E. Patrick Johnson mentions, this wasn’t necessarily positive. Instead, the increased prominence of the word “black” was due to “black codes,” which limited rights post-emancipation. The word being used to justify white supremacy meant that using it in any other context would be an act of reclamation, and like many words affecting marginalized groups that get reclaimed, not everyone in the community is down with it. But the word’s complicated history also made it a potent tool for Black activists and revolutionaries to recontextualize its power: as a word that referenced a brutal history, put in the hands of the people it once denigrated.
This way of thinking found a powerful advocate in W.E.B. Du Bois in the early twentieth century. Du Bois was a critic of racial biological essentialism, or the idea that people are born into different races that determine, among other things, their intelligence and potential. He published The Souls of Black Folk in 1903, a seminal work on race in America that boldly recontextualized the word “Black.” For an example of how it was received, the Nashville Banner wrote in its review that The Souls of Black Folk was, “dangerous for the Negro to read, for it will only incite discontent and fill his imagination with things that do not exist, or things that should not bear upon his mind." Another person who embraced the word “Black” was Stokely Carmichael, an organizer who brought wide attention to the term “Black Power” during the June 1966 Meredith March Against Fear in Mississippi.
At 19, Carmichael had been the youngest person arrested in the 1961 Freedom Rides, and had gone on to become a prominent voice in Black activism. “Black Power” caught on and was embraced by the Black Panthers, which was founded in 1966 in Oakland, California, by Huey P. Newton and Bobby Seale. They aligned with socialism and Marxist political philosophies, and they believed revolutionary change was required to root out racism. But some prominent factions of the movement weren’t too keen on the term “Black Power.” Roy Wilkins, the then executive director of the National Association for the Advancement of Colored People, condemned it as “anti-white separatism,” and Martin Luther King Jr.
Said the phrase “falls on the ear as racism in reverse.” But it’s not a matter of figuring out who is right and who’s wrong here, rather it’s about realizing that these debates are not new and are likely to continue. An essay in 1904 by Black activist Fannie Barrier Williams tackled the subject of shedding the then popular term “Negro” in favor of “colored” or “Afro-American.” She preferred “colored,” saying it was a “name that is suggestive of progress toward respectful recognition.” And indeed, “colored” would go on to become a prevalent term for Black people in the U.S.
Its eventual association with Jim Crow, however, saw it become taboo in the ensuing decades. In the end, no one person’s word is final. It’s better and more accurate to think of this as an ongoing conversation about identity, inclusion, and language. Language is a powerful tool that can oppress and empower. That’s why slurs are so often at the center of debate, and why reclamation is such a tricky process. Black rising in popularity over African American doesn’t put a period on the discussion so much as it introduces more question marks. Black scholars and sociologists are now asking, for example, if the word “white” should be capitalized as well.
Some say it shouldn’t be, as it refers to a skin color and not a shared experience, while others say this argument gives white people a pass on having to reckon with their identities. Not capitalizing it, in other words, makes it seem like less of an identity or a culture, and thus absolves white people from having to think of their actions in the collective like so many nonwhite communities are pushed to do. Whatever the future holds, the common thread in both past and present is the desire of marginalized people to use language to put a name to their experiences, empower themselves, and connect with one another.
It’s likely that will remain the case. If we’ve learned anything over the past few months, it’s that voice is a powerful thing that can change the world. It’s important to be mindful of what you say..
https://howtoplaythedjembedrums.com/why-do-we-say-african-american/
ABBY LEE MILLER: This week, we're not going to have a skill. Because this week's theme is the unconventional, unexpected, maybe a few surprises. I've decided to shock you with this one. Come on out. TINA INAY: My jaw dropped. Like I didn't expect Kalani to get cut. And then I didn't expect to see her again. I mean it was like-- Kalani and her mother Kira have no idea why they're here today. So they don't know that I have my callback card. Would you like to rejoin the competition? Yes. You're sure? Thank you so much. You're welcome. I never thought that I would use a callback card. Everybody gets one shot in this life. You blow it, too bad, it's over. But I don't think Kalani blew it.
I think my other two judges did. Thank you so much. MELANIE HUELSMAN: Oh god. Here we go again. I was so surprised to see Kalani. I do believe she gets some special treatment. It's not fair. It really isn't. ABBY LEE MILLER: OK, you're going to go take your stuff off and join the others. JOJO SIWA: Honestly, I love Kalani. I have nothing bad to say about her. I mean, yeah, here and then she'll get honestly really annoying.
But I'm happy for her. In keeping with our unconventional theme, the mother of the challenge winner gets to choose the three dancers that will be in the bottom three. Oh boy. You definitely want to win this challenge. Today, for our unconventional challenge, Nito is going to teach you a Wushu combination. Wushu is often used in fight scenes choreographed in movies.
NITO LARIOZA: Step with the left, 3, 4, open up, 5, 6, 7, 8. TYLER ATWOOD: When I was little, I did martial arts. And I went to, I think, a green belt. So I'm not nervous at all. I got this. NITO LARIOZA: One more time. So we stop. - Watch. - Right here, like that. Boom, boom, boom, boom. Hammer fists. 1, 2, 3, 4, 5, 6, 7, 8. Yeah. Now that you have all learned the choreography, we're going to put it to practical use. You will take on Nito.
If you survive and get past him, then you battle me. JESSALYN SIWA: (LAUGHING) That's great. Get her, JoJo. 1 and 2, 3, 4, 5-- TINA INAY: Trinity has won two challenges. Does she want to win every single challenge? Absolutely. Sorry, but Trinity does have an advantage. She's a gymnast. Trinity is going to kill this routine like she does every other. 2, 3, 4, 5, 6, 7, 8. 5, 6, 7, 8. 1, 2, 3, 4, 5, 6, 7-- Ha! 8. 1, 2, 3, 4, 5, 6, 7, 8. KIRA GIRARD: Every single challenge, Trinity is always the tiger coming to get you. So Kalani needs to win this and prove she has what it takes.
NITO LARIOZA: 5, 6, 7, 8. Ha! ABBY LEE MILLER: All right. You're safe. Come on, Tyler. Earn it. Yes, high. NITO LARIOZA: 3! - Ooh. Sorry. Good work. I'll let you go. Good job, buddy. Kalani and Trinity. Come out and stand side by side. Trinity, when you did the combination who did you look at? Right in the eye. You didn't think of that, did you? Kalani, I'm glad you're back.
But Trinity just won her third challenge. When she won I was all happy, and then it just kind of sunk. It's like, oh my goodness. I'm very stressed about this reward. I'm nervous to do this trio. Tina is a real dance mom. And she has the same thoughts I do. Getting rid of her three strongest competitors. So I don't believe that they would pick my daughter to be in the bottom three. First up, please welcome Trinity, Haley, and JoJo for a dance called Walk the Plank. (SINGING) I wanna go with you to the end. I wanna know that you're here to the end, to the end, end, end, end, end. Hey! I wanna go with you to the end. I wanna know that you're here to the end, to the end. Yeah. To the end. Yeah. To the end. Get up off of that floor. Come on over here. Since we're being unconventional this week, I'd like the moms to come on out. They had you jump into the shark-infested waters with the sharks.
Trinity, there's something going on. You shine in class and choke on stage. Sickle feet. Inverted knees. You need to fix that. Trinity, Trinity, Trinity. You had this kind of like cheerleader approach. How you were, like, hitting things has this little, like, bounce in between it that you have to get out of. Just think about the emotion as opposed to you saying I did it, I did it. Haley, on the other hand, I was afraid. I was afraid you were going to fall. One time you actually stepped off that middle triangle. So you were already bitten by the sharks. I don't know if you were afraid of the jumps, but you were going through the motions. You started strong, and then I think you lost a little confidence. And then you were trying to get it back. And instead of feeling on edge for what you're about to do, we're feeling on edge for your performance. Dun, dun, dun. Walk the plank. Go. MELANIE HUELSMAN: Haley's back heel stretch was an absolute disgrace.
Enough is enough. Tina, come on out and stand next to Trinity. This task that I have to do is heart-wrenching. It's not going to be easy at all. Tina. Yes. I'm going to name each dancer. I want you to say "safe" or "elimination." Understood? Yes. We're going to start with your daughter. Safe. Gianna. Safe. Ally. Elimination. Kalani. Safe. Mckaylee.
Elimination. Tyler. Safe. Travis. Safe. We have two contestants remaining and one spot in the bottom three. Haley. Elimination. That means JoJo you are safe. Please join your mother. Tina would be foolish to put JoJo in the bottom three. Nobody puts JoJo in the bottom three. Can the moms of Ally, Mckaylee, and Haley please come join them downstage? Mckaylee, you have a second chance. Haley, Ally, one of you is going home tonight. Ally, you better wish upon every star you see tonight and bring it back to the stage. Unfortunately, Haley, today is not your day. It always goes back to your technique. Thank you so much for giving me this opportunity. And I would take all the correcti-- corrections that you give me. Thank you for giving my daughter the opportunity to be able to let her live one of her dreams dancing for you. One more round of applause for Haley.
Thank you so much. I never got to show them the real me. My daughter didn't want to listen to me before we went on the stage. She just, like, I'm going to do it. I'm going to do it. And it is what it is. I just wish I could stay. .
https://howtoplaythedjembedrums.com/audc-kalani-comes-back-abbys-call-back-s2-flashback-dance-moms/
Across Africa, from Namibia to Uganda, elephant babies are trying to keep their heads above water, trying to suckle, to keep up with the herd, to make it to adulthood. But one third of baby elephants will die in this first year of life. And sometimes the threat to a baby's survival comes from within the herd. It's been a good year. The elephant herds of Uganda are increasing. In the 1980s, they were poached to the brink of extinction in the country. Now there are more than 5000 individuals. The land is green. There's plenty to eat. Newborns are almost lost in the grass. It takes a whole herd to raise a baby elephant. Female elephants help look after each other's calves. It's called alloparenting. In the process, young females learn how to care for their siblings and calves are given a better chance of survival. The babies are born after almost two years of gestation. This long development time gives them another survival advantage.
They can stand and walk immediately after birth so they can reach their mother's milk. They will rely on it for the first year. Each day, the baby elephant gains almost 1kg, or two pounds of body weight. Scientists have discovered that the composition of elephant milk differs from that of all other mammals, as well as being different for Asian and African elephants. It actually changes as the baby grows. The protein, mineral and fat content increases during lactation, providing more energy as the baby develops. But despite the best care a herd can offer, about one third of baby elephants will die in this first year of life.
They will never reach adulthood. There are many threats. Water, the thing elephants need the most can also kill them. Adults need to drink up to 189 liters, or 50 gallons a day. Despite the raging torrent, the family has to cross, but babies can't swim until they're several months old. Adults have evolved ways to push their young along. They used their trunks like arms to usher them to safety. In Namibia, water isn't always plentiful, but elephants can smell it from up to around 19 kilometers or 12 miles away.
This herd is making a beeline for a man-made watering spot in Etosha National Park. A new study has found that in warm weather, elephants can lose up to 10% of all the water in their bodies. That equates to about two full bathtubs a day, the highest level of daily water loss ever recorded in a land mammal. It's a relief to drink, but still, the herd must stay alert. Baby elephants are intelligent little beings, but they aren't born with the instinct to use their most important appendage - their trunk. They can't use it to grasp food or to suck up water. This can make drinking awkward and precarious. A youngster falls into the trough. He calls to alert the adults. The herd reacts in unison. The water isn't deep, but the panicked baby could easily drown. The trough is narrow and hard to access. The females can only watch on while the youngster remains stuck. Many trunks, but no rescue, until a mature female finally lifts him to safety. Even at natural waterholes, like this one in Namibia, where there's plenty of room to move, female elephants must stay calm when dealing with emergencies so as not to panic others in the herd, especially their calves.
Mud baths should be enjoyable, not traumatic. This matriarch gives a youngster a helping trunk, a lesson for baby and another young member of the herd. But Elephant Society isn't always so cooperative. Researchers at Mushara Waterhole in Namibia have witnessed a darker side of the elephants' nature where danger doesn't lie outside the herd, but within it. This baby and his mother are chased away from the water by the matriarch. The calf just wants some fun, but he sent back to his mother by the other females. Despite living with the herd for the last 5 years, the mother is left to care for her baby alone. Most of the herd begins to move on, turning their backs on the mother and her calf.
Two females even throw irritating dust at the parent. The baby has become weak. The stress of rejection may have left the mother unable to produce enough milk. The calf needs to drink around 2 litres of milk every 2 hours. He's getting weaker by the second and is now unable to stand up to feed. If he doesn't drink soon, he will die of dehydration. Why is this baby destined to die while others are saved? Researchers think this cruel behavior is evidence of a pecking order within the herd. Each elephant has their place in the hierarchy and that status is passed down through generations.
This isn't in keeping with our perception of elephant behavior, Herds can break up in places where poaching occurs, but not usually in places like this, where the herd is protected and there's enough food and water. Here in the Namibian desert, resources are scarce. No baby gets left behind. Each one of them is precious. Elephant herds are complex societies. We can only observe and try to understand the dynamics at work within them. In understanding their behaviour at much deeper levels, we may also be able to help them survive.
Thanks for watching. We have more interesting videos about elephants, so check out our playlist and please consider subscribing. We have a new upload every Friday..
https://howtoplaythedjembedrums.com/why-so-many-african-elephants-dont-survive-their-first-year-2/
https://www.youtube.com/embed/wTtnKozooXI
My name is Victoria Fọlashadé Thomas-Fahm. I was born September 22nd, 1933. I was brought up in a Yoruba community. My parents came from Akinmorin in Oyo. They used to refer to them as Ara-Oke. I remember the day I was traveling. They all came to the port to wish me goodbye. I arrived in London. When we got to Edgware Road, the high street, and I saw mannequins – they were like human beings. But there was all different fashions. I think this is what I'm caught out for. I've made up my mind. I couldn't believe it. I said i'm taking this to Nigeria. This. To Nigeria. The concept of designing is an art. You learn how to sketch but you must have the feeling. From the college where I attended, they taught us the real basics of fashion, and they teach you the art of balancing by showing you a human being as he is.
I came back home on the 7th of July and we had an Independence Ceremony on the 1st of October. At that time it was new. I presented myself by giving fashion shows, for collecting money for the blind or for one charity or the other, but of course I was happy to do it then. I point out to you, at that time that they were voluntary models – they were not charging me, they were happy to do it. And so I had a beautiful collection of important ladies, professional ladies. Fashion is part of the basics of living abroad. That's where I learned the reaction of women, and even men to fashion.
At that time, I had done this skirt called 'Yere'. This yere is usually a common print fabric, usually in calico, and they use it like a skirt underneath. Even that is not decent enough. When the dress slips off, the yere shows. So I thought, if the yere are changed into skirts, and these skirts gain their way into big shops like the USC Shop Kingsway, like the UTC, like the Leventis Store. And the wrapper, what I did was put a zip – it looks draped – like you're wrapping it, but there's a zip inside to hold it together. So that when you bend down to pick something, it doesn't slip off that was the idea. Well I wasn't a fashion designer abroad. I qualified a few months after I came back home, but I was a model. I was doing modelling and I was highly rated because of my figure, and my neck and all that. I was highly favoured. British Pathé: "Princess Margaret was there to see the glamorous presentation. The Nigerian look: a mixture of traditional and modern that were made for each other. Behind the scenes, Nigerian designer Shade Thomas assisted with a production which brought to London some of the world's top models representing commonwealth countries." You must have heard of Fashion Designers of Nigeria.
It has been going on for more than 30 years. And they're all over Nigeria now. They're bringing in new fashions in our fabric, which I advocate up till now. And our fabric can suit every client..
https://howtoplaythedjembedrums.com/nigerias-first-fashion-designer-shade-thomas-fahm-va-2/
https://www.youtube.com/embed/0w8suzaAWM0
hi my lovely friends i just made this lovely party jollof rice look at that amazing lovely you can see the steak right in there plantains and of course you know sweetcorn garden peas please remember to share like and subscribe thank you very much you can check out how i made that lovely i made yours that's yours cheers bye-bye lovely.
