The kea is a species of large parrot in the family Nestoridae found in the forested and alpine regions of the South Island of New Zealand. About 48 cm long, it is olive-green with a brilliant orange under its wings and has a large, curved, grey-brown upper beak; the kea is the world's only alpine parrot. Its omnivorous diet includes carrion, but consists of roots, berries and insects. Now uncommon, the kea was once killed for bounty due to concerns by the sheep-farming community that it attacked livestock sheep. In 1986, it received full protection under the Wildlife Act; the kea nests in burrows or crevices among the roots of trees. Kea are known for their intelligence and curiosity, both vital to their survival in a harsh mountain environment. Kea can solve logical puzzles, such as pushing and pulling things in a certain order to get to food, will work together to achieve a certain objective, they have been filmed using tools. The kea was described by ornithologist John Gould in 1856, its specific epithet, the Latin term notabilis, means "noteworthy".

The common name kea is from Māori an onomatopoeic representation of their in-flight call – ‘keee aaa’. The word "kea" is both plural; the genus Nestor contains four species: the New Zealand kaka, the kea, the extinct Norfolk kaka, the extinct Chatham kaka. All four are thought to stem from a "proto-kākā", dwelling in the forests of New Zealand five million years ago, their closest relative is the flightless kakapo. Together, they form the parrot superfamily Strigopoidea, an ancient group that split off from all other Psittacidae before their radiation; the kea weighs between 800 grams and 1 kilogram. It has olive-green plumage with a grey beak having a long, curved upper beak; the adult has dark-brown irises, the cere and legs are grey. It has orange feathers on the undersides of its wings; the feathers on the sides of its face are dark olive-brown, feathers on its back and rump are orange-red, some of the outer wing are dull-blue. It has a short, bluish-green tail with a black tip. Feather shafts project at the tip of the tail and the undersides of the inner tail feathers have yellow-orange transverse stripes.

The male is about 5% longer than the female, the male's upper beak is 12–14% longer than the female's. Juveniles resemble adults, but have yellow eyerings and cere, an orange-yellow lower beak, grey-yellow legs; the kea is one of ten endemic parrot species in New Zealand. The kea ranges from lowland river valleys and coastal forests of the South Island's west coast up to the alpine regions of the South Island such as Arthur's Pass and Aoraki/Mount Cook National Park associated throughout its range with the southern beech forests in the alpine ridge. Apart from occasional vagrants, kea are not found in the North Island, although fossil evidence suggests a population lived there over 10,000 years ago; the population was estimated at between 1,000 and 5,000 individuals in 1986, contrasting with another estimate of 15,000 birds in 1992. The kea's widespread distribution at low density across inaccessible areas prevents accurate estimates. Current population estimates suggest that between 7000 individuals are left.

At least one observer has reported that the kea is polygynous, with one male attached to multiple females. The same source noted that there was a surplus of females. Kea are live in groups of up to 13 birds. Isolated individuals respond well to mirror images. In one study, nest sites occur at a density of one per 4.4 square kilometres. The breeding areas are most in southern beech forests, located on steep mountainsides. Breeding at heights of 1,600 metres above sea level and higher, it is one of the few parrot species in the world to spend time above the tree line. Nest sites are positioned on the ground underneath large beech trees, in rock crevices, or dug burrows between roots, they are accessed by tunnels leading back 1 to 6 metres into a larger chamber, furnished with lichens, moss and rotting wood. The laying period reaches into January. Two to five white eggs are laid, with an incubation time of around 21 days, a brooding period of 94 days. Mortality is high among young kea, with less than 40% surviving their first year.

The median lifespan of a wild subadult kea has been estimated at five years, based on the proportion of kea seen again in successive seasons in Arthur's Pass, allowing for some emigration to surrounding areas. Around 10% of the local kea population were expected to be over 20 years of age; the oldest known captive kea was 50 years old in 2008. An omnivore, the kea feeds on more than 40 plant species, beetle larvae, other birds, mammals, it has been observed breaking open shearwater nests to feed on the chicks after hearing the chicks in their nests. The kea has taken advantage of human garbage and "gifts" of food; the controversy about whether the kea preys on sheep is long-running. Sheep suffering from unusual wounds on their sides or loins were noticed by the mid-1860s, within a decade of sheep farmers moving into the high country. Although some supposed the cause was a new disease, suspicion soon fell on the kea. James MacDonald, head shepherd at Wanaka Station, witnessed a kea attacking a sheep in 1868, similar accounts were widespread.

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1968 Wisconsin Badgers football team

The 1968 Wisconsin Badgers football team represented the University of Wisconsin in the 1968 Big Ten Conference football season. The team was led by second-year head coach John Coatta, they competed in the Big Ten Conference; the Badgers finished the season 0–10. This was the first season of artificial turf at Camp Randall Stadium. Outside of these two, the only other University Division venues with synthetic turf in 1968 were the Astrodome and Neyland Stadium. Source: Two University of Wisconsin Badgers were selected in the 1969 NFL/AFL draft, which lasted seventeen rounds with 442 selections. Source

Alexandra Denisova

Alexandra Denisova, real name Patricia Denise Meyers Galian, was a Canadian ballerina. Born in Canada, she started taking classical ballet lessons in childhood. After the October Revolution, many artistic and cultural professionals, including ballet dancers and choreographers, emigrated from Russia, bringing with them the typical Russian forms of ballet, developing independently from the Western trends since the 19th century and followed classic forms long abandoned in the West; as the Russian ballet enjoyed great popularity in the West, these emigrants were always in great demand. It is due to this popularity. Young Patricia Galian followed this trend and started to perform as Alexandra Denisova. Before the beginning of World War II, she worked in troupe of Original Ballet Russe — OBR; the troupe went on tour first of all making tour across Europe. All were broken by the Second World War: tours across Europe have been cancelled; the route has changed in a direction to the South America. Soon troupe Original Ballet Russe gave representations in Havana.

One of founders of troupe Vasily Voskresensky, the former officer of the Russian imperial army, having brought troupe to Cuba, to Havana, has decided to meet the old colleague-officer who has settled there — Nikolay Yavorsky. Nikolay Yavorsky wasn't the professional dancer too, but once in young years he has been given to training to ballet. In emigration this knowledge was useful, he began to give lessons of ballet skill. Among his pupils there were brothers Fernando Alonso and Alberto Alonso and a girl Alicia Ernestina de la Caridad del Cobre Martínez Hoya. Fernando Alonso and Alicia married. Alberto Alonso began his dance career aged 17 in 1936 with Original Ballet Russe where he became the partner, the husband of ballerina Alexandra Denisova. Alberto Alonso and Alexandra Denisova married in May 1939 in Melbourne. Tours in Australia were tightened, in 1940 during this tours David Lichine created the ballet Graduation Ball. To return to Europe at war it was impossible, it was reflected in the troupe finance.

Some dancers have left troupe to America, far from war. As a result, Alexandra Denisova accepted all roles of a star of troupe Irina Baronova, has coped with them so that critic Arnold Haskell marked in the publication in the newspaper The Home on April 1, 1940: Young Denisova during the season danced many of her roles. For any ballerina to undertake this means shouldering an initial handicap, but the Canadian girl proved her mettle and earned high praise.. Alberto Alonso has been occupied in many parties too, but the family began to fall. Denisova and Alberto separated in 1944, while on vacation in the United States, she was never to return to Cuba, she began to live in Los Angeles. She acted at different theaters in ballets of David Lichine, George Balanchine etc.. Denisova's career continued in Hollywood, with small roles dancing when she has removed her Russian pseudonym: films On an Island with You — 1948, Two Tickets to Broadway — 1951, Singin' in the Rain — 1952, Knock on Wood — 1954, Three for the Show — 1955, Meet Me in Las Vegas — 1956, Marjorie Morningstar — 1958 etc.

In the 1950s she had a position of Assistant to the Dance Director in the Metro-Goldwyn-Mayer studios. Fragments with his participation have entered into a film Ballets Russes. Ю. А. Бахрушин. "История русского балета" (History of the Russian Ballet. М. Сов. Россия, 1965, 249 с. Alexandra Denisova. Marjorie Morningstar - Marjorie meets Noel Airman.