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Thiago Silva Loboda, Carlos A. Lasso Ricardo de Souza Rosaand Marcelo Rodrigues de Carvalho

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Abstract

The genus Paratrygon, currently recognized as the sole monotypic genus of the family Potamotrygonidae, has a considerably greater diversity than previously indicated, including molecular studies, which supported P. aiereba (hitherto the only recognized species in the genus) as a possible species complex. Here we describe two new species of the genus that are both endemic to and sympatric in the Orinoco basin. Paratrygon aiereba, type species of the genus, is now restricted to the Amazon basin. Both new species are identified and defined through morphological characters such as coloration, dermal denticle morphology, arrangement of thorns, distribution and morphology of ventral lateral line canals, morphology of skeletal elements, and morphometrics. An extensive comparison of these characters between the new species herein described and P. aiereba is presented. Finally, a taxonomic reappraisal of P. aiereba is provided through a revision of preserved material and its original description, plus new evidence about its type-locatity, collectors, and a reconsideration of the destination of its type-specimen.

Keywords: Amazon basin, Batoidea, Freshwater Stingrays, Morphology, Myliobatiformes.

O gênero Paratrygon, reconhecido atualmente como o único gênero monotípico da família Potamotrygonidae, possui uma considerável alta diversidade do que previamente indicado, incluindo estudos moleculares, que corroboravam P. aiereba (a única espécie reconhecida para o gênero até então) como um possível complexo de espécies. Aqui descrevemos duas novas espécies do gênero para a bacia do Orinoco, ambas endêmicas e simpátricas para esta bacia. Paratrygon aiereba, espécie tipo do gênero, agora está restrita

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An Independent Film With Great Contribution To Society

If we name you a series of words consisting of Family, Divorce, Suicide, and God, would you associate them? Los Angeles-based filmmakers Jess and Anayancy Thomas did. They devised, produced, and directed the film God & Salsa, a feature film that addresses the Mental Health of a teenager after the divorce of his parents and increases the Faith of a Christian woman.

“We are independent filmmakers based here in Los Angeles who met 9 years ago at church. Our film project is a story that is very close to our hearts as it mainly deals with the devastating effects of broken families, which can lead to depression and sometimes even suicide.” Jess commented on a digital medium.

He further added that “working on the story and the script was cathartic for both of us. We had friends who experienced the loss of their son to suicide at that time.

Currently, the WHO (World Health Organization) revealed that more than 280 million people suffer from depression in the world, a common mental condition and one of the main causes of disability.

God & Salsa present a positive solution to this disease. This drama feature film with heartbreaking characters fulfills the promise of Ecclesiastes 3:4 and was made on a really low budget so some of the crew members had to play multiple roles. “…Pre-production was crucial. Many details had to be ironed out long before production began, which was a challenge as we both have full-time jobs. It was nothing short of a miracle…” Anayancy Thomas said for this international medium.

But, what is the plot of the story?

God & Salsa unfold in a wonderful emotional meeting between two people with generation gaps. On one side is Raquel, a divorced single mother (40 years old) and grieving therapist who partially loses faith over the loss of her daughter to suicide, while Shane (16 years old) is an unhappy teenager whose parents are in the

Enio Cordoba was a

Enio Cordoba & Terryl Jones casual

The MONARCH high-resolution reanalysis of desert dust aerosol over Northern Africa, the Middle East and Europe (2007–2016)

nextGEMS: entering the era of kilometer-scale Earth system modeling

Hans Segura, Xabier Pedruzo-Bagazgoitia, Philipp Weiss, Sebastian K. Müller, Thomas Rackow, Junhong Lee, Edgar Dolores-Tesillos, Imme Benedict, Matthias Aengenheyster, Razvan Aguridan, Gabriele Arduini, Alexander J. Baker, Jiawei Bao, Swantje Bastin, Eulàlia Baulenas, Tobias Becker, Sebastian Beyer, Hendryk Bockelmann, Nils Brüggemann, Lukas Brunner, Suvarchal K. Cheedela, Sushant Das, Jasper Denissen, Ian Dragaud, Piotr Dziekan, Madeleine Ekblom, Jan Frederik Engels, Monika Esch, Richard Forbes, Claudia Frauen, Lilli Freischem, Diego García-Maroto, Philipp Geier, Paul Gierz, Álvaro González-Cervera, Katherine Grayson, Matthew Griffith, Oliver Gutjahr, Helmuth Haak, Ioan Hadade, Kerstin Haslehner, Shabeh ul Hasson, Jan Hegewald, Lukas Kluft, Aleksei Koldunov, Nikolay Koldunov, Tobias Kölling, Shunya Koseki, Sergey Kosukhin, Josh Kousal, Peter Kuma, Arjun U. Kumar, Rumeng Li, Nicolas Maury, Maximilian Meindl, Sebastian Milinski, Kristian Mogensen, Bimochan Niraula, Jakub Nowak, Divya Sri Praturi, Ulrike Proske, Dian Putrasahan, René Redler, David Santuy, Domokos Sármány, Reiner Schnur, Patrick Scholz, Dmitry Sidorenko, Dorian Spät, Birgit Sützl, Daisuke Takasuka, Adrian Tompkins, Alejandro Uribe, Mirco Valentini, Menno Veerman, Aiko Voigt, Sarah Warnau, Fabian Wachsmann, Marta Wacławczyk, Nils Wedi, Karl-Hermann Wieners, Jonathan Wille, Marius Winkler, Yuting Wu, Florian Ziemen, Janos Zimmermann, Frida A.-M. Bender, Dragana Bojovic, Sandrine Bony, Simona Bordoni, Patrice Brehmer, Marcus Dengler, Emanuel Dutra, Saliou Faye, Erich Fischer, Chiel van Heerwaarden, Cathy Hohenegger, Heikki Järvinen, Markus Jochum, Thomas Jung, Johann H. Jungclaus, Noel S. Keenlyside, Daniel Klocke, Heike Konow, Martina Klose, Szymon Malinowski, Olivia Martius, Thorsten Mauritsen, Juan Pedro Mellad

Biography. Enio Ferreira graduated in

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In the studio and on the bandstand, Prado developed a reputation as a perfectionist and a task-master. Trombonist Milt Bernhart recalled an incident during the recording of Voodoo Suite, a collaboration with arranger Shorty Rogers:

"One of the movements involved a supposed street fight in Havana - Carlos Vidal (conga drums) and another Cuban percussionist were to play the roles of the two participants in the rumble. After running the music down once or twice, one of them decided to really get into the spirit of the thing - he stripped down to his shorts!

"Now, we began to record it. In the middle of their chanting and howling, they forgot where they were and really started to grapple. They were mad and they were wrestling. Half the band fell completely apart. The 'take' stopped cold and I fell on the floor convulsed. Prado seemed to be offended by our laughter and was glaring at me - and possibly Maynard Ferguson - we were in hysterics! The trombone player next to me, who was a regular Prado member, sat staring straight ahead, he didn't get it or he was afraid of Prado's anger.

"I learned later that Prado fired him - he hadn't done anything."

Drummer Ed Shaughnessy once talked about the New York recording sessions for albums on which he played, including Havana 3 a.m. and Voodoo Suite. Most of the musicians, like himself, were session men. Because of union regulations, only the percussionists were from the regular Prado Orchestra (this was also true of his touring bands in the US). Prado did not speak English and was often forced to use an interpreter. At other times he just pointed to the score and demanded (in Spanish) that the mainly Anglo musicians play what was written. He remembered that Prado used a lot of sign language "with every part of his body."