Funny Animal Picture

Funny Animal Picture Biography
The Animals were an English rock band of the 1960s, formed in Newcastle upon Tyne during the early part of the decade, though the band relocated to London on finding fame in 1964. The Animals were known for their gritty, bluesy sound and deep-voiced frontman Eric Burdon, as exemplified by their signature song and transatlantic No.1 hit single, "The House of the Rising Sun", as well as by hits such as "We Gotta Get out of This Place", "It's My Life", and "Don't Let Me Be Misunderstood". The band balanced tough, rock-edged pop singles against rhythm and blues-oriented album material. They were known in the U.S. as part of the British Invasion.
The Animals underwent numerous personnel changes in the mid-1960s and suffered from poor business management. Under the name Eric Burdon and the Animals, the much-changed act moved to California and achieved commercial success as a psychedelic rock band, before disbanding at the end of the decade. Altogether, the group had ten Top Twenty hits in both the UK Singles Chart and the US Billboard Hot 100.
The original lineup had brief comebacks in 1975 and 1983. There have been several partial regroupings of the original era members since then under various names. The Animals were inducted into the Rock and Roll Hall of Fame in 1994.
Contents  [hide]
1 History
1.1 First incarnation
1.2 Second incarnation
1.3 Reunions of first incarnation
1.4 1983 reunion
1.5 Later incarnations
1.6 Dispute over ownership of band name
1.7 Legacy
2 Discography
3 Member history
4 Songs in film
5 Further reading
6 See also
7 References
8 External links
[edit]History

[edit]First incarnation
Formed in Newcastle upon Tyne during 1962 and 1963 when Burdon joined the Alan Price Rhythm and Blues Combo, the original line-up was Eric Burdon (vocals), Alan Price (organ and keyboards), Hilton Valentine (guitar), John Steel (drums), and Bryan "Chas" Chandler (bass).[1][2]
They were dubbed "animals" because of their wild stage act and the name stuck.[3] The Animals' success in their hometown and a connection with Yardbirds manager Giorgio Gomelsky motivated them to move to London in 1964 in the immediate wake of Beatlemania and the beat boom take-over of the popular music scene, just in time to play an important role in the so-called British Invasion of the US music charts.
The Animals performed fiery versions of the staple rhythm and blues repertoire, covering songs by Jimmy Reed, John Lee Hooker, Nina Simone, and others. Signed to EMI's Columbia label, a rocking version of the standard "Baby Let Me Follow You Down" (retitled "Baby Let Me Take You Home") was their first single.[4]
It was followed in June 1964 by the transatlantic No.1 hit "House of the Rising Sun". Burdon's howling vocals and the dramatic arrangement, featuring Alan Price's haunting organ riffs, created arguably the first folk rock hit.[5][6] There is ongoing debate regarding the Animals' inspiration for their arrangement of the song, which has variously been ascribed to prior versions by Bob Dylan, folk singer Dave Van Ronk, blues singer Josh White (who recorded it twice in 1944 and 1949), and singer/pianist Nina Simone (who recorded it in 1962 on Nina at the Village Gate).
The Animals' two-year chart career, produced by Mickie Most, featured intense, gritty pop music covers such as Sam Cooke's "Bring It On Home To Me" and the Nina Simone-popularised number "Don't Let Me Be Misunderstood". In contrast, their album tracks stayed with rhythm and blues, with John Lee Hooker's "Boom Boom" and Ray Charles' "I Believe to My Soul" as notable examples.
In November 1964, the group was poised to make their American debut on The Ed Sullivan Show and begin a short residency performing regularly in theatres across New York City. The group arrived in New York City direct from John F. Kennedy International Airport in a motorcade formed of Sunbeam Alpine Series IV convertibles, with each individual car featuring a member of the band riding with a model in the back seat with the top down. The group drove to their hotel accompanied by the occasional shrieks of girls who had chased them down once they discovered who they were. The Animals sang "I'm Crying" and "The House of the Rising Sun" to a packed audience of hysterical girls screaming throughout both performances on Sullivan's show. In December, the MGM movie Get Yourself a College Girl was released with The Animals headlining with The Dave Clark Five. The Animals sang a Chuck Berry song, "Around and Around", in the movie.[7]
By May 1965 the group was starting to feel internal pressures. Price left due to personal and musical differences as well as fear of flying on tour.[3] He went on to a successful career as a solo artist and with The Alan Price Set. Mick Gallagher filled in for him on keyboards for a short time until Dave Rowberry replaced him and was on hand for the hit songs "We Gotta Get out of This Place" and "It's My Life".
Around that time, the Animals put together a big band to play at the 5th Annual British Jazz & Blues Festival in Richmond. The Animals Big Band made their one public appearance on 5 August 1965. As well as Burdon, Rowberry, Valentine, Chandler, and Steel, they featured a brass/horn section of Ian Carr, Kenny Wheeler and Greg Brown on trumpets, and Stan Robinson, Al Gay, Dick Morrissey and Paul Carroll on saxophones.
Many of the Animals' hits had come from Brill Building songwriters recruited by Mickie Most; the group, and Burdon in particular, felt this too creatively restrictive. As 1965 ended, the group ended its association with Most, signed a new deal with their American label MGM Records for the US and Canada, switched to Decca Records for the rest of the world and MGM Records producer Tom Wilson, who gave them more artistic freedom.[8] In early 1966 MGM collected their hits on The Best of the Animals; it became their best-selling album in the US. In February 1966, Steel left and was replaced by Barry Jenkins. A leftover rendition of Goffin-King's "Don't Bring Me Down" was the last hit as the Animals. For the single "See See Rider" the band changed its name to Eric Burdon & the Animals. By September 1966, this lineup of the group had dissipated.
Burdon began work on a solo album, called Eric Is Here, which also featured Burdon's UK No.14 solo hit single, "Help Me, Girl", which he heavily promoted on TV shows such as Ready, Steady, Go! and Top of the Pops in late 1966. Eric Is Here was Burdon's final release for Decca Records.
By this time their business affairs "were in a total shambles" according to Chandler (who went on to manage Jimi Hendrix) and the group disbanded. Even by the standards of the day, when artists tended to be financially naïve, the Animals made very little money, eventually claiming mismanagement and theft on the part of their manager Michael Jeffery.
[edit]Second incarnation


Eric Burdon & the Animals in 1967
Foreground: Eric Burdon
Background (L-R): Danny McCulloch, John Weider (in striped shirt), Vic Briggs, and Barry Jenkins
A group with Burdon, Jenkins, and new sidemen John Weider (guitar/violin/bass), Vic Briggs (guitar/piano), and Danny McCulloch (bass) were formed under the name Eric Burdon and the Animals (or sometimes Eric Burdon and the New Animals) in December 1966 and changed direction. The hard driving blues was transformed into Burdon's version of psychedelia as the former heavy drinking Geordie (who later said he could never get used to Newcastle "where the rain comes at you sideways") relocated to California and became a spokesman for the Love Generation.
Some of this group's hits included "San Franciscan Nights", "Monterey" (a tribute to the 1967 Monterey Pop Festival), and "Sky Pilot". Their sound was much heavier than the original group. Burdon screamed more and louder on live versions of "Paint It Black" and "Hey Gyp". In 1968 they had a more experimental sound on songs like "We Love You Lil" and the 19-minute record "New York 1963 - America 1968". The songs had a style of being silent at the beginning and then becoming psychedelic and raw straight to the end with screaming, strange lyrics and 'scrubbing' instruments.
There were further changes to this lineup: Zoot Money was added in April 1968, initially as organist/pianist only, but upon the departure of McCulloch he also took on bass and occasional lead vocals. In July 1968 Andy Summers replaced Briggs. Both Money and Summers were formerly of British psychedelic outfit Dantalian's Chariot, and much of this new lineup's set was composed of Dantalian's Chariot songs which caught Burdon's interest.[9] Due to Money's multi-instrumental load, in live settings bass was played alternately by Weider and Summers.[10]
By December 1968 these Animals had dissolved, and both their double album Love Is and the singles "Ring of Fire" and "River Deep – Mountain High" were internationally released. Numerous reasons have been cited for the breakup, the most famous being an aborted Japanese tour. The tour had been scheduled for September 1968 but was delayed until November due to difficulty obtaining visas.[10] Only a few dates into the tour, the promoters - who, unbeknownst to the band, were yakuza - kidnapped the band's manager and threatened him at gunpoint to write an IOU for $25,000 to cover losses incurred by the tour's delay.[10] The manager wrote out the IOU but, correctly surmising that none of his captors could read English, added a note that it was written under duress.[11] The yakuza released him but warned that he and the band would have to leave Japan the next day or be killed. The Animals promptly fled the country, leaving all their tour equipment behind.[10] Money and Summers both subsequently pursued solo careers (though this pursuit was swiftly aborted in Summers's case), Weider signed up with Family, and Burdon joined forces with a Latin group from Long Beach, California, called War.
[edit]Reunions of first incarnation
The original Animals line-up of Burdon, Price, Valentine, Chandler, and Steel reunited for a benefit concert in Newcastle in December 1968 and reformed in late 1975 to record again. Burdon later said nobody understood why they did this short reunion. They did a mini-tour in 1976 and shot a few videos of their new songs like "Lonely Avenue" and "Please Send Me Someone to Love". They released the album in 1977 aptly called Before We Were So Rudely Interrupted. The album received critical praise and Burdon and Valentine also recorded some demos at that time, which were, however, never released.
[edit]1983 reunion
On 12 December 1982, Burdon performed together with Alan Price and a complete line-up. They reunited again in 1983 for the album Ark and a world concert tour, supplemented by Zoot Money on keyboards, Nippy Noya on percussion, Steve Gregory on saxophone and Steve Grant on guitar. The first single "The Night" reached #48 at the US Pop Singles and #34 at the Mainstream Rock Charts. It was also a big hit in Greece. They released a second single called "Love Is For All Time".
Their tour consisted of about one-third material from the original 1960s and two-thirds material from Ark or other songs. The latter included songs like "Heart Attack", "No More Elmore" (both released a year earlier by Burdon), "Oh Lucky Man" (from the 1973 soundtrack album to O Lucky Man! by Price), "It's Too Late", "Tango", and "Young Girls" (later released on Burdon's compilation, The Night). On September 9 they had their first gig in New York with a sold-out audience at the Mid-Hudson Civic Center. A Wembley Stadium concert followed on December 31 which was released on the Rip it To Shreds live album in 1984 after they had disbanded again. Their concert at the Royal Oak Theatre in Royal Oak, Michigan on November 29, 1983 was released on February 27, 2008 as Last Live Show. A film about the reunion tour was shot but never released. Chas Chandler died in 1996, putting an end to the full original line-up.[12]
[edit]Later incarnations
During the 1990s and 2000s there have been several groups calling themselves Animals in part:
In 1993 Hilton Valentine formed the Animals II and was joined by John Steel in 1994 and Dave Rowberry in 1999. Other members of this version of the band include Steve Hutchinson, Steve Dawson and Martin Bland. From 1999 until Valentine's departure in 2001 the band toured as The Animals.
After Valentine left these Animals in 2001, Steel and Rowberry continued on as Animals and Friends with Peter Barton, Jim Rodford and John Williamson. When Rowberry died in 2003, he was replaced by Mickey Gallagher (who had briefly replaced Alan Price in 1965). Animals and Friends is still around and frequently plays gigs on a Color Line ship that travels between Scandinavia and Germany.
In the 1990s Danny McCulloch, from the later-1960s Animals released several albums as The Animals, with a great deal of acceptance. The albums contained covers of some original Animals songs as well as new ones written by McCulloch.
Eric Burdon formed a new backing band in 1998 and went out as Eric Burdon and the New Animals. This was actually just a rename of an existing band he had been touring with in various forms since 1990. Members of this new group included Dean Restum, Dave Meros, Neal Morse and Aynsley Dunbar. Martin Gerschwitz replaced Morse in 1999 and Dunbar was replaced by Bernie Pershey in 2001. In 2003 the band started touring as Eric Burdon and the Animals. After the line-up changed in 2006 original guitarist Hilton Valentine joined with the group for its 2007 & 2008 tours. The group also included Red Young, Paula O'Rourke and Tony Braunagle. After Burdon lost the rights to the name, he formed a new band with completely different musicians.
[edit]Dispute over ownership of band name
In 2008, an adjudicator determined that original Animals drummer John Steel owned "The Animals" name in England, by virtue of a trademark registration Steel had made in relation to the name. Eric Burdon had objected to the trademark registration, arguing that Burdon personally embodied any goodwill associated with "The Animals" name. Burdon's argument was rejected, in part based on the fact that he had billed himself as "Eric Burdon and The Animals" as early as 1967, thus separating the goodwill associated with his own name from that of the band.[13][14]
[edit]Legacy
The original Animals were inducted into the Rock and Roll Hall of Fame in 1994.[1] In 2003, the band's version of "The House of the Rising Sun" ranked #123 on Rolling Stone magazine's 500 Greatest Songs of All Time list. Their 1965 hit single "We Gotta Get out of This Place" was ranked #233 on the same list. Both songs are included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[15]
On March 15, 2012, in a keynote speech to an audience at the South by Southwest music festival, Bruce Springsteen discussed the Animals' influence on his music at length, stating, "To me, the Animals were a revelation. They were the first records with full-blown class consciousness that I'd ever heard." He said of "We Gotta Get Out of This Place" that "That's every song I've ever written... That's 'Born to Run,' 'Born in the U.S.A.,' everything I've done for the past 40 years including all the new ones. That struck me so deep. It was the first time I felt I heard something come across the radio that mirrored my home life, my childhood." Saying that his album Darkness on the Edge of Town was "filled with Animals," Springsteen played the opening riffs to "Don't Let Me Be Misunderstood" and his own "Badlands" back to back, then said, "Listen up, youngsters! This is how successful theft is accomplished!"[16]

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

Funny Animal Picture

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Animal Pictures To Print

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Animal Pictures To Print Biography
Currier and Ives was a successful American printmaking firm headed by Nathaniel Currier (1813–1888) and James Merritt Ives (1824–1895). Based in New York City from 1834–1907, the prolific firm produced prints from paintings by fine artists as black and white lithographs that were hand colored. Lithographic prints could be reproduced quickly and purchased inexpensively, and the firm called itself "the Grand Central Depot for Cheap and Popular Prints" and advertised its lithographs as "colored engravings for the people."[1]
Contents  [hide]
1 Currier's early history
2 The partnership with Ives
3 The firm
4 The lithographs
5 Bibliography
6 Gallery of images
7 References
8 External links
[edit]Currier's early history

Nathaniel Currier (1813–88) was born in Roxbury, Massachusetts on March 27, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble and spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel's father unexpectedly died leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a lifelong career when he apprenticed in the Boston lithography shop of William and John Pendleton.[2] In 1833 at twenty years of age, he moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer.[3] Currier's early lithographs were issued under the name of Stodart & Currier, a result of the partnership he created in 1834 with a local New York printmaker named Stodart. The two men specialized in "job" printing and made a variety of print products, including music manuscripts. Dissatisfied with the poor economic return of their business venture, Currier ended the partnership in 1835 and set up shop alone, working as "N. Currier, Lithographer" until 1856. In 1835, he created a lithograph that illustrated a fire sweeping through New York City's business district. The print of the Merchant's Exchange sold thousands of copies in four days. Realizing that there was a market for current news, Currier turned out several more disaster prints and other inexpensive lithographs that illustrated local and national events, such as "Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of May 15, 1835, burying 50 persons, 40 of whom Escaped with their Lives."[3] He quickly gained a reputation as an accomplished lithographer.[4]
In 1840, he produced "Awful Conflagration of the Steam Boat Lexington", which was so successful that he was given a weekly insert in the New York Sun. In this year, Currier's firm began to shift its focus from job printing to independent print publishing.[5]
[edit]The partnership with Ives



Awful Conflagration of the Steam Boat LEXINGTON in Long Island Sound on Monday Eveg, Jany 13th,(1840)


View on the Harlem River, N. Y., Currier and Ives, 1852
The name Currier & Ives first appeared in 1857, when Currier invited James Merritt Ives (1824–95), the company's bookkeeper and accountant, to become his partner. James Merritt Ives, who was born on March 5, 1824 in New York City, married Caroline Clark in 1852. She was the sister-in-law of Nathaniel's brother, Charles Currier, and it was Charles who recommended James Ives to his brother. Nathaniel Currier soon noticed Ives's dedication to his business and his artistic knowledge and insight into what the public wanted. The younger man quickly became the general manager of the firm, handling the financial side of the business by modernizing the bookkeeping, reorganizing inventory, and streamlining the print process.[5] Ives also helped Currier interview potential artists and craftsmen. The younger man had a flair for gauging popular interests and aided in selecting the images the firm would publish and expanding the firm's range to include political satire, and sentimental scenes such as sleigh rides in the country and steamboat races. In 1857, Currier made Ives a full partner.[6][7]
[edit]The firm

The firm Currier and Ives described itself as "Publishers of Cheap and Popular Prints". At least 7,500 lithographs were published in the firm's 72 years of operation.[8] Artists produced two to three new images every week for 64 years (1834–1895),[9] producing more than a million prints by hand-colored lithography. For the original drawings, Currier & Ives employed or used the work of many celebrated artists of the day including J.F. Butterworth, George Inness, Thomas Nast, C.H. Moore, and Eastman Johnson.[9] The stars of the firm were Arthur Fitzwilliam Tait, who specialized in sporting scenes; Louis Maurer, who executed genre scenes; George H. Durrie, who supplied winter scenes; and Fanny Palmer, who liked to do picturesque panoramas of the American landscape, and who was the first woman in the United States to make her living as a full-time artist.[5] All lithographs were produced on lithographic limestone printing plates on which the drawing was done by hand. A stone often took over a week to prepare for printing. Each print was pulled by hand. Prints were hand-colored by a dozen or more women, often immigrants from Germany with an art background, who worked in assembly-line fashion, one color to a worker, and who were paid $6 for every 100 colored prints. The favored colors were clear and simple, and the drawing was bold and direct.[3][10]
The earliest lithographs were printed in black and then colored by hand. As new techniques were developed, publishers began to produce full-color lithographs that gradually developed softer, more painterly effects. Skilled artist lithographers like John Cameron, Fanny Palmer and others represented in the show became known for their work and signed important pieces. Artists like A. F. Tait became famous when their paintings were reproduced as lithographs.[11]
Currier and Ives was the most prolific and successful company of lithographers in the U.S. Its lithographs represented every phase of American life, and included the themes of hunting, fishing, whaling, city life, rural scenes, historical scenes, clipper ships, yachts, steamships, the Mississippi River, Hudson River scenes, railroads, politics, comedy, gold mining, winter scenes, commentary on life, portraits, and still lifes.[10] From 1866 on,[12] the firm occupied three floors in a building at 33 Spruce Street in Philadelphia:
Hand-operated printing presses occupied the third floor.
Artists, stone grinders, and lithographers worked on the fourth floor.
Colorists worked on the fifth floor.
Small works sold for from five to twenty cents each and large works sold for $1 to $3 a piece. The Currier and Ives firm branched out from its central shop in New York City to sell prints via pushcart vendors, peddlers and book stores. The firm sold retail as well as wholesale, establishing outlets in cities across the country and in London. It also sold work through the mail (prepaid orders only), and internationally through a London office and agents in Europe.[9][13]
The 19th-century Victorian public, with its interest in current events and sentimental taste, was receptive to the firm's products. Currier and Ives prints were among the most popular wall hangings of the day.[14] In 1872, the Currier and Ives catalog proudly proclaimed: "... our Prints have become a staple article... in great demand in every part of the country... In fact without exception, all that we have published have met with a quick and ready sale."[3]
Currier & Ives prints were among the household decorations considered appropriate for a proper home by Catharine Esther Beecher and Harriet Beecher Stowe, authors of American Woman's Home (1869): "The great value of pictures for the home would be, after all, in their sentiment. They should express the sincere ideas and tastes of the household and not the tyrannical dicta of some art critic or neighbor."[15]
Currier died in 1888. Ives remained active in the firm until his death in 1895. Both Currier's and Ives's sons followed their fathers in the business, which was eventually liquidated in 1907.[16] Because of improvements in offset printing and photoengraving, the public demand for lithographs had gradually diminished.
[edit]The lithographs



"The American Fireman", lithograph by Currier and Ives, 1858.


"Central Park Winter", lithograph by Currier and Ives, 1862.
The prints depicted a variety of images of American life, including winter scenes; horse-racing images; portraits of people; and pictures of ships, sporting events, patriotic and historical events, including ferocious battles of the American Civil War, the building of cities and railroads, and Lincoln's assassination.
The original lithographs shared similar characteristics in inking and paper, and adhered to folio sizes. Sizes of the images were standard (trade cards, very small folios, small folios, medium folios, large folios), and their measurement did not include the title or borders. These sizes are one of the guides for collectors today in determining if the print is an original or not. "Currier used a cotton based, medium to heavy weight paper depending on the folio size for his prints until the late 1860s. From about 1870, Currier & Ives used paper mixed with a small amount of wood pulp." In addition, Currier's inking process resembled a mixture of elongated splotches and dashes of ink with a few spots, a characteristic that modern reproductions would not possess.[17]
"In 1907 when the firm was liquidated most of the lithographic stones had the image removed and were sold by the pound with some stones final home as land fill in Central Park. Those few stones that managed to survive intact were of large folio Clipper Ships, small folio Dark Town Comics, a medium folio "Abraham Lincoln" and a small folio "Washington As A Mason"".[17]
Currier and Ives Civil War lithographs[18]
Known railroad related lithographs of Currier and Ives[19]
Currier and Ives: Perspectives on America, American Public Television, Video[20]
High Water in the Mississippi, 1868[21]
Currier and Ives Darktown Comic Series, Albion College[22]
Today, original Currier and Ives prints are much sought by collectors, and modern reproductions of them are popular decorations. Especially popular are the winter scenes, which are commonly used for American Christmas cards.

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

Animal Pictures To Print

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Animal Pictures

Animals Picture

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Animals Picture Biography
Animals are a major group of multicellular, eukaryotic organisms of the kingdom Animalia or Metazoa. Their body plan eventually becomes fixed as they develop, although some undergo a process of metamorphosis later on in their life. Most animals are motile, meaning they can move spontaneously and independently. All animals are also heterotrophs, meaning they must ingest other organisms or their products for sustenance.
Most known animal phyla appeared in the fossil record as marine species during the Cambrian explosion, about 542 million years ago.
Contents  [hide]
1 Etymology
2 Characteristics
2.1 Structure
2.2 Reproduction and development
2.3 Food and energy sourcing
3 Origin and fossil record
4 Groups of animals
4.1 Porifera, Radiata and basal Bilateria
4.2 Deuterostomes
4.3 Ecdysozoa
4.4 Platyzoa
4.5 Lophotrochozoa
5 Model organisms
6 History of classification
7 See also
8 References
8.1 Bibliography
9 External links
Etymology

The word "animal" comes from the Latin word animalis, meaning "having breath".[1] In everyday colloquial usage, the word often refers to non-human members of kingdom Animalia. Sometimes, only closer relatives of humans such as mammals and other vertebrates are meant in colloquial use.[2] The biological definition of the word refers to all members of the kingdom Animalia, encompassing creatures as diverse as sponges, jellyfish, insects and humans.[3]
Characteristics

Animals have several characteristics that set them apart from other living things. Animals are eukaryotic and mostly multicellular,[4] which separates them from bacteria and most protists. They are heterotrophic,[5] generally digesting food in an internal chamber, which separates them from plants and algae.[6] They are also distinguished from plants, algae, and fungi by lacking rigid cell walls.[7] All animals are motile,[8] if only at certain life stages. In most animals, embryos pass through a blastula stage,[9] which is a characteristic exclusive to animals.
Structure
With a few exceptions, most notably the sponges (Phylum Porifera) and Placozoa, animals have bodies differentiated into separate tissues. These include muscles, which are able to contract and control locomotion, and nerve tissues, which send and process signals. Typically, there is also an internal digestive chamber, with one or two openings.[10] Animals with this sort of organization are called metazoans, or eumetazoans when the former is used for animals in general.[11]
All animals have eukaryotic cells, surrounded by a characteristic extracellular matrix composed of collagen and elastic glycoproteins.[12] This may be calcified to form structures like shells, bones, and spicules.[13] During development, it forms a relatively flexible framework[14] upon which cells can move about and be reorganized, making complex structures possible. In contrast, other multicellular organisms, like plants and fungi, have cells held in place by cell walls, and so develop by progressive growth.[10] Also, unique to animal cells are the following intercellular junctions: tight junctions, gap junctions, and desmosomes.[15]
Reproduction and development


A newt lung cell stained with fluorescent dyes undergoing the early anaphase stage of mitosis
Nearly all animals undergo some form of sexual reproduction.[16] They have a few specialized reproductive cells, which undergo meiosis to produce smaller, motile spermatozoa or larger, non-motile ova.[17] These fuse to form zygotes, which develop into new individuals.[18]
Many animals are also capable of asexual reproduction.[19] This may take place through parthenogenesis, where fertile eggs are produced without mating, budding, or fragmentation.[20]
A zygote initially develops into a hollow sphere, called a blastula,[21] which undergoes rearrangement and differentiation. In sponges, blastula larvae swim to a new location and develop into a new sponge.[22] In most other groups, the blastula undergoes more complicated rearrangement.[23] It first invaginates to form a gastrula with a digestive chamber, and two separate germ layers — an external ectoderm and an internal endoderm.[24] In most cases, a mesoderm also develops between them.[25] These germ layers then differentiate to form tissues and organs.[26]
Food and energy sourcing
Main article: Animal nutrition
All animals are heterotrophs, meaning that they feed directly or indirectly on other living things.[27] They are often further subdivided into groups such as carnivores, herbivores, omnivores, and parasites.[28]
Predation is a biological interaction where a predator (a heterotroph that is hunting) feeds on its prey (the organism that is attacked).[29] Predators may or may not kill their prey prior to feeding on them, but the act of predation always results in the death of the prey.[30] The other main category of consumption is detritivory, the consumption of dead organic matter.[31] It can at times be difficult to separate the two feeding behaviours, for example, where parasitic species prey on a host organism and then lay their eggs on it for their offspring to feed on its decaying corpse. Selective pressures imposed on one another has led to an evolutionary arms race between prey and predator, resulting in various antipredator adaptations.[32]
Most animals indirectly use the energy of sunlight by eating plants or plant-eating animals. Most plants use light to convert inorganic molecules in their environment into carbohydrates, fats, proteins and other biomolecules, characteristically containing reduced carbon in the form of carbon-hydrogen bonds. Starting with carbon dioxide (CO2) and water (H2O), photosynthesis converts the energy of sunlight into chemical energy in the form of simple sugars (e.g., glucose), with the release of molecular oxygen. These sugars are then used as the building blocks for plant growth, including the production of other biomolecules.[10] When an animal eats plants (or eats other animals which have eaten plants), the reduced carbon compounds in the food become a source of energy and building materials for the animal.[33] They are either used directly to help the animal grow, or broken down, releasing stored solar energy, and giving the animal the energy required for motion.[34] [35]
Animals living close to hydrothermal vents and cold seeps on the ocean floor are not dependent on the energy of sunlight.[36] Instead chemosynthetic archaea and bacteria form the base of the food chain.[37]
Origin and fossil record

Further information: Urmetazoan


Dunkleosteus was a gigantic, 10-metre-long (33 ft) prehistoric fish.[38]


Vernanimalcula guizhouena is a fossil believed by some to represent the earliest known member of the Bilateria.
Animals are generally considered to have evolved from a flagellated eukaryote.[39] Their closest known living relatives are the choanoflagellates, collared flagellates that have a morphology similar to the choanocytes of certain sponges.[40] Molecular studies place animals in a supergroup called the opisthokonts, which also include the choanoflagellates, fungi and a few small parasitic protists.[41] The name comes from the posterior location of the flagellum in motile cells, such as most animal spermatozoa, whereas other eukaryotes tend to have anterior flagella.[42]
The first fossils that might represent animals appear in the Trezona Formation at Trezona Bore, West Central Flinders, South Australia.[43] These fossils are interpreted as being early sponges. They were found in 665-million-year-old rock.[43]
The next oldest possible animal fossils are found towards the end of the Precambrian, around 610 million years ago, and are known as the Ediacaran or Vendian biota.[44] These are difficult to relate to later fossils, however. Some may represent precursors of modern phyla, but they may be separate groups, and it is possible they are not really animals at all.[45]
Aside from them, most known animal phyla make a more or less simultaneous appearance during the Cambrian period, about 542 million years ago.[46] It is still disputed whether this event, called the Cambrian explosion, represents a rapid divergence between different groups or a change in conditions that made fossilization possible.
Some paleontologists suggest that animals appeared much earlier than the Cambrian explosion, possibly as early as 1 billion years ago.[47] Trace fossils such as tracks and burrows found in the Tonian era indicate the presence of triploblastic worms, like metazoans, roughly as large (about 5 mm wide) and complex as earthworms.[48] During the beginning of the Tonian period around 1 billion years ago, there was a decrease in Stromatolite diversity, which may indicate the appearance of grazing animals, since stromatolite diversity increased when grazing animals went extinct at the End Permian and End Ordovician extinction events, and decreased shortly after the grazer populations recovered. However the discovery that tracks very similar to these early trace fossils are produced today by the giant single-celled protist Gromia sphaerica casts doubt on their interpretation as evidence of early animal evolution.[49][50]
Groups of animals



The relative number of species contributed to the total by each phylum of animals.
Porifera, Radiata and basal Bilateria
Phylogenetic analysis suggests that the Porifera and Ctenophora diverged before a clade that gave rise to the Bilateria, Cnidaria and Placozoa.[51]


Orange elephant ear sponge, Agelas clathrodes, in foreground. Two corals in the background: a sea fan, Iciligorgia schrammi, and a sea rod, Plexaurella nutans.
The sponges (Porifera) were long thought to have diverged from other animals early.[52] They lack the complex organization found in most other phyla.[53] Their cells are differentiated, but in most cases not organized into distinct tissues.[54] Sponges typically feed by drawing in water through pores.[55] Archaeocyatha, which have fused skeletons, may represent sponges or a separate phylum.[56] However, a phylogenomic study in 2008 of 150 genes in 29 animals across 21 phyla revealed that it is the Ctenophora or comb jellies which are the basal lineage of animals, at least among those 21 phyla. The authors speculate that sponges—or at least those lines of sponges they investigated—are not so primitive, but may instead be secondarily simplified.[57]
Among the other phyla, the Ctenophora and the Cnidaria, which includes sea anemones, corals, and jellyfish, are radially symmetric and have digestive chambers with a single opening, which serves as both the mouth and the anus.[58] Both have distinct tissues, but they are not organized into organs.[59] There are only two main germ layers, the ectoderm and endoderm, with only scattered cells between them. As such, these animals are sometimes called diploblastic.[60] The tiny placozoans are similar, but they do not have a permanent digestive chamber.
The remaining animals form a monophyletic group called the Bilateria. For the most part, they are bilaterally symmetric, and often have a specialized head with feeding and sensory organs. The body is triploblastic, i.e. all three germ layers are well-developed, and tissues form distinct organs. The digestive chamber has two openings, a mouth and an anus, and there is also an internal body cavity called a coelom or pseudocoelom. There are exceptions to each of these characteristics, however — for instance adult echinoderms are radially symmetric, and certain parasitic worms have extremely simplified body structures.
Genetic studies have considerably changed our understanding of the relationships within the Bilateria. Most appear to belong to two major lineages: the deuterostomes and the protostomes, the latter of which includes the Ecdysozoa, Platyzoa, and Lophotrochozoa. In addition, there are a few small groups of bilaterians with relatively similar structure that appear to have diverged before these major groups. These include the Acoelomorpha, Rhombozoa, and Orthonectida. The Myxozoa, single-celled parasites that were originally considered Protozoa, are now believed to have developed from the Medusozoa as well.
Deuterostomes


Superb Fairy-wren, Malurus cyaneus
Deuterostomes differ from the other Bilateria, called protostomes, in several ways. In both cases there is a complete digestive tract. However, in protostomes, the first opening of the gut to appear in embryological development (the archenteron) develops into the mouth, with the anus forming secondarily. In deuterostomes the anus forms first, with the mouth developing secondarily.[61] In most protostomes, cells simply fill in the interior of the gastrula to form the mesoderm, called schizocoelous development, but in deuterostomes, it forms through invagination of the endoderm, called enterocoelic pouching.[62] Deuterostome embryos undergo radial cleavage during cell division, while protostomes undergo spiral cleavage.[63]
All this suggests the deuterostomes and protostomes are separate, monophyletic lineages. The main phyla of deuterostomes are the Echinodermata and Chordata.[64] The former are radially symmetric and exclusively marine, such as starfish, sea urchins, and sea cucumbers.[65] The latter are dominated by the vertebrates, animals with backbones.[66] These include fish, amphibians, reptiles, birds, and mammals.[67]
In addition to these, the deuterostomes also include the Hemichordata, or acorn worms.[68] Although they are not especially prominent today, the important fossil graptolites may belong to this group.[69]
The Chaetognatha or arrow worms may also be deuterostomes, but more recent studies suggest protostome affinities.
Ecdysozoa


Yellow-winged darter, Sympetrum flaveolum
The Ecdysozoa are protostomes, named after the common trait of growth by moulting or ecdysis.[70] The largest animal phylum belongs here, the Arthropoda, including insects, spiders, crabs, and their kin. All these organisms have a body divided into repeating segments, typically with paired appendages. Two smaller phyla, the Onychophora and Tardigrada, are close relatives of the arthropods and share these traits.
The ecdysozoans also include the Nematoda or roundworms, perhaps the second largest animal phylum. Roundworms are typically microscopic, and occur in nearly every environment where there is water.[71] A number are important parasites.[72] Smaller phyla related to them are the Nematomorpha or horsehair worms, and the Kinorhyncha, Priapulida, and Loricifera. These groups have a reduced coelom, called a pseudocoelom.
The remaining two groups of protostomes are sometimes grouped together as the Spiralia, since in both embryos develop with spiral cleavage.
Platyzoa


Pseudobiceros bedfordi, (Bedford's flatworm)
The Platyzoa include the phylum Platyhelminthes, the flatworms.[73] These were originally considered some of the most primitive Bilateria, but it now appears they developed from more complex ancestors.[74] A number of parasites are included in this group, such as the flukes and tapeworms.[73] Flatworms are acoelomates, lacking a body cavity, as are their closest relatives, the microscopic Gastrotricha.[75]
The other platyzoan phyla are mostly microscopic and pseudocoelomate. The most prominent are the Rotifera or rotifers, which are common in aqueous environments. They also include the Acanthocephala or spiny-headed worms, the Gnathostomulida, Micrognathozoa, and possibly the Cycliophora.[76] These groups share the presence of complex jaws, from which they are called the Gnathifera.
Lophotrochozoa


Roman snail, Helix pomatia
The Lophotrochozoa include two of the most successful animal phyla, the Mollusca and Annelida.[77][78] The former, which is the second-largest animal phylum by number of described species, includes animals such as snails, clams, and squids, and the latter comprises the segmented worms, such as earthworms and leeches. These two groups have long been considered close relatives because of the common presence of trochophore larvae, but the annelids were considered closer to the arthropods because they are both segmented.[79] Now, this is generally considered convergent evolution, owing to many morphological and genetic differences between the two phyla.[80]
The Lophotrochozoa also include the Nemertea or ribbon worms, the Sipuncula, and several phyla that have a ring of ciliated tentacles around the mouth, called a lophophore.[81] These were traditionally grouped together as the lophophorates.[82] but it now appears that the lophophorate group may be paraphyletic,[83] with some closer to the nemerteans and some to the molluscs and annelids.[84][85] They include the Brachiopoda or lamp shells, which are prominent in the fossil record, the Entoprocta, the Phoronida, and possibly the Bryozoa or moss animals.[86]
Model organisms

Main articles: Model organism and Animal testing
Because of the great diversity found in animals, it is more economical for scientists to study a small number of chosen species so that connections can be drawn from their work and conclusions extrapolated about how animals function in general. Because they are easy to keep and breed, the fruit fly Drosophila melanogaster and the nematode Caenorhabditis elegans have long been the most intensively studied metazoan model organisms, and were among the first life-forms to be genetically sequenced. This was facilitated by the severely reduced state of their genomes, but as many genes, introns, and linkages lost, these ecdysozoans can teach us little about the origins of animals in general. The extent of this type of evolution within the superphylum will be revealed by the crustacean, annelid, and molluscan genome projects currently in progress. Analysis of the starlet sea anemone genome has emphasised the importance of sponges, placozoans, and choanoflagellates, also being sequenced, in explaining the arrival of 1500 ancestral genes unique to the Eumetazoa.[87]
An analysis of the homoscleromorph sponge Oscarella carmela also suggests that the last common ancestor of sponges and the eumetazoan animals was more complex than previously assumed.[88]
Other model organisms belonging to the animal kingdom include the house mouse (Mus musculus) and zebrafish (Danio rerio).


Carolus Linnaeus, known as the father of modern taxonomy
History of classification

Aristotle divided the living world between animals and plants, and this was followed by Carolus Linnaeus (Carl von Linné), in the first hierarchical classification.[89] Since then biologists have begun emphasizing evolutionary relationships, and so these groups have been restricted somewhat. For instance, microscopic protozoa were originally considered animals because they move, but are now treated separately.
In Linnaeus's original scheme, the animals were one of three kingdoms, divided into the classes of Vermes, Insecta, Pisces, Amphibia, Aves, and Mammalia. Since then the last four have all been subsumed into a single phylum, the Chordata, whereas the various other forms have been separated out. The above lists represent our current understanding of the group, though there is some variation from source to source.

Animals Picture

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Animals

Funny Animals

Cute Baby Animal Pictures

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Cute Baby Animal Pictures Biography
The Baby Animals were formed in Sydney in 1989 by singer Suze DeMarchi, drummer Frank Celenza, guitarist Dave Leslie, and bassist Eddie Parise. De Marchi had previously recorded threes singles with EMI in the United Kingdom, and before that had played with Perth bands Photoplay, The Kind, and DD and the Rockmen.[1]
November 1989 saw the band’s first gig at the Kardomah Café in Sydney, under the name 'Woody's Heroes', and the start of constant touring through the city’s pubs and clubs. The name 'Baby Animals' came about after seeing an advertisement for a local TV show, Wheel of Fortune, hosted by 'Baby John Burgess'. Another version suggests the name came from a calendar in a mall. In at least one interview, however, DeMarchi mentioned they changed the origins of the name in different interviews as it got boring answering the same questions.[citation needed]
The Baby Animals' early success was driven by The Angels including one of the band’s demos "Break My Heart" on the B-side of their single "Dogs Are Talking", along with tracks from two other rock and roll bands - Rob Tognoni's Desert Cats & The Hurricanes. A national tour showcasing all four bands shortly followed.
In August 1990, the band signed a publishing deal with SBK Songs (now EMI Songs). Whilst attending one of their gigs, Terry Ellis, president of the newly formed Imago Recording Company signed them to his label.[1] He described the experience as
"the band was great, the songs were terrific and to me Suze clearly had that indefineable magic that separates one artist from the crowd and makes them a star."[citation needed]
[edit]Debut album
The band flew to New York to record the debut album (Bearsville Studio / Second City Studio, Long Island), produced by Mike Chapman.[2] DeMarchi said of the production process: "It was great. Basically, Mike left us alone to make the kind of music we know how to make; and whenever he did have a suggestion, it was always something that made the sound better. So what you hear is pure recording, the band as it really is."[citation needed]
Their debut single, "Early Warning", was released in April 1991 and immediately reached the Top 20 on the Australian Singles charts. After the release of the single, the band flew to the United States for a series of showcases for the Imago/BMG people, to coincide with the earlier release of the album there. With the Top 20 chart success of "Early Warning" at home, the second single "Rush You" was released in August 1991.
Their eponymous debut album Baby Animals was released in September 1991. The album debuted at number six on the ARIA Charts and spent six weeks at number one, eventually going eight times platinum and becoming the highest-selling debut Australian rock album until the release of Jet's album twelve years later.[2]
After listening to the band's album, Bryan Adams asked the band to join him on his European tour. Whilst overseas, the band picked up the 'Best New Act' at the inaugural 1991 Australian Music Awards. Christmas 1991 saw the band back in Australia for more touring, and the release of two more singles from the album "Painless" and "One Word". The 'Let Go Of My Ears' tour saw the band playing to sell out crowds all over the country.
In 1992 the band joined the Black Crowes on a national tour of Australia and New Zealand. They made an appearance on the David Letterman Show, performing the single "Painless".
The band picked up a number of honours at the 1992 ARIA Music Awards, receiving awards for 'Best Debut Album', 'Best Single', and 'Best Album'. DeMarchi was also nominated for 'Best Female Vocalist'.
The band then toured in the opening slot for Van Halen's "For Unlawful Carnal Knowledge Tour" across America from 28 January to 31 May, again playing to arena-size audiences. Eddie Van Halen requested their presence after his wife Valerie heard their album, and suggested them.
Australian Rolling Stone placed DeMarchi on the cover. It was the first time they had put an Australian artist or group on the cover on the merits of a debut album. The Editor's letter was used to explain why DeMarchi is on the cover, despite the fact that the band insisted on a photo of the whole band or no cover at all.[citation needed]
Sales of Baby Animals reached 8 times platinum in Australia, and topped 800,000 worldwide. The band having played over 500 shows when they stopped touring in August.
[edit]Shaved and Dangerous
In 1993, the band returned to New York (Bearsville Studio,[3] where they also recorded their first album). After two weeks of pre-production, they went to the Bahamas, where they spend two months recording at Compass Point Studios (AC/DC, The Rolling Stones, Bob Marley) which resulted in a more mature sound under producer Ed Stasium. Next, the band moved on to Los Angeles, where Nuno Bettencourt (Extreme) met up with the band. He contributed his songwriting/guitar skills ("Because I Can") and produced "Life From A Distance" and "Be My Friend". He also contributed to "She Does Whatever" on the Shaved and Dangerous Tour CD.
Shaved and Dangerous was released in August 1993 and Baby Animals supported Robert Plant's US tour, before returning home around Christmas time to prepare for a 27-date Australian tour.
[edit]Demise
Touring was cut short when DeMarchi experienced throat problems, which required her to undertake surgery for her vocal cords. In August 1994 Baby Animals shared the stage with Extreme in a concert on the Azores island of Sao Miguel. DeMarchi and Bettencourt's wedding ceremony was also performed there. Songwriting/recording for the third record was anticipated for November.
In 1995 on the verge of their first major US tour, their US-based record company Imago Records folded after losing its distributor, BMG. In early 1996 the band officially disbanded.
In October 1999, DeMarchi released her first single, "Satellite" as a solo artist, which was followed by her debut album, Telelove. In June 2004, she was one of the inaugural inductees into the WAM (West Australian Music Industry Awards) Hall of Fame.
[edit]Reformed
In 2007, the rumors of a reformed Baby Animals with all original members were confirmed. They released an acoustic CD of their hits titled Il Grande Silenzio on 19 January 2008, as part of the Liberation Blue Acoustic Series. The following month, Liberation Records re-released their previous two albums (Baby Animals and Shaved and Dangerous remastered) as a 2 CD set. The remastered version of their first record was missing the track "Big Time Friends". The band indicated that they had such a great time recording that they wrote more songs which will be released in a future, as-yet-untitled CD. Meanwhile, the band has some Australian tour dates already confirmed for January 2008. The band also appeared live on the Australian breakfast TV program Sunrise on 22 January 2008.[4]
On 12 January 2009, The Baby Animals announced another Australian tour, playing 14 shows across Adelaide, Melbourne, Wollongong, Sydney, Sunshine Coast, Brisbane and the Gold Coast during April 2009. Prior to embarking on this tour, it had become evident that the band could not sustain a creative partnership, owing to internal conflicts. With Celenza's resignation and two day later self-reinstatement, and Parise's resentments bubbling beneath the surface, Demarchi and Leslie decided to continue with a couple of hand-picked Sydney musicians, Matt Cornell (bass/ vocals) and Mick Skelton (drums).
The tour was a success with fans attending all shows and culminated in a sell-out show at the Metro Theatre in Sydney. There the band was joined onstage for a song by Richard Clapton and for the encore by Bettencourt for a version of Extreme's "Get The Funk Out".

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Baby Animal Pictures

Cute Pictures Of Baby Animals

Baby Animal Pictures

Fox Animal Pictures

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Fox Animal Pictures Biography
Fox is a common name for many species of omnivorous mammals belonging to the Canidae family. Foxes are small to medium-sized canids (slightly smaller than the medium-sized domestic dog), characterized by possessing a long narrow snout, and a bushy tail (or brush).
Members of about 37 species are referred to as foxes, of which only 12 species actually belong to the Vulpes genus of "true foxes". By far the most common and widespread species of fox is the red fox (Vulpes vulpes), although various species are found on almost every continent. The presence of fox-like carnivores all over the globe, together with their widespread reputation for cunning, has contributed to their appearance in popular culture and folklore in many societies around the world (see also Foxes in culture).
Contents  [hide]
1 Etymology
2 General characteristics
3 Classification
4 Diet
5 Conservation
6 Relationships with humans
6.1 Fox hunting
6.2 Domestication
6.3 In culture
7 References
8 External links
[edit]Etymology

The Modern English word "fox" is Old English, and comes from the Proto-Germanic word fukh – compare German Fuchs, Gothic fauho, Old Norse foa and Dutch vos. It corresponds to the Proto-Indo-European word puk- meaning "tail of it" (compare Sanskrit puccha, also "tail"). The bushy tail is also the source of the word for fox in Welsh: llwynog, from llwyn, "bush, grove".[1] Lithuanian: uodegis, from uodega, "tail", Portuguese: raposa, from rabo, "tail"[2] and Ojibwa: waagosh, from waa, which refers to the up and down "bounce" or flickering of an animal or its tail.[3] Male foxes are known as dogs or reynards, females as vixens, and young as kits, pups or cubs. A group of foxes is a "skulk", "leash", "troop" or "earth".
[edit]General characteristics



The fennec fox is the smallest species of fox.


Arctic fox curled up in snow.
In the wild, foxes can live for up to 10 years, but most foxes only live for 2 to 3 years due to hunting, road accidents and diseases. Foxes are generally smaller than other members of the family Canidae such as wolves, jackals, and domestic dogs. Male foxes are called Reynards, and weigh, on average, around 5.9 kilograms (13 lb) while female foxes, called vixens, weigh less, at around 5.2 kilograms (11.5 lb).[4] Fox-like features typically include a distinctive muzzle (a "fox face") and bushy tail. Other physical characteristics vary according to habitat. For example, the fennec fox (and other species of fox adapted to life in the desert, such as the kit fox) has large ears and short fur, whereas the Arctic fox has tiny ears and thick, insulating fur. Another example is the red fox which has a typical auburn pelt, the tail normally ending with white marking. Litter sizes can vary greatly according to species and environment – the Arctic fox, for example, has an average litter of four to five, with eleven as maximum.[5]
Unlike many canids, foxes are not always pack animals. Typically, they live in small family groups, and are opportunistic feeders that hunt live prey (especially rodents). Using a pouncing technique practiced from an early age, they are usually able to kill their prey quickly. Foxes also gather a wide variety of other foods ranging from grasshoppers to fruit and berries. The gray fox is one of only two canine species known to climb trees; the other is the raccoon dog.
Foxes are normally extremely wary of humans and are not usually kept as indoor pets; however, the silver fox was successfully domesticated in Russia after a 45-year selective breeding program. This selective breeding also resulted in physical and behavioral traits appearing that are frequently seen in domestic cats, dogs, and other animals, such as pigmentation changes, floppy ears, and curly tails.[6]
[edit]Classification



Skeleton
Canids commonly known as foxes include members of the following genera:
Alopex: Arctic fox, although the definitive mammal taxonomy list as well as genetic evidence places it in Vulpes, and not as a genus unto itself.
Canis: The Ethiopian Wolf, also called, variously, Semien fox or Semien jackal (though recently renamed to reflect its biological affinity with the gray wolf).
Cerdocyon: Crab-eating fox.
Dusicyon: Falkland Islands fox.
Lycalopex: Six South American species.
Otocyon: Bat-eared fox.
Urocyon: Gray fox, island fox and Cozumel fox.
Vulpes: Including 12 species of true foxes, including the red fox, V. vulpes, Tibetan Sand Fox, Vulpes ferrilata and their closest kin.
[edit]Diet



A Chilla fox in Pan de Azúcar National Park in the coast of Atacama Desert.
Foxes are omnivores.[7][8] The diet of foxes is largely made up of invertebrates and small mammals, reptiles, (such as snakes), amphibians, scorpions, grasses, berries, fruit, fish, birds, eggs, dung beetles, insects and all other kinds of small animals. Many species are generalist predators, but some (such as the crab-eating fox) are more specialist. Most species of fox generally consume around 1 kg of food every day. Foxes cache excess food, burying it for later consumption, usually under leaves, snow, or soil.
[edit]Conservation



The island fox is a critically endangered species.
Foxes are readily found in cities and cultivated areas and (depending upon species) seem to adapt reasonably well to human presence.
Red foxes have been introduced into Australia which lacks similar carnivores other than the dingo, and the introduced foxes prey on native wildlife, some to the point of extinction.
Other fox species do not reproduce as readily as the red fox, and are endangered in their native environments. Key among these are the crab-eating fox (Cerdocyon thous) and the African bat-eared fox. Other foxes such as fennec foxes, are not endangered.
Foxes have been successfully employed to control pests on fruit farms while leaving the fruit intact.[9]
[edit]Relationships with humans



A red fox on the porch of an Evergreen, Colorado home.
Fox attacks on humans are not common but have been reported. In November 2008, an incident in the United States was reported in which a jogger was attacked and bitten on the foot and arm by a rabid fox in Arizona.[10] In July 2002, a 14-week-old baby was attacked in a house in Dartford, Kent, United Kingdom.[11] In June 2010, 9-month-old twin girls were bitten on the arms and face when a fox entered their upstairs room in east London.[12]
[edit]Fox hunting
Main article: Fox hunting
Fox hunting is an activity that originated in the United Kingdom in the 16th century. Hunting with dogs is now banned in the United Kingdom,[13][14][15][16] though hunting without dogs is still permitted. It is practiced as recreation in several other countries including Australia, Canada, France, Ireland, Italy, Russia and the United States.
[edit]Domestication
See also: Domesticated silver fox and Red_fox#Taming_and_domestication
There are many records of domesticated red foxes and others, but rarely of sustained domestication. A recent and notable case is the Russian silver fox, or domesticated silver fox, since it resulted in visible and behavioral changes, and is a case study of an animal population modeling according to human domestication needs. The current group of domesticated silver foxes are the result of nearly fifty years of experiments in the Soviet Union and Russia to domesticate the silver morph of the red fox. Notably, the new foxes became more tame, allowing themselves to be petted, whimpering to get attention and sniffing and licking their caretakers.[17] They also became more dog-like as well: they lost their distinctive musky "fox smell", became more friendly with humans, put their ears down (like dogs), wagged their tails when happy and began to vocalize and bark like domesticated dogs. They also began to exhibit other traits seen in some dog breeds, such as color pattern, curled tails, floppy ears, and shorter legs and tails.[17] They are also more likely to have piebald coats, and will almost always have a white spot on the chest or face. The breeding project was set up by the Soviet scientist Dmitri K. Belyaev.


Crab-eating fox, a south american species.
[edit]In culture
Main article: Foxes in culture
In many cultures, the fox appears in folklore as a symbol of cunning and trickery, or as a familiar animal possessed of magic powers.
In some countries, foxes are major predators of rabbits and hens. Population oscillations of these two species were the first nonlinear oscillation studied, and led to the now-famous Lotka-Volterra equation.
[edit]References

Fox Animal Pictures

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Fox And The Hound Animal I Have Become Pics

Pet Red Fox Ron's First Motion Picture

Sea Animals Pictures

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Sea Animals Pictures Biography
A salp (plural salps) or salpa (plural salpae or salpas[1]) is a barrel-shaped, planktonic tunicate. It moves by contracting, thus pumping water through its gelatinous body. The salp strains the pumped water through its internal feeding filters, feeding on phytoplankton.
Contents  [hide]
1 Distribution
2 Life history
3 Oceanographic importance
4 Nervous systems and relationships to other animals
5 Classification
6 Bibliography
7 References
8 External links
[edit]Distribution


Salps are common in equatorial, temperate, and cold seas, where they can be seen at the surface, singly or in long, stringy colonies. The most abundant concentrations of salps are in the Southern Ocean (near Antarctica). Here they sometimes form enormous swarms, often in deep water, and are sometimes even more abundant than krill.[2] Since 1910, while krill populations in the Southern Ocean have declined, salp populations appear to be increasing.
[edit]Life history


Salps have a complex life cycle, with an obligatory alternation of generations. Both portions of the life cycle exist together in the seas—they look quite different, but both are mostly transparent, tubular, gelatinous animals that are typically between 1 and 10 cm (0.39 and 3.9 in) tall. The solitary life history phase, also known as an oozoid, is a single barrel-shaped animal that reproduces asexually by producing a chain of tens to hundreds of individuals, which are released from the parent at a small size. The chain of salps is the aggregate portion of the life cycle. The aggregate individuals are also known as blastozooids; they remain attached together while swimming and feeding, and each individual grows in size. Each blastozooid in the chain reproduces sexually (the blastozooids are sequential hermaphrodites, first maturing as females, and are fertilized by male gametes produced by older chains), with a growing embryo oozoid attached to the body wall of the parent. The growing oozoids are eventually released from the parent blastozooids, and then continue to feed and grow as the solitary asexual phase, thus closing the life cycle of salps.
The alternation of generations allows for a fast generation time, with both solitary individuals and aggregate chains living and feeding together in the sea. When phytoplankton is abundant, this rapid reproduction leads to fairly short-lived blooms of salps, which eventually filter out most of the phytoplankton. The bloom ends when there is no longer enough food to sustain the enormous population of salps.
[edit]Oceanographic importance






Pegea confederata on a 1995 stamp from Azerbaijan.
One reason for the success of salps is how they respond to phytoplankton blooms. When there is plenty of food, salps can quickly bud off clones, which graze the phytoplankton and can grow at a rate which is probably faster than any other multicellular animal, quickly stripping the phytoplankton from the sea. But if the phytoplankton is too dense, the salps can clog and sink to the bottom. During these blooms, beaches can become slimy with mats of salp bodies, and other planktonic species can experience fluctuations in their numbers due to competition with the salps.
Sinking fecal pellets and bodies of salps carry carbon to the sea floor, and salps are abundant enough to have an effect on the ocean's biological pump. Consequently, large changes in their abundance or distribution may alter the ocean's carbon cycle, and potentially play a role in climate change.
[edit]Nervous systems and relationships to other animals


Salps are related to the pelagic tunicate groups doliolida and pyrosoma, as well as to other bottom-living (benthic) tunicates.
Although salps appear similar to jellyfish because of the simple body form and planktonic behavior, they are structurally most closely related to vertebrates, animals with true backbones.
Salps appear to have a form preliminary to vertebrates, and are used as a starting point in models of how vertebrates evolved. Scientists speculate that the tiny groups of nerves in salps are one of the first instances of a primitive nervous system, which eventually evolved into the more complex central nervous systems of vertebrates.[3]

Sea Animals Pictures

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Preschool Games - Paint The Picture (Sea Animals)

SEA WORLD ANIMAL PICTURES

Ugly Animal Pictures

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Ugly Animal Pictures Biography
"The Ugly Duckling" (Danish: Den grimme ælling) is a literary fairy tale by Danish poet and author Hans Christian Andersen (1805 – 1875). The story tells of a homely little bird born in a barnyard who suffers abuse from his surroundings until, much to his delight (and to the surprise of others), he matures into a beautiful swan, the most beautiful bird of all. The story is beloved around the world as a tale about personal transformation for the better.[1] “The Ugly Duckling” was first published 11 November 1843 with three other tales by Andersen in Copenhagen, Denmark to great critical acclaim. The tale has been adapted to various media including opera, musical, and animated film. The tale is completely Andersen's invention and owes no debt to fairy or folk lore.
Contents  [hide]
1 Plot summary
2 Composition and publication history
3 Commentaries and criticism
4 Adaptations
5 See also
6 References
7 External links
Plot summary

When the tale begins, a mother duck's eggs hatch. One of the little birds is perceived by the duck’s surroundings as a homely little creature and suffers much verbal and physical abuse from the other birds and animals on the farm. He wanders sadly from the barnyard and lives with wild ducks and geese until hunters slaughter the flocks. He then finds a home with an old woman but her cat and hen tease him mercilessly and again he sets off on his own. He sees a flock of migrating wild swans; he is delighted and excited but he cannot join them for he is too young and cannot fly. Winter arrives. A farmer finds and carries the freezing little bird home, but the foundling is frightened by the farmer’s noisy children and flees the house. He spends a miserable winter alone in the outdoors mostly hiding in a cave on the lake that partly freezes over. When spring arrives a flock of swans descends on the now thawing lake. The ugly duckling, now having fully grown and matured cannot endure a life of solitude and hardship any more and decides to throw himself at the flock of swans deciding that it is better to be killed by such beautiful birds than to live a life of ugliness and misery. He is shocked when the swans welcome and accept him, only to realize by looking at his reflection in the water that he has grown into one of them. The flock takes to the air and the ugly duckling spreads his beautiful large wings and takes flight with the rest of his new family.
Composition and publication history



Illustration by Vilhelm Pedersen, Andersen‘s first illustrator
Andersen first conceived the story in 1842 while enjoying the beauty of nature during his stay at the country estate of Bregentved, and lavished a year's worth of attention upon it. He initially considered "The Young Swans" as the tale's title but, not wanting to spoil the element of surprise in the protagonist’s transformation, discarded it for "The Ugly Duckling". He later confessed that the story was "a reflection of my own life", and, when the critic Georg Brandes questioned Andersen about whether he would write his autobiography, the poet claimed that it had already been written — "The Ugly Duckling".[2]
“The Ugly Duckling” was first published in Copenhagen, Denmark 11 November 1843 in New Fairy Tales. First Book. First Collection. 1844. (Nye Eventyr. Første Bind. Første Samling. 1844.). For the first time the phrase "told for children" was not part of the title—an omission Andersen scholar Jackie Wullschlager believes exhibited a new confidence on Andersen's part: "These [tales] were the most mature and perfectly constructed tales he had written, and though some of them at once became, and have remained favorites of children, Andersen here melds together the childlike and the profound with exceptional artistry." The first edition of 850 was sold out by December 18, and Reitzel planned another 850.[3]
The tale was fourth and last in the volume that included (in contents order), "The Angel" ("Englen"), "The Nightingale" ("Nattergalen"), and "The Sweethearts; or, The Top and the Ball" ("Kjærestefolkene [Toppen og bolden]").[4] The volume sold out almost immediately and Andersen wrote on December 18, 1843: “The book is selling like hot cakes. All the papers are praising it, everyone is reading it! No books of mine are appreciated in the way these fairy tales are!”[1] Andersen promoted the tale by reading it aloud at social gatherings. The tale was republished 18 December 1849 in Fairy Tales. 1850. (Eventyr. 1850.) and again 15 December 1862 in Fairy Tales and Stories. First Volume. 1862. (Eventyr og Historier. Første Bind. 1862.)[5] The tale has since been translated into various languages and published around the world which made it the most famous story from Hans.
Commentaries and criticism



A pair of young swans (or cygnets)
In reviewing Hans Christian Andersen: A New Life by biographer Jens Andersen, British journalist Anne Chisholm writes “Andersen himself was a tall, ugly boy with a big nose and big feet, and when he grew up with a beautiful singing voice and a passion for the theater he was cruelly teased and mocked by other children". The ugly duckling is the child of a swan whose egg accidentally rolled into a duck's nest.[6]
Speculation suggests that Andersen was the illegitimate son of prince Christian Frederik (later King Christian VIII of Denmark), and found this out some time before he wrote the book, and then that being a swan in the story was a metaphor not just for inner beauty and talent but also for secret royal lineage.[7]
Bruno Bettelheim observes in The Uses of Enchantment that the Ugly Duckling is not confronted with the tasks, tests, or trials of the typical fairy tale hero. “No need to accomplish anything is expressed in “The Ugly Duckling”. Things are simply fated and unfold accordingly, whether or not the hero takes some action.” In conjunction with Bettelheim’s assessment, Maria Tatar notes in ’’The Annotated Hans Christian Andersen’’ that Andersen suggests the Ugly Duckling‘s superiority resides in the fact that he is of a breed different from the barnyard rabble, and that dignity and worth, moral and aesthetic superiority are determined by nature rather than accomplishment.[1]
Adaptations



Disney's 1931 version


Disney's 1939 version
"The Ugly Duckling" became one of Andersen's best loved tales and was reprinted around the world. The tale was adapted to a variety of media. Films based on the tale include two Silly Symphonies animated shorts produced by Walt Disney called The Ugly Duckling. The first was produced in 1931 in black and white, and a remake in 1939 in Technicolor. The latter film won the 1939 Academy Award for Best Short Subject (Cartoons),[8] and was the last Silly Symphony to be made. The main difference between the Andersen story and the Disney version is that, in the latter, the little bird's ordeal lasts for only a few minutes, not for months. The anime Princess Tutu is about a duck that turns into a swan-like ballerina. In 2006, the Danish animation studio A. Film produced a spin-off CG feature called The Ugly Duckling and Me!, and later produced a children's CG television series Ugly Duckling Junior which featured the same characters as the movie. The Tom and Jerry cartoon Downhearted Duckling is also based on the famous story.
The tale has seen various musical adaptations. In 1914, the Russian composer Sergei Prokofiev composed a work for voice and piano based on Nina Meshcherskaya's adaptation of the tale and, in 1932, arranged the work for voice and orchestra. This was transcribed by Lev Konov in 1996, and his opera was a great success in Russia. Other musical versions include the song “The Ugly Duckling” composed by Frank Loesser and sung by Danny Kaye for the 1952 Charles Vidor musical film Hans Christian Andersen, and Honk!, a musical based on the tale which was produced in Britain and won an Olivier Award. The tale was adapted to a musical by Gail Deschamps and Paul Hamilton with a planned United States tour 2002-2003. In 1998, the musical played the Piccolo Spoleto for seventeen days.[9]
In 2009, the Dance Theatre of Bradenton, Florida, presented the ballet version of the popular tale (Allison Norton: The Ugly Duckling).
In 2010, Garri Bardin directed a feature-length stop-motion musical of the story set to Tchaikovsky's ballet music.
In 2012, a musical adaptation of the story, with ten original songs, was released by JJ’s Tunes & Tales. The album, titled “The Ugly Duckling: Story with Songs” contains both songs and spoken narration, and was released independently on CD Baby and iTunes. Examples of song titles include: Hatching of the Eggs; A Better Place; Song of the Swans; What’s the Matter with You; It’s a Big, Big World; Pretty Good Place to Live.

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animal Pictures

Ugly Animals

The Ugly Animal (Part 3)