Paragraph 1: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 2: When director M. V. Raman was looking for a new face to cast in AVM Productions's Vazhkai, he saw Vyjayanthimala performing Bharata Natyam in Chennai's Gokhale Hall. He tried to convince her grandmother, who was apprehensive about Vyjayanthimala joining films as she felt her grand daughter was too young to act in the films and also it would come in the way of her education and dance. Vyjayanthimala played a college girl named Mohana Shivashankaralingam and acted along with senior actors S. V. Sahasranamam, M. S. Draupadi, T. R. Ramachandran and K. Sankarapani. The movie was a big success and was remade in Telugu after one year as Jeevitham with a slightly different cast, namely C. H. Narayana Rao, S. Varalakshmi and C. S. R. Anjaneyulu. This film enjoyed great success upon release. For the Telugu version, Vyjayanthimala did her own voice dubbing with a little assistance from her father who knew Telugu well and coached her during the filming process. Vyjayanthimala also did a guest appearance in the 1950 film Vijayakumari which had actress T. R. Rajakumari in a dual role. She danced for the song "laalu...laalu...laalu" which was choreographed by Vedantam Raghavayya. Though the film was not a commercial success, her western-style of dance became popular and was considered one of the major highlights of the film.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, Om Prakash and Pandari Bai (who was credited as Padmini in the film). She learned Hindi at the Hindi Prachar Sabha to dub her own voice for her character in the film. Upperstall.com in their review, wrote that "She does bring the film to life with her dances though, something which was new then for the North Indian audience". The film became sixth highest-grossing film of 1951 with a verdict of box office hit. After the success of her debut films in all three languages, Vyjayanthimala again acted in a multilingual film which was produced by Avichi Meiyappa Chettiar of AVM Productions. The first version was in Tamil as Penn where she co-starred with actor Gemini Ganesan, S. Balachander and Anjali Devi. "Kalyanam...venum" sung by J. P. Chandrababu for Balachander became an instant hit. The second version was in Telugu titled Sangham which was released in the same year with N. T. Rama Rao, Vyjayanthimala, S. Balachandran and Anjali Devi in the lead. The Tamil and the Telugu films were big successes across South India. The film was once again remade in Hindi as Ladki starring Kishore Kumar and Bharat Bhushan, while Vyjayanthimala, along with Anjali Devi, reprised her role from the original film. Her performance was described by Upperstall.com as, "Vyjayanthimala's dances are the film's saving grace although it is unintentionally funny now to see how deliberate and obviously tacky the sequences are which lead into her dances... Ladki too makes no real demands on "feminist" tomboy Vyjayanthimala histrionically". The movie became second highest-grossing film of 1953.

Paragraph 3: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 4: Construction began on Sands Hotel in early 1952, built to a design by Wayne McAllister. Trousdale Construction Company of Los Angeles was the general contractor. Initially the Nevada Tax Commission rejected Freedman's request for a gambling license due to his connections with known criminals. Freedman had initially intended naming the hotel "Holiday Inn" after the film of the same name starring Bing Crosby, but after noticing that his socks became so full of sand decided to name it Sands. The tag line would be "A Place in the Sun", named after a recently released film starring Montgomery Clift and Elizabeth Taylor, and quite suitable to the hot desert location of Las Vegas. The hotel was opened on December 15, 1952 as a casino with 200 rooms, and was established less than three months after the opening of another prominent landmark, Sahara Hotel and Casino. The opening was widely publicized, and the hotel was visited by some 12,000 people within a few hours. At the inauguration were 146 journalists and special guests such as Arlene Dahl, Fernando Lamas, Esther Williams, and Terry Moore. Every guest was given a Chamois bag with silver dollars, and Sands ended up losing $200,000 within the first eight hours. Danny Thomas, Jimmy McHugh and the Copa Girls, labelled "the most beautiful girls in the world", performed in the Copa Room on opening night, and Ray Sinatra and his Orchestra were the initial house band. Thomas was hired to perform for the first two weeks, but strained his voice on the second night and developed laryngitis, and was replaced with performers such as Jimmy Durante, Frankie Laine, Jane Powell, the Ritz Brothers, and Ray Anthony.

Paragraph 5: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 6: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 7: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 8: Several methods exist for monitoring levels of Varroa mites in a colony. For a powdered sugar roll, the sampler collects about 300 bees using a 1/2-cup measuring cup and places them in a jar with a wire mesh screen lid (1/8") along with 2 tablespoons of powdered sugar. They then gently swirl the bees for about a minute before turning the jar upside down and shaking for two minutes over a tray to capture the mites as they fall. Those mites are then counted, and the count is divided by three to find the number of mites per 100 bees. The sugar roll is typically done with the intent to prevent killing the sampled bees, but whether the vigorous shaking causes damage is not known. For an alcohol wash, which is the most effective method, the sampler collects about 300 bees using the same cup. The bees are submerged in alcohol with a concentration of 70% or higher. A lid is placed over the jar to seal it, and the mixture is shaken vigorously for two minutes before it is poured over a 1/8" wire mesh screen into a tray. The mites are then counted, and the resulting number is also divided by three. This method kills all sampled bees. The sticky board method does not kill any bees. For this method, a sticky board with a thick coating of petroleum jelly is placed under the brood chamber under a screened bottom board (or similar 1/8" wire mesh screen). The board is retrieved after three days, and the beekeeper takes a count of the mites on the board. This number is divided by three to find the average 24-hour mite drop. This method does not kill any bees, but takes longer for results.

Paragraph 9: Several methods exist for monitoring levels of Varroa mites in a colony. For a powdered sugar roll, the sampler collects about 300 bees using a 1/2-cup measuring cup and places them in a jar with a wire mesh screen lid (1/8") along with 2 tablespoons of powdered sugar. They then gently swirl the bees for about a minute before turning the jar upside down and shaking for two minutes over a tray to capture the mites as they fall. Those mites are then counted, and the count is divided by three to find the number of mites per 100 bees. The sugar roll is typically done with the intent to prevent killing the sampled bees, but whether the vigorous shaking causes damage is not known. For an alcohol wash, which is the most effective method, the sampler collects about 300 bees using the same cup. The bees are submerged in alcohol with a concentration of 70% or higher. A lid is placed over the jar to seal it, and the mixture is shaken vigorously for two minutes before it is poured over a 1/8" wire mesh screen into a tray. The mites are then counted, and the resulting number is also divided by three. This method kills all sampled bees. The sticky board method does not kill any bees. For this method, a sticky board with a thick coating of petroleum jelly is placed under the brood chamber under a screened bottom board (or similar 1/8" wire mesh screen). The board is retrieved after three days, and the beekeeper takes a count of the mites on the board. This number is divided by three to find the average 24-hour mite drop. This method does not kill any bees, but takes longer for results.

Paragraph 10: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 11: Several methods exist for monitoring levels of Varroa mites in a colony. For a powdered sugar roll, the sampler collects about 300 bees using a 1/2-cup measuring cup and places them in a jar with a wire mesh screen lid (1/8") along with 2 tablespoons of powdered sugar. They then gently swirl the bees for about a minute before turning the jar upside down and shaking for two minutes over a tray to capture the mites as they fall. Those mites are then counted, and the count is divided by three to find the number of mites per 100 bees. The sugar roll is typically done with the intent to prevent killing the sampled bees, but whether the vigorous shaking causes damage is not known. For an alcohol wash, which is the most effective method, the sampler collects about 300 bees using the same cup. The bees are submerged in alcohol with a concentration of 70% or higher. A lid is placed over the jar to seal it, and the mixture is shaken vigorously for two minutes before it is poured over a 1/8" wire mesh screen into a tray. The mites are then counted, and the resulting number is also divided by three. This method kills all sampled bees. The sticky board method does not kill any bees. For this method, a sticky board with a thick coating of petroleum jelly is placed under the brood chamber under a screened bottom board (or similar 1/8" wire mesh screen). The board is retrieved after three days, and the beekeeper takes a count of the mites on the board. This number is divided by three to find the average 24-hour mite drop. This method does not kill any bees, but takes longer for results.

Paragraph 12: When director M. V. Raman was looking for a new face to cast in AVM Productions's Vazhkai, he saw Vyjayanthimala performing Bharata Natyam in Chennai's Gokhale Hall. He tried to convince her grandmother, who was apprehensive about Vyjayanthimala joining films as she felt her grand daughter was too young to act in the films and also it would come in the way of her education and dance. Vyjayanthimala played a college girl named Mohana Shivashankaralingam and acted along with senior actors S. V. Sahasranamam, M. S. Draupadi, T. R. Ramachandran and K. Sankarapani. The movie was a big success and was remade in Telugu after one year as Jeevitham with a slightly different cast, namely C. H. Narayana Rao, S. Varalakshmi and C. S. R. Anjaneyulu. This film enjoyed great success upon release. For the Telugu version, Vyjayanthimala did her own voice dubbing with a little assistance from her father who knew Telugu well and coached her during the filming process. Vyjayanthimala also did a guest appearance in the 1950 film Vijayakumari which had actress T. R. Rajakumari in a dual role. She danced for the song "laalu...laalu...laalu" which was choreographed by Vedantam Raghavayya. Though the film was not a commercial success, her western-style of dance became popular and was considered one of the major highlights of the film.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, Om Prakash and Pandari Bai (who was credited as Padmini in the film). She learned Hindi at the Hindi Prachar Sabha to dub her own voice for her character in the film. Upperstall.com in their review, wrote that "She does bring the film to life with her dances though, something which was new then for the North Indian audience". The film became sixth highest-grossing film of 1951 with a verdict of box office hit. After the success of her debut films in all three languages, Vyjayanthimala again acted in a multilingual film which was produced by Avichi Meiyappa Chettiar of AVM Productions. The first version was in Tamil as Penn where she co-starred with actor Gemini Ganesan, S. Balachander and Anjali Devi. "Kalyanam...venum" sung by J. P. Chandrababu for Balachander became an instant hit. The second version was in Telugu titled Sangham which was released in the same year with N. T. Rama Rao, Vyjayanthimala, S. Balachandran and Anjali Devi in the lead. The Tamil and the Telugu films were big successes across South India. The film was once again remade in Hindi as Ladki starring Kishore Kumar and Bharat Bhushan, while Vyjayanthimala, along with Anjali Devi, reprised her role from the original film. Her performance was described by Upperstall.com as, "Vyjayanthimala's dances are the film's saving grace although it is unintentionally funny now to see how deliberate and obviously tacky the sequences are which lead into her dances... Ladki too makes no real demands on "feminist" tomboy Vyjayanthimala histrionically". The movie became second highest-grossing film of 1953.

Paragraph 13: Several methods exist for monitoring levels of Varroa mites in a colony. For a powdered sugar roll, the sampler collects about 300 bees using a 1/2-cup measuring cup and places them in a jar with a wire mesh screen lid (1/8") along with 2 tablespoons of powdered sugar. They then gently swirl the bees for about a minute before turning the jar upside down and shaking for two minutes over a tray to capture the mites as they fall. Those mites are then counted, and the count is divided by three to find the number of mites per 100 bees. The sugar roll is typically done with the intent to prevent killing the sampled bees, but whether the vigorous shaking causes damage is not known. For an alcohol wash, which is the most effective method, the sampler collects about 300 bees using the same cup. The bees are submerged in alcohol with a concentration of 70% or higher. A lid is placed over the jar to seal it, and the mixture is shaken vigorously for two minutes before it is poured over a 1/8" wire mesh screen into a tray. The mites are then counted, and the resulting number is also divided by three. This method kills all sampled bees. The sticky board method does not kill any bees. For this method, a sticky board with a thick coating of petroleum jelly is placed under the brood chamber under a screened bottom board (or similar 1/8" wire mesh screen). The board is retrieved after three days, and the beekeeper takes a count of the mites on the board. This number is divided by three to find the average 24-hour mite drop. This method does not kill any bees, but takes longer for results.

Paragraph 14: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 15: When director M. V. Raman was looking for a new face to cast in AVM Productions's Vazhkai, he saw Vyjayanthimala performing Bharata Natyam in Chennai's Gokhale Hall. He tried to convince her grandmother, who was apprehensive about Vyjayanthimala joining films as she felt her grand daughter was too young to act in the films and also it would come in the way of her education and dance. Vyjayanthimala played a college girl named Mohana Shivashankaralingam and acted along with senior actors S. V. Sahasranamam, M. S. Draupadi, T. R. Ramachandran and K. Sankarapani. The movie was a big success and was remade in Telugu after one year as Jeevitham with a slightly different cast, namely C. H. Narayana Rao, S. Varalakshmi and C. S. R. Anjaneyulu. This film enjoyed great success upon release. For the Telugu version, Vyjayanthimala did her own voice dubbing with a little assistance from her father who knew Telugu well and coached her during the filming process. Vyjayanthimala also did a guest appearance in the 1950 film Vijayakumari which had actress T. R. Rajakumari in a dual role. She danced for the song "laalu...laalu...laalu" which was choreographed by Vedantam Raghavayya. Though the film was not a commercial success, her western-style of dance became popular and was considered one of the major highlights of the film.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, Om Prakash and Pandari Bai (who was credited as Padmini in the film). She learned Hindi at the Hindi Prachar Sabha to dub her own voice for her character in the film. Upperstall.com in their review, wrote that "She does bring the film to life with her dances though, something which was new then for the North Indian audience". The film became sixth highest-grossing film of 1951 with a verdict of box office hit. After the success of her debut films in all three languages, Vyjayanthimala again acted in a multilingual film which was produced by Avichi Meiyappa Chettiar of AVM Productions. The first version was in Tamil as Penn where she co-starred with actor Gemini Ganesan, S. Balachander and Anjali Devi. "Kalyanam...venum" sung by J. P. Chandrababu for Balachander became an instant hit. The second version was in Telugu titled Sangham which was released in the same year with N. T. Rama Rao, Vyjayanthimala, S. Balachandran and Anjali Devi in the lead. The Tamil and the Telugu films were big successes across South India. The film was once again remade in Hindi as Ladki starring Kishore Kumar and Bharat Bhushan, while Vyjayanthimala, along with Anjali Devi, reprised her role from the original film. Her performance was described by Upperstall.com as, "Vyjayanthimala's dances are the film's saving grace although it is unintentionally funny now to see how deliberate and obviously tacky the sequences are which lead into her dances... Ladki too makes no real demands on "feminist" tomboy Vyjayanthimala histrionically". The movie became second highest-grossing film of 1953.

Paragraph 16: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 17: Several methods exist for monitoring levels of Varroa mites in a colony. For a powdered sugar roll, the sampler collects about 300 bees using a 1/2-cup measuring cup and places them in a jar with a wire mesh screen lid (1/8") along with 2 tablespoons of powdered sugar. They then gently swirl the bees for about a minute before turning the jar upside down and shaking for two minutes over a tray to capture the mites as they fall. Those mites are then counted, and the count is divided by three to find the number of mites per 100 bees. The sugar roll is typically done with the intent to prevent killing the sampled bees, but whether the vigorous shaking causes damage is not known. For an alcohol wash, which is the most effective method, the sampler collects about 300 bees using the same cup. The bees are submerged in alcohol with a concentration of 70% or higher. A lid is placed over the jar to seal it, and the mixture is shaken vigorously for two minutes before it is poured over a 1/8" wire mesh screen into a tray. The mites are then counted, and the resulting number is also divided by three. This method kills all sampled bees. The sticky board method does not kill any bees. For this method, a sticky board with a thick coating of petroleum jelly is placed under the brood chamber under a screened bottom board (or similar 1/8" wire mesh screen). The board is retrieved after three days, and the beekeeper takes a count of the mites on the board. This number is divided by three to find the average 24-hour mite drop. This method does not kill any bees, but takes longer for results.

Paragraph 18: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 19: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 20: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 21: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 22: When director M. V. Raman was looking for a new face to cast in AVM Productions's Vazhkai, he saw Vyjayanthimala performing Bharata Natyam in Chennai's Gokhale Hall. He tried to convince her grandmother, who was apprehensive about Vyjayanthimala joining films as she felt her grand daughter was too young to act in the films and also it would come in the way of her education and dance. Vyjayanthimala played a college girl named Mohana Shivashankaralingam and acted along with senior actors S. V. Sahasranamam, M. S. Draupadi, T. R. Ramachandran and K. Sankarapani. The movie was a big success and was remade in Telugu after one year as Jeevitham with a slightly different cast, namely C. H. Narayana Rao, S. Varalakshmi and C. S. R. Anjaneyulu. This film enjoyed great success upon release. For the Telugu version, Vyjayanthimala did her own voice dubbing with a little assistance from her father who knew Telugu well and coached her during the filming process. Vyjayanthimala also did a guest appearance in the 1950 film Vijayakumari which had actress T. R. Rajakumari in a dual role. She danced for the song "laalu...laalu...laalu" which was choreographed by Vedantam Raghavayya. Though the film was not a commercial success, her western-style of dance became popular and was considered one of the major highlights of the film.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, Om Prakash and Pandari Bai (who was credited as Padmini in the film). She learned Hindi at the Hindi Prachar Sabha to dub her own voice for her character in the film. Upperstall.com in their review, wrote that "She does bring the film to life with her dances though, something which was new then for the North Indian audience". The film became sixth highest-grossing film of 1951 with a verdict of box office hit. After the success of her debut films in all three languages, Vyjayanthimala again acted in a multilingual film which was produced by Avichi Meiyappa Chettiar of AVM Productions. The first version was in Tamil as Penn where she co-starred with actor Gemini Ganesan, S. Balachander and Anjali Devi. "Kalyanam...venum" sung by J. P. Chandrababu for Balachander became an instant hit. The second version was in Telugu titled Sangham which was released in the same year with N. T. Rama Rao, Vyjayanthimala, S. Balachandran and Anjali Devi in the lead. The Tamil and the Telugu films were big successes across South India. The film was once again remade in Hindi as Ladki starring Kishore Kumar and Bharat Bhushan, while Vyjayanthimala, along with Anjali Devi, reprised her role from the original film. Her performance was described by Upperstall.com as, "Vyjayanthimala's dances are the film's saving grace although it is unintentionally funny now to see how deliberate and obviously tacky the sequences are which lead into her dances... Ladki too makes no real demands on "feminist" tomboy Vyjayanthimala histrionically". The movie became second highest-grossing film of 1953.

Paragraph 23: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 24: Construction began on Sands Hotel in early 1952, built to a design by Wayne McAllister. Trousdale Construction Company of Los Angeles was the general contractor. Initially the Nevada Tax Commission rejected Freedman's request for a gambling license due to his connections with known criminals. Freedman had initially intended naming the hotel "Holiday Inn" after the film of the same name starring Bing Crosby, but after noticing that his socks became so full of sand decided to name it Sands. The tag line would be "A Place in the Sun", named after a recently released film starring Montgomery Clift and Elizabeth Taylor, and quite suitable to the hot desert location of Las Vegas. The hotel was opened on December 15, 1952 as a casino with 200 rooms, and was established less than three months after the opening of another prominent landmark, Sahara Hotel and Casino. The opening was widely publicized, and the hotel was visited by some 12,000 people within a few hours. At the inauguration were 146 journalists and special guests such as Arlene Dahl, Fernando Lamas, Esther Williams, and Terry Moore. Every guest was given a Chamois bag with silver dollars, and Sands ended up losing $200,000 within the first eight hours. Danny Thomas, Jimmy McHugh and the Copa Girls, labelled "the most beautiful girls in the world", performed in the Copa Room on opening night, and Ray Sinatra and his Orchestra were the initial house band. Thomas was hired to perform for the first two weeks, but strained his voice on the second night and developed laryngitis, and was replaced with performers such as Jimmy Durante, Frankie Laine, Jane Powell, the Ritz Brothers, and Ray Anthony.

Paragraph 25: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 26: When director M. V. Raman was looking for a new face to cast in AVM Productions's Vazhkai, he saw Vyjayanthimala performing Bharata Natyam in Chennai's Gokhale Hall. He tried to convince her grandmother, who was apprehensive about Vyjayanthimala joining films as she felt her grand daughter was too young to act in the films and also it would come in the way of her education and dance. Vyjayanthimala played a college girl named Mohana Shivashankaralingam and acted along with senior actors S. V. Sahasranamam, M. S. Draupadi, T. R. Ramachandran and K. Sankarapani. The movie was a big success and was remade in Telugu after one year as Jeevitham with a slightly different cast, namely C. H. Narayana Rao, S. Varalakshmi and C. S. R. Anjaneyulu. This film enjoyed great success upon release. For the Telugu version, Vyjayanthimala did her own voice dubbing with a little assistance from her father who knew Telugu well and coached her during the filming process. Vyjayanthimala also did a guest appearance in the 1950 film Vijayakumari which had actress T. R. Rajakumari in a dual role. She danced for the song "laalu...laalu...laalu" which was choreographed by Vedantam Raghavayya. Though the film was not a commercial success, her western-style of dance became popular and was considered one of the major highlights of the film.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, Om Prakash and Pandari Bai (who was credited as Padmini in the film). She learned Hindi at the Hindi Prachar Sabha to dub her own voice for her character in the film. Upperstall.com in their review, wrote that "She does bring the film to life with her dances though, something which was new then for the North Indian audience". The film became sixth highest-grossing film of 1951 with a verdict of box office hit. After the success of her debut films in all three languages, Vyjayanthimala again acted in a multilingual film which was produced by Avichi Meiyappa Chettiar of AVM Productions. The first version was in Tamil as Penn where she co-starred with actor Gemini Ganesan, S. Balachander and Anjali Devi. "Kalyanam...venum" sung by J. P. Chandrababu for Balachander became an instant hit. The second version was in Telugu titled Sangham which was released in the same year with N. T. Rama Rao, Vyjayanthimala, S. Balachandran and Anjali Devi in the lead. The Tamil and the Telugu films were big successes across South India. The film was once again remade in Hindi as Ladki starring Kishore Kumar and Bharat Bhushan, while Vyjayanthimala, along with Anjali Devi, reprised her role from the original film. Her performance was described by Upperstall.com as, "Vyjayanthimala's dances are the film's saving grace although it is unintentionally funny now to see how deliberate and obviously tacky the sequences are which lead into her dances... Ladki too makes no real demands on "feminist" tomboy Vyjayanthimala histrionically". The movie became second highest-grossing film of 1953.

Paragraph 27: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 28: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 29: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 30: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 31: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 32: Guayabo de Turrialba seems to have been a locus of social power in the wake of this período de integración. It was initially populated beginning in about 1000 BCE, and then abandoned in 1400 CE, a century before the Spanish arrived, for reasons that remain a mystery. Researchers still to this day have not found any sign of why people might have left. Although, there is speculation that it might have had to do with something like disease or rival civilizations. It has been estimated that there were about 10,000 people who were residents. Believed to be the home of the Pre-Columbian people, this relic site was first discovered in the 1800s and was first excavated in the year of 1882. What has been found and what the site consists of is the city's infrastructure, petroglyphs, tombs, and artifacts that were left behind and found by archaeologists in the 1960s during further excavations. To be more specific, the magnitude of the known part of the site, presumed to be its central portion, consists of 43 stone foundations, three aqueducts, two major roadways, dozens of smaller paths, and some stone tombs. The people of Guayabo were known to be well aware of good engineering, which can be assumed by their use of aqueducts. Most of the site consists of the circular mounds that the conical wooden structures were once built on. Side note; the villagers used to live in huge communal-like conical houses with thatched roofs with most, if not all, of their family members. One mound in particular, Mound 1, stands out as it is the largest one of this culture and it is located in the center of the village. To its front runs a paved road which connected the surrounding settlements, with it as far as 9km. That is considered the most impressive finding at the site. Architecturally, back in the day, the main building probably served as both a symbol as well as a place to conduct public business.  After ascending the stairs next to the center mound, visitors would have been greeted by a matching pair of structures, rectangular in shape. These were probably guardhouses that flank the road at this point and would have controlled access to the settlement. A lot of the artifacts found when excavating, such as the stones and petroglyphs, represented animals such as jaguars and lizards. There were tools that were found that suggested that Guayabo had people dedicated to growing agriculture which mainly consisted of roots such as yucca. Studies have shown that the people of Guayabo did most of their own work although there is some data suggesting slavery may have been practiced.

Paragraph 33: Construction began on Sands Hotel in early 1952, built to a design by Wayne McAllister. Trousdale Construction Company of Los Angeles was the general contractor. Initially the Nevada Tax Commission rejected Freedman's request for a gambling license due to his connections with known criminals. Freedman had initially intended naming the hotel "Holiday Inn" after the film of the same name starring Bing Crosby, but after noticing that his socks became so full of sand decided to name it Sands. The tag line would be "A Place in the Sun", named after a recently released film starring Montgomery Clift and Elizabeth Taylor, and quite suitable to the hot desert location of Las Vegas. The hotel was opened on December 15, 1952 as a casino with 200 rooms, and was established less than three months after the opening of another prominent landmark, Sahara Hotel and Casino. The opening was widely publicized, and the hotel was visited by some 12,000 people within a few hours. At the inauguration were 146 journalists and special guests such as Arlene Dahl, Fernando Lamas, Esther Williams, and Terry Moore. Every guest was given a Chamois bag with silver dollars, and Sands ended up losing $200,000 within the first eight hours. Danny Thomas, Jimmy McHugh and the Copa Girls, labelled "the most beautiful girls in the world", performed in the Copa Room on opening night, and Ray Sinatra and his Orchestra were the initial house band. Thomas was hired to perform for the first two weeks, but strained his voice on the second night and developed laryngitis, and was replaced with performers such as Jimmy Durante, Frankie Laine, Jane Powell, the Ritz Brothers, and Ray Anthony.

Paragraph 34: Ahern's The Squirrel Cage (1936–53) featured a bearded character known as The Little Hitchhiker, who became notorious for his frequent expression, "Nov shmoz ka pop?", which he uttered while thumbing for a ride.  Some sources say that the phrase is Russian for "Going my way?",  others say that the phrase is complete nonsense.  The character was the acknowledged inspiration for Robert Crumb's Mr. Natural. The Squirrel Cage was collected into a book by publisher Ken Pierce. It was popular enough that it was used as nose art on at least two US bomber aircraft during the Second World War, a B-17G with 487th Bomb Group and a B-24 that served with the 466th, 93rd, and 446th Bomber Groups.

Paragraph 35: Several methods exist for monitoring levels of Varroa mites in a colony. For a powdered sugar roll, the sampler collects about 300 bees using a 1/2-cup measuring cup and places them in a jar with a wire mesh screen lid (1/8") along with 2 tablespoons of powdered sugar. They then gently swirl the bees for about a minute before turning the jar upside down and shaking for two minutes over a tray to capture the mites as they fall. Those mites are then counted, and the count is divided by three to find the number of mites per 100 bees. The sugar roll is typically done with the intent to prevent killing the sampled bees, but whether the vigorous shaking causes damage is not known. For an alcohol wash, which is the most effective method, the sampler collects about 300 bees using the same cup. The bees are submerged in alcohol with a concentration of 70% or higher. A lid is placed over the jar to seal it, and the mixture is shaken vigorously for two minutes before it is poured over a 1/8" wire mesh screen into a tray. The mites are then counted, and the resulting number is also divided by three. This method kills all sampled bees. The sticky board method does not kill any bees. For this method, a sticky board with a thick coating of petroleum jelly is placed under the brood chamber under a screened bottom board (or similar 1/8" wire mesh screen). The board is retrieved after three days, and the beekeeper takes a count of the mites on the board. This number is divided by three to find the average 24-hour mite drop. This method does not kill any bees, but takes longer for results.

Paragraph 36: When director M. V. Raman was looking for a new face to cast in AVM Productions's Vazhkai, he saw Vyjayanthimala performing Bharata Natyam in Chennai's Gokhale Hall. He tried to convince her grandmother, who was apprehensive about Vyjayanthimala joining films as she felt her grand daughter was too young to act in the films and also it would come in the way of her education and dance. Vyjayanthimala played a college girl named Mohana Shivashankaralingam and acted along with senior actors S. V. Sahasranamam, M. S. Draupadi, T. R. Ramachandran and K. Sankarapani. The movie was a big success and was remade in Telugu after one year as Jeevitham with a slightly different cast, namely C. H. Narayana Rao, S. Varalakshmi and C. S. R. Anjaneyulu. This film enjoyed great success upon release. For the Telugu version, Vyjayanthimala did her own voice dubbing with a little assistance from her father who knew Telugu well and coached her during the filming process. Vyjayanthimala also did a guest appearance in the 1950 film Vijayakumari which had actress T. R. Rajakumari in a dual role. She danced for the song "laalu...laalu...laalu" which was choreographed by Vedantam Raghavayya. Though the film was not a commercial success, her western-style of dance became popular and was considered one of the major highlights of the film.The success of her Tamil film Vazhkai in South India inspired AVM Productions to remake it in Hindi as Bahar in 1951. In their first Hindi venture, they decided to cast Vyjayanthimala again in the lead role with Karan Dewan, Om Prakash and Pandari Bai (who was credited as Padmini in the film). She learned Hindi at the Hindi Prachar Sabha to dub her own voice for her character in the film. Upperstall.com in their review, wrote that "She does bring the film to life with her dances though, something which was new then for the North Indian audience". The film became sixth highest-grossing film of 1951 with a verdict of box office hit. After the success of her debut films in all three languages, Vyjayanthimala again acted in a multilingual film which was produced by Avichi Meiyappa Chettiar of AVM Productions. The first version was in Tamil as Penn where she co-starred with actor Gemini Ganesan, S. Balachander and Anjali Devi. "Kalyanam...venum" sung by J. P. Chandrababu for Balachander became an instant hit. The second version was in Telugu titled Sangham which was released in the same year with N. T. Rama Rao, Vyjayanthimala, S. Balachandran and Anjali Devi in the lead. The Tamil and the Telugu films were big successes across South India. The film was once again remade in Hindi as Ladki starring Kishore Kumar and Bharat Bhushan, while Vyjayanthimala, along with Anjali Devi, reprised her role from the original film. Her performance was described by Upperstall.com as, "Vyjayanthimala's dances are the film's saving grace although it is unintentionally funny now to see how deliberate and obviously tacky the sequences are which lead into her dances... Ladki too makes no real demands on "feminist" tomboy Vyjayanthimala histrionically". The movie became second highest-grossing film of 1953.

Answer: 5