Question: Nelson was born March 20, 1906 in Jersey City, New Jersey. He was the second son of Ethel Irene (nee Orr) and George Waldemar Nelson. His paternal grandparents were Swedish and his mother was of English descent. Nelson was raised in Ridgefield Park where he was active in Scouting, earning the rank of Eagle Scout at age 13.

In the 1940s, Nelson began to look for a way to spend more time with his family, especially his growing sons. Besides band appearances, he and Harriet had been regulars on Red Skelton's radio show. He developed and produced his own radio series, The Adventures of Ozzie and Harriet. The show went on the air in 1944, with their sons played by actors until 1949, and in 1952 it moved over to television (the radio version continued for another two years). The TV show starred the entire family, and America watched Ozzie and Harriet raise their boys. The last television episode aired in 1966. Nelson was producer and director of most of the episodes, and co-wrote many of them. Nelson's brother Don Nelson, was also one of the writers. Ozzie was very hands-on and involved with every aspect of the radio and TV programs. (It's notable that throughout the 1950s, Ozzie's prior bandleading and Harriet's singing career was seldom mentioned. The younger audience would have had no idea that Ozzie and Harriet had previously been involved in music.) He appeared as a guest panelist on the June 9, 1957, episode of What's My Line? His last television show was in the fall of 1973 and entitled Ozzie's Girls, and lasted for a year in first-run syndication. The premise was Ozzie and Harriet renting their sons' former room to two college girls (one caucasian, one African American), and concerned the Nelsons' efforts at adjusting to living with two young women, after having raised two sons.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer: His last television show was in the fall of 1973 and entitled Ozzie's Girls, and lasted for a year in first-run syndication.

Question: Odissi (Odia: odd'ishii Odisi), also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha - an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism.

The Buddhist, Jain and Hindu archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE. Important sites include the Ranigumpha in Udaygiri, and various caves and temples at Lalitgiri, Ratnagiri and Alatgiri sites. The Buddhist icons, for example, are depicted as dancing gods and goddesses, with Haruka, Vajravarahi, and Marichi in Odissi-like postures. Historical evidence, states Alexandra Carter, shows that Odissi Maharis (Hindu temple dancers) and dance halls architecture (nata-mandap) were in vogue at least by the 9th century CE. According to Kapila Vatsyayan, the Kalpasutra of Jainism, in its manuscripts discovered in Gujarat, includes classical Indian dance poses - such as the Samapada, the Tribhangi and the Chuaka of Odissi. This, states Vatsyayan, suggests that Odissi was admired or at least well known in distant parts of India, far from Odisha in the medieval era, to be included in the margins of an important Jain text. However, the Jain manuscripts use the dance poses as decorative art in the margins and cover, but do not describe or discuss the dance. Hindu dance texts such as the Abhinaya Chandrika and Abhinaya Darpana provide a detailed description of the movements of the feet, hands, the standing postures, the movement and the dance repertoire. It includes illustrations of the Karanas mentioned in NatyaShastra. Similarly, the illustrated Hindu text on temple architecture from Odisha, the Shilpaprakasha, deals with Odia architecture and sculpture, and includes Odissi postures. Actual sculptures that have survived into the modern era and panel reliefs in Odia temples, dated to be from the 10th to 14th century, show Odissi dance. This is evidenced in Jagannath temple in Puri, as well as other temples of Vaishnavism, Shaivism, Shaktism and Vedic deities such as Surya (Sun) in Odisha. There are several sculptures of dancers and musicians in Konark Sun Temple and Brahmeswara Temple in Bhubaneswar. The composition of the poetic texts by 8th century Shankaracharya and particularly of divine love inspired Gitagovinda by 12th century Jayadeva influenced the focus and growth of modern Odissi. Odissi was performed in the temples by the dancers called Maharis, who played out these spiritual poems and underlying religious plays, after training and perfecting their art of dance starting from an early age, and who were revered as auspicious to religious services.

Using a quote from the above article, answer the following question: What was the time frame of the Medieval era?
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Answer: archaeological sites in Odisha state, particularly the Assia range of hills show inscriptions and carvings of dances that are dated to the 6th to 9th century CE.

Question: The Houston Livestock Show and Rodeo, also called RodeoHouston or abbreviated HLSR, is the largest livestock exhibitions and rodeo in the world. It also includes one of the richest regular-season rodeo events. It has been held at NRG Stadium in Houston, Texas, since 2003. It was previously held in the Astrodome.

Since 1952, traditional trail rides have been a part of the Houston Livestock Show and Rodeo. As of 2017, there were 13 official trail rides, totaling over 3,000 riders. The trail rides range in size from a dozen to over one thousand people who ride on horseback or in horse-drawn wagons from various areas of the state to Houston. They make their way at about 3 miles (4.8 km) per hour, covering up to 17 miles (27 km) each day. Many of the routes take place in part along major highways and busy city streets, making safety a major concern. The trail rides last from a few days to three weeks, depending on the distance they cover. Some of the participants are able to join only on weekends or at the end of the trip. The days start very early, and often end with live music or a small celebration. Many riders choose to camp in recreational vehicles rather than in the open. Each morning, they drive their vehicles and horse trailers to the next camping spot, then have a bus or convoy take them back so they can retrace their path on horseback. Participants can bring their own provisions, or, in some cases, purchase meals at a chuck wagon that is also following the trail. The rides converge at Memorial Park in Houston on Go Texan Day, the Friday before the livestock show and rodeo begins. The city closes some roads downtown to allow the riders to reach their destination safely. The resulting traffic interruption cause annual complaints from those who work downtown. The following day, all of the trail riders participate in the parade.

Using a quote from the above article, answer the following question: Are the trail rides competitive or for leisure?
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Answer:
The trail rides range in size from a dozen to over one thousand people who ride on horseback or in horse-drawn wagons from various areas of the state to Houston.