Many kids don't drink enough water daily, according to a new study. The study's lead author, Erica Kenney, at first planned to look into the amount of sugary drinks kids were drinking in schools. However, during her research she found that many kids were simply not drinking enough water.

    Kenney and her team examined data from a group of 4,000 children, aged 6 to19. The data was taken from the National Health and Nutrition Survey, a study on the health of children in the United States done each year by the Center for Disease Control and Prevention.

    While looking through the survey results, she noticed that more than half of the kids who took part in the study were dehydrated (脱水的). Of that group, boys were 76% more likely than girls not to have enough water in their system. Nearly one quarter of the kids in the survey reported drinking no plain water at all.

    “These findings highlight (突出) a possible health issue that wasn't given a lot of attention in the past,” Kenney said in a statement. “Even though for most of these kids this is not an immediate and great health risk, this is an issue that could really be reducing quality of life and well-being for many children and youth.”

    The United States-National Agriculture Library says average kids need between 10 to 14 cups of water every day. This water can come from a mix of drinks and foods that contain high amounts of water, such as celery, melons or tomatoes. It is also suggested that fluids (液体) come from water instead of sugary drinks that are high in calories and can lead to weight problems.

The First Hello

    The man from the telephone department got off the bus, and made his way to the tea stall, wiping the sweat off his head, face, then slipping his handkerchief under his shirt to wipe his neck and back. It was a year ago that the phone line had been installed, six months later men from the public works department had come to put up the phone booth—a neat box-like structure, with a glass window, and wooden ledges, yellow in colour. And days after that, a painter had taken an entire day to colour in broad, black brushstrokes, the words: STD Booth, local and STD allowed.

    No one could tell that the last word had been misspelled. Besides, he had taken the entire day. After he had a cup of tea, he left, waving cheerfully. And now months later, someone else was here again.

    Everyone watched the man as he sat on the bench. No one said a word, and soon the sound of him slurping his tea filled the hot afternoon. A few leaves fell, heavy in the heat, and sometimes a car passed, on its way to the main city farther away.

    When the man had finished, he tried to pay but the tea shop owner who sat behind his steaming kettle and the washed upturned cups, waved him away.

    “You are our guest here.”

    So the man took his handkerchief out again and wiped his face.

    They crowded around him as he shut himself up in the phone booth. When the children pressed their nose against the glass, he shooed them away, as he took out a shiny black soon changed to an excited yell as they saw him dial a number, pressing a finger into the ringed dialer of the phone and letting it go all the way in a half-circle. A while later, they hear him say into the mouthpiece, “Hello.”

    “Hello,”the children around the booth took up the cry, the teashop owner broke into a smile and the men waiting for a bus smiled and said hello to each other. The sadhu(印度的僧人)who sat under the banyan tree nodded wisely. As the sound carried, more hellos were heard. The women winnowing grain giggled as they tried the word tentatively, the shepherds feeding their flocks called out to their sheep, laughing as they used the word.

    “It's a big occasion, ”said the headman, in an awed(敬畏的) voice.

    “It is.” agreed those around him. The telephone man emerged and handed over a small chit of paper to the headman. “This is the telephone number.”

    The headman looked at it respectfully as if it were a mantra(符咒). The others around him read out the numbers slowly, digit-by-digit.

    The telephone man was now too tired to notice the cheering around him. He knew he had to wait long before the bus to take him back arrived. As he sipped his second cup of tea, he remembered something else.

    “Oh, you can't start using the phone now. The minister will come next month and inaugurate it. ”

    No one said a word. No one was surprise. They had waited so long; a month more did not really matter.

    Like many children, young Lotte Reiniger was crazy about movies, which at the time were a completely new invention. She taught herself how to cut paper silhouettes（剪影）, of people, animals, and objects. I could cut silhouettes almost as soon as I could manage to hold a pair of scissors, Reiniger said. “I could paint, too, and read...But everybody was surprised at the scissor cuts”

    At first, Reiniger wanted to be an actress, but her skill at making silhouettes drew the attention of the German film industry. Before 1927, films were silent. To help the audience understand the film, title cards with printed text appeared during the film between scenes. Reiniger helped create title cards for films, using her silhouettes. In 1918, she was asked to provide stop-motion animation（定格动面）, in which objects are photographed（拍摄）in a series of slightly different positions and then replayed at high speed so that the objects appear to move on their own, for wooden rats（老鼠）in the movie The Pied Piper of Hamelin. It was a breakthrough that led to her own films, first short films and then, in 1926, The Adventures of Prince Achmed, the first full-length animated film.

    Although Reiniger once described herself as “a primitive（原始的）caveman artist”, her work is not simple. She carefully cut bits of card, paper, and wire, creating wonderful shapes, and then made them move and dance by hand. The black shapes were then placed on colorful backgrounds. She made more than 60 films, around 40 of which survive, all cut by her own hands. Most were based on timeless fairy tales, like Cinderella and Sleeping Beauty.

    Reiniger was truly a pioneer both in animation and for women in film-making. Though her last film came out in 1980, her style is still influential and can often be seen in today's films.

    Camping -Yellowstone National Park

    Camping rules

    Camping or parking in picnic areas, picnic grounds，or any place other than a designated (指定的) campground is not permitted. However, camping is often allowed in neighboring communities and forests outside the park.

    Camping is limited to 14 days between June 15 and September 15 and to 30 days the rest of the year. Check - out time for all campgrounds is 10:00 am.

    Quiet hours

    Camping in Yellowstone is a special experience. Each visitor deserves the opportunity to hear the birds, wildlife, and streams in this beautiful environment. Respect the rights of other campers and obey the law by keeping quiet from 8:00 pm to 8:00 am. No noises will be allowed during this time.

    Golden Age/ Golden Access discounts

    Holders of Golden Age and Golden Access permits will be given about 50% discounts on camping fees.

    Croup camping

    Group camping are permitted at Madison, Grant and Bridge Bay campgrounds from late May till the closing date for large organized groups with a designated leader such as youth groups or educational groups. The fees change per night, depending on the size of the group. Advance reservations (预定) are required and can be made by calling (866) 439 -7375.

    USING YOUR GOLDEN ARROW MULTIPURPOSE CALCULATOR TO DETERMINE THE DATE AND TIME AT YOUR LOCATION AS WELL AS LOCATIONS AROUND THE GLOBE SEETING THE DATE AND TIME FOR YOUR LOCATION

    Use the TIME ZONE chart below to locate code that corresponds with the time zone in which you live. Select the major city that shares your time zone. Press the code that corresponds to that city (e.g. ,if you live in Washington ,Oregon California, or Nevada, all of which are located in the Pacific time zone, you would choose Los Angeles and press the corresponding code which is the 1 key).

    ⒈Press TIME twice. The two digits representing hours will begin to flash.

    ⒉Depress and hold the ▲or▼ key until the desired hour flashes. Then release.

    ⒊Press SET. The two digits representing minutes will begin to flash.

    ⒋Depress and hold the ▲or▼ key until the desired minute fleshes. Then release.

    ⒌Press SET. The two digits representing seconds will begin to flash.

    ⒍Depress and hold the ▲or▼ key until 00 flashes. The release.

    ⒎Press SET. To set the year, month, and day press DATE three times. Then repeat steps 2 through 7.

    NOTE: At this point, hour, minutes and seconds will change to year, month, and day.

    DETERMINAING DATE AND TIME FOR THE WORLD'S16 TIME ZONES

    ⒈PRESS ZONE TWICE.

    ⒉Use the TIME ZONE chart below to locate the code that corresponds to the time zone for which you desire the date and time. Press that code (e.g., press = to determine the date and time in Hong Kong). The selected date and time will alternately display for 10 seconds and then return automatically to your home date and time.

    When he was young, Louis Armstrong was taking what was called “Creole jazz”, which was also called dance music, and combining it with trumpeter (小号手) Buddy Bolden, to create what would eventually become today's jazz.

    Armstrong accomplished that with almost no formal training. He received little training before he was placed in the New Orleans Colored Waif's Home at the age of 12, after a run-in (小争执) with the police. The punishment turned out to be a mixed blessing, for he also had the opportunity to play in a real band.

    While at the Waif's, Armstrong also got the chance to hear some of the city's finest musicians. Cornetist Freddie Keppard performed in a nearby club. So did trumpeter and bandleader, King Joe Oliver, who took the boy under his wing and taught him how to read music and work on his playing technique.

    When Oliver left for Chicago, Armstrong chose to stay in New Orleans and work with some of the other top musicians of the day. In Chicago, King Oliver offered him a place in his band in 1922. It became Armstrong's biggest challenge yet — the band had no parts written for trumpet, so he was forced to listen to King Oliver and improvise (即兴创作).

    Soon, Armstrong's undeniable talent was getting notice. Even classically trained musicians would come to hear the incredible sounds this young man created.

    Lil Hardin, the bands piano player and the future Mrs. Armstrong, explains that Oliver kept Armstrong in the second trumpet-chair so that Oliver would still be “King”. Hardin convinced him to leave the band.

    Armstrong moved to New York City in 1924 to join Fletcher Henderson's band and then flew solo. In 1925, Armstrong put together the Hot Five, expanding his popularity even more. Armstrong recorded his first composition, Cornet Chop Suey, one of the most copied jazz solos of all time. This monumental 1928 recording blends (混合) artistry, endurance and showmanship that has rarely, if ever, been matched in Jazz.