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The organization that today is known as the Bank of America did start out in America, but under quite a different name. Italian American A.P. Giannini established this bank on October 17, 1904, in a renovated saloon in San Francisco’s Italian community of North Beach under the name Bank of Italy, with immigrants and first-time bank customers comprising the majority of his first customers. During its development, Giannini’s bank survived major crises in the form of a natural disaster and a major economic upheaval that not all other banks were able to overcome.

One major test for Giannini’s bank occurred on April 18, 1906, when a massive earthquake struck San Francisco, followed by a raging fire that destroyed much of the city. Giannini obtained two wagons and teams of horses, filled the wagons with the bank’s reserves, mostly in the form of gold, covered the reserves with crates of oranges, and escaped from the chaos of the city with his clients’ funds protected. In the aftermath of the disaster, Giannini’s bank was the first to resume operations. Unable to install the bank in a proper office setting, Giannini opened up shop on the Washington Street Wharf on a makeshift desk created from boards and barrels.

In the period following the 1906 fire, the Bank of Italy continued to prosper and expand. By 1918 there were twenty-four branches of the Bank of Italy, and by 1928 Giannini had acquired numerous other banks, including a Bank of America located in New York City. In 1930 he consolidated all the branches of the Bank of Italy, the Bank of America in New York City, and another Bank of America that he had formed in California into the Bank of America National Trust and Savings Association.

A second major crisis for the bank occurred during the Great Depression of the 1930s. Although Giannini had already retired prior to the darkest days of the Depression, he became incensed when his successor began selling off banks during the bad economic times. Giannini resumed leadership of the bank at the age of sixty-two. Under Giannini’s leadership, the bank weathered the storm of the Depression and subsequently moved into a phase of overseas development.

The hippopotamus is the third largest land animal, smaller only than the elephant and the rhinoceros. Its name comes from two Greek words which mean "river horse." The long name of this animal is often shortened to the easier to handle term "hippo."

The hippo has a natural affinity for the water. It does not float on top of the water; instead, it can easily walk along the bottom of a body of water. The hippo commonly remains underwater for three to five minutes and has been known to stay under for up to half an hour before coming up for air.

In spite of its name, the hippo has relatively little in common with the horse and instead has a number of interesting similarities in common with the whale. When a hippo comes up after a stay at the bottom of a lake or river, it releases air through a blowhole, just like a whale. In addition, the hippo resembles the whale in that they both have thick layers of blubber for protection and they are almost completely hairless.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially  middle-class republics — whether ancient Romans, seventeenth-century Dutch  burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands.

The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and  populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States's population had increased roughly five times, and eleven new states had  been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the  professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began  by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

John James Audubon, nineteenth-century artist and naturalist, is known as one of the foremost authorities on North American birds. Born in Les Cayes, Haiti, in 1785, Audubon was raised in France and studied art under French artist Jacques-Louis David. After settling on his father's Line Pennsylvania estate at the age of eighteen, he first began to study and paint birds.

In his young adulthood, Audubon undertook numerous enterprises, generally without a tremendous amount of success; at various times during his life he was involved in a mercantile business, a lumber and grist mill, a taxidermy business, and a school. His general mode of operating a business was to leave it either unattended or in the hands of a partner and take off on excursions through the wilds to paint the natural life that he saw. His business career came to end in 1819 when he was jailed for debt and forced to file for bankruptcy.

It was at that time that Audubon began seriously to pursue the dream of publishing a collection of his paintings of birds. For the next six years he painted birds in their natural habitats while his wife worked as a teacher to support the family. His Birds of America, which included engravings of 435 of his colorful and lifelike water colors, was published in parts during the period from 1826 to 1838 in England. After the success of the English editions, American editions of his work were published in 1839, and his fame and fortune were ensured.

Birds that feed in flocks commonly retire together into roosts. The reasons for roosting communally are not always obvious, but there are some likely benefits.

In winter especially, it is important for birds to keep warm at night and conserve precious food reserves. One way to do this is to find a sheltered roost. Solitary roosters shelter in  dense vegetation or enter a cavity - horned larks dig holes in the ground and ptarmigan burrow into snow banks - but the effect of sheltering is magnified by several birds huddling together in the roosts, as wrens, swifts, brown creepers, bluebirds, and anis do. Body contact reduces the surface area exposed to the cold air, so the birds keep each other warm. Two kinglets huddling together were found to  reduce their heat losses by a quarter and three together saved a third of their heat.

The second possible benefit of communal roosts is that they act as “information centers.” During the day, parties of birds will have spread out to forage over a very large area. When they return in the evening some will have fed well, but others may have found little to eat. Some investigators have observed that when the birds set out  again next morning, those birds that did not feed well on the previous day appear to follow those that did. The behavior of common and lesser kestrels may illustrate different feeding behaviors of similar birds with different roosting habits. The common kestrel hunts vertebrate animals in a small, familiar hunting ground, whereas the very similar lesser kestrel feeds on insects over a large area. The common kestrel roosts and  hunts alone, but the lesser kestrel roosts and hunts in flocks, possibly so one bird can learn from others where to find insect swarms.

Finally, there is safety in numbers at communal roosts since there will always be a few birds awake at any given moment to give the alarm. But this increased protection is partially counteracted by the fact that mass roosts attract predators and are especially  vulnerable if they are on the ground. Even those in trees can be attacked by birds of prey. The birds on the edge are at greatest risk since predators find it easier to catch small birds perching at the margins of the roost.