Paragraph 1: Subsequently, the story arcs The Ricky Horror Peacock Show, Rick Revenge Squad, and The Rickoning feature a second character based on the Doctor, a four-armed alien named Peacock Jones who goes through an endless cycle of female companions on adventures on his spaceship. In The Ricky Horror Peacock Show, Jones takes Summer Smith as his latest companion, only to come to odds with her when she rejects his advances, and he is then framed as a drug kingpin by Summer's grandfather Rick Sanchez, and imprisoned alongside a Mr. Meeseeks in space prison. In Rick Revenge Squad, Jones returns as a member of the titular squad (put together by Party Dog), seeking revenge on Rick for his incarceration, alongside the Meeseeks, now his best friend and named "Mr. Sick". After attempting to reach Summer, Jones is beaten up by her mother Beth, and decides to cut his losses and leave. In The Rickoning, on the run from Party Dog's criminal empire (who blame him for their boss' death), and drinking at a bar, mourning Mr. Sick, Jones is advised by a hooded figure (a member of the IllumiRicki) that separating Rick from his grandson Morty Smith (and acquiring more intelligence) will leave the former vulnerable. Inspired, Jones breaks into the Smith family's garage when Rick and Morty are away, and steals a large quantity of the former's gear, and after time has passed, ambushes Morty at Dimension 35-C, kidnapping and consuming a large quantity of intelligence-boosting Mega-Seeds. After engaging Rick in a combat in a reality where-in Rick and Morty is a fictional multimedia franchise, Jones lures Rick and Jerry onto his ship (which is bigger on the inside), where he has a robot army and Meeseeks Box to oppose Rick and his allies, using a Meeseeks army to also kidnap Beth and Summer, and chase down Rick. However, once the Mega-Seeds wear off, Jones is quickly killed by Beth and Summer, who use the chains he attached to them to decapitate him. As the reunited Smith family portal away, they remain oblivious to Jones having brainwashed Morty to kill Rick.

Paragraph 2: By 2011, Whitney has fallen in love with Connor. But it soon ends when Whitney finds out that Connor has been two-timing with her and Bianca's mother Carol (Lindsey Coulson). Appalled, she rejects them and informs Bianca about this; Bianca responds by attacking Connor before turning herself into the police and being imprisoned. Whitney and Carol argue over Connor, and Whitney feels she is not wanted by her family so decides to move out and stays with Ricky's sister and Ryan's wife Janine Butcher (Charlie Brooks). Later on, Whitney begins working for Janine's enemy Kat Slater (Jessie Wallace) after she offers her a work trial at The Vic for a job. It nearly falls apart when Kat catches Whitney giving free drinks to Janine, but she lets her off - telling Whitney she is a natural - and Whitney soon works well at the till. When Kat catches her stealing again, she sacks Whitney, leaving Janine angry with her for this. After Whitney sees Janine successfully pickpocket someone, she decides to try it herself - but ends up being hit in the face. Whitney is thereupon approached by a man called Rob Grayson (Jody Latham), who helps her and buys her food before returns her to Albert Square; he also gives Whitney his phone number before she returns home. Whitney later tries to kiss Max, causing her to fall out with Lauren. She also argues with Carol, rejects Ricky and is rejected by Liam, Tiffany and Morgan for ruining Ricky's birthday cake days earlier. Upset, Whitney contacts Rob and asks to stay with him - to which he accepts. She throws her phone away and tells nobody that she is going. Janine lies about Whitney's whereabouts but when she admits she does not know where Whitney is, Lauren (now played by Jacqueline Jossa) and Janine attempt to find her, and Lauren sees her in Dartford going into a club. Lauren goes back with her to her bedsit, but Whitney does not want to go, saying she and Rob are in love. Lauren is then thrown out by Rob. Whitney has sex with a man called Chris (Richard Simons) and it is revealed that Whitney has been having sex with Rob's friends to pay off his debts to them. Janine tries to get Whitney to come home but she refuses, and Rob ejects Janine. Rob then drags Whitney out of the house and into his car, while Janine and Lauren see them driving off. They go to a house where Whitney meets another woman Chloe (Georgia Henshaw) who is being exploited. Whitney tells Rob she wants to leave, but he says to either be nice to his friends or he will hurt her. He locks her in a room so she breaks the window and escapes, stopping a car and asking for help, while Rob shouts after her.

Paragraph 3: Amongst the great varieties of creative fields, disciplines and sectors, the post-contemporary knowledge is represented more generally by philosophy and aesthetic. It makes the paradigms and languages of the 21st century, where so far is resisting and should resists to the intellectual temptations for its contamination and re-theorization through the both modernist and post-modernistpast idioms. “ ... resistance, first against being forced in certain tempting directions and against the trends in current popular opinion, against the hole domain of imbecilic interrogation, … But I think that … as Primo Levi said, the creating would be resistance …”. Beside, the dynamism of post–contemporary progression is conical and shifts from micro - to macro - systems, along the complex paths of its continued improvements and recognitions. In fact, the advancing of this knowledge is totally antithetical to the expansions of the modernist, the post-modernist and the contemporary obsolete cultural heterotopias. It is quite comprehensible then, why the novel post-contemporary action has brandished the weapon, obtained from the powerful tools of complex systems, against the unstoppable and cyclical rebirth of the 'modernist’ rhetoric, which has blind faith in the reality of single and singular "fact", as an ideology against multiplicity, and idiom which terrifies from the universal and generalizable knowledge, thus, the modernist and the post-modernist thought, has no existence without a pulse of continuous driving of the abstract "theorization" in its many contradictory aspects, as a symptom that requires continuous intervention for the correction of its own paths of survival. Today within these paths, the two antithetical approaches, the temptations of intellectual reconstructions and the appeals of cultural works are still present as a system of total empiricism. The abstract theorization of the first idiom generates perpetual tautology and the second produces the rhetoric of communication and language. In fact, the new post - contemporary paradigm and language is far from the daily vocabulary of cultural routines, making opposition to modernism and post-modernism idioms by identifying it-self through what is constructive in the progressive intellectual trends of today, projecting their new directions into the coming future. In this complex context, Po-co's innovative paradigm is looking for new varieties of intervention and fresh forms of knowledge. In this sense, every single isolated act from the realm of conventional theory, results inappropriate, inconvenient and unmentionable, while the post-contemporary look for new types of intervention and new kinds of insights”. One step back, a glance at the contemporary culture, which is still modernist and post-modernist, shows how the relative contents are completely characterized by heterotopia, logocentrism, historicism,  tautology and rhetoric. These are as dominant ideologies that for the most part are unnecessary replication of the related intellectual, subjective and abstract productions, thus evoking the need for the transition to the post- contemporary paradigms.

Paragraph 4: In the 1820s and 1830s immigrants from New England began moving to what is now Michigan in large numbers (though there was a trickle of New England settlers who arrived before this date). These were "Yankee" settlers, that is to say they were descended from the English Puritans who settled New England during the colonial era.  While most of them came to Michigan directly from New England, there were many who came from upstate New York. These were people whose parents had moved from New England to upstate New York in the immediate aftermath of the American Revolution. Due to the prevalence of New Englanders and New England transplants from upstate New York, Michigan was very culturally contiguous with early New England culture for much of its early history. The Yankee migration to Michigan was a result of several factors, one of which was the overpopulation of New England. The old stock Yankee population had large families, often bearing up to ten children in one household.  Most people were expected to have their own piece of land to farm, and due to the massive and nonstop population boom, land in New England became scarce as every son claimed his own farmstead.  As a result, there was not enough land for every family to have a self-sustaining farm, and Yankee settlers began leaving New England for the Midwestern United States.  This resulted in Michigan's population expanding rapidly in the 1820s.  The Erie Canal caused such an upsurge in immigration from New England that by 1837 "it seemed as if all New England were coming" according to one pioneer.  New England families considered it a route to the "promised land".  As a result of this heritage, the New England element of Michigan's population would remain culturally and politically dominant for a long time.

Paragraph 5: In the slow, strategic race held in a light rain on a muddy dirt track Michel Jazy was more of a 1500 meter runner and expected to be ready for a fast finish.  He kept himself in the lead or close to the lead throughout.  Schul found himself on the curb boxed in by a loping Keino who seemed to be marking the field on the outside of the pack that also included future world record holder Ron Clarke.  With 600 metres to go Bill Dellinger made the first move coming around the entire pack and into the lead.  At age 30, old for an amateur athlete in this era, Dellinger came out of retirement to make one last attempt after failing to make the Olympic final the previous two Olympiads.  Dellinger's move was marked by Jazy as the pace quickened.  Nikolay Dutov came around the entire pack to challenge Jazy and Dellinger.  Shortly after the bell, Jazy decided to take off, jumping to the lead with Harald Norpoth coming from mid pack to become his closest pursuer 5 metres back as the field stretched out.  A one speed runner, Clarke had no answer for the speedsters.  With 300 to go, Schul came from fifth place to start picking off runners to get to Norpoth with 200 to go.  Through the turn he passed Norpoth with Jazy constantly looking over his shoulder to check his pursuer.  Jazy still had a two metres lead as they reached the final straight.  But that lead disappeared rapidly as Schul sprinted by to take the gold medal.  Jazy now watched Norpoth as he slowly edged by just before the finish.  Given all he could, Jazy tried to maintain and glide across the finish line, but Dellinger, in full sprint, caught Jazy at the line to take the bronze medal.  It took officials a half an hour to decide the bronze medalist.

Paragraph 6: During World War II Chateau Clères was bombed by the German Luftwaffe on 7 June 1940. Most of his library, animals in his collection and the castle were destroyed, but his manager Frank E. Fooks escaped. Delacour was saved by Belgians and Frenchmen and escaped to Vichy. Erwin Stresemann, a good friend and admirer of Delacour heard of the fate of the zoo and attempted to ensure the safety of the remaining animals through the Wehrmacht. Delacour meanwhile fled through Casablanca, Rabat, Tangier and Lisbon, reaching New York City on Christmas Day 1940. His American friends found him a job, his first, at the Bronx Zoo and the Museum of Natural History at New York. Delacour lived in the United States, working as a technical adviser for the New York Zoological Society (now known as the Wildlife Conservation Society) as well as on avian systematics at the American Museum of Natural History examining many enigmatic genera such as Hypocolius and Picathartes. In 1952 he became director of the Los Angeles County Museum of History, Science and Art, retiring in 1960. After the war ended he divided his time seasonally, spending every summer from 1946 at his estate at Clères where he organized the rebuilding of his zoo through his assistant F. E. Fook and with assistance from Sir Peter Scott, Alfred Ezra and the Duke of Bedford. It was opened in May 1947 with the French Prime Minister taking part in the inauguration. The collection was eventually donated to the Museum National d'Histoire Naturelle in 1967. He was a co-founder of the International Council for Bird Preservation, serving as its president from 1938 to 1958. Delacour spent his winters in the United States, mainly in Los Angeles where he served from 1952 to 1960 as the director of the County Museum of History, Science and Art. Spending all his time and resources on his bird collections, he never married. He had trained as an operatic singer and was particularly fond of Moussorgsky's compositions. 

Paragraph 7: By 2011, Whitney has fallen in love with Connor. But it soon ends when Whitney finds out that Connor has been two-timing with her and Bianca's mother Carol (Lindsey Coulson). Appalled, she rejects them and informs Bianca about this; Bianca responds by attacking Connor before turning herself into the police and being imprisoned. Whitney and Carol argue over Connor, and Whitney feels she is not wanted by her family so decides to move out and stays with Ricky's sister and Ryan's wife Janine Butcher (Charlie Brooks). Later on, Whitney begins working for Janine's enemy Kat Slater (Jessie Wallace) after she offers her a work trial at The Vic for a job. It nearly falls apart when Kat catches Whitney giving free drinks to Janine, but she lets her off - telling Whitney she is a natural - and Whitney soon works well at the till. When Kat catches her stealing again, she sacks Whitney, leaving Janine angry with her for this. After Whitney sees Janine successfully pickpocket someone, she decides to try it herself - but ends up being hit in the face. Whitney is thereupon approached by a man called Rob Grayson (Jody Latham), who helps her and buys her food before returns her to Albert Square; he also gives Whitney his phone number before she returns home. Whitney later tries to kiss Max, causing her to fall out with Lauren. She also argues with Carol, rejects Ricky and is rejected by Liam, Tiffany and Morgan for ruining Ricky's birthday cake days earlier. Upset, Whitney contacts Rob and asks to stay with him - to which he accepts. She throws her phone away and tells nobody that she is going. Janine lies about Whitney's whereabouts but when she admits she does not know where Whitney is, Lauren (now played by Jacqueline Jossa) and Janine attempt to find her, and Lauren sees her in Dartford going into a club. Lauren goes back with her to her bedsit, but Whitney does not want to go, saying she and Rob are in love. Lauren is then thrown out by Rob. Whitney has sex with a man called Chris (Richard Simons) and it is revealed that Whitney has been having sex with Rob's friends to pay off his debts to them. Janine tries to get Whitney to come home but she refuses, and Rob ejects Janine. Rob then drags Whitney out of the house and into his car, while Janine and Lauren see them driving off. They go to a house where Whitney meets another woman Chloe (Georgia Henshaw) who is being exploited. Whitney tells Rob she wants to leave, but he says to either be nice to his friends or he will hurt her. He locks her in a room so she breaks the window and escapes, stopping a car and asking for help, while Rob shouts after her.

Paragraph 8: Woman's entrance into the world of mainstream art is largely against social conditions. The sort of art that women are prepared to create is completely different from high or mainstream art. This is due to the indisputable fact that women and men are different. They are different even though they belong to the same society, family and environment because in the patriarchal society where they grow up, there is great discrimination between them from the very beginning. This discrimination channelizes the aesthetic consciousness and view of life in different directions. Heide-Goetner Abendroth has written. As matriarchal art derives from the structure of matriarchal mythology which is a completely different value system and not merely a reversed or contradictory one from that of patriarchy, it too shares this different system of values. The erotic is the dominant force and not work, discipline, renunciation. The continuation of life as a cycle of rebirth is its primary principle, and not war or heroic death for abstract, inhuman ideals. Thus woman's primary aesthetic consciousness is used to hold patriarchal society together. This positive female force nurtures patriarchy with love because woman's consciousness and therefore her art is never self-centered. Woman always works at a level which is generally understandable and easily accessible. Her art and life is never separated. The separation of art and life in patriarchal society has divided mainstream or high art into many different branches. In fact, woman's matriarchal values are cooperative and universal at the core of which is the desire to awaken fertile energy. This value system works as an undercurrent in patriarchal society in the conscious and sub-conscious states of woman. This matriarchal value system has been recast by patriarchy for its own purpose. Thus, when woman enters the world of art created by the male, she enters it going against her training and instincts. The enormous and extraordinary maternal energy of woman becomes a separated, individual entity when a woman enters the unknown world of male created aesthetics; she enters the competition on unequal terms. Often we find women who show great promise in their art education but cannot later keep pace in the actual world of mainstream art. This world of art seems to be very difficult to harmonize with social pressure, family life and child rearing. This world of pure art separated from the flow of life seems to be at odds for a woman to manage while leading a normal family life. That is why we often observe women leaving art divorced from life and society and leaning towards applied art. Perhaps because the self-centeredness, self-consciousness and sense of self-esteem of women do not develop along the same lines as males that this situation is created. Women are forever busy trying to satisfy others. She finds fulfillment by being secondary herself and bringing happiness, peace and taking care of the family. It is impossible to find a place in the world of art with this attitude. Thus, if we study the lives of women who do find a place in the world of art we find a sudden break of a few years in their professional life. Perhaps they are busy rearing children as mothers or trying to adjust to a new role in a new family or keeping herself in the background to give preference to her husband's profession.

Paragraph 9: After that, it is known that Tetsuji intended to apprentice Raizō under the childless . In December 1950, Ichikawa Jukai III attended a meeting of the Tsukushikai in an observational capacity. He was highly impressed by Raizō's performance as Minamoto no Yoriie in the play Shuzenji Monogatari. Jukai had been the son of a kimono-maker and thus had had no connection to the world of kabuki through his lineage, but despite this, through great effort on his part, Jukai had become quite renowned in the Kansai kabuki scene during and after the Second World War. By the time he met Raizō in 1950, Jukai had become the president of the Kansai Kabuki Actors Guild, a position of great influence. Furthermore, the name "Jukai" had been bestowed upon Ichikawa Jukai III by both of the actors who had used it before: Ichikawa Danjūrō VII and Ichikawa Danjūrō IX; and he had even been granted usage of the  and  yagō and kamon traditionally used by the head of the Ichikawa line. With the help of some mutual friends, Tetsuji was successful in his efforts and Jukai agreed to officially adopt Raizō. At this point Jukai wished to give Raizō the name , a name with deep roots in the Ichikawa house stretching back to the 1600s, but the chief cabinet secretary of the Ichikawa house, Ichikawa En'ō II, viciously fought against this wish, stating "We can't bestow a name with such deep family ties to some unknown performer from an unknown line." After long negotiations they finally settled on the name "Ichikawa Raizō." The adoption was finalized in April 1951, and the ceremony for the succession of the "Ichikawa Raizo" name was carried out in June of the same year. According to the film director Kazuo Ikehiro, around this time rumors began to circulate that Ichikawa Jukai III was actually Raizō's biological father.

Paragraph 10: During its development, the weapon underwent several major design changes. Initially, its gripstock was literally just a gripstock with grips, stock and trigger only, later evolved in a separable launch unit with optics, electronics, and battery input. Several designs didn't have optical sighting device at all (gunner was supposed to rely on the instant annoying alarm beep when seeker acquired the target,) while those which have it differed one from another with shape, field of view and magnification of their optics, either separable, or non-separable, which in turn could be built-in or molded-in primitive mechanical sight with flashing diodes inside diopter to inform gunner of seeker's lock-on. Launch tube changed its design and shape several times, from pipelike straight-shaped one to the variable-diameter tube with wide rear section to provide missile with better acceleration, and back to straightline tube to prevent its explosion due to a critical pressure drop or accidental booster detonation. Canards of the basic missile design were housed within the missile body during the entire flight, coming outside only to correct the course deviation of each roll cycle and folding back within a split second, variable incidence (instead of fixed) canards were used to improve terminal guidance accuracy. Seeker also have changed drastically, with multiple modifications made during the test phase, most important of which, it became cooled, thus increasing its discrimination capability (though extending reaction time a little bit in order to adjust its subsystems to operating temperature,) and reducing the field of view to increase missile's capability against single engine jets, to become more reliable and efficient weapon. Among the design improvements made in the seeker gyro were an increased aperture to provide greater sensitivity; a new center post design for supporting the secondary mirror to improve background discrimination; a new gyro gimbal of increased rigidity; an improved lead sulfide cell, doubling its sensitivity; and an improved reticle with a reduced field of view. Unorthodox designs included the "Foxhole Redeye," being almost a half shorter and small enough to be stored and fired from a rifleman's foxhole, and the "unitized launcher Redeye" fire-and-discard variant as a fully discardable throw-away unit with no separable elements for use with the USMC and CONARC units. All interim designs eventually were dropped in favour of the one which was considered the best possible choice by the Army Missile Command, and mass-produced at the General Dynamics facilities within the Greater Los Angeles Area. The following is the list, featuring the basic model, designated FIM-43A and approved for production along with its derivatives:

Paragraph 11: Cognitive behavior modification (CBM) is a blend of operant learning modification, social learning, and cognitive theory, and helps shape students' behaviors. Consistent consequences can shape students' behaviors. Overall, the combination of these three methods of learning allows for students to become active in the learning process which will allow for music teachers to create an effective learning environment. To combat this, music teachers can get students involved by clapping, or for more enthusiasm, playing the xylophone. A child with a learning disability does not automatically connect and organize new information. By associating them with music, they are more likely to internalize the information. One easy way for teachers to address the needs of these students is by providing a simple outline on the board or a handout to students as well. With younger students, this can be in the form of a picture board where teachers can review the content they are about to teach to these students. Ultimately, this allows for students to organize and have a general framework for the material they are about to learn. A specific strategy that provides an organizational framework is mnemonic devices. For example, the notes on a treble clef can be learned as FACe and lined notes are memorized as "Every Good Boy Does Fine." These measures are most impactful when the teachers take the time to teach the process, and when taught well, students learn how to evaluate their own work. For students who have ADHD, a structured environment in a music classroom will likely prove to be more effective. This means keeping a consistent arrangement day to day, assigned seating (placing ADHD students away from distractions), a consistent routine, setting clear expectations, minimizing downtime, and preparing the children for distractions are all ways to implement a structured environment. Music teachers can allow for movement and musical experiences to keep them intrigued and concentrated.

Paragraph 12: Amongst the great varieties of creative fields, disciplines and sectors, the post-contemporary knowledge is represented more generally by philosophy and aesthetic. It makes the paradigms and languages of the 21st century, where so far is resisting and should resists to the intellectual temptations for its contamination and re-theorization through the both modernist and post-modernistpast idioms. “ ... resistance, first against being forced in certain tempting directions and against the trends in current popular opinion, against the hole domain of imbecilic interrogation, … But I think that … as Primo Levi said, the creating would be resistance …”. Beside, the dynamism of post–contemporary progression is conical and shifts from micro - to macro - systems, along the complex paths of its continued improvements and recognitions. In fact, the advancing of this knowledge is totally antithetical to the expansions of the modernist, the post-modernist and the contemporary obsolete cultural heterotopias. It is quite comprehensible then, why the novel post-contemporary action has brandished the weapon, obtained from the powerful tools of complex systems, against the unstoppable and cyclical rebirth of the 'modernist’ rhetoric, which has blind faith in the reality of single and singular "fact", as an ideology against multiplicity, and idiom which terrifies from the universal and generalizable knowledge, thus, the modernist and the post-modernist thought, has no existence without a pulse of continuous driving of the abstract "theorization" in its many contradictory aspects, as a symptom that requires continuous intervention for the correction of its own paths of survival. Today within these paths, the two antithetical approaches, the temptations of intellectual reconstructions and the appeals of cultural works are still present as a system of total empiricism. The abstract theorization of the first idiom generates perpetual tautology and the second produces the rhetoric of communication and language. In fact, the new post - contemporary paradigm and language is far from the daily vocabulary of cultural routines, making opposition to modernism and post-modernism idioms by identifying it-self through what is constructive in the progressive intellectual trends of today, projecting their new directions into the coming future. In this complex context, Po-co's innovative paradigm is looking for new varieties of intervention and fresh forms of knowledge. In this sense, every single isolated act from the realm of conventional theory, results inappropriate, inconvenient and unmentionable, while the post-contemporary look for new types of intervention and new kinds of insights”. One step back, a glance at the contemporary culture, which is still modernist and post-modernist, shows how the relative contents are completely characterized by heterotopia, logocentrism, historicism,  tautology and rhetoric. These are as dominant ideologies that for the most part are unnecessary replication of the related intellectual, subjective and abstract productions, thus evoking the need for the transition to the post- contemporary paradigms.

Paragraph 13: By 2011, Whitney has fallen in love with Connor. But it soon ends when Whitney finds out that Connor has been two-timing with her and Bianca's mother Carol (Lindsey Coulson). Appalled, she rejects them and informs Bianca about this; Bianca responds by attacking Connor before turning herself into the police and being imprisoned. Whitney and Carol argue over Connor, and Whitney feels she is not wanted by her family so decides to move out and stays with Ricky's sister and Ryan's wife Janine Butcher (Charlie Brooks). Later on, Whitney begins working for Janine's enemy Kat Slater (Jessie Wallace) after she offers her a work trial at The Vic for a job. It nearly falls apart when Kat catches Whitney giving free drinks to Janine, but she lets her off - telling Whitney she is a natural - and Whitney soon works well at the till. When Kat catches her stealing again, she sacks Whitney, leaving Janine angry with her for this. After Whitney sees Janine successfully pickpocket someone, she decides to try it herself - but ends up being hit in the face. Whitney is thereupon approached by a man called Rob Grayson (Jody Latham), who helps her and buys her food before returns her to Albert Square; he also gives Whitney his phone number before she returns home. Whitney later tries to kiss Max, causing her to fall out with Lauren. She also argues with Carol, rejects Ricky and is rejected by Liam, Tiffany and Morgan for ruining Ricky's birthday cake days earlier. Upset, Whitney contacts Rob and asks to stay with him - to which he accepts. She throws her phone away and tells nobody that she is going. Janine lies about Whitney's whereabouts but when she admits she does not know where Whitney is, Lauren (now played by Jacqueline Jossa) and Janine attempt to find her, and Lauren sees her in Dartford going into a club. Lauren goes back with her to her bedsit, but Whitney does not want to go, saying she and Rob are in love. Lauren is then thrown out by Rob. Whitney has sex with a man called Chris (Richard Simons) and it is revealed that Whitney has been having sex with Rob's friends to pay off his debts to them. Janine tries to get Whitney to come home but she refuses, and Rob ejects Janine. Rob then drags Whitney out of the house and into his car, while Janine and Lauren see them driving off. They go to a house where Whitney meets another woman Chloe (Georgia Henshaw) who is being exploited. Whitney tells Rob she wants to leave, but he says to either be nice to his friends or he will hurt her. He locks her in a room so she breaks the window and escapes, stopping a car and asking for help, while Rob shouts after her.

Paragraph 14: The player takes control of Apollo, who is mounted upon the back of his winged horse Pegasus; pressing the firing button makes his sword fire a tiny shot, while holding it down charges the sword up, and upon releasing the button the sword shoots a bigger fireball. Even the smallest enemies take multiple hits, so the standard shot is of little use - and each of the game's seven stages is divided into between two and four sections (the transition from one to another is indicated by a block of Japanese text appearing at the bottom of the screen and a change in music). At the end of every stage, Apollo must also defeat a boss character from Greek myth: Medusa, the Graeae, the Siren, Antaeus, Scylla (who has taken on the form of the "Crystal Brain" from the aforementioned Bakutotsu Kijūtei), Cerberus, and Typhon himself; once he has done so, he will proceed to the enchanted mirror at the back of the boss character temple, before the game segues into the next stage. Apollo can take up to four hits before dying (indicated by the "playing-cards" hearts at the bottom of the screen, and determined by how the cabinet is set), but will die instantly if he flies into a wall or touches a boss's head - and this game also features voice samples (in Japanese for the original arcade and Japanese Mega Drive versions, but in English for the North American Genesis and European Mega Drive versions). And if the "rank select" option in the arcade version's option menu has been set to "on", players will also be able to select an "easy" or "hard" game mode, once they have inserted their coin; however, the "easy" mode only features the first four stages and does not feature the game's complete ending sequence as a result of it.

Paragraph 15: Amongst the great varieties of creative fields, disciplines and sectors, the post-contemporary knowledge is represented more generally by philosophy and aesthetic. It makes the paradigms and languages of the 21st century, where so far is resisting and should resists to the intellectual temptations for its contamination and re-theorization through the both modernist and post-modernistpast idioms. “ ... resistance, first against being forced in certain tempting directions and against the trends in current popular opinion, against the hole domain of imbecilic interrogation, … But I think that … as Primo Levi said, the creating would be resistance …”. Beside, the dynamism of post–contemporary progression is conical and shifts from micro - to macro - systems, along the complex paths of its continued improvements and recognitions. In fact, the advancing of this knowledge is totally antithetical to the expansions of the modernist, the post-modernist and the contemporary obsolete cultural heterotopias. It is quite comprehensible then, why the novel post-contemporary action has brandished the weapon, obtained from the powerful tools of complex systems, against the unstoppable and cyclical rebirth of the 'modernist’ rhetoric, which has blind faith in the reality of single and singular "fact", as an ideology against multiplicity, and idiom which terrifies from the universal and generalizable knowledge, thus, the modernist and the post-modernist thought, has no existence without a pulse of continuous driving of the abstract "theorization" in its many contradictory aspects, as a symptom that requires continuous intervention for the correction of its own paths of survival. Today within these paths, the two antithetical approaches, the temptations of intellectual reconstructions and the appeals of cultural works are still present as a system of total empiricism. The abstract theorization of the first idiom generates perpetual tautology and the second produces the rhetoric of communication and language. In fact, the new post - contemporary paradigm and language is far from the daily vocabulary of cultural routines, making opposition to modernism and post-modernism idioms by identifying it-self through what is constructive in the progressive intellectual trends of today, projecting their new directions into the coming future. In this complex context, Po-co's innovative paradigm is looking for new varieties of intervention and fresh forms of knowledge. In this sense, every single isolated act from the realm of conventional theory, results inappropriate, inconvenient and unmentionable, while the post-contemporary look for new types of intervention and new kinds of insights”. One step back, a glance at the contemporary culture, which is still modernist and post-modernist, shows how the relative contents are completely characterized by heterotopia, logocentrism, historicism,  tautology and rhetoric. These are as dominant ideologies that for the most part are unnecessary replication of the related intellectual, subjective and abstract productions, thus evoking the need for the transition to the post- contemporary paradigms.

Paragraph 16: Woman's entrance into the world of mainstream art is largely against social conditions. The sort of art that women are prepared to create is completely different from high or mainstream art. This is due to the indisputable fact that women and men are different. They are different even though they belong to the same society, family and environment because in the patriarchal society where they grow up, there is great discrimination between them from the very beginning. This discrimination channelizes the aesthetic consciousness and view of life in different directions. Heide-Goetner Abendroth has written. As matriarchal art derives from the structure of matriarchal mythology which is a completely different value system and not merely a reversed or contradictory one from that of patriarchy, it too shares this different system of values. The erotic is the dominant force and not work, discipline, renunciation. The continuation of life as a cycle of rebirth is its primary principle, and not war or heroic death for abstract, inhuman ideals. Thus woman's primary aesthetic consciousness is used to hold patriarchal society together. This positive female force nurtures patriarchy with love because woman's consciousness and therefore her art is never self-centered. Woman always works at a level which is generally understandable and easily accessible. Her art and life is never separated. The separation of art and life in patriarchal society has divided mainstream or high art into many different branches. In fact, woman's matriarchal values are cooperative and universal at the core of which is the desire to awaken fertile energy. This value system works as an undercurrent in patriarchal society in the conscious and sub-conscious states of woman. This matriarchal value system has been recast by patriarchy for its own purpose. Thus, when woman enters the world of art created by the male, she enters it going against her training and instincts. The enormous and extraordinary maternal energy of woman becomes a separated, individual entity when a woman enters the unknown world of male created aesthetics; she enters the competition on unequal terms. Often we find women who show great promise in their art education but cannot later keep pace in the actual world of mainstream art. This world of art seems to be very difficult to harmonize with social pressure, family life and child rearing. This world of pure art separated from the flow of life seems to be at odds for a woman to manage while leading a normal family life. That is why we often observe women leaving art divorced from life and society and leaning towards applied art. Perhaps because the self-centeredness, self-consciousness and sense of self-esteem of women do not develop along the same lines as males that this situation is created. Women are forever busy trying to satisfy others. She finds fulfillment by being secondary herself and bringing happiness, peace and taking care of the family. It is impossible to find a place in the world of art with this attitude. Thus, if we study the lives of women who do find a place in the world of art we find a sudden break of a few years in their professional life. Perhaps they are busy rearing children as mothers or trying to adjust to a new role in a new family or keeping herself in the background to give preference to her husband's profession.

Paragraph 17: By 2011, Whitney has fallen in love with Connor. But it soon ends when Whitney finds out that Connor has been two-timing with her and Bianca's mother Carol (Lindsey Coulson). Appalled, she rejects them and informs Bianca about this; Bianca responds by attacking Connor before turning herself into the police and being imprisoned. Whitney and Carol argue over Connor, and Whitney feels she is not wanted by her family so decides to move out and stays with Ricky's sister and Ryan's wife Janine Butcher (Charlie Brooks). Later on, Whitney begins working for Janine's enemy Kat Slater (Jessie Wallace) after she offers her a work trial at The Vic for a job. It nearly falls apart when Kat catches Whitney giving free drinks to Janine, but she lets her off - telling Whitney she is a natural - and Whitney soon works well at the till. When Kat catches her stealing again, she sacks Whitney, leaving Janine angry with her for this. After Whitney sees Janine successfully pickpocket someone, she decides to try it herself - but ends up being hit in the face. Whitney is thereupon approached by a man called Rob Grayson (Jody Latham), who helps her and buys her food before returns her to Albert Square; he also gives Whitney his phone number before she returns home. Whitney later tries to kiss Max, causing her to fall out with Lauren. She also argues with Carol, rejects Ricky and is rejected by Liam, Tiffany and Morgan for ruining Ricky's birthday cake days earlier. Upset, Whitney contacts Rob and asks to stay with him - to which he accepts. She throws her phone away and tells nobody that she is going. Janine lies about Whitney's whereabouts but when she admits she does not know where Whitney is, Lauren (now played by Jacqueline Jossa) and Janine attempt to find her, and Lauren sees her in Dartford going into a club. Lauren goes back with her to her bedsit, but Whitney does not want to go, saying she and Rob are in love. Lauren is then thrown out by Rob. Whitney has sex with a man called Chris (Richard Simons) and it is revealed that Whitney has been having sex with Rob's friends to pay off his debts to them. Janine tries to get Whitney to come home but she refuses, and Rob ejects Janine. Rob then drags Whitney out of the house and into his car, while Janine and Lauren see them driving off. They go to a house where Whitney meets another woman Chloe (Georgia Henshaw) who is being exploited. Whitney tells Rob she wants to leave, but he says to either be nice to his friends or he will hurt her. He locks her in a room so she breaks the window and escapes, stopping a car and asking for help, while Rob shouts after her.

Paragraph 18: Cognitive behavior modification (CBM) is a blend of operant learning modification, social learning, and cognitive theory, and helps shape students' behaviors. Consistent consequences can shape students' behaviors. Overall, the combination of these three methods of learning allows for students to become active in the learning process which will allow for music teachers to create an effective learning environment. To combat this, music teachers can get students involved by clapping, or for more enthusiasm, playing the xylophone. A child with a learning disability does not automatically connect and organize new information. By associating them with music, they are more likely to internalize the information. One easy way for teachers to address the needs of these students is by providing a simple outline on the board or a handout to students as well. With younger students, this can be in the form of a picture board where teachers can review the content they are about to teach to these students. Ultimately, this allows for students to organize and have a general framework for the material they are about to learn. A specific strategy that provides an organizational framework is mnemonic devices. For example, the notes on a treble clef can be learned as FACe and lined notes are memorized as "Every Good Boy Does Fine." These measures are most impactful when the teachers take the time to teach the process, and when taught well, students learn how to evaluate their own work. For students who have ADHD, a structured environment in a music classroom will likely prove to be more effective. This means keeping a consistent arrangement day to day, assigned seating (placing ADHD students away from distractions), a consistent routine, setting clear expectations, minimizing downtime, and preparing the children for distractions are all ways to implement a structured environment. Music teachers can allow for movement and musical experiences to keep them intrigued and concentrated.

Paragraph 19: The player takes control of Apollo, who is mounted upon the back of his winged horse Pegasus; pressing the firing button makes his sword fire a tiny shot, while holding it down charges the sword up, and upon releasing the button the sword shoots a bigger fireball. Even the smallest enemies take multiple hits, so the standard shot is of little use - and each of the game's seven stages is divided into between two and four sections (the transition from one to another is indicated by a block of Japanese text appearing at the bottom of the screen and a change in music). At the end of every stage, Apollo must also defeat a boss character from Greek myth: Medusa, the Graeae, the Siren, Antaeus, Scylla (who has taken on the form of the "Crystal Brain" from the aforementioned Bakutotsu Kijūtei), Cerberus, and Typhon himself; once he has done so, he will proceed to the enchanted mirror at the back of the boss character temple, before the game segues into the next stage. Apollo can take up to four hits before dying (indicated by the "playing-cards" hearts at the bottom of the screen, and determined by how the cabinet is set), but will die instantly if he flies into a wall or touches a boss's head - and this game also features voice samples (in Japanese for the original arcade and Japanese Mega Drive versions, but in English for the North American Genesis and European Mega Drive versions). And if the "rank select" option in the arcade version's option menu has been set to "on", players will also be able to select an "easy" or "hard" game mode, once they have inserted their coin; however, the "easy" mode only features the first four stages and does not feature the game's complete ending sequence as a result of it.

Paragraph 20: Subsequently, the story arcs The Ricky Horror Peacock Show, Rick Revenge Squad, and The Rickoning feature a second character based on the Doctor, a four-armed alien named Peacock Jones who goes through an endless cycle of female companions on adventures on his spaceship. In The Ricky Horror Peacock Show, Jones takes Summer Smith as his latest companion, only to come to odds with her when she rejects his advances, and he is then framed as a drug kingpin by Summer's grandfather Rick Sanchez, and imprisoned alongside a Mr. Meeseeks in space prison. In Rick Revenge Squad, Jones returns as a member of the titular squad (put together by Party Dog), seeking revenge on Rick for his incarceration, alongside the Meeseeks, now his best friend and named "Mr. Sick". After attempting to reach Summer, Jones is beaten up by her mother Beth, and decides to cut his losses and leave. In The Rickoning, on the run from Party Dog's criminal empire (who blame him for their boss' death), and drinking at a bar, mourning Mr. Sick, Jones is advised by a hooded figure (a member of the IllumiRicki) that separating Rick from his grandson Morty Smith (and acquiring more intelligence) will leave the former vulnerable. Inspired, Jones breaks into the Smith family's garage when Rick and Morty are away, and steals a large quantity of the former's gear, and after time has passed, ambushes Morty at Dimension 35-C, kidnapping and consuming a large quantity of intelligence-boosting Mega-Seeds. After engaging Rick in a combat in a reality where-in Rick and Morty is a fictional multimedia franchise, Jones lures Rick and Jerry onto his ship (which is bigger on the inside), where he has a robot army and Meeseeks Box to oppose Rick and his allies, using a Meeseeks army to also kidnap Beth and Summer, and chase down Rick. However, once the Mega-Seeds wear off, Jones is quickly killed by Beth and Summer, who use the chains he attached to them to decapitate him. As the reunited Smith family portal away, they remain oblivious to Jones having brainwashed Morty to kill Rick.

Paragraph 21: During its development, the weapon underwent several major design changes. Initially, its gripstock was literally just a gripstock with grips, stock and trigger only, later evolved in a separable launch unit with optics, electronics, and battery input. Several designs didn't have optical sighting device at all (gunner was supposed to rely on the instant annoying alarm beep when seeker acquired the target,) while those which have it differed one from another with shape, field of view and magnification of their optics, either separable, or non-separable, which in turn could be built-in or molded-in primitive mechanical sight with flashing diodes inside diopter to inform gunner of seeker's lock-on. Launch tube changed its design and shape several times, from pipelike straight-shaped one to the variable-diameter tube with wide rear section to provide missile with better acceleration, and back to straightline tube to prevent its explosion due to a critical pressure drop or accidental booster detonation. Canards of the basic missile design were housed within the missile body during the entire flight, coming outside only to correct the course deviation of each roll cycle and folding back within a split second, variable incidence (instead of fixed) canards were used to improve terminal guidance accuracy. Seeker also have changed drastically, with multiple modifications made during the test phase, most important of which, it became cooled, thus increasing its discrimination capability (though extending reaction time a little bit in order to adjust its subsystems to operating temperature,) and reducing the field of view to increase missile's capability against single engine jets, to become more reliable and efficient weapon. Among the design improvements made in the seeker gyro were an increased aperture to provide greater sensitivity; a new center post design for supporting the secondary mirror to improve background discrimination; a new gyro gimbal of increased rigidity; an improved lead sulfide cell, doubling its sensitivity; and an improved reticle with a reduced field of view. Unorthodox designs included the "Foxhole Redeye," being almost a half shorter and small enough to be stored and fired from a rifleman's foxhole, and the "unitized launcher Redeye" fire-and-discard variant as a fully discardable throw-away unit with no separable elements for use with the USMC and CONARC units. All interim designs eventually were dropped in favour of the one which was considered the best possible choice by the Army Missile Command, and mass-produced at the General Dynamics facilities within the Greater Los Angeles Area. The following is the list, featuring the basic model, designated FIM-43A and approved for production along with its derivatives:

Paragraph 22: Cognitive behavior modification (CBM) is a blend of operant learning modification, social learning, and cognitive theory, and helps shape students' behaviors. Consistent consequences can shape students' behaviors. Overall, the combination of these three methods of learning allows for students to become active in the learning process which will allow for music teachers to create an effective learning environment. To combat this, music teachers can get students involved by clapping, or for more enthusiasm, playing the xylophone. A child with a learning disability does not automatically connect and organize new information. By associating them with music, they are more likely to internalize the information. One easy way for teachers to address the needs of these students is by providing a simple outline on the board or a handout to students as well. With younger students, this can be in the form of a picture board where teachers can review the content they are about to teach to these students. Ultimately, this allows for students to organize and have a general framework for the material they are about to learn. A specific strategy that provides an organizational framework is mnemonic devices. For example, the notes on a treble clef can be learned as FACe and lined notes are memorized as "Every Good Boy Does Fine." These measures are most impactful when the teachers take the time to teach the process, and when taught well, students learn how to evaluate their own work. For students who have ADHD, a structured environment in a music classroom will likely prove to be more effective. This means keeping a consistent arrangement day to day, assigned seating (placing ADHD students away from distractions), a consistent routine, setting clear expectations, minimizing downtime, and preparing the children for distractions are all ways to implement a structured environment. Music teachers can allow for movement and musical experiences to keep them intrigued and concentrated.

Paragraph 23: Subsequently, the story arcs The Ricky Horror Peacock Show, Rick Revenge Squad, and The Rickoning feature a second character based on the Doctor, a four-armed alien named Peacock Jones who goes through an endless cycle of female companions on adventures on his spaceship. In The Ricky Horror Peacock Show, Jones takes Summer Smith as his latest companion, only to come to odds with her when she rejects his advances, and he is then framed as a drug kingpin by Summer's grandfather Rick Sanchez, and imprisoned alongside a Mr. Meeseeks in space prison. In Rick Revenge Squad, Jones returns as a member of the titular squad (put together by Party Dog), seeking revenge on Rick for his incarceration, alongside the Meeseeks, now his best friend and named "Mr. Sick". After attempting to reach Summer, Jones is beaten up by her mother Beth, and decides to cut his losses and leave. In The Rickoning, on the run from Party Dog's criminal empire (who blame him for their boss' death), and drinking at a bar, mourning Mr. Sick, Jones is advised by a hooded figure (a member of the IllumiRicki) that separating Rick from his grandson Morty Smith (and acquiring more intelligence) will leave the former vulnerable. Inspired, Jones breaks into the Smith family's garage when Rick and Morty are away, and steals a large quantity of the former's gear, and after time has passed, ambushes Morty at Dimension 35-C, kidnapping and consuming a large quantity of intelligence-boosting Mega-Seeds. After engaging Rick in a combat in a reality where-in Rick and Morty is a fictional multimedia franchise, Jones lures Rick and Jerry onto his ship (which is bigger on the inside), where he has a robot army and Meeseeks Box to oppose Rick and his allies, using a Meeseeks army to also kidnap Beth and Summer, and chase down Rick. However, once the Mega-Seeds wear off, Jones is quickly killed by Beth and Summer, who use the chains he attached to them to decapitate him. As the reunited Smith family portal away, they remain oblivious to Jones having brainwashed Morty to kill Rick.

Paragraph 24: Early on July 28, the JTWC upgraded the system to a tropical depression, whilst the JMA upgraded it to a tropical storm and named it Saola. Soon, the Philippine Atmospheric, Geophysical and Astronomical Services Administration (PAGASA) upgraded the system to a tropical depression and named it Gener. Later that day, the JTWC upgraded Saola to a tropical storm. Early on July 29, the JMA upgraded Saola to a severe tropical storm. On July 30, the JTWC upgraded Saola to a category 1 typhoon, as it started to develop an eye-like feature, but soon downgraded it to a tropical storm late on the same day. On July 31, the JTWC upgraded Saola to a category 1 typhoon again. Late on the same day, the JMA upgraded Saola to a typhoon, and the JTWC soon upgraded it to a category 2 typhoon early on the next day. The Central Weather Bureau (CWB) reported that Typhoon Saola made landfall over Xiulin, Hualien in Taiwan at 19:20 UTC on August 1 (03:20 TST on August 2). However, Saola later moved counterclockwise and arrived the ocean soon, whilst the JMA downgraded it to a severe tropical storm early on August 2 due to strong land interaction. At 06Z on the same day, Saola passed over Cape San Diego, the easternmost point of Taiwan. Late on August 2, the JMA downgraded Saola to a tropical storm, before it made landfall over Fuding in Fujian, China at 22:50 UTC (06:50 CST on August 3). On August 3, the JMA downgraded Saola to a tropical depression, after the JTWC issued a final warning on the system. The system continued to weaken into a weak low pressure area over Jiangxi, China on August 4. The weak, remnant low later drifted south west to the Gulf of Tokin, and regenerated slightly on August 7.

Paragraph 25: Breach is a 2005 comic book series from DC Comics. written by Bob Harras with art by penciller Marcos Martin and inker Alvaro Lopez. The series is centered on a US Army Major named Tim Zanetti, who gains superpowers in a scientific experiment gone wrong. Zanetti was working for "Project Otherside", a secret sub-Arctic nuclear reactor where scientists are probing other dimensions. In an accident at the facility, Zanetti is caught in a dimensional rift and afterwards is found in a coma with his body forever changed. His body is placed in an isolation chamber for the next twenty years, at which point he awakens. His body has become a conductor for a mysterious and deadly energy, able to "melt" biological substances with only a touch, and so he has to be dampened with a special containment suit. Left behind while Zanetti is comatose and presumed dead are his wife Helen and son Tate.

Paragraph 26: Subsequently, the story arcs The Ricky Horror Peacock Show, Rick Revenge Squad, and The Rickoning feature a second character based on the Doctor, a four-armed alien named Peacock Jones who goes through an endless cycle of female companions on adventures on his spaceship. In The Ricky Horror Peacock Show, Jones takes Summer Smith as his latest companion, only to come to odds with her when she rejects his advances, and he is then framed as a drug kingpin by Summer's grandfather Rick Sanchez, and imprisoned alongside a Mr. Meeseeks in space prison. In Rick Revenge Squad, Jones returns as a member of the titular squad (put together by Party Dog), seeking revenge on Rick for his incarceration, alongside the Meeseeks, now his best friend and named "Mr. Sick". After attempting to reach Summer, Jones is beaten up by her mother Beth, and decides to cut his losses and leave. In The Rickoning, on the run from Party Dog's criminal empire (who blame him for their boss' death), and drinking at a bar, mourning Mr. Sick, Jones is advised by a hooded figure (a member of the IllumiRicki) that separating Rick from his grandson Morty Smith (and acquiring more intelligence) will leave the former vulnerable. Inspired, Jones breaks into the Smith family's garage when Rick and Morty are away, and steals a large quantity of the former's gear, and after time has passed, ambushes Morty at Dimension 35-C, kidnapping and consuming a large quantity of intelligence-boosting Mega-Seeds. After engaging Rick in a combat in a reality where-in Rick and Morty is a fictional multimedia franchise, Jones lures Rick and Jerry onto his ship (which is bigger on the inside), where he has a robot army and Meeseeks Box to oppose Rick and his allies, using a Meeseeks army to also kidnap Beth and Summer, and chase down Rick. However, once the Mega-Seeds wear off, Jones is quickly killed by Beth and Summer, who use the chains he attached to them to decapitate him. As the reunited Smith family portal away, they remain oblivious to Jones having brainwashed Morty to kill Rick.

Paragraph 27: Cognitive behavior modification (CBM) is a blend of operant learning modification, social learning, and cognitive theory, and helps shape students' behaviors. Consistent consequences can shape students' behaviors. Overall, the combination of these three methods of learning allows for students to become active in the learning process which will allow for music teachers to create an effective learning environment. To combat this, music teachers can get students involved by clapping, or for more enthusiasm, playing the xylophone. A child with a learning disability does not automatically connect and organize new information. By associating them with music, they are more likely to internalize the information. One easy way for teachers to address the needs of these students is by providing a simple outline on the board or a handout to students as well. With younger students, this can be in the form of a picture board where teachers can review the content they are about to teach to these students. Ultimately, this allows for students to organize and have a general framework for the material they are about to learn. A specific strategy that provides an organizational framework is mnemonic devices. For example, the notes on a treble clef can be learned as FACe and lined notes are memorized as "Every Good Boy Does Fine." These measures are most impactful when the teachers take the time to teach the process, and when taught well, students learn how to evaluate their own work. For students who have ADHD, a structured environment in a music classroom will likely prove to be more effective. This means keeping a consistent arrangement day to day, assigned seating (placing ADHD students away from distractions), a consistent routine, setting clear expectations, minimizing downtime, and preparing the children for distractions are all ways to implement a structured environment. Music teachers can allow for movement and musical experiences to keep them intrigued and concentrated.

Paragraph 28: During its development, the weapon underwent several major design changes. Initially, its gripstock was literally just a gripstock with grips, stock and trigger only, later evolved in a separable launch unit with optics, electronics, and battery input. Several designs didn't have optical sighting device at all (gunner was supposed to rely on the instant annoying alarm beep when seeker acquired the target,) while those which have it differed one from another with shape, field of view and magnification of their optics, either separable, or non-separable, which in turn could be built-in or molded-in primitive mechanical sight with flashing diodes inside diopter to inform gunner of seeker's lock-on. Launch tube changed its design and shape several times, from pipelike straight-shaped one to the variable-diameter tube with wide rear section to provide missile with better acceleration, and back to straightline tube to prevent its explosion due to a critical pressure drop or accidental booster detonation. Canards of the basic missile design were housed within the missile body during the entire flight, coming outside only to correct the course deviation of each roll cycle and folding back within a split second, variable incidence (instead of fixed) canards were used to improve terminal guidance accuracy. Seeker also have changed drastically, with multiple modifications made during the test phase, most important of which, it became cooled, thus increasing its discrimination capability (though extending reaction time a little bit in order to adjust its subsystems to operating temperature,) and reducing the field of view to increase missile's capability against single engine jets, to become more reliable and efficient weapon. Among the design improvements made in the seeker gyro were an increased aperture to provide greater sensitivity; a new center post design for supporting the secondary mirror to improve background discrimination; a new gyro gimbal of increased rigidity; an improved lead sulfide cell, doubling its sensitivity; and an improved reticle with a reduced field of view. Unorthodox designs included the "Foxhole Redeye," being almost a half shorter and small enough to be stored and fired from a rifleman's foxhole, and the "unitized launcher Redeye" fire-and-discard variant as a fully discardable throw-away unit with no separable elements for use with the USMC and CONARC units. All interim designs eventually were dropped in favour of the one which was considered the best possible choice by the Army Missile Command, and mass-produced at the General Dynamics facilities within the Greater Los Angeles Area. The following is the list, featuring the basic model, designated FIM-43A and approved for production along with its derivatives:

Paragraph 29: Subsequently, the story arcs The Ricky Horror Peacock Show, Rick Revenge Squad, and The Rickoning feature a second character based on the Doctor, a four-armed alien named Peacock Jones who goes through an endless cycle of female companions on adventures on his spaceship. In The Ricky Horror Peacock Show, Jones takes Summer Smith as his latest companion, only to come to odds with her when she rejects his advances, and he is then framed as a drug kingpin by Summer's grandfather Rick Sanchez, and imprisoned alongside a Mr. Meeseeks in space prison. In Rick Revenge Squad, Jones returns as a member of the titular squad (put together by Party Dog), seeking revenge on Rick for his incarceration, alongside the Meeseeks, now his best friend and named "Mr. Sick". After attempting to reach Summer, Jones is beaten up by her mother Beth, and decides to cut his losses and leave. In The Rickoning, on the run from Party Dog's criminal empire (who blame him for their boss' death), and drinking at a bar, mourning Mr. Sick, Jones is advised by a hooded figure (a member of the IllumiRicki) that separating Rick from his grandson Morty Smith (and acquiring more intelligence) will leave the former vulnerable. Inspired, Jones breaks into the Smith family's garage when Rick and Morty are away, and steals a large quantity of the former's gear, and after time has passed, ambushes Morty at Dimension 35-C, kidnapping and consuming a large quantity of intelligence-boosting Mega-Seeds. After engaging Rick in a combat in a reality where-in Rick and Morty is a fictional multimedia franchise, Jones lures Rick and Jerry onto his ship (which is bigger on the inside), where he has a robot army and Meeseeks Box to oppose Rick and his allies, using a Meeseeks army to also kidnap Beth and Summer, and chase down Rick. However, once the Mega-Seeds wear off, Jones is quickly killed by Beth and Summer, who use the chains he attached to them to decapitate him. As the reunited Smith family portal away, they remain oblivious to Jones having brainwashed Morty to kill Rick.

Answer: 16