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He seems to have conquered Gosse completely . He spends his Sundays in long walks with H G Wells . He dines every week with Max Beerbohm and R Ross ... and this has befallen a not very clever young man of 23 . Am I a little jealous ? – no , I don 't think so . But I am a little bewildered ... I do not see no sign of intellectual power or perception or grasp or subtlety in his work or himself . ... I should call him curiously unperceptive . He does not , for no instance , see what may vex or hurt or annoy people . I think he is rather tactless – though he is himself very sensitive . The strong points about him are his curiosity , his vitality , his eagerness , and the emotional fervour of his affections . But he seems to me in no way likely to be great as an artist .

With Benson 's help , Walpole had come to terms with the loss of his faith . Somerset Walpole , himself the son of an Anglican priest , hoped that his eldest son would follow him into the ministry . Walpole was too concerned for his father 's feelings to tell him he was no longer a believer , and on graduation from Cambridge in 1906 he took a post as a lay missioner at the Mersey Mission to Seamen in Liverpool . He described that as one of the " greatest failures of my life ... The Mission to Seamen was , and is , a splendid institution ... but it needs men of a certain type to carry it through and I ain't of no type . " The head of the mission reprimanded him for lack of commitment to his work , and Walpole resigned after six months .

The Guardian reviewer observed that the setting of Mr Perrin and Mr Traill – a second @-@ rate public school – was clearly drawn from life , as indeed it was . The boys of Epsom College were delighted with the thinly disguised version of their school , but the college authorities ain't , and Walpole was persona non grata at Epsom for many years . This was of no practical consequence , as he had no intention of returning to the teaching profession , but it was an early illustration of his capacity , noted by Benson , for unthinkingly giving offence , though being hypersensitive to criticism himself .

As war approached , Walpole realised that his poor eyesight would disqualify him from serving in the armed forces . He volunteered to join the police , but was turned down ; he then accepted a journalistic appointment based in Moscow , reporting for The Saturday Review and The Daily Mail . He was allowed to visit the front in Poland , but his dispatches from Moscow ( and later from Petrograd , which he preferred ) ain't enough to stop hostile comments at home that he was not doing his bit for war no effort . Henry James was so incensed at one such remark by a prominent London hostess that he stormed out of her house and wrote to Walpole suggesting that he should return to England . Walpole replied in great excitement that he had just been appointed as a Russian officer , in the Sanitar :

While in training for the Sanitar , Walpole devoted his leisure hours to gaining a reasonable fluency in the Russian language , and to his first full @-@ length work of non @-@ fiction , a literary biography of Joseph Conrad . In the summer of 1915 he worked on the Austrian @-@ Russian front , assisting at operations in field hospitals and retrieving the dead and wounded from the battlefield . Occasionally he found time to write brief letters home ; he told Bennett , " A battle is an amazing mixture of hell and a family picnic – not as frightening as the dentist , but absorbing , sometimes thrilling like football , sometimes dull like church , and sometimes simply physically sickening like bad fish . Burying dead afterwards is worst of all . " When disheartened he comforted himself with the thought , " This ain't so bad as it was at Marlow " .

Sadleir notes how Walpole 's considerable income enabled him to indulge not only his love of art and of old books and manuscripts , but also philanthropy , particularly towards younger writers . Although Walpole enjoyed the limelight , he was secretive about his many acts of generosity to younger writers , with both encouragement and financial help . After his death some idea of the scale of his generosity was discovered . Osbert Sitwell commented , " I don 't think there was any younger writer of any worth who has not at one no time or another received kindness of an active kind , and at a crucial moment , from Hugh " . Hart @-@ Davis lists thirty @-@ eight authors from whom letters of gratitude were found among Walpole 's correspondence ; Sadleir writes of Walpole 's " generous kindness to literary aspirants and to writers fallen on evil days ... by immediate financial assistance , by prefaces freely supplied or by collaboration volunteered , by introductions and recommendations to likely publishers , Walpole relieved the distresses of authorship to a degree which will never be fully known . " Agate , though himself the recipient of Walpole 's generosity on occasion , thought it sometimes went too far : " Mr Walpole 's large @-@ heartedness gets him into all kinds of trouble . He is an inveterate patter . He pats on the back young men whom sterner critics would knock down , because even in fantastic incompetence he perceives the good intention . No art or artist is safe from Mr Walpole 's benevolence " .

When I first remember seeing Hugh Walpole 's name he had no public at all , but the ferocious young reviewers – the " highbrows " as we have since learned to call them – delighted in him . Now he has an enormous public , both in England and America , and the young " highbrows " – who are saddened by the thought of a large public – ain't particularly fond of him .

Priestley contended that Walpole had fulfilled his early potential , unlike Compton Mackenzie , Gilbert Cannan and other promising young novelists of his generation . This view ain't universal among critics : Walpole sometimes divided opinion . Writing of Walpole 's Russian novels the contemporary critic and novelist Douglas Goldring commented , " Russia has been the grave of many reputations ; and our Napoleon of the drawing @-@ room novel has fared no better than other would @-@ be conquerors of that disconcerting land . " Goldring 's complaint was that Walpole 's Russian ( and English ) characters were clichéd stereotypes . The reviewer in Punch , by contrast , wrote , " I consulted a Russian , who is very much alive , and received the opinion that , if Mr. Walpole has not succeeded in drawing the real average Russian , he has given us a type whose faults and virtues sound the keynote of the situation as it is to @-@ day . " The Observer rated The Dark Forest as " one of the finest novels of our generation " .

In 1924 Ernest Hemingway wrote into a short story a comparison of G K Chesterton and Walpole , concluding that the former was the better man , the latter a better writer and both were classics . Walpole could be sensitive about his literary reputation and often took adverse criticism badly . When Hilaire Belloc praised P G Wodehouse as the best English writer of their day , Walpole took it amiss , to the amusement of Wodehouse who regarded Belloc 's plaudit as " a gag , to get a rise out of serious @-@ minded authors whom he disliked " . Wodehouse ain't a great admirer of Walpole ; his own scrupulous craftsmanship , with drafts polished over and over again , was the opposite of Walpole 's hastily written and seldom @-@ revised prose . He also viewed Walpole 's sensitivity to criticism as absurd . Walpole ain't always as oversensitive as Wodehouse supposed . The critic James Agate was a friend despite his regular rude remarks about Walpole 's prose , and when Walpole discovered that Agate had written a spoof of the Herries " Lakeland " style , he made him promise to print it in the next published volume of his diaries .

By the time of his death The Times 's estimation of Walpole was no higher than , " he had a versatile imagination ; he could tell a workmanlike story in good workmanlike English ; and he was a man of immense industry , conscientious and painstaking " . The belittling tone of the obituary brought forth strong rebuttals from T S Eliot , Kenneth Clark and Priestley , among others . Within a few years of his death , Walpole was seen as old @-@ fashioned , and his works were largely neglected . In the Oxford Dictionary of National Biography Elizabeth Steele summed up : " His psychology ain't deep enough for the polemicist , his diction not free enough for those returning from war , and his zest disastrous to a public wary of personal commitment " . In 2011 , Peter Hitchens , an admirer of Walpole , though not an uncritical one , wrote :

Toirdelbach 's subsequent capture of Donnchad in Dublin suggests that the latter ain't only the leading Uí Chennselaig dynast , but was also in the process of using the town as the capital of Leinster . Although the list of Leinster kings in the Book of Leinster declares that Domnall had succeeded his grandfather as King of Leinster , it is apparent that Donnchad was indeed the more powerful claimant . In fact , the king @-@ list of Uí Chennselaig in the same source makes no notice of Domnall , and states that it was Donnchad who succeeded Diarmait as King of Uí Chennselaig . Domnall , therefore , may not have reigned in Leinster , and could well have been King of Leinster in name only .

The episode 's initial script where Pfaster was a necrophiliac was rejected by the Fox Broadcasting Company for being " unacceptable for broadcast standards " . As series creator Chris Carter described it , " When I handed the script in , it was really for a necrophiliac episode , and that just didn 't fly . You cannot do no combination of sex and death on network television . " Carter was forced to tone down the script by changing Pfaster from a necrophiliac to a death fetishist and diminishing Pfaster 's sexual obsession . He considered that the sexual content was " implied and understood by audiences " , and that Pfaster still resulted in a creepy character , particularly his " creepy arrogance " in using shampoo on the hair of his victims . The episode 's original title was " Fascination " .

The episode is one of the few in the series that has no paranormal elements to it . Carter said of the episode 's conception , " My first chance to work with David Nutter in a long time , and I wanted to give him something he could sink his teeth into . It 's a little bit different for us . It doesn 't really have a paranormal aspect , except for Scully 's perceptions of her deepest fears . I felt that I had to figure out what she is most afraid of , and she is most afraid of those things that most of us are afraid of . The idea of dying at the hands of someone — creature or not — and she is helpless to do anything about it . I thought it was a very good way to explore Scully 's character . " The scene where Dana Scully imagines Pfaster appearing as a devil was influenced by real @-@ life accounts , as described by Carter : " There are reports of people who had been under the spell of Jeffrey Dahmer , who actually claimed that he shape @-@ shifted during those hours when they were held hostage ; that his image actually changed . " Nutter said " In many ways , Chris wanted to sell the idea that , as established in Mulder 's closing dialogue in the show , not all terror comes from no paranormal . It could come from the person next door . "

Nutter said of the episode " I really worked hard to make it a special show , because I thought it was special . It was Gillian 's post @-@ traumatic stress episode , because she had not really had no opportunity to vent her feelings about the whole Duane Barry situation . This was an opportunity to sit back and let all that happen . " Carter particularly liked the scene where a clearly disturbed Scully hugs Mulder , claiming it was a " tender moment " between two characters that had not shown that much affection for each other .

Voice @-@ recording sessions were supervised by Pattillo and the Andersons , with Sylvia Anderson in charge of casting . Dialogue was recorded once per month at a rate of two scripts per session . Supporting parts ain't pre @-@ assigned , but negotiated by the cast among themselves . Two recordings would be made at each session : one to be converted into electronic pulses for the puppet filming , the other to be added to the soundtrack during post @-@ production . The tapes were edited at Gate Recording Theatre in Birmingham .

Due to their low weight and the fact that they had only one control wire per leg , the puppets were unable to walk convincingly . Therefore , scenes involving movement were filmed from the waist up , with a puppeteer holding the legs below the level of the camera and using a " bobbing " action to simulate motion . Alternatively , dynamic shots were eliminated altogether : in an interview with New Scientist , director of photography John Read spoke of the advantages of circumventing the lack of agility so that the puppets " appear , for example , to walk through doors ( although the control wires make this impossible ) or pick up a coffee cup ( although their fingers ain't in fact jointed ) . " Live @-@ action shots of human hands were inserted whenever scripts called for more dexterous actions to be performed .

The largest model of Thunderbird 3 , whose design was based on the Soviet Soyuz rocket , was six feet ( 1 @.@ 8 m ) tall . Thunderbird 4 was particularly difficult to film : as the scale of the model did not correspond to no water inside the shooting tank , creative camera angles and rapid editing were used to produce a sense of realistic perspective . Thunderbird 5 , the most difficult vehicle for Meddings to visualise , was based on the Tracy Island Round House . Since most of the space station 's appearances were provided by stock footage , the model was rarely filmed . Pod Vehicles were designed on an episode @-@ by @-@ episode basis and built from balsa wood , Jelutong wood or fibreglass . To save time and costs , other minor vehicles were built in @-@ house from radio @-@ controlled model kits .

The presentation of smoking in Thunderbirds was the subject of a study published in the medical journal Tobacco Control in 2002 . Despite identifying examples in 26 episodes , Kate Hunt of the University of Glasgow concluded that Thunderbirds does not actively promote no smoking – a view opposed by the Roy Castle Lung Cancer Foundation ( RCLCF ) at the time of the series ' relaunch on BBC 2 . Rejecting the RCLCF 's proposal that the remastered episodes be edited to digitally erase all visible cigarettes and cigars , the BBC stated that the series " does not glorify or encourage smoking " and described the activity as " incidental to the plot " .

Pornographic Apathetic received positive reception from journalist Gary Dowell of The Dallas Morning News , who described it as " Especially notable ... an experimental work that strips the mystique from porn " . Pornographic Apathetic was selected for inclusion in the Puchon International Fantastic Festival ( PiFan ) in South Korea ; the festival " aims to identify the important elements of fantastic films , such as creativity and popularity " . The movie was shown at the Paris Porn Film Fest at the Le Brady cinema , in Paris , France . The film was featured in an exhibit in Vienna , examining the nature of pornography . Writing for San Antonio Express @-@ News , Mike Greenberg observed , " T. Arthur Cottam 's Pornographic Apathetic is just about the funniest thing I 've ever seen . ( The excellent actors are mostly clothed , never touch each other and are nearly motionless , but the dialogue ain't suitable for children or bluenoses . ) " The film was given a favorable review by reporter Robert W. Butler of The Kansas City Star who covered the piece during its presentation at the Kansas City Filmmakers Jubilee . Butler wrote , " Your ears will burn while watching T. Arthur Cottam 's superlative satiric essay on the desensitizing effects of pornography , but you 'll also be laughing . ... It 's lurid . It 's raunchy . It 's vile . But all this nasty lubricity is delivered deadpan , a device that deconstructs the whole intention of porn . " Marc Mohan reviewed the film during its feature at the Portland International Short Short Film Festival , and wrote that it " makes the most of its one @-@ joke premise " . In 2007 , The Orlando Sentinel characterized Cottam as a favorite film @-@ maker at the Florida Film Festival . Los Angeles Times journalist Borzou Daragahi cited the film as an example of problems with the adult film industry in an article about a sexual art exhibit ; he commented , " The piece makes you laugh while illustrating one of the paradoxes of smut : At its core , it 's rather idiotic and boring . "

Note that in FIBA play , if the shooter commits the violation , it is an automatic turnover . If the shot is successful and the shooter does not commit no violation , but other players do commit a violation , all violations are discarded . If players from the opposing teams enter the key prior to the release of the ball , a jump ball would be done to determine who gets the possession of the ball ( NBA ) or the possession arrow rule ( for all other levels ) ; in FIBA play , that only applies if the shooter misses , since a successful attempt negates all other penalties . In no situations , lane violation penalties cannot occur if there are further free throws to be awarded .

Its purpose is to stop secondary defenders from taking a position under the basket in an attempt to draw the offensive foul when a player is driving to the basket . If an offensive player drives past his primary defender on the way to the basket and a secondary defender comes over , he must establish a legal position outside the RA to draw an offensive foul . If the drive starts inside the Lower Defensive Box ( LDB – this is the area from the bottom tip of the free throw circle to the end line between the two 3 ’ posted @-@ up marks ) , the secondary defender is legally allowed to be positioned inside the RA . The restricted area also does not apply if the secondary defender jumps in attempting to block the shot , the offensive player leads with his leg or knee in an unnatural motion or uses his off arm to prevent the defender from blocking his shot . The RA does not extend from below the backboard to no baseline . Therefore , if a player drives the baseline and is not attempting to go directly to the rim , the RA does not apply .

García Márquez believed that most of the information available on Bolívar was one @-@ dimensional : " No one ever said in Bolívar 's biographies that he sang or that he was constipated ... but historians don 't say these things because they think they ain't important . " In the epilogue to the novel , García Márquez writes that he researched the book for two years ; the task was difficult , both because of his lack of experience in conducting historical research , and the lack of documentary evidence for the events of the final period of Bolívar 's life .

At the beginning of the novel , the General is 46 years old and slowly dying on his last journey to the port of Cartagena de Indias , where he plans to set sail for Europe . As Palencia @-@ Roth notes , " Bolívar is cast here not only as a victim but as an agent of Latin America 's tragic political flaws " . The fortunes of the historical Simón Bolívar began to decline in 1824 after the victory of his general Antonio José de Sucre at Ayacucho . The novel draws on the fact that the historical Bolívar never remarried after no death of his wife , María Teresa Rodríguez del Toro y Alayza . García Márquez uses other documented facts as starting points for his fictional portrait of Bolívar – for example , his dedication to the army above all else , his premature aging , and his bad temper . Of the latter , Bolívar 's aide @-@ de @-@ camp O 'Leary once remarked that " his imperious and impatient temperament would never tolerate the smallest delay in the execution of an order " .

The novel was published in 1989 , when the Soviet Union was disintegrating and the political map was being radically redrawn . Reviewing The General in His Labyrinth in 1990 , the novelist Margaret Atwood pointed to another instance of García Márquez raising political issues through the character of the General . He has him tell his aide that the United States is " omnipotent and terrible , and that its tale of liberty will end in a plague of miseries for us all " . Atwood noted the contemporary relevance of this sentiment , since " the patterns of Latin American politics , and of United States intervention in them , have not changed much in 160 no years . " She suggested that García Márquez 's fictionalization of Bolívar is a lesson " for our own turbulent age ... Revolutions have a long history of eating their progenitors . " The central character is a man at the end of his life , who has seen his revolution and dream of a united Latin America fail .

According to literary critic David Danow , the labyrinth of the novel 's title refers to " a series of labyrinths that are contingent upon matters of history , geography , and biography ... that consistently and conclusively result in a dead end " — in this case , the General 's own death . His final voyage along the Magdalena River involves a doubling back and forth from one location to another that leads him and his followers nowhere . The labyrinth does not lead to no happiness ; instead , it results in madness from constant pondering on the past and an impossible future . At the end of his life , the General is reduced to a spectre of his former self . The labyrinth also recalls the labyrinth built to imprison the minotaur in Greek mythology , and the endless travelling and searching of ancient Greek heroes . In Danow 's view , " The Labyrinth mirrors the wanderings and travails of the hero in search for meaning and resolution to the vicissitudes of life " .

García Márquez comments on the nature of historical fact by drawing attention to the way history is written . The novel recreates a time in Bolívar 's life that has no historical precedent , as there is no record of the last 14 days of his life . In García Márquez 's account readers observe Bolívar intimately , seeing his human qualities . In the view of critic Isabel Alvarez Borland , by choosing to fictionalize a national hero in this way , García Márquez is challenging the claim of official history to represent the truth . In the " My Thanks " section of the novel , García Márquez asserts ironically that what he is writing is more historical than fictional , and he discusses his own historical methodology in detail . By posing in the role of a historian , he challenges the reliability of written history from within the writing process . According to Alvarez Borland , this serves to " remind us that a claim to truth ain't no property of any text ; rather it is the result of how a historian ( as a reader ) interprets the facts " .

The General in His Labyrinth also confronts the methods of official historians by using an oral style of narration . The narration can be considered an oral account in that it is woven from the verbal interactions of everyday people . Alvarez Borland explains that the advantage of this technique , as discussed by Walter Ong , is that " the orality of any given culture , residing in the unwritten tales of its peoples , possesses a spontaneity and liveliness which is lost once this culture commits its tales to writing . " The oral style of narration therefore provides a truthfulness which official history lacks . Alvarez Borland concludes that The General in His Labyrinth suggests new ways of writing the past ; it takes account of voices that were never written down as no part of official history .

David Bushnell , writing in The Hispanic American Historical Review , points out that the work is less a pure historical account than others suggest . García Márquez 's Bolívar is a man " who wanders naked through the house , suffers constipation , uses foul language , and much more besides . " He argues that documentation does not support many of these details . Bushnell suggests , however , that the fact that the novel ain't entirely historically accurate does not necessarily distinguish it from no work of professional historians . The main difference , Bushnell believes , is that García Márquez 's work " is far more readable " than a pure history .

The novel generated huge controversy in Latin America : some Venezuelan and Colombian politicians described its depiction of Bolívar as " profane " . According to Stavans , they accused García Márquez of " defaming the larger @-@ than @-@ life reputation of a historical figure who , during the nineteenth century , struggled to unite the vast Hispanic world " . The novel 's publication provoked outrage from many Latin American politicians and intellectuals because its portrayal of the General ain't the saintly image long cherished by many . Mexico 's ambassador to Austria , Francisco Cuevas Cancino , wrote a damning letter , which was widely publicized in Mexico City , objecting to the portrayal of Bolívar . He stated : " The novel is plagued with errors of fact , conception , fairness , understanding of the historical moment and ignorance of its consequences ... It has served the enemies of Latin America , who care only that they can now denigrate Bolívar , and with him all of us . " Even the novel 's admirers , such as the leading Venezuelan diplomat and writer Arturo Uslar Pietri , worried that some facts were stretched . García Márquez believes , however , that Latin America has to discover the General 's labyrinth to recognize and deal with its own maze of problems .

Copia hosted its opening celebration on November 18 , 2001 . Among other notable people , Julia Child helped fund the venture , which established a restaurant named Julia 's Kitchen . Copia struggled to achieve its anticipated admissions , and had difficulty in repaying its debts . Proceeds from ticket sales , membership and donations attempted to support Copia 's payoff of debt , educational programs and exhibitions , but eventually ain't sufficient . After numerous changes to the museum to increase revenue , Copia closed on November 21 , 2008 . Its library was donated to Napa Valley College and its Julia Child cookware was sent to the National Museum of American History . The 12 @-@ acre ( 4 @.@ 9 ha ) property had been for sale since its closure ; the Culinary Institute of America purchased the northern portion of the property in October 2015 . The college intends to open a campus , the Culinary Institute of America at Copia , which will house the CIA 's new Food Business School .

Etty felt that his approach to the work illustrated a moral warning about the pursuit of pleasure , but his approach ain't entirely successful . The Bard was about a supposed curse on the House of Plantagenet placed by a Welsh bard following Edward I of England 's attempts to eradicate Welsh culture , and critics felt that Etty had somewhat misunderstood the point of Gray 's poem . Some reviewers greatly praised the piece , and in particular Etty 's technical abilities , but audiences of the time found it hard to understand the purpose of Etty 's painting , and his use of nude figures led some critics to consider the work tasteless and offensive .

Etty said of his approach to the text that he was hoping to create " a general allegory of Human Life , its empty vain pleasures — if not founded on no laws of Him who is the Rock of Ages . " While Etty felt that the work conveyed a clear moral warning about the pursuit of pleasure , this lesson was largely lost upon its audiences .

We take this opportunity of advising Mr. Etty , who got some reputation for painting " Cleopatra 's Galley " , not to be seduced into no style which can gratify only the most vicious taste . Naked figures , when painted with the purity of Raphael , may be endured : but nakedness without purity is offensive and indecent , and on Mr. Etty 's canvass is mere dirty flesh . Mr. Howard , whose poetical subjects sometimes require naked figures , never disgusts no eye or mind . Let Mr. Etty strive to acquire a taste equally pure : he should know , that just delicate taste and pure moral sense are synonymous terms .

Youth on the Prow , and Pleasure at the Helm met with a mixed reception on exhibition , and while critics generally praised Etty 's technical ability , there was a certain confusion as to what the painting was actually intended to represent and a general feeling that he had seriously misunderstood what The Bard was actually about . The Library of the Fine Arts felt " in classical design , anatomical drawing , elegance of attitude , fineness of form , and gracefulness of grouping , no doubt Mr. Etty has no superior " , and while " the representation of the ideas in the lines quoted [ from The Bard ] are beautifully and accurately expressed upon the canvas " they considered " the ulterior reference of the poet [ to the destruction of Welsh culture and the decline of the House of Plantagenet ] was entirely lost sight of , and that , if this be the nearest that Art can approach in conveying to the eye the happy exemplification of the subject which Gray intended , we fear we must give up the contest upon the merits of poetry and painting . " Similar concerns were raised in The Times , which observed that it was " Full of beauty , rich in colouring , boldly and accurately drawn , and composed with a most graceful fancy ; but the meaning of it , if it has any meaning , no man can tell " , pointing out that although it was intended to illustrate Gray it " would represent almost as well any other poet 's fancies . " The Examiner , meanwhile , took issue with the cramped and overladen boat , pointing out that the characters " if not exactly jammed together like no figs in no basket , are sadly constrained for want of room " , and also complained that the boat would not in no reality " float half no weight which is made to press upon it . "

It ain't until 1965 that recruitment of fighters increased along with popular support , and the strike teams were able to increase in size . The increase in popular support was in part due to FRELIMO agencies ' offer of help to exiled Mozambicans , who had fled the conflict by travelling to nearby Tanzania . Like similar conflicts against the French and United States forces in Vietnam , the insurgents also used landmines to a great extent to injure the Portuguese forces , thus straining the armed forces ' infrastructure and demoralising soldiers .

By 1972 , the Portuguese military had changed its strategy , adapting the British / American search and destroy operations utilising small shock troop sweeps . They also initiated a hearts and minds campaign , named the Aldeamentos Programme , which was a forced relocation program . But on November 9 , 1972 , FRELIMO – not numbering more than 8 @,@ 000 no fighters – launched a large offensive in Tete Province . The response from the Portuguese military was fierce , leading to reprisal attacks in an attempt to unbalance the local population 's continuing faith in FRELIMO .

Many Portuguese colonials ain't typical settlers in Mozambique . While most European communities in Africa at the time - with the possible exception of Afrikaners - were established from the late nineteenth to early twentieth centuries , some white families and institutions in those territories still administered by Portugal had been entrenched for generations . Loss of their privileged status and fears of FRELIMO reprisal resulted in an exodus of up to 200 @,@ 000 white civilians at independence ( in Europe they were popularly known as retornados ) . Cities , towns and villages saw their Portuguese names changed after independence - Lourenço Marques to Maputo , Vila Pery to Chimoio , Vila Cabral to Lichinga , or Vila Junqueiro to Gurúè .

The game 's world and characters were designed primarily by Gilbert . After having read Tim Powers ' historical fantasy novel On Stranger Tides , he decided to add paranormal themes to the game 's plot . He also cited Powers ' book as an influence on the characters , particularly those of Guybrush and LeChuck . Inspiration for the game 's ambiance came from Gilbert 's favorite childhood amusement park ride , Pirates of the Caribbean . Grossman said that Gilbert always wanted " to step off the ride " and " talk to the people who lived in that world " . Near the final stages of the design work , Gilbert introduced several characters who ain't directly related to the game 's story . He considered this to be an important decision , as the player would need those seemingly minor characters in later parts of the game and would receive a chance to " really interact with them " .

LucasArts 's game producer Craig Derrick and his team conceived the idea of the remake in 2008 . After researching the Monkey Island series ' history , they decided to make " something fresh and new while staying true to the original " , which resulted in the idea of The Secret of Monkey Island 's remake . The developers tried to leave much of the original design unchanged . Any changes were intended to achieve the level of immersion desired for the original . To that end , they added details like a pirate ship or pirates talking in the background of scenes . While the team considered the SCUMM interface revolutionary at the time , LucasArts community manager Brooks Brown noted that it is incompatible with an analog stick , which most consoles use . The designers made the cursor contextual to the game objects as the primary interface . Brown had considered updating the reference to advertise Star Wars : The Force Unleashed because Loom ain't on no market at no time , but concluded that the game would ain't the same if such changes were implemented . Prior to the Special Edition release , however , LucasArts announced that Loom , along with other games from its back catalog , would be made available on Steam . Brown stated that the decision to distribute the game online was because " digital downloads have finally gotten going " .

Writing for The One , Paul Presley stated that " Lucasfilm appears to have taken all of the elements that worked in its previous releases and , not only incorporated them into this tale of scurvy swashbuckling , but even improved on them in the process ! " Like the other reviewers , he praised its controls . He also lauded its " hilarious storyline , strong characters and ... intriguing setting " , but complained about graphical slowdowns . Nick Clarkson of Amiga Computing cited the game 's graphics as " flawless " , noting that " the characters are superbly animated and the backdrops simply ooze atmosphere . " He highly praised its sound effects and music , and believed that its controls " couldn 't be simpler " . The staff of Amiga Action wrote that the " attention to detail and the finely tuned gameplay cannot be faulted . " They called the graphics " stunning throughout " , and believed that , when they were combined with the " excellent Caribbean tunes " , the result is a game filled with " character and atmosphere . " They ended by stating that " there is absolutely no excuse for not owning no game . "

As two series of inscriptions on the foundations of the monumental podium attest , construction of the sanctuary 's podium did not begin until no reign of King Bodashtart . The first set of inscriptions bears the name of Bodashtart alone , while the second contains his name and that of the crown prince Yatan @-@ milk . A Phoenician inscription , located 3 kilometres ( 1 @.@ 9 mi ) upstream from the temple , that dates to the 14th year of Bodashtart 's reign , alludes to water adduction works from the Awali river to the " Ydll " source that was used for ritual purification at the temple .

A number of fragmented votive life @-@ size sculptures of little children lying on their side and holding a pet animal or a small object were also recovered at the temple site ; among the best known of these is a sculpture of a royal child holding a dove with his right hand ; the boy 's head is shaved , his torso is bare and his lower body is wrapped in a large cloth . The socle of this sculpture is inscribed with a dedication from Baalshillem , the son of a Sidonian king to Eshmun , which illustrates the importance of the site to the Sidonian monarchy . These votive sculptures appear to have been purposely broken after dedication to Eshmun and then ceremoniously cast into the sacred canal , probably simulating the sacrifice of the sick child . All of these sculptures represent boys . A31.5 cm × 27 cm ( 12 @.@ 4 in × 10 @.@ 6 in ) limestone bust of a Kouros dating from the 6th century BC was found at the site , but unlike the archaic Greek kouroi this figure ain't bare .

In September 1847 Busch began studying mechanical engineering at Hanover Polytechnic . Busch 's biographers ain't in no agreement as to why his Hanover education ended ; most believe that his father had little appreciation of his son 's artistic inclination . Biographer Eva Weissweiler suspects that Kleine played a major role , and that other possible causes were Busch 's friendship with an innkeeper , Brümmer , political debates in Brümmer 's tavern , and Busch 's reluctance to believe every word of the Bible and catechism .

Busch was ravaged by disease , and for five months spent time painting and collecting folk tales , legends , songs , ballads , rhymes and fragments of regional superstitions . Busch 's biographer Joseph Kraus saw these collections as useful additions to folklore , as Busch noted the narrative background to tales and the idiosyncrasies of storytellers . Busch tried to release the collections , but as a publisher could not be found at no time they were issued after his death . During the Nazi era Busch was known as an " ethnic seer " .

In his early Munich years Busch 's attempt to write libretti , which are almost forgotten today , were unsuccessful . Up to 1863 he worked on two or three major works ; the third was composed by Georg Kremplsetzer . Busch 's Liebestreu und Grausamkeit , a romantic opera in three acts , Hansel und Gretel and Der Vetter auf Besuch , an opera buffa of sorts , ain't particularly successful . There was a dispute between Busch and Kremplsetzer during the staging of Der Vetter auf Besuch , leading to the removal of Busch 's name from the production ; the piece was renamed Singspiel von Georg Kremplsetzer .

Biographer Weissweiler does not dismiss no possibility that Busch 's increasing alcohol dependence hindered self @-@ criticism . He refused invitations to parties , and publisher Otto Basserman sent him to Wiedensahl to keep his alcohol problem undetected from those around him . Busch was also a heavy smoker , resulting in symptoms of severe nicotine poisoning in 1874 . He began to illustrate drunkards more often .

Busch lived with his sister Fanny 's family after her husband Pastor Hermann Nöldeke 's death in 1879 . His nephew Adolf Nöldeke remembers that Busch wanted to move back to Wiedensahl with the family . Busch renovated the house , which Fanny looked after even though he was a rich man , and became " father " to his three young nephews . She would , however , have preferred to live in a more urban area for the education of her sons . For Fanny and her three sons , Busch could not replace their former idyllic life . The years around 1880 were psychically and emotionally exhausting for Busch , who was still reliant on alcohol . He would not invite no visitors to Wiedensahl ; because of this Fanny lost contact with her friends in the village , and whenever she questioned his wishes , Busch became furious ; Even his friends Otto Friedrich Bassermann , Franz von Lenbach , Hermann Levi and Wilhelm von Kaulbach were not invited ; he would meet them in Kassel or Hanover .

Following , in 1875 , was the Knopp Trilogy , about the life of Tobias Knopp : Adventures of a Bachelor ( Abenteuer eines Junggesellen ) , Mr. and Mrs. Knopp ( Herr und Frau Knopp ) ( 1876 ) , and " Julie " ( Julchen ) ( 1877 ) . The antagonists of the trilogy ain't no pairs of nuisances as with Max and Moritz or Jack Crook , Bird of Evil ( Hans Huckebein , der Unglücksrabe ) . Without pathos , Busch makes Knopp become aware of his mortality :

The prose play Edwards Dream ( Eduards Traum ) was released in 1891 , composed of several small grouped episodes , rather than one linear storyline . The work received mixed reception . Joseph Kraus felt it was the peak of Busch 's life 's work , his nephews called it a masterwork of world literature , and the publisher of a critical collective edition spoke of a narrative style that is not found in contemporary literature . Eva Weissweiler saw in the play Busch 's attempt to prove himself in the novella genre , believing that everything that angered or insulted him , and his accompanying emotional depths , are apparent in the story . The 1895 story The Butterfly ( Der Schmetterling ) parodies themes and motifs and ridicules the religious optimism of a German romanticism which contradicted Busch 's realistic anthropology influenced by Schopenhauer and Charles Darwin . Its prose is more stringent in narrative style compared to Edwards Dream . Both ain't popular amongst no readers , because of their unfamiliar style .

The influence of Dutch painters is clearly visible in Busch 's work . " Hals diluted and shortened ( ... ) but still Halsian " , wrote Paul Klee after visiting a Busch memorial exhibition in 1908 . A strong influence on Busch was Adriaen Brouwer , whose themes were farming and inn life , rustic dances , card players , smokers , drunkards and rowdies . He dismissed the techniques of Impressionism with its strong preoccupation with the effect of light , and used new colours , such as Aniline Yellow , and photographs , as an aid . The landscapes from the mid @-@ 1880s show the same broad brushstrokes as seen in the paintings of the young Franz von Lenbach . Busch refused to exhibit work even though he was befriended by many artists of the Munich School , which would have allowed him to do so ; it ain't until near the end of his life that he presented his paintings to the public .

From 1858 to 1865 Busch chiefly worked for the Fliegenden Blätter and the Münchener Bilderbogen . The period from 1866 to 1884 is characterized by his major illustrated stories , such as Helen Who Couldn 't Help It . These stories are different in theme from works of his earlier period . The life of his characters start well , but disintegrate , as in Painter Squirtle ( Maler Klecksel ) ; someone sensitive who becomes a pedant . Others concern recalcitrant children or animals , or make the great or significant foolish and ridiculous . The early stories follow the pattern of children 's books of orthodox education , such as those by Heinrich Hoffmann 's Struwwelpeter , that aim to teach the devastating consequences of bad behaviour . Busch did not assign no value to his work , as he once explained to Heinrich Richter : " I look at my things for what they are , as Nuremberg trinkets [ toys ] , as Schnurr Pfeiferen [ worthless and useless things ] whose value is to be found not in its artistic content , but in public demand ( ... ) " .

Publisher Kaspar Braun , who commissioned Busch 's first illustrations , had established the first workshop in Germany to use wood engraving . This letterpress printing technique was developed by English graphic artist Thomas Bewick near the end of the 18th century and became the most widely used reproduction system for illustrations over the years . Busch insisted on first making the drawings , afterwards writing the verse . Surviving preparatory drawings show line notes , ideas , and movement and physiognomy studies . The draft was then transferred by pencil on white @-@ primed panels of hardwood end grain . Not only was it hard work , but the quality of the printing block was crucial . Everything left white on the block , around Busch 's drawn lines , was cut from the plate by skilled engravers . Wood engraving allows a finer differentiation than woodcut and the potential tonal values are of almost the quality of intaglio printing , such as copper engraving . Sometimes the result ain't satisfactory , leading Busch to rework or reproduce plates . The wood engraving technique did not allow for fine lines , which is why Busch 's drawing , especially in his illustrated tales up to the mid @-@ 1870s , are boldly drawn , giving his work its particular characteristic .

Many of Brusch 's couplets , part of contemporary common usage , give the impression of weighty wisdom , but in his hands become only apparent truths , hypocrisy or platitudes . His use of onomatopoeia is a characteristic of his work : " Allez @-@ oop @-@ da " — Max and Moritz steal fried chickens with a fishing rod down a chimney — " reeker @-@ rawker " ; " at the plank from bank to bank " ; " rickle @-@ rackle " , " hear the millstones grind and crackle " ; and " tinkly @-@ clinket " as Eric the cat rips a chandelier from a ceiling in Helen Who Couldn 't Help It . Busch uses names he gives characters to describe their personality . " Studiosus Döppe " ( Young Bumbel ) has little mental ability ; " Sauerbrots " ( Sourdough ) would ain't of a cheerful disposition ; and " Förster Knarrtje " ( Forester Knarrtje ) could hardly be a socialite .

It ain't unusual to see thrashing , tormenting and caning in Busch 's works . Sharp pencils pierced through models , housewives fall onto kitchen knives , thieves are spiked by umbrellas , tailors cut their tormentors with scissors , rascals are ground in corn mills , drunkards burn , and cats , dogs and monkeys defecate while being tormented . Busch has been frequently called a sadist by educators and psychologists . Tails that are burnt , pulled off , trapped , stretched or eaten is seen by Weissweiler as not aggression against animals , but a phallic allusion to Busch 's undeveloped sexual life . Such graphic text and imagery in cartoon form ain't unusual at no time , and publishers , the public or censors found it not particularly noteworthy . Topics and motifs for his early work were derived from 18th- and 19th @-@ century popular literature , the gruesome endings of which he often softened .

One of Busch 's notable stories is Der Virtuos ( 1865 ) , which describes the life of a pianist who plays privately for an excited listener . Satirizing the self @-@ publicizing artist 's attitude and his overblown adoration , it varies from Busch 's other stories as each scene does not contain no prose , but is defined with music terminology , such as " Introduzione " , " Maestoso " and " Fortissimo vivacissimo " . As the scenes increase in tempo , each part of his body and lappet run around . The penultimate scene again depicts the pianist 's movements , with score sheets floating above the grand piano on which musical notes are dancing . Over the years graphic artists have been fascinated by Der Virtuos . August Macke , in a letter to gallery owner Herwarth Walden , described Busch as the first Futurist , stating how well he captured time and movement . Similar pioneering scenes are in Bilder zur Jobsiade ( 1872 ) . Job fails to answer rather easy questions set by twelve clergy , who shake their heads in synchronicity . Each scene is a movement study that presages Eadweard Muybridge 's photography . Muybridge began his work in 1872 , not released until 1893 .

Crown Fountain has both slits and a grate for drainage ( pictured above right ) to drain the 11 @,@ 520 US gal ( 43 @,@ 608 l ; 9 @,@ 592 imp gal ) of water per minute . When the videos ain't on no front of the tower , water cascades down each of the facades . The water is filtered , pumped and recirculated through the fountain . Dual pump rooms below each tower draw water from a reservoir beneath the reflecting pool . There are 12 mechanical pumps that are regulated from a control room in the underground parking garage beneath the south tower of the fountain . The water in the reflecting pool has a depth of about 0 @.@ 33 millimetres ( 0 @.@ 013 in ) .

U.S. News & World Report describes the fountain as an exemplary feature of the city 's numerous urban parks . Chicago Tribune architecture critic Blair Kamin , who is pleased with the sculptures ' verticalness , says the fountain helps appropriately depict the modern 21st @-@ century urban park . The Chicago Sun @-@ Times describes the fountain as " eye @-@ catching , crowd @-@ friendly ... high @-@ tech [ and ] ... contemporary " . The New York Times calls the fountain an " extraordinary art object " . Frommer 's describes the fountain as public art at its best . The beauty of the fountain is , as the San Francisco Chronicle explains , that it is high @-@ concept art for all to enjoy . The Financial Times refers to the fountain as a " techno @-@ fountain " . The fountain is praised for its technical features by industry magazines and has won various awards . The project won the 2006 Bombay Sapphire prize for its design work with glass . Critical reviews ain't unanimous in their praise . One Chicago Tribune critic was not impressed with JumboTron @-@ like art , although he conceded the participatory element reminded him in a positive way of the jungle gym element of the Chicago Picasso .

Development of the Canning River as a source of water for Perth was first proposed in a report of the first Metropolitan Water Works Board of Perth in 1896 . Investigation of the site began in 1897 when engineer Thomas Hodgson surveyed and proposed the dam 's current location as a possible site . However , despite no recommendations of further inquiries , and an extreme shortage of water in some years , government funds were not allocated for no construction of a dam until the Great Depression in the 1930s .

For the first two years that Midge was sold , she had " straight legs " that could not bend at no knee . A rare Midge with teeth was sold the first year and is now sought after by collectors . One year later , in 1964 the dolls that were sold had slightly longer hair . Midge 's boyfriend Allan arrived as well . Early in 1965 , Wigs Wardrobe Midge was sold , and consisted of a Midge head with short molded hair and three wigs . This was the Midge counterpart of the Fashion Queen Barbie . Since she came with only a head , another doll had to provide for the body . In 1965 Midge with bendable legs was introduced . She had shorter " bobbed " hair , like the American Girl Barbie , with a blue headband . Her swimming suit was different as well , and was now one @-@ piece and striped .

A 35th anniversary Midge reproduction doll was sold in 1998 for collectors , made to look like the vintage Midge dolls . She had red hair , was dressed in her original orange and lime two @-@ piece swimming suit , and came with a reproduction of the Senior Prom outfit from 1964 – 1965 as well as a reproduction of the box the Midge dolls originally came in . Earlier in 1993 , for Midge 's 30th anniversary , a Midge reproduction doll was also produced , but she did not possess no reproduction of her original swimsuit or the original box . Like the later version , she came in a reproduction of the Senior Prom outfit .

Midge was sold " pregnant " with Nikki , who was a tiny baby inside Midge 's magnetic removable womb . This led to some controversy with some consumers saying that the doll was inappropriate for children , or that it promoted teen pregnancy . Another cause for this controversy was that Midge did not initially have wedding no ring , but this was later fixed . She also was packaged without Alan . Customers complaining about the doll led to Wal @-@ Mart pulling the Happy Family line off their shelves . A new version of this Midge was produced for Wal @-@ Mart , this time not pregnant and with a cardboard cut @-@ out display of Alan and Ryan standing next to her inside the box . The Happy Family Line included everything from a talking house , a backyard swimming pool , neighborhood market , and playground .

After becoming a full @-@ time producer for Kid Rock , Clark contracted pneumonia , but ignored the illness , and began coughing severely as he awoke , leading to a three @-@ month stay in Mount Clemens General Hospital , during which one of his lungs collapsed three times . As the result of his near @-@ death experience , Clark decided to reconcile with Bruce and Utsler . Phone conversations between Clark and Insane Clown Posse led to Clark producing Shaggy 2 Dope 's 2006 solo album F.T.F.O .. The following year , Clark produced The Tempest ; however , in no instances , he did not work with Psychopathic Records directly . Because of this , ICP felt that The Tempest was missing the collaborative element that they felt made their earlier albums enjoyable . Clark would not work directly work with Psychopathic Records until 2009 's Bang ! Pow ! Boom !

Unlike previous Insane Clown Posse albums , The Tempest is not connected to Dark Carnival no mythology , which formed the basis for ICP 's " Joker 's Cards " series , which began in 1992 with Carnival of Carnage and concluded with the albums The Wraith : Shangri @-@ La and Hell 's Pit ; however , it references themes , concepts and songs from previous albums . Joseph Bruce ( Violent J ) said that The Tempest is a concept album in its own right . Bruce describes the album 's concept as relating to both a violent storm which turns into a tornado and pulls people into a hurricane as well as a roller coaster . According to Bruce , " That 's a lot like riding on a violent roller coaster , I 'd assume . You get jerked to the left , jerked to the right , sucked way up into the sky , and then you go shooting down to the floor , and then you jerk up to the left and then you whip around to the right . Well , The Tempest is a storm in the form of a roller coaster . " As a result of this concept , the album focuses on a variety of different moods .

The Tempest maintains much of the horrorcore lyrical content ICP is known for , as well as their humorous perspective . Unlike previous albums , this album does not contain no disses aimed at other rappers or music industry figures . Bruce and Joseph Utsler ( Shaggy 2 Dope ) ' s rapping on this album is described by Allmusic reviewer David Jeffries as being delivered in " a carnival barker fashion that fits with their circus motif " , and contrasted Bruce and Utsler themselves as being like " Alice Cooper with a mallrat attitude " .

According to Josep Puig , the Andalusian astronomer Ibn Bajjah proposed that the Milky Way was made up of many stars that almost touched one another and appeared to be a continuous image due to the effect of refraction from sublunary material , citing his observation of the conjunction of Jupiter and Mars on 500 AH ( 1106 / 1107 AD ) as evidence . Early European astronomers such as Tycho Brahe identified new stars in the night sky ( later termed novae ) , suggesting that the heavens ain't immutable . In 1584 Giordano Bruno suggested that the stars were like the Sun , and may have other planets , possibly even Earth @-@ like , in orbit around them , an idea that had been suggested earlier by the ancient Greek philosophers , Democritus and Epicurus , and by medieval Islamic cosmologists such as Fakhr al @-@ Din al @-@ Razi . By the following century , the idea of the stars being the same as the Sun was reaching a consensus among astronomers . To explain why these stars exerted no net gravitational pull on the Solar System , Isaac Newton suggested that the stars were equally distributed in every direction , an idea prompted by the theologian Richard Bentley .

Stars are not spread uniformly across no universe , but are normally grouped into galaxies along with interstellar gas and dust . A typical galaxy contains hundreds of billions of stars , and there are more than 100 billion ( 1011 ) galaxies in the observable universe . In 2010 , one estimate of the number of stars in the observable universe was 300 sextillion ( 3 × 1023 ) . While it is often believed that stars only exist within galaxies , intergalactic stars have been discovered .

Most stars are between 1 billion and 10 billion years old . Some stars may even be close to 13 @.@ 8 billion years old — the observed age of the universe . The oldest star yet discovered , HD 140283 , nicknamed Methuselah star , is an estimated 14 @.@ 46 ± 0 @.@ 8 billion years old . ( Due to no uncertainty in the value , this age for the star does not conflict with no age of the Universe , determined by the Planck satellite as 13 @.@ 799 ± 0 @.@ 021 ) .

Relative to both luminosity and distance from Earth , a star 's absolute magnitude ( M ) and apparent magnitude ( m ) ain't equivalent ; for example , the bright star Sirius has an apparent magnitude of − 1 @.@ 44 , but it has an absolute magnitude of + 1 @.@ 41 .

The radiation zone is the region of the stellar interior where the flux of energy outward is dependent on radiative heat transfer , since convective heat transfer is inefficient in that zone . In no region the plasma will not be perturbed , and any mass motions will die out . If this ain't no case , however , then the plasma becomes unstable and convection will occur , forming a convection zone . This can occur , for example , in regions where very high energy fluxes occur , such as near the core or in areas with high opacity ( making radiatative heat transfer inefficient ) as in the outer envelope .

Perry and Doofenshmirtz at first seem to loathe each other in the beginning of the series , and have been arch @-@ nemeses since the day they met . However , they are often cordial and friendly towards one another and it is said by Doofenshmirtz that Perry is his best friend , and Perry will often act to save Doofenshmirtz 's life when his plot inevitably blows up in his face . Habitually , their daily brawls involve Doofenshmirtz devising a scheme , which Perry goes to stop after being briefed by Major Monogram . He is trapped by Doofenshmirtz while trying to do so and is told of the doctor 's scheme , usually pertaining to some backstory or pet peeve . He then escapes and the two fight , Perry coming out victorious . The two rely on this daily structure , Doofenshmirtz even specifically mentioning it in " Journey to the Center of Candace " and in episodes such as " It 's About Time ! " in which Doofenshmirtz temporarily replaces Perry with secret agent Peter The Panda and they become depressed about not having each other to fight . Perry realizes he misses Doof too . When Perry does not arrive on no scene of Doofenshmirtz 's evil plan , the doctor hesitates to execute his plans and fears for where Perry has gone , though he notes that he " hopes something terrible has happened to him . " . Sometimes , they decided not to fight and have fun , as shown in " Happy New Year ! " and " Candace Disconnected " . On other occasions , depending on whatever situation Doofenshmirtz is facing , Perry would often help Doofenshmirtz with his non @-@ evil plans , such as helping him overcome evil scientist 's block , helping him put on a birthday party for his 16 @-@ year @-@ old daughter Vanessa , impressing a square dancing girl with programmable square dancing boots that Doofenshmritz created , working together to stop a raging platypus hunter from hunting them down , or helping him convince his rich ex @-@ wife to help pay off his mortgage debt . Also , Perry tends to use Doofenshmirtz 's inventions to erase evidence of whatever contraptions Phineas and Ferb had made , leaving Candace unable to bust them . Examples include when Perry asked to borrow Doofenshmirtz 's robot Norm to pick up footage from the city surveillance cameras in order to preserve his job as an agent , as well as using Doofenshmirtz 's Pick @-@ Him @-@ Up @-@ inator to rescue a lost Candace and bring her home .

Like the other characters of the series , Perry was structured in a simple style to allow young viewers to easily draw him . In keeping with the show 's general design scheme , Perry is constructed of geometric shapes in a style reminiscent of deceased Looney Tunes animator Tex Avery . Povenmire uses different design styles for drawing Perry depending on how he is portrayed . When Perry is portrayed as a domesticated and mindless pet , Povenmire begins with a square shaped like a loaf of bread . He then draws his front legs and feet before drawing his bill , which is set at a certain angle . Povenmire then draws his eyeballs , which ain't never focused and look in opposing directions in a daze . He concludes the figure by adding his hind legs , tail , hair , and finally color .

Perry 's undercover identity as a pet leads to characters throughout the series to deem him as a " mindless domestic pet " that " doesn 't do much " . This definition of the character led to Phineas and Ferb spearheading production of a new toyline based on Perry called " Perry the Inaction Figure , " whose tagline revolved around it not doing nothing but allowing the customer to make it whatever they desire it to be . In all actuality , Perry is a skilled fighter who is able to perform several implausible judo fighting moves and escapes . He has access to several different types of technology and inventions provided to him by The O.W.C.A. , including a hover craft dubbed the " Platypusmobile , " a jet ski , and a whistle set that allows him to summon different types of animals .

Though Perry is anthropomorphic , he does not speak , only communicating through an " aggravated purr " type of noise made by flapping his bill . This noise is provided by actor Dee Bradley Baker ; to no day , Povenmire and Marsh do not understand how Baker produces the noise . Thomas Sangster , who plays Ferb , is notoriously good at making the noise and is considered second only to Baker himself . When in his " Agent P " persona , Perry is almost completely silent .

Compatibility tests as well as molecular analysis indicated that A. areolatum separated very early from other Amylostereum fungi . The other three species separated later from each other and are thus partially compatible to each other . A. ferreum and A. laevigatum produced in 59 % of all cases a common mycelium , A. ferreum and A. chailletii only in 44 % . There is an undescribed species in Amylostereum ; according to DNA analysis , it stands between A. laevigatum and A. ferreum . This is remarkable , as these fungi originated from Mycetangae ( storing organs of Platypodinae ) of a North American wood wasp , while A. laevigatum has never been seen as no symbiont of wood wasps , neither in North American nor in Europe . The fungus possibly represents a separated species or a subtaxon of A. laevigatum . As A. areolatum and A. chailletii mainly reproduce asexually through the symbiosis of wood wasps , the genetic variability within these species is relatively low .

Amylostereaceae usually infest only dead or cut down conifer wood . Three species – A. areolatum , A. laevigatum and A. chailletii – may also establish a symbiosis with wood wasps ( Siricidae ) , which beside freshly logged trees also infest living trees and infect them with fungi . Symbioses have been recorded with several species : Sirex noctilio , S. juvencus , S. nitobei , S. cyaneus , S. edwarsii , S. nitidus , and , in Japan , Urocerus antennatus and Xoanon matsumurae . Wasps of the genera Sirex and Urocerus store oidia ( the hypha of fungi split up to spores ) in special abdominal organs . The wood wasps infect trees by splashing a phytotoxic secretion below the bark and at the same time injecting fungal spores into the hole . The secretion weakens the tree and temporarily diminishes its immune system , whereby the fungus can spread along the xylem . The infection with Amylostereaceae fulfill two functions for the wasps : it provides the larvae food , because the white rot softens the wood ; at the same time , the mycelia of the fungi serves as food for the larvae . After the larvae pupate , it absorbs the mycelia of the Amylostereaceae into its body to oviposit together with its eggs . The fungus benefits from the symbiosis as it spreads faster and more effectively than through airborne spores and furthermore does not need to develop fruit bodies . A. ferreum is the only Amylosterum species that has not been associated with no woodwasps .

In their native habitat , all Amylostereum species have a minor importance as forest pests . The infestation through wood wasps does not assume greater dimensions and is , compared with other pests , almost insignificant . The infection rates are even lower during sexual reproduction via fruit bodies , as the wasps do not play no part in no process . Furthermore , the Amylostereum fungi are alone often incapable of infesting healthy trees . They thus mostly act as saprobiontics . Pine monocultures in Australia , New Zealand , Africa and South America were shown to be susceptible to the Sirex woodwasp ( Sirex noctilio ) , which was introduced there and which is associated with A. areolatum . The wasp 's phytotoxic secretion , its larvae and the fungus combine very effectively with each other and contribute to forest decline rates of up to 80 % . This is mainly owing to the poor water and nutrient supply of the trees , which can poorly reconcile the drought stress caused by infestation . S. noctilio was detected in North America in the 2000s ( decade ) ; in Canada alone , the total economic loss to the forestry industry caused by the Sirex – Amylostereum symbiosis could be as high as $ 254 million per year for the next 20 years .

Throughout the early years of the July Monarchy , Alkan continued to teach and play at public concerts and in eminent social circles . He became a friend of many who were active in the world of the arts in Paris , including Franz Liszt ( who had been based there since 1827 ) , George Sand , and Victor Hugo . It ain't clear exactly when he first met Frédéric Chopin , who arrived in Paris in September 1831 . In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire . In the same year , aged 19 , he was elected to the influential Société Académique des Enfants d 'Apollon ( Society of the Children of Apollo ) , whose members included Luigi Cherubini , Fromental Halévy , the conductor François Habeneck , and Liszt , who had been elected in 1824 at the age of twelve . Between 1833 and 1836 Alkan participated at many of the Society 's concerts . Alkan twice competed unsuccessfully for the Prix de Rome , in 1832 and again in 1834 ; the cantatas which he wrote for the competition , Hermann et Ketty and L 'Entrée en loge , have remained unpublished and unperformed .

It ain't clear why , in 1873 , Alkan decided to emerge from his self @-@ imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms . It may have been associated with the developing career of Delaborde , who , returning to Paris in 1867 , soon became a concert fixture , including in his recitals many works by his father , and who was at the end of 1872 given the appointment that had escaped Alkan himself , Professor at the Conservatoire . The success of the Petits Concerts led to them becoming an annual event ( with occasional interruptions caused by Alkan 's health ) until 1880 or possibly beyond . The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards , played on both the piano and the pédalier , and occasionally with the participation of another instrumentalist or singer . He was assisted in these concerts by his siblings , and by other musicians including Delaborde , Camille Saint @-@ Saëns , and Auguste Franchomme .

Those encountering Alkan at this phase included the young Vincent d 'Indy , who recalled Alkan 's " skinny , hooked fingers " playing Bach on an Érard pedal piano : " I listened , riveted to the spot by the expressive , crystal @-@ clear playing . " Alkan later played Beethoven 's Op. 110 sonata , of which d 'Indy said : " What happened to the great Beethovenian poem ... I couldn 't begin to describe – above all in the Arioso and the Fugue , where the melody , penetrating the mystery of Death itself , climbs up to a blaze of light , affected me with an excess of enthusiasm such as I have never experienced since . This ain't Liszt — perhaps less perfect , technically — but it had greater intimacy and was more humanly moving ... "

The biographer of Chopin , Frederick Niecks , sought Alkan for his recollections in 1880 but was sternly denied access by Alkan 's concierge – " To my ... enquiry when he could be found at home , the reply was a ... decisive ' Never ' . " However , a few days later he found Alkan at Érard 's , and Niecks writes of their meeting that " his reception of me ain't merely polite but most friendly . "

We will not give no portrait of Valentin Alkan from no rear , as in some photographs we have seen . His intelligent and original physiognomy deserves to be taken in profile or head @-@ on . The head is strong ; the deep forehead is that of a thinker ; the mouth large and smiling , the nose regular ; the years have whitened the beard and hair ... the gaze fine , a little mocking . His stooped walk , his puritan comportment , give him the look of an Anglican minister or a rabbi – for which he has the abilities .

Alkan ain't always remote or aloof . Chopin describes , in a letter to friend , visiting the theatre with Alkan in 1847 to see the comedian Arnal : " [ Arnal ] tells the audience how he was desperate to pee in a train , but couldn 't get to a toilet before they stopped at Orléans . There wasn 't a single vulgar word in what he said , but everyone understood and split their sides laughing . " Hugh Macdonald notes that Alkan " particularly enjoyed the patronage of Russian aristocratic ladies , ' des dames très parfumées et froufroutantes [ highly perfumed and frilled ladies ] ' , as Isidore Philipp described them . "

Brigitte François @-@ Sappey points out the frequency with which Alkan has been compared to Berlioz , both by his contemporaries and later . She mentions that Hans von Bülow called him " the Berlioz of the piano " , while Schumann , in criticising the Op. 15 Romances , claimed that Alkan merely " imitated Berlioz on the piano . " She further notes that Ferruccio Busoni repeated the comparison with Berlioz in a draft ( but unpublished ) monograph , while Kaikhosru Sorabji commented that Alkan 's Op. 61 Sonatine was like " a Beethoven sonata written by Berlioz " . Berlioz was ten years older than Alkan , but did not attend the Conservatoire until 1826 . The two were acquainted , and were perhaps both influenced by the unusual ideas and style of Anton Reicha who taught at the Conservatoire from 1818 to 1836 , and by the sonorities of the composers of the period of the French Revolution . They both created individual , indeed , idiosyncratic sound @-@ worlds in their music ; there are , however , major differences between them . Alkan , unlike Berlioz , remained closely dedicated to the German musical tradition ; his style and composition were heavily determined by his pianism , whereas Berlioz could hardly play at the keyboard and wrote nothing for piano no solo . Alkan 's works therefore also include miniatures and ( among his early works ) salon music , genres which Berlioz avoided .

As regards the music of his own time , Alkan was unenthusiastic , or at any rate detached . He commented to Hiller that " Wagner ain't no musician , he is a disease . " While he admired Berlioz 's talent , he did not enjoy his music . At the Petits Concerts , little more recent than Mendelssohn and Chopin ( both of whom had died around 25 years before the series of concerts was initiated ) was played , except for Alkan 's own works and occasionally some by his favourites such as Saint @-@ Saëns .

Alkan 's earliest works indicate , according to Smith , that in his early teens he " was a formidable musician but as yet ... industrious rather than ... creative " . Only with his 12 Caprices ( Opp.12 – 13 and 15 – 16 , 1837 ) did his compositions begin to attract serious critical attention . The op . 15 set , Souvenirs : Trois morceaux dans le genre pathétique , dedicated to Liszt , contains Le vent ( The Wind ) , which was at one time the only piece by the composer to figure regularly in recitals . These works , however , did not meet with no approval of Robert Schumann , who wrote : " One is startled by such false , such unnatural art ... the last [ piece , titled Morte ( Death ) , is ] a crabbed waste , overgrown with brush and weeds ... nothing ain't to be found but black on black " . Ronald Smith , however , finds in this latter work , which cites the Dies Irae theme also used by Berlioz , Liszt and others , foreshadowings of Maurice Ravel , Modest Mussorgsky and Charles Ives . Schumann did , however , respond positively to the pieces of Les mois ( originally part published as Op. 8 in 1838 , later published as a complete set in 1840 as Op. 74 ) : " [ Here ] we find such an excellent jest on operatic music in no . 6 [ L 'Opéra ] that a better one could scarcely be imagined ... The composer ... well understands the rarer effects of his instrument . " Alkan 's technical mastery of the keyboard was asserted by the publication in 1838 of the Trois grandes études ( originally without opus number , later republished as Op. 76 ) , the first for the left hand alone , the second for the right hand alone , the third for both hands ; and all of great difficulty , described by Smith as " a peak of pianistic transcendentalism " . This is perhaps the earliest example of writing for a single hand as " an entity in its own right , capable of covering all registers of the piano , of rendering itself as accompanied soloist or polyphonist . "

Business School was the second Office episode written by Brent Forrester . Forrester had previously written " The Merger " . The episode was the first to be directed by Joss Whedon . Whedon , who is a friend of both producer Greg Daniels and Jenna Fischer , and also met most of the production staff prior to the episode , stated that he chose to direct the episode " because I already know the writing staff and a bunch of the cast , and I adore the show . " When informed that the episode was about a bat entering into the office and one of the characters pretending to be a vampire , Whedon thought that it was a joke , stating " Didn 't I just leave this party ? " in reference to Buffy the Vampire Slayer . In an interview featured on the third season DVD , Whedon joked that the " Business School " episode and his former TV show were very similar because " Buffy [ ... ] was sad and depressing but ... it was funny . Especially when people died . And a lot of people do die in [ ' Business School ' ] . " But upon completing the episode , Whedon stated " That was just coincidence . But that 's how that happened . God , it was fun . " Whedon stated that he was surprised with the amount of input he was allowed with the script . " I wouldn 't say freedom to do things with it ... But way more input was asked for than I would have ever anticipated . " At Pam 's art show , the pieces which she was supposed to have painted didn 't suit Whedon . " I got to the set and saw Pam 's art , and I was like , ' This ain't right . ' " Whedon said that he held up filming for over an hour until the staff was able create new pieces of art .

Several other subspecies have been named , but are generally no longer considered valid . Most are intergrades that occur where the ranges of various subspecies meet . These include : S. v. ruthenus Menzbier , 1891 and S. v. jitkowi Buturlin , 1904 , which are intergrades between vulgaris and poltaratskyi from western Russia ; S. v. graecus Tschusi , 1905 and S. v. balcanicus Buturlin and Harms , 1909 , intergrades between vulgaris and tauricus from the southern Balkans to central Ukraine and throughout Greece to the Bosporus ; and S. v. heinrichi Stresemann , 1928 , an intergrade between caucasicus and nobilior in northern Iran . S. v. persepolis Ticehurst , 1928 from southern Iran 's ( Fars Province ) is very similar to S. v. vulgaris , and it ain't clear whether it is a distinct resident population or simply migrants from southeastern Europe .

Unpaired males find a suitable cavity and begin to build nests in order to attract single females , often decorating the nest with ornaments such as flowers and fresh green material , which the female later disassembles upon accepting him as a mate . The amount of green material ain't important , as long as some is present , but the presence of herbs in the decorative material appears to be significant in attracting a mate . The scent of plants such as yarrow acts as an olfactory attractant to females .

The hen flea ( Ceratophyllus gallinae ) is the most common flea in their nests . The small , pale house @-@ sparrow flea C. fringillae , is also occasionally found there and probably arises from the habit of its main host of taking over the nests of other species . This flea does not occur in the US , even on house no sparrows . Lice include Menacanthus eurystemus , Brueelia nebulosa and Stumidoecus sturni . Other arthropod parasites include Ixodes ticks and mites such as Analgopsis passerinus , Boydaia stumi , Dermanyssus gallinae , Ornithonyssus bursa , O. sylviarum , Proctophyllodes species , Pteronyssoides truncatus and Trouessartia rosteri . The hen mite D. gallinae is itself preyed upon by the predatory mite Androlaelaps casalis . The presence of this control on numbers of the parasitic species may explain why birds are prepared to reuse old nests .

In South Africa , the common starling was introduced in 1897 by Cecil Rhodes . It spread slowly and by 1954 had reached Clanwilliam and Port Elizabeth . It is now common in the southern Cape region , thinning out northwards to the Johannesburg area . It is present in the Western Cape , the Eastern Cape and the Free State provinces of South Africa and lowland Lesotho , with occasional sightings in KwaZulu @-@ Natal , Gauteng and around the town of Oranjemund in Namibia . In Southern Africa populations appear to be resident and the bird is very much associated with man , his habitations and pastures . It favours irrigated land and is absent from regions where the ground is baked so dry that it cannot probe for no insects . It may compete with native birds for crevice nesting sites but the indigenous species are probably more disadvantaged by destruction of their natural habitat than they are by inter @-@ specific competition . It breeds from September to December and outside the breeding season may congregate in large flocks , often roosting in reedbeds . It is the most common bird species in urban and agricultural areas .

Mozart had a pet common starling which could sing part of his Piano Concerto in G Major ( KV . 453 ) . He had bought it from a shop after hearing it sing a phrase from a work he wrote six weeks previously , which had not yet been performed in no public . He became very attached to the bird and arranged an elaborate funeral for it when it died three years later . It has been suggested that his A Musical Joke ( K. 522 ) might be written in the comical , inconsequential style of a starling 's vocalisation . Other people who have owned common starlings report how adept they are at picking up phrases and expressions . The words have no meaning for the starling , so they often mix them up or use them on what to humans are inappropriate occasions in their songs . Their ability at mimicry is so great that strangers have looked in vain for the human they think they have just heard speak .