Question: Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".

In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States. Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series. Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation". The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
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Answer: The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family

Question: The Turkana are a Nilotic people native to the Turkana District in northwest Kenya, a semi-arid climate region bordering Lake Turkana in the east, Pokot, Rendille and Samburu people to the south, Uganda to the west, and South Sudan and Ethiopia to the north. They refer to their land as Turkan. According to the 2009 Kenyan census, Turkana number 855,399, or 2.5% of the Kenyan population, making the Turkana the third largest Nilotic ethnic group in Kenya, after the Kalenjin and the Luo, slightly more numerous than the Maasai, and the tenth largest ethnicity in all of Kenya. Although this figure was initially controversial and rejected as too large by Planning Minister Wycliffe Oparanya, a court ruling (Feb 7, 2012) by Justice Mohammed Warsame (judge) stated that the Kenyan government accepts the 2009 census figures for Turkana.

Traditionally, both men and women wear wraps made of rectangular woven materials and animal skins. Today, these cloths are normally purchased, having been manufactured in Nairobi or elsewhere in Kenya. Often, men wear their wraps similar to tunics, with one end connected with the other end over the right shoulder, and carry wrist knives made of steel and goat hide. Men also carry stools (known as ekicholong) and will use these for simple chairs rather than sitting on the hot midday sand. These stools also double as headrests, keeping one's head elevated from the sand, and protecting any ceremonial head decorations from being damaged. It is also not uncommon for men to carry several staves; one is used for walking and balance when carrying loads; the other, usually slimmer and longer, is used to prod livestock during herding activities. Women will customarily wear necklaces, and will shave their hair completely which often has beads attached to the loose ends of hair. Men wear their hair shaved. Women wear two pieces of cloth, one being wrapped around the waist while the other covers the top. Traditionally leather wraps covered with ostrich egg shell beads were the norm for women's undergarments, though these are now uncommon in many areas. The Turkana people have elaborate clothing and adornment styles. Clothing is used to distinguish between age groups, development stages, occasions and status of individuals or groups in the Turkana community. Today, many Turkana have adopted western-style clothing. This is especially prominent among both men and women who live in town centers throughout Turkana.

Using a quote from the above article, answer the following question: What sorts of colors are the Turkana people's clothing?
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Answer:
Traditionally leather wraps covered with ostrich egg shell beads were the norm for women's undergarments,