Jimmy Perry, and de-emphasized in scenarios that stress the omnivore status of humans as their recipe for success, and social interaction, including mating behaviour as essential in the emergence of language and culture. Advocates of the hunting hypothesis tend to believe that tool use and toolmaking essential to effective hunting were an extremely important part of human evolution, and trace the origin of language and religion to a hunting context. As societal evidence David Buss cites that modern tribal population deploy hunting as their primary way of acquiring food. The Aka pygmies in the Central African Republic spend 56% of their 	Hunting hypothesis
9392889	quest for nourishment hunting, 27% gathering, and 17% processing food. Additionally, the !Kung in Botswana retain 40% of their calories from hunting and this percentage varies from 20% to 90% depending on the season. For physical evidence Buss first looks to the guts of humans and apes. The human gut consists mainly of the small intestines, which are responsible for the rapid breakdown of proteins and absorption of nutrients. The ape's gut is primarily colon, which indicates a vegetarian diet. This structural difference supports the hunting hypothesis in being an evolutionary branching point between modern humans and modern primates	Hunting hypothesis
9392890	. Buss also cites human teeth in that fossilized human teeth have a thin enamel coating with very little heavy wear and tear that would result from a plant diet. The absence of thick enamel also indicates that historically humans have maintained a meat-heavy diet. Buss notes that the bones of animals human ancestors killed found at Olduvai Gorge have cut marks at strategic points on the bones that indicate tool usage and provide evidence for ancestral butchers. Applications. Sexual division of labor (evolutionary perspective). According to the hunting hypothesis, women are preoccupied with pregnancy and dependent children and so 	Hunting hypothesis
9392891	do not hunt because it is dangerous and less profitable. In addition, subsistence labor differentiates as observations suggests gender patterns originate from genetic traits. Another possible explanation for women gathering is their inherent prioritization of rearing offspring, which is difficult to uphold if women were hunting. Provisioning hypothesis. Parental investment. Buss purports that the hunting hypothesis explains the high level of human male parental investment in offspring as compared to primates. Meat is an economical and condensed food resource in that it can be brought home to feed the young, as it is not efficient to carry low-calorie food 	Hunting hypothesis
9392892	across great distances. Thus, the act of hunting and the required transportation of the kill in order to feed offspring is a reasonable explanation for human male provisioning. Male coalitions. Buss suggests that the Hunting hypothesis also explains the advent of strong male coalitions. Although chimpanzees form male-male coalitions, they tend to be temporary and opportunistic. Contrastingly, large game hunters require consistent and coordinated cooperation to succeed in large game hunting. Thus male coalitions were the result of working together to succeed in providing meat for the hunters themselves and their families. Kristen Hawkes suggests further that obtaining resources 	Hunting hypothesis
9392893	intended for community consumption increases a male's fitness by appealing to the male's society and thus being in the good favor of both males and females. The male relationship would improve hunting success and create alliances for future conflict and the female relationship would improve direct reproductive success. Buss proposes alternate explanations of emergence of the strong male coalitions. He suggests that male coalitions may have been the result of group-on-group aggression, defense, and in-group political alliances. This explanation does not support the relationship between male coalitions and hunting. Hawkes proposes that hunters pursue large 	Hunting hypothesis
9392894	game and divide the kill across the group. Hunters compete to divvy up the kill to signal courage, power, generosity, prosocial intent, and dedication. By engaging in these activities, hunters receive reproductive benefits and respect. These reproductive benefits lead to greater reproductive success in more skilled hunters. Evidence of these hunting goals that do not only benefit the families of the hunters are in the Ache and Hadza men. Hawkes notes that their hunting techniques are less efficient than alternative methods and are energetically costly, but the men place more importance on displaying their bravery, power, and prosocial intent than 	Hunting hypothesis
9392895	on hunting efficiency. This method is different as compared to other societies where hunters retain the control of their kills and signal their intent of sharing. This alternate method aligns with the coalition support hypothesis, in efforts to create and preserve political associations. Reciprocal altruism. The meat from successful large game hunts are more than what a single hunter can consume. Further, hunting success varies by week. One week a hunter may succeed in hunting large game and the next may return with no meat. In this situation Buss suggests that there are low costs to giving away meat that 	Hunting hypothesis
9392896	cannot be eaten by the individual hunter on his own and large benefits from the expectation of the returned favor in a week where his hunting is not successful. Hawkes calls this sharing “tolerated theft” and purports that the benefits of reciprocal altruism stem from the result that families will experience “lower daily variation and higher daily average” in their resources. Provisioning may actually be a form of sexual competition between males for females. Hawkes suggests that male provisioning is a particularly human behavior, which forges the nuclear family. The structure of familial provisioning determines a form of resource 	Hunting hypothesis
9392897	distribution. However, Hawkes does acknowledge inconsistencies across societies and contexts such as the fluctuating time courses dedicated to hunting and gathering, which are not directly correlated with return rates, the fact that nutrition value is often chosen over caloric count, and the fact that meat is a more widely spread resource than other resources. The show-off hypothesis. The show-off hypothesis is the concept that more successful men have better mate options. The idea relates back to the fact that meat, the result of hunting expeditions, is a distinct resource in that it comes in large quantities that more 	Hunting hypothesis
9392898	often than not the hunter's own family is not able to consume in a timely manner so that the meat doesn't go sour. Also the success of hunting is unpredictable whereas berries and fruits, unless there is a drought or a bad bush, are fairly consistent in seasonality. Kristen Hawkes argues that women favor neighbors opting for men who provide the advantageous, yet infrequent meat feasts. These women may profit from alliance and the resulting feasts, especially in times of shortage. Hawkes suggests that it would be beneficial for women to reward men who employ the “show-off 	Hunting hypothesis
9392899	strategy” by supporting them in a dispute, caring for their offspring, or providing sexual favors. The benefits women may gain from their alignment lie in favored treatment of the offspring spawned by the show-off from neighbors. Buss echoes and cites Hawke's thoughts on the show-off's benefits in sexual access, increased likelihood of having children, and the favorable treatment his children would receive from the other members of the society. Hawkes also suggests that show-offs are more likely to live in large groups and thus be less susceptible to predators. Show-offs gain more benefits from 	Hunting hypothesis
9392900	just sharing with their family (classical fitness) in the potential favorable treatment from the community and reciprocal altruism from other members of the community. Hawkes uses the Ache people of Paraguay as evidence for the Show-off hypothesis. Food acquired by men was more widely distributed across the community and inconsistent resources that came in large quantities when acquired were also more widely shared. While this is represented in the Ache according to Hawkes, Buss notes that this trend is contradicted in the Hadza who evenly distribute the meat across all members of their population and whose hunters have very 	Hunting hypothesis
9392901	little control over the distribution. In the Hadza the show-off hypothesis does not have to do with the resources that result from hunting, but from the prestige and risk that is involved in big game hunting. There are possible circuitous benefits such as protection and defense. Hunting hypothesis In paleoanthropology, the hunting hypothesis is the hypothesis that human evolution was primarily influenced by the activity of hunting for relatively large and fast animals, and that the activity of hunting distinguished human ancestors from other hominins. While it is undisputed that early humans were hunters, the importance of this fact 	Hunting hypothesis
9392902	Jimmy Perry Jimmy Perry James Perry, (20 September 1923 – 23 October 2016) was an English script writer and actor. He devised and co-wrote the BBC sitcoms Dad's Army" (1968–77), "It Ain't Half Hot Mum" (1974–81), "Hi-De-Hi" (1980–88) and "You Rang, M'Lord?" (1988–93), all with David Croft. Perry co-wrote the theme tune of "Dad's Army", "Who Do You Think You Are Kidding, Mr. Hitler?" along with Derek Taverner, for which Perry received an Ivor Novello Award from the British Academy of Songwriters, Composers and Authors in 1971. Early life. Perry was born in Barnes, Surrey. His  father, Arthur, was an antiques dealer, whose shop was in South Kensington, London. He was a founder of the British Antique Dealers' Association. His son was educated at two independent schools, Colet Court and St Paul's School, which at the time were both based in Hammersmith in West London. The teenage Jimmy Perry partly served as the model for the mummy's boy character Private Pike in "Dad's Army". In a 2013 interview with Neil Clark for "The Daily Telegraph", he said his own mother "didn't go so far as making me wear a scarf, but she  came pretty near". A regular visitor to the cinemas and the theatres in Hammersmith, his school report said: "We fear for his future". He left school aged 14. In an exchange with his father Perry commented, "I don’t need any qualifications. I’m going to be a famous film star or a great comedian", to which his father responded with the phrase "you stupid boy". After leaving school, he was sent to Clark’s college to learn shorthand, typing and bookkeeping. He truanted, spending the whole of one summer reading Tarzan books on Barnes Common, rather than attending class . He worked in his father's antique shop and the carpet department of Waring & Gillow, before training as the maker of scientific instruments and working in a factory making naval telescopes. With the outbreak of the Second World War, his family moved to Watford just outside London, his father taking over the shop of an uncle. In Watford, he served in the Home Guard, which he joined in 1940, and became involved in amateur dramatics. Delaying call up at the insistence of his mother, he joined the First (Mixed) Heavy Anti-Aircraft Regiment of the Royal Artillery at Oswestry in  1943, and the camp concert party. The following year, he was sent to Bombay in India, and then Burma, being promoted in rank from gunner to bombardier in the process. He was active in the concert party at the Deolali base of the Royal Artillery, and later in Combined Services Entertainment. Demobbed and back in the UK, he trained as an actor at the Royal Academy of Dramatic Art (RADA) on a serviceman's scholarship, where his contemporaries included Joan Collins, Lionel Jeffries and Robert Shaw. He spent his vacations working as a Redcoat in Butlin's Holiday Camps. Initially  working in repertory and West End musicals from 1950 after graduating from RADA, during the period 1956-65, Perry was actor-manager at the Watford Palace Theatre, in collaboration with his wife, Gilda. Ruth Llewellyn, later Ruth Madoc and best known for her role as Gladys Pugh in "Hi-de-Hi", was one of the performers who appeared there during this time. The company also included Glenda Jackson, along with many actors that would later join him in his comedy writing career including Michael Knowles, Colin Bean, John Clegg and Mavis Pugh. After leaving Watford Palace Theatre in 1965, when  Watford council took over the theatre, Perry joined Joan Littlewood's Theatre Workshop as an actor working at its base, the Theatre Royal Stratford East. He remained with the company for two years. Comedy writer. Section::::"Dad's Army" (1968–1977). Inspired after seeing a television showing of the Will Hay comedy "Oh, Mr Porter!" (1937), he decided to use Hay's comedy device of "the pompous man in charge, old man and young boy", for his own project. Meanwhile, Perry was also gaining work in television bit parts. He was sent by his agent, Ann Callender, to be cast in an  episode of a sitcom starring Reg Varney entitled "Beggar My Neighbour" which was being produced by Callender's husband, David Croft. Perry showed Croft an outline for a sitcom derived from his experiences in the Home Guard, then entitled "The Fighting Tigers", which resulted in the producer taking the idea to Michael Mills, then the BBC Head of Comedy. With David Croft now involved with writing the scripts, as Perry had no writing experience at the time, the first series was commissioned under the new title of "Dad's Army", which was suggested by Mills. Perry, credited with the original  idea for "Dad's Army", conceived the sitcom with the role of Walker in mind for himself, but Croft and Mills successfully dissuaded him. As well as the character of Private Pike, modelled on himself, an elderly man he had known in the Home Guard had served with Lord Kitchener and became the basis for Corporal Jones. Perry also composed the opening tune for "Dad's Army", "Who Do You Think You Are Kidding, Mr Hitler?". It won the Ivor Novello Award for Best TV Signature Tune in 1971. The series did though have doubters within the BBC who feared  mocking the Home Guard would not be well received. Perry recalled in 1997 that the BBC "did audience research on it before it went out. They showed the first episode to audiences for three whole days, and 99 per cent of people loathed it. They said, 'That bald-headed old man [Captain Mainwaring] doesn't even know his lines'." Despite the doubts, the first episode was screened on 31 July 1968, with Perry making a cameo appearance as the entertainer Charlie Cheeseman in the sixth episode, "Shooting Pains". At its peak, the show had ratings of 18 million. It ran  for nine years, from 1968 to 1977, and led to two film versions (released in 1971 and 2016), a stage show and a radio version. In the 2013 "Telegraph" interview, Perry said: "It amazes me. I think it’s because it's the thing that all British people savour: we were on our own at that time and we didn't turn away. "Dad’s Army" reminds us of our finest hour." Michael Palin, remembered how of "Dad’s" "Army" seemed to take over the BBC in the late 1960s and early 1970s saying ‘when we were preparing the first  Monty Python series, the BBC Light Entertainment wardrobe department had begun more and more to resemble an army barracks ... the culprit was "Dad’s" "Army".” Section::::"The Gnomes of Dulwich" (1969). Shortly after "Dad's Army" began, Perry wrote "The Gnomes of Dulwich" (1969), which starred Hugh Lloyd and Terry Scott, who had previously appeared together in "Hugh and I". Perry had always been very interested in gnomes, he originally intended it to be a short sketch for The Morecambe & Wise Show but it was his wife who persuaded him that there was a whole series in it. In 2009, Perry  said the series two leads "were two gnomes who would sit by a pond and commented on life, race, religion - everything.” It lasted for one series of six episodes and although Perry claimed the series was quite well received, it did not warrant a second series. However the critics largely did not approve, one saying ‘I found the script banal and beyond reason’ with another simply saying ‘what a load o rubbish’. Unfortunately, all six episodes are missing from the BBC Archives and are presumed lost. Only a few stills and audio fragments survive. Section::::"Lollipop Loves Mr Mole" (later "Lollipop , 1971–1972). Lollipop Loves Mr Mole" (1971–1972), shortened to "Lollipop" for its second series, also featured Hugh Lloyd, and was Perry's only domestic sitcom. Both were written without a collaborator. Perry admitted in 2014 that he was not especially taken with the "Terry and June" type of sitcom. Section::::"It Ain’t Half Hot Mum" (1974–1981). Perry and Croft continued their collaboration with "It Ain't Half Hot Mum" (1974–81), which Perry's "Times" obituarist termed "humour of the broadest kind". Inspired by his wartime experience running the Royal Artillery Concert Party in Deolali, India "it was David’s and my  favourite", Perry told journalist Neil Clark in 2013, who expressed regret that it "appears to have fallen victim to political correctness". It is not repeated on the terrestrial channels, but was shown on UK Gold. Perry defended the series, acknowledging the language was homophobic, but maintaining "those were the attitudes people had during the war". He rejected criticism of the casting of Michael Bates as Indian character Rangi Ram. The series other leads included Windsor Davies and Melvyn Hayes and it ran for 8 series with 56 episodes, at its height the series attracted audiences of 17 million. The character  of bombardier Solomons (played by George Layton) is thought to represent Perry when he was working with ENSA during WW2. Section::::"The" "Rear" "Guard" (1976). "The Rear Guard" was a 1976 pilot episode based on the "Dad's Army" episode, "The Deadly Attachment" made for the American network ABC, but neither Jimmy Perry or David Croft were involved in the writing process. The pilot was aired on 10 August 1976, and received overwhelming poor feedback from American audiences and did not develop into a series. In an interview Perry said that he and Croft "arrived in a limousine and left in  a taxi". Section::::"Turns" (1982–1989). At the end of the 1970s, Perry became involved as presenter in a BBC series called "Turns", dedicated to music hall acts of the 1930s and 1940s as featured in films of the era. Section::::"Hi-de-Hi" (1980–1988). For "Hi-de-Hi!" (1980–88), Perry once again collaborated with David Croft. He used his time working as a Butlin's Redcoat as an inspiration. Perry said of the series in 2009 that "of all the shows that David Croft and I did together "Hi-de-Hi!," from the first time it went on air, took off like  a rocket." Despite the pilot episode attracting audience ratings of only 4.4 million, by the time the series came out audience ratings had increased to 15.45 million. It starred Simon Cadell, Paul Shane, Ruth Madoc and Jeffrey Holland. The character of Spike (played by Jeffrey Holland) is thought to represent Perry when he was a Butlin’s Redcoat. Section::::"You Rang M’Lord" (1988–1993). "You Rang, M'Lord?" (1988–93) was his last collaboration with Croft. Perry's grandfather had worked as a butler, and he had heard many anecdotes about life "below stairs". The series had been attempted before, during the early 1980s , when Croft was working with his other regular writing partner, Jeremy Lloyd. Lloyd eventually conceded that he was struggling to find enthusiasm in the series and instead turned to an idea for a sitcom about the French Resistance which became "'Allo 'Allo!". Five years later Perry and Croft seriously turned their attention to the project. The series is not as well known as the other Perry and Croft sitcoms and was not initially well received by the critics. Despite this the series regularly attracted audiences ratings of 10 million and has been very popular in Hungary. The series featured many  cast members from other series that Perry had worked on, including Michael Knowles and Donald Hewlett from "It Ain't Half Hot Mum", Paul Shane, Jeffrey Holland and Su Pollard from "Hi-de-Hi!", and Bill Pertwee from "Dad's Army". Both Perry and Croft later cited "You Rang M’Lord" as their best work. Section::::"London Calling" (1994). In 1994, he worked on a sitcom about the early years of the BBC in the 1920s, "London Calling", which was broadcast on radio for four episodes. "That’s the one I was most proud, but the BBC said it was a bit  old-fashioned", Perry said in 2014. Perry later said of the short radio series that “recording "London Calling" was the happiest week of my life.” Section::::"Room Service" (1979) and "High Street Blues" (1989). Perry created two further short lived series without David Croft, "Room Service" (1979) for Thames Television and "High Street Blues" (1989) with co-writer Robin Carr. According to John Oliver, writing for the BFI Screenonline website, two of Perry's later series "remain contenders for the title of worst British sitcom". Perry even admitted that "they were terrible, so bad even the cameramen walked out. People are  kind and often say 'Oh they couldn’t have been as bad as all that.' Believe me, they were as bad as all that." Section::::"That’s Showbiz, 'The Lights, The Music & The Knife In The Back" (1997). Despite his television success Perry always had a special fondness for the theatre. In the late 1990s, he started his most ambitious theatrical venture, a stage musical about the cut-throat world of comedy and the variety theatre which was called "That’s Showbiz, 'The Light, The Music & The Knife In The Back'." The music was by Roy Moore the show premiered at  the New Wimbledon Theatre in 1997. The show had a familiar cast for British television viewers, including Ted Rogers, Su Pollard, Carmen Silvera and Peter Baldwin. Perry said of the play that “the show had become an obsession. I got carried away totally with my own conceit and ego. But it was nearly there. It was originally called "Dirty Old Comics." If I could have cut about half an hour off it and re-cast some of it, the show could have worked. Unfortunately I lost about £80,000.” Unmade Series. Throughout Perry's career there have been a number  for ideas for series that were never pursued. After Dad's Army Perry wanted to do a show called "True Brits" which was to be set in Roman Britain with Donald Hewlett and Michael Knowles as Roman officers and Paul Shane as a local tribes person painting ‘Romans Go Home’ on walls and so on. Perry also wanted Su Pollard to feature in the series as a local Briton wearing square wooden glasses. David Croft was not keen and the series was never taken any further, it was also later pointed out that the series may have been too similar  to "Up Pompeii!" and "Monty Python's Life of Brian". In 2009, Perry admitted that he had also written a pilot for another series saying "The idea I thought could have worked. I also wrote a pilot with Rosemary Anne Sisson called "Women With Wings" about the women who delivered planes during the war." Perry's career as a scriptwriter effectively ended with "You Rang M’Lord". "I don't think my type of writing is watched any more," he told James Rampton, writing for "The Independent" in 1997. "There's a certain hardness and ruthlessness about today's humour. There 's not a lot of love. The world's a tougher place now, and my type of writing is just too gentle." He did though admire "Absolutely Fabulous", "Men Behaving Badly" and "One Foot in the Grave". Perry's autobiography, "A Stupid Boy", was published in 2002. Personal life, honours and death. His third cousin was actress Jane Perry, and in 1953, Perry married actress Gillian Margaret Holland (known professionally as Gilda Neeltje; born July 1933), younger sister of actress Diane Holland. He and his wife had one son, Jimmy, who predeceased his parents, dying at age 19 in 1977  in a motorcycle accident. Perry was appointed an Officer of the Order of the British Empire (OBE) in the 1978 Birthday Honours, in the same list as David Croft (David John Andrew Sharland). In 1982 he was initiated into the Grand Order of Water Rats fraternity. Perry died on 23 October 2016 in Hammersmith, London after a short illness, aged 93. He was survived by his wife Gillian (from whom he was separated) and his long-term partner, costume designer Mary Husband. On 27 October, British politician Valerie Vaz paid tribute to Perry in the House of Commons and was  joined, with references to Perry's best known comedy lines, by a number of other Members of Parliament. She say that ‘it struck me that we could hear those catchphrases ringing around No. 10. We could hear the cry of, "‘Don’t panic, Don’t panic!’" or, as the Prime Minister slaps down her recalcitrant and wayward colleagues, we could hear her muttering, ‘"Stupid boy’." In reference to the line "‘Don’t tell ‘em Pike’," from the episode "The Deadly Attachment," Richard Osman said that ‘when St. Peter asks for Jimmy Perry’s name he’s got a great gag  lined up.’ Actor, comedian and presenter Michael Palin once said that Perry had "created one of the most endearing of all comedy classics. Their glorious cast has marched into television immediately. No success could give me more pleasure." BBC Two repeated two episodes from Series 9 of "Dad's Army" and also one episode of "Hi-de-Hi" in Perry's honour. The series continues to be shown regularly on Saturday nights on BBC Two, regularly gaining two million viewers. Portrayals. The 2015 BBC TV film "We're Doomed: The Dad’s Army Story" told the story of how "Dad ’s Army" developed from the original concept to the airing of the first episode. In the film Perry was played by Paul Ritter, with Sarah Alexander playing his wife Gilda. Jimmy Perry James Perry, (20 September 1923 – 23 October 2016) was an English script writer and actor. He devised and co-wrote the BBC sitcoms "Dad's Army" (1968–77), "It Ain't Half Hot Mum" (1974–81), "Hi-De-Hi" (1980–88) and "You Rang, M'Lord?" (1988–93), all with David Croft. Perry co-wrote the theme tune of "Dad's Army", "Who Do You Think You Are Kidding, Mr. Hitler?" along with