text:
I have never had such a vivid dream, and it still frightens me. This is what i remember, in full detail.

At one point during this dream, for what I do not recall, I was brought to a place that felt cold, and lifeless. I could feel myself becoming older very quickly. A strange feeling, as if my aging was accelerating and i could feel every change to my body and mind. Every joint becoming stiff and unforgiving, my memories fading. It was in this place of darkness, it happened.

I was brought in front of a crowd, all starring completely motionless, and I waited. Waited for anything, yet nothing happened. Not a whisper, not a blink, complete and utter emptiness lay in front of me in the form of faces, cold, hollow faces. Then something changed. As I looked into the crowed, there I was. Old and horribly and disfigured, my body completely ravaged by old age, yet one thing stood utterly untouched, the eyes. As ours met, he came forward through the sea of unknown faces, and slowly drew a pistol to my forehead. With our eyes locked, he did not fire, he did not flinch. This standstill lasted for what seemed a lifetime, feeling myself become him through accelerated age, as if the pistol was drawing my youth faster and faster. When suddenly, his hands began to tremble, his blank, heartless stare faded. He began to cry. No words we uttered from his wrinkled lips, only the face of remorse. This, above all the confusion, drove me to a unbearable fury.

" JUST FUCKING DO IT, KILL ME !", over and over and over. Screaming at the top of my lungs... demanding death. Looking directly at my older self, crying, screaming, over and over and over, " JUST FUCKING KILL ME !". Till suddenly, he pulls the gun back , hand trembling, and puts it to his mouth. I became silent as I watched his crying eyes suddenly shut. Then slowly, armed with the same blank, dead stare I had seen before, he turned the pistol once again towards me, and without a word, fired.

title: Watch Me - A Short Story

question: What does the dream mean?

answer: The narrator may feel old age. Perhaps the thought of dying is less frightening to home than the thought of getting old.

question: Why does the man with the gun start to cry?

answer: Because he doesn't want to shoot the narrator

question: Why does the narrator demand death?

answer: He fears old age

question: What do the motionless spectators represent?

answer: All the people in the life of the narrator. They pass through his life but none have any great impact in the end.

question: Write a ~14 sentence summary.

answer:
The narrator remembers a vivid dream. He is brought to a cold place and rapidly starts to age. Memories faded and joints became stiff. The crowd stand motionless as he waits. Utter emptiness lies before him in the form of motionless hollow faces. His body becomes disfigured by age. Just his eyes remain untouched.

The eyes meet those of another who comes through the crowd and then slowly draws a pistol to the narrator’s forehead. He neither fires nor flinches and the standoff lasts for what feels like a lifetime. Then he becomes older. His hands tremble and he starts to cry. He looks remorseful and the narrator is filled with uncontrollable fury.

He is screaming kill me over and over again. Suddenly he puts the gun in his mouth and then with blank eyes he turns the gun toward the narrator and fires.


split: train

text:
_ARCHITECTURAL DIGEST_ (also known as _AD_) is an award-winning architecture magazine based in Munich, Germany. The magazine is the German edition of the US magazine with the same name. It is the third edition of the magazine after the US and Italian editions.[1]

History and profile

_Architectural Digest_ was established in 1996.[2] The first issue appeared in January 1997.[3] The magazine was started as a bi-monthly publication.[4] The owner of the magazine is Condé Nast.[5][6] It is published by Condé Nast Verlag GmbH[7] ten times a year and covers articles related to architecture and interior design.[8]

The headquarters of _Architectural Digest_ was first in Munich.[9] Then it moved to Berlin, but then its headquarters returned to Munich.[10]

Ulrike Filter was the launching editor-in-chief of _Architectural Digest_.[11][12] Ingrid von Werz replaced her in the post in November 1999.[13] Her term ended in July 2000 and Margit J. Mayer was named the editor-in-chief of the magazine.[14] Oliver Jahn is the editor-in-chief of the magazine.[15]

_Architectural Digest_ is the media partner of the Highlights, an international art fair in Munich.[16]

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title: Architectural Digest (Germany)

question: Where is Architectural Digest based?

answer: Architectural Digest is based in Munich, Germany.

question: When was Architectural Digest founded?

answer: Architectural Digest was founded in 1996.

question: Who is the current editor-in-chief of Architectural Digest?

answer: Oliver Jahn is the current editor-in-chief of the magazine.

question: How many readers does Architectural Digest have?

answer: Not answered.

question: Write a ~2 sentence summary.

answer: This article is about the German edition of Architectural Digest, a bi-monthly publication that was started in 1996. The magazine focuses on architecture and interior design.


text:
The ARGYLLSHIRE GATHERING is a Highland games held in Oban, Scotland.

History

A meeting on 23 August 1871 held at the Argyll Arms Hotel led to a resolution to have an “Annual Gathering of the Gentry of the County of Argyll for social purposes”.[1][2][3] This was to be called the Argyllshire Gathering and was funded by member subscriptions.[4][5] The first Gathering was held in 1873.[6][7]

The Highland Society of London donated a Gold Medal, which along with the Gold Medal also donated to the Northern Meeting is one of the most prestigious prizes in solo piping. Faye Henderson won the Gold Medal in 2010, becoming the first woman to win the Gold Medal at either Oban or Inverness.[8]

The Argyllshire Gathering Halls are at a site on Breadalbane Street in Oban, and were built to accommodate the ball held after the gathering. The current building is a category C listed building built towards the end of the 19th century to replace a timber structure.[9][10]

The Gathering is normally held in late August, one or two weeks before the Northern Meeting in Inverness. Many pipers come to Scotland to compete in both events.[11]

Piping competition

Eligibility for the Senior competitions is decided by a Joint Eligibility Committee, comprising representatives of the Northern Meeting, the Argyllshire Gathering, competition judges and the Competing Pipers Association. Competitors must enter themselves each year, and hear in March whether they have been accepted.[12][13]

On the day after the piping competitions the competitors form a band and march through the town as part of the Stewards' March.[14][15]

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title: Argyllshire Gathering

question: Where is the Argyllshire Gathering held?

answer: Oban, Scotland.

question: When was the Argyllshire gathering first held?

answer: 1873.

question: Where was the meeting to have an Argyllshire gathering first helf?

answer: The Argyll Arms Hotel.

question: Where are the Argyllshire Gathering Halls?

answer: A site on Breadalbane Street in Oban.

question: Write a ~1 sentence summary.

answer: This article is about the Argyllshire gathering, its history and location and other facts about the games.


text:
		Thinking about her makes him want to split his head open. The image of her, undecidedly staring at him, after he confessed his feelings, just won’t leave his head. He tosses and turns, unable to sleep. The sweat beads in his palms and forehead causing the sheets to become balmy, making them even more comfortable.  As he tries to pull on his short wiry hair, the moment plays in his mind over and over.

		He remembered how he committed to it as if he was going over a cliff. Yet, as he struggled to walk to her, the ground felt thick, like drying concrete. It was  balmy summer day and it made her curly dirty blonde hair shimmer. He could see even the kinks and the broken strands as light danced off of them. Yet, his mind was so focused that he couldn’t remember what she was talking about.  When she noticed him, he could feel his entire body became heavy, even though it was trembling.

		But he had come too far. Like staring down a ski run that seems impossible, he knew the only way to go was forward, and he choked the words out,

		“I like you. I think your beautiful. Please go to prom with me.”

		“...
...
ok?
...”

Yet he could see the look of terror and discomfort in her face. Her friends’ faces bursted, and they could not contain their giggles. He didn’t remember how much time had passed, but next minute or two were of awkward silence. She was too surprised and taken back to respond, and he swallowed every word he could muster to the bottom of his stomach. The bell rang and she scampered away, giggling and gossiping with her friends. Her wonderful shimmering hair becoming brown as she went inside, and disappeared in the crowd.

		Later that day he would be told that she already had a date. Furthermore, he would learn that everyone had known what had happened. Tomorrow would come and he’d be the laughing stock of the school. But it didn’t matter, his heart had been ripped out. Even now, as he tosses and turns...crunches and stretches...over and over, he still feels the not in his stomach it. Trying to calm himself, he counts his breaths, letting his body become still and his eyelids heavy.

		But to no avail. In a fit of frustration, he tears off his sheets. He wants to take his mind off of the real world. He wants to escape. And he boots up his favorite video game--figuring that slashing skull pirates and traversing dungeons will make him forget. He plays for hours on end, not noticing the time that is passing, or worrying about waking up late. Finally he slays the giant spider and defeats the dungeon.

		As he is returning the magic crystals to the princess he notices her hair also shimmers in the sun. Yet it is perfect, long, and silky. Not a strand is broken or kinked. She has a radiance that can be felt for miles. Even when bowing, his face to the ground as he presents the magic crystals, he can feel it. Still she is fair and humble when she addresses him.

		“Arise my hero. You have fought valiantly, saved my people several times, yet we nay know the land you come from.”

		She bends over, lightly grabs his cheeks, and kisses his forehead. However, she notices something this time.

		“ Yet today, oh brave one, something is troubling you. Is it not.”

		He knows she can see inside his heart. It is not surprising, her being a royalty, and magical.

		“ Well...yeah there is. But I don’t think you’d understand.”

		She smiles warmly, still holding his cheek.

		“ Please indulge me. I cannot repay the great debt my kingdom owes you but, if I can heal the scars in your heart, it might come close.”

		He grasps her hands and returns them to her and stares out to the kingdom. 15 minutes have passed and the sun is now setting. The entire sky is filled with orange clouds. Soon it becomes night time and a the stars, mere single pixels, flicker in the sky.

		He sighs, “ There is a girl, actually just like you. In fact, even though she isn’t perfect, she is more beautiful. Today, I told her just that fact.”

		“Oh well then she must have jumped into your arms.Many a lady long for you to sweep them off their feet.”

		“Actually she didn’t say anything….she probably thinks I’m a dork.”

		“.....may I take your pardon….a dork?”

		“She doesn’t feel the same way about me, ok. I’m nothing to her.”

		“ Oh hero. Be thine under a spell? Everyone in this kingdom knows you are as noble as they come. And we are lucky to have you.”

		He shakes his head and tosses discards his sword. It lands perfectly straight in the ground as it always does, before blinking and appearing once again in his scabbard.

		“ But you don’t understand ...Here I might be a hero, but I’m reall just a normal teenager. There is nothing special about me.”

		“Again you speak lies!”

		“I’m telling the truth...this isn’t even real. You’re not real!”

		“ I hear it not, nor do I accept, oh destined one. I implore you, please heed my words.”

		He merely stares at her. Too exhausted to respond.

		“While we know of your bravery and your heroism. It is not for this reason that you are loved. We see the kindness and generosity in your heart. I see it, even now. And I don’t need magic. If this other princess is blind to your soul, than she is not fair.”

		She embraces him.

                        “ You are a good person and more than deserving of affection that is as real as you say I am not.”

 		Those words echo in his head that morning. And, although he is haunted by her face her words give him strength. Everyone at school has probably heard of what happened yesterday. He sees them sneak stares and hide their laughter, but he is more than  aware. Walking through the hallways, he feels naked and exposed. It is if a thousand eyes watch and scrutinize his every step.

	Then he sees her. And he freezes. And time stops. But he starts it back up again. He pushes, shoves, and inches is way toward her. And even though people are taking out their cell phones and crowding around them, he doesn’t care. At this moment, when every fiber in his body fights him, with only his will to push him forward, he wonders if this is what bravery really is. He sits next to her and without hesitation ….

		“You know. I meant everything I said, and the offer still stands.”

		He can hear the murmurs and the beeps of videos being recorded.

		She lifts her head, letting her curls fall down her face and wisp her freckles, and grabs his hand.

		“ I’m sorry  I can’t.”

		….while smiling….

“ But we can still talk… oh hero….”

{\*~~~~*/}

title: The princess

question: Where does the story take place?

question: Describe the relationship between the narrator and the princess:

answer: They are classmates, but she may also be a character in a video game

question: Who is the princess?

answer: She is a character in a video game the main character plays

question: What does the princess think of the main character's classmate

answer: She offers that if the main character's classmate doesn't recognize his bravery and kindness then she is not "fair".

question: Write a ~3 sentence summary.

answer: A guy asks a girl to prom but doesn't get a positive answer. That night he plays video games and one of the characters from the game consoles him. The next day, he feels more confident when interacting with the girl.


text:
The young is man wearing a pair of iconic red boots, he is carrying a young child on his shoulders. They venture further.

They arrive shortly, the man is tired from having carried the child. But it was all worth it, they look down to see their entire village. As the man looks down, there is a short moment of meloncoly on his face. But it quickly turns to a big smile, the type of smile only a father can have. as the child laughs and points at a house in the village. They stand there for a while, enjoying the view before they head down.

A few years pass, the man is older now, but still healthy. As is the child. He is again wearing his big red boots, they still look as new.

They begin to walk, this time the man walks first making tracks in the snow for the child. As he arrives he turns his head with laughter when he sees the child struggling to keep up in all the snow. They both laugh for a while before turning back.

Another few years pass, the man has gotten older, there are a few wrinkles on his face. The child is older as well, almost not a child anymore. When the man is done putting his red boots on, the child starts running with such energy, so full of life. The man is struggling to keep up with the child. As he takes a breather he looks at the child, with such pride. And gives his biggest smile.

When they arrive they take in the view of the village again, for just a moment before geading down.

Some years pass again, this time two adults are walking along their path.. As they arrive they stay for a while, almost until dusk. Talking..

More years pass, the man is old now, but his red boots are newly polished. They look just like they did 20 years ago, when he was younger and had no difficulity walking in the snow.

This time the child makes a path for the old man in the snow. As they arrive they stay and talk abou the past, the old man tells his child about the first time they walked up here together. And how his father used to take him there as a child aswell. Then they go back down..

Just a couple of years pass, the old man is dead, the child weeps but he is not sad just happy for all the good memories. He is ready to say goodbye. In his hands is a red cardboard box. He places it in the old mans hands and say goodbye. Then he walks away, its his mother turn to say her farewells to the old man now...

A few years pass before he steps foot back in the forest, he is still a young man. But with a family and a child of his own now. As he and the child prepares to leave, his wife comes to him, with a red cardoard box in her hands. She says to him "your mother left this for me to give you". The young man opens the box to see inside, its his fathers red boots. Still looking like new, he gives out a big smile on hos face an hugs his wive and child, then he starts to walk...

title: Red boots

question: How many times does the father and his son visit the viewpoint together?

answer: 5 times are described in this story.

question: What is in the red box?

answer: His father's red boots. His mother left it for him.

question: What is the significance of the trip to the viewpoint by the father and his son?

answer: It establishes a bond between them that stays strong over time.

question: Explain why the father's son also does the same with his child.

answer: The father wants to make memories with his child, wants to make sure that they have something in common. He wants to ensure that his father's legacy remains intact.

question: Write a ~4 sentence summary.

answer: A father and his son make multiple journeys to the viewpoint over their village. They have a wonderful time. As time passes, both get older until at last the father passes away. His son continues his legacy with his own children.


text:
SAEED AL-ROBEAI AL-YAMI (; born 4 June 1994) is a Saudi Arabian professional footballer who currently plays as a defender for Al-Ettifaq.

Career statistics

Club

  Club                Season    League           King Cup   Crown Prince Cup   Asia   Other   Total
  ------------------- --------- ---------------- ---------- ------------------ ------ ------- ------- ------- ------ ------- ------ ------- --- ---
  Division            Apps      Goals            Apps       Goals              Apps   Goals   Apps
  Al-Ahli             2016–17   Pro League       2          0                  1      0       2
  Al-Ettifaq (loan)   2015–16   First Division   22         2                  0      0       1
  Al-Faisaly (loan)   2017–18   Pro League       17         0                  2      1       0
  Al-Ettifaq          2018–19   Pro League       15         2                  1      0       —
  Career Total        56        4                4          1                  3      0       1

title: Saeed Al-Robeai

question: When was Saeed Al-Robeai Al-Yami born?

answer: 4 June 1994.

question: What sport does he play?

answer: Football.

question: Where does he come from?

answer: Saudi Arabia.

question: Where does he play at the time of the article?

answer: for Al-Ettifaq.

question: Write a ~1 sentence summary.

answer: The text is about Saeed Al-Robeai Al-Yami, a Saudi Arabian footballer.


text:
_' Angel Moya Acosta_' (born 20 September 1964) is a Cuban construction worker and the founder of the Alternative Option Movement.[1][2]

Moya fought for one-and-a-half years in the Cuban intervention in Angola in the late 1980s.[3] In the following decade, Moya was arrested several times for his activism. In December 1997, he was arrested on his way to join a public memorial, and in November 1999 he was arrested for participating in a prayer session for dissident Oscar Biscet. On 15 December 1999, he was arrested and imprisoned after a demonstration along with fellow Alternative Option Movement members Guido and Ariel Sigler Amaya; the latter arrest caused Amnesty International to designate him a prisoner of conscience.[4] In 2000, he was arrested and imprisoned for a year for “disrespect” after commemorating the anniversary of the Universal Declaration of Human Rights.[5]

He was again imprisoned during the Black Spring in 2003, and sentenced to 20 years in jail.[6] His wife Berta Soler, now leader of the Ladies in White movement,[7] campaigned on his behalf.[8]

When Moya suffered a herniated disc in October 2004, Soler began a campaign to urge the government to give him an operation, submitting a letter to President Fidel Castro on his behalf and staging a rare protest in Havana's Plaza de la Revolución with the Ladies in White.[9][10] She described the protest as “my right and duty as a wife”. After two days of protest, Moya was given surgery.[11]

After Moya's early release from prison in 2011, he and Soler chose to remain in Cuba and continue their calls for the release of political prisoners, despite being offered emigration to Spain.[12]

In March 2012, Soler and Moya were detained along with three dozen other demonstrators when they staged their weekly protest ahead of a visit of Pope Benedict XVI. Soler told reporters that authorities had warned the Ladies to avoid Benedict's public appearances, including masses.[13]

Family

Soler is a microbiology technician at a Havana hospital.[14] Moya and Soler have two sons, Luis Angel and Lienys.[15]

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title: Angel Moya Acosta

question: When was Acosta born?

answer: September 20, 1964

question: What did Acosta found?

answer: The Alternative Option Movement

question: Who is Acosta's wife?

answer: Berta Soler, a microbiology technician at a Havana hospital and leader of the Ladies in White movement

question: When was Acosta last detained?

answer: March 2012, ahead of a visit by Pope Benedict XVI

question: Write a ~3 sentence summary.

answer: Angel Moya Acosta is a Cuban construction worker and the founder of the Alternative Option Movement. He has been arrested and imprisoned several times for his political activism. His wife is Berta Soler, leader of the Ladies in White movement.


text:
ARISTA RECORDS, INC. () is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, the North American division of the Japanese conglomerate Sony. The label was previously handled by Bertelsmann Music Group. The label was founded in 1974 by Clive Davis. Along with Columbia Records, RCA Records and Epic Records, Arista is one of Sony Music's four flagship record labels.

History

Background

[Logo used prior to Arista's 2018 relaunch]

After being fired from CBS Records,[1] Clive Davis was recruited by Alan Hirschfield, CEO of Columbia Pictures, in June 1974 to be a consultant for the company's record and music operations. Shortly after his hiring by CPI, Davis became president of Bell Records, replacing the departing Larry Uttal. Davis's real goal was to reorganize and revitalize Columbia Pictures's music division. With a $10 million investment by CPI, and a reorganization of the various Columbia Pictures legacy labels (Colpix, Colgems, and Bell), Davis introduced Columbia Pictures's new record division, Arista Records, in November 1974.[2] ultimately owning 20 percent of the company. The label was named after Arista, New York City's public secondary school honor society (of which Davis was a member at Erasmus Hall High School). In early 1975, most of the artists who had been signed to Bell were let go, except David Cassidy (left for RCA Records), Tony Orlando and Dawn (left for Elektra Records), and the 5th Dimension (departed for ABC Records). Others, such as Suzi Quatro and Hot Chocolate, were farmed out to the Bell/Arista-distributed label, Big Tree. Several Bell acts, such as Barry Manilow, the Bay City Rollers, and Melissa Manchester continued with Arista. The British Bell label kept that name for a couple of years before changing its name to Arista. The label was immortalized in the 1978 Nick Lowe song “They Called It Rock,” in the lyric, “Arista says they love you/But the kids can't dance to this.”

In addition to Outlaws, Patti Smith, Eric Carmen, Air Supply, The Kinks, Lou Reed, Alan Parsons and Dionne Warwick, Arista signed Aretha Franklin in 1980, after her long relationship with Atlantic Records ended. The label's most significant acquisition came in 1983 when Davis signed Warwick's cousin, Whitney Houston. Houston would eventually become Arista's biggest-selling recording artist, with sales of 200 million records worldwide, according to the Recording Industry Association of America (RIAA).[3] Arista signed the Grateful Dead in 1976, and the group released their only Top 40 pop hit “Touch of Grey” on the label in 1987.[4][5]

Subsidiary imprint labels

Arista had an imprint label in the 1970s called Arista Novus, which focused on contemporary jazz artists. It distributed two other jazz labels, Arista Freedom, which specialized in avant-garde jazz[6] and, until 1982, GRP Records, which specialized in contemporary jazz and what came to be known as smooth jazz. A country music division, Career Records, was merged into the Arista Nashville division in 1997. Arista Austin was used in the late 1990s as a country label. Additionally, Arista was the North American distributor of Jive Records from 1981 until 1987. During the 1990s, Arista also distributed Logic, Rowdy and Heavenly Recordings.

Acquisitions, sell-offs

Looking to stave off bankruptcy, Columbia Pictures sold Arista to German-based Ariola Records, a unit of Bertelsmann, in 1979. But after Arista lost $12 million in 1982, Bertelsmann sold a 50% interest in the company to RCA Records in 1983. In 1985, RCA and Bertlesmann merged their music operations to form RCA/Ariola International; RCA owned 75% and Bertlesmann owned the remainder. After General Electric absorbed the RCA Corporation in 1986, GE sold off various RCA assets, including all of its interest in RCA/Ariola to Bertlesmann, and it was renamed Bertelsmann Music Group, though Arista's U.S. releases would not note BMG until 1987.

Into the 1980s, Arista continued its success, including major UK act Secret Affair. Over the years it acquired Northwestside Records, deConstruction Records, First Avenue Records, and Dedicated Records in the UK. In 1989, Arista entered into a joint venture with Antonio “L.A.” Reid and Babyface in the creation of LaFace Records, record company of Toni Braxton, Usher, and TLC, which it acquired in 1999. In 1993, Arista also entered into a joint-venture with Sean "Puffy" Combs to form Bad Boy Records. In 1997 Arista acquired Profile Records, the home of Run-D.M.C. and Poor Righteous Teachers.

Milli Vanilli controversy

In 1989, Arista signed Milli Vanilli, a duo consisting of Rob Pilatus and Fab Morvan that was based in Germany. The label released its debut album, _Girl You Know It's True_, which was a remixed and re-edited version of _All or Nothing_, which had been out in Europe the previous year. The album was certified sextuple platinum in the U.S., and charted five top-ten singles, three of them reaching the number one position. In 1990, Milli Vanilli won two American Music Awards and a Grammy Award for Best New Artist. Carol Decker, lead singer of the band T'Pau, was interviewed after their performance on MTV and said that Milli Vanilli had used a Synclavier and were not singing. Later that year, Frank Farian, Milli Vanilli's producer, said that the duo hadn't performed a single note on their album. This revelation caused a firestorm in the music industry, as recording artists, particularly bubble-gum pop acts that heavily relied on electronic processing and over-dubbing (what they referred to as “studio magic”), were now under scrutiny and subsequently forced to cut back on lip-synching to show that they were authentic. Milli Vanilli's Grammy Award was subsequently revoked.[7] Clive Davis promptly released the duo from its contract and deleted the album and its masters from their catalogue—making _Girl You Know It's True_ the largest-selling album to be deleted. A court ruling in the U.S. allowed anyone who had bought the album to get a partial refund.

In response to the scandal, Arista's position was that the company had been completely unaware of Morvan and Pilatus having not themselves recorded their album. In a post-debacle interview, Morvan defended himself by saying, “[Before Milli Vanilli] I was working at a McDonald's. What would you have done?”

Reconstructing Arista

At the end of 2000, following its 25th anniversary, BMG pushed Davis out as label head and promoted L.A. Reid as its new president and CEO. Under Reid, the label had success with newer acts such as Avril Lavigne, Pink and Adema, as well as legacy acts like TLC and Usher. Reid, however, seemed to lose focus when it came to promoting its established acts such as Whitney Houston, who had been the label's biggest seller over the years. Reid's extravagant spending, meanwhile, caused the company to lose money. After the formation of the joint venture of BMG and Sony Music Entertainment (the former CBS Records) in 2004, Reid was let go. Arista, always an independently managed front line label at BMG, was merged with J Records in August 2005 and began operating under the newly formed RCA Music Group—of which Davis had become CEO, and thus again became in control of Arista. The Arista label continued to be used for new releases, although heavily scaled back, while its reissues are released through Sony Music's Legacy Recordings. Also, as a result of the Sony-BMG merger, Arista once again became related to Columbia Pictures, which is fully owned by the Sony Corporation of America (through Sony Pictures Entertainment) - who would buy out BMG's share in 2008.

Dissolution and revival

After L.A Reid left for Def Jam over at Universal Music, Arista began to operate weakly; while at the same time the label began losing numerous artists, original Arista acts such as Avril Lavigne were moved to RCA Records, at the same time LaFace Records was revived, this time operating under the JIVE Label Group. The revival of LaFace caused most or if not all of its original acts to return to the LaFace label, acts such as Pink, Usher, YoungBloodZ, TLC, Kenny Lattimore, and Chante Moore.

During the summer of 2011, the RCA Music Group underwent a restructuring that saw the elimination of the Arista name later on that year, along with sister labels Jive and J.[8] RCA Records started releasing all RCA Music Group releases under RCA Records.[9][10][11] Arista Nashville continued to operate through Sony Music Nashville and was not affected by the closing of Arista Records.[12]

Arista Records France was founded in September 2012, making it initially the last active remnant of the label.

In July 2018, it was announced that Arista would be revived as a frontline label, making it the fourth flagship record label alongside Columbia, RCA, and Epic. The company has hired former Island Records president/CEO David Massey to lead Arista.[13]

Arista Nashville

In 1989, Arista Records launched ARISTA NASHVILLE, which specializes in country music artists. In 1995, Arista Nashville launched a subsidiary label known as Career Records, the roster of which at the time included Brett James, Tammy Graham, and Lee Roy Parnell. Currently, Arista Nashville falls under the wing of Sony Music Nashville, hosting such artists as Carrie Underwood, Brad Paisley, Ronnie Dunn and Jerrod Niemann.

Artists

[1] “CPI Tabs Davis to Expand Line” _Billboard_ on Google Books (June 1, 1974). Retrieved March 18, 2011

[2] “The New Record Company: Arista Records” _Billboard_ on Google Books (November 23, 1974). Retrieved March 18, 2011

[3] RIAA sales statistics

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title: Arista Records

question: The majority of Arista Records' success came under which management?

answer: Clive Davis oversaw the most prosperous period of Arista Records to date.


text:
WILLIAM PHILIP BURNS (19 August 1884 – 17 June 1955) was an Australian rules footballer who played for Geelong and Richmond in the Victorian Football League (VFL).

Bill 'Boots' Burns played with Ararat Football Club 1904–05, 10 games, 1904 Premiership

Burns, from South Bendigo originally, started out at Geelong and in 1908 became a member of Richmond's inaugural VFL team. A follower, he went from hero to villain during the 1909 VFL season after kicking the winning goal in one game and then getting a life ban for a kicking incident later in the year.

His goal came in Richmond's round two encounter against University, after he had received a bump which gave him bad concussion. He was in the dressing room at three quarter time, preparing to go to hospital, but decided to return to the field as the scores were close.

Against Melbourne at the MCG mid-season, Burns was reported for kicking an opponent and suspended for life by the VFL tribunal. Despite the ban, Burns had made three appearances for West Perth in the 1910 West Australian Football League season. He returned to Richmond in 1912 once his suspension had been lifted, having missed 46 games.

Once he left Richmond for good, he played at WAFL club East Fremantle and was a half forward flanker in their 1914 premiership side. He was a premiership player again in 1918 and also appeared in losing Grand Finals over the next few years, mostly as a wingman. Burns then retired, having played 104 senior games for East Fremantle. He was a Western Australian interstate representative at the 1914 Sydney Carnival.

title: Bill Burns (footballer)

question: When was Bill Burns born?

answer: 19 August 1884.

question: What did Bill Burns do?

answer: He was an Australian rules footballer.

question: Who did Bill Burns play for?

answer: Geelong and Richmond in the Victorian Football League.

question: Where was Bill Burns originally from?

answer: South Bendigo.

question: Write a ~1 sentence summary.

answer: This article is about Bill Burns, an Australian footballer from the 19th-20th centuries.


text:
BILL HENDERSON is an American politician and a Republican member of the Wyoming House of Representatives representing District 41 since January 10, 2017.[1]

Elections

2014

Henderson challenged incumbent Republican Representative Dan Zwonitzer in the District 43 Republican primary and lost to Zwonitzer.[2] Later that year, Henderson ran for a position on the Laramie County School District #1 Board of Trustees and lost in the general election.[3]

2016

Incumbent Democratic Representative Ken Esquibel retired to run for a seat in the Wyoming Senate being vacated by Tony Ross. Henderson declared his candidacy for the seat, facing Patrick Fitzgerald in the Republican primary. Henderson defeated Fitzgerald by two votes to become the Republican nominee.[4] He faced Democrat Amy Simpson in the general election and defeated her with 51% of the vote.[5]

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title: Bill Henderson (Wyoming politician)

question: Who is Bill Henderson?

answer: Bill Henderson is an American politician and a Republican member of the Wyoming House of Representatives.

question: Who did Henderson challenge in the 2014 elections and what was the result?

answer: Henderson challenged Republican Representative Dan Zwonitzer in the District 43 Republican primary and lost to him.

question: Who did Henderson challenge in the 2016 election and what was the result?

answer: Henderson challenged Patrick Fitzgerald in the Republican primary and won. Henderson then faced Democrat Amy Simpson in the general election and won.

question: What district does Bill Henderson represent?

answer: He represents District 41.

question: Write a ~2 sentence summary.

answer: This article describes Bill Henderson, a Wyoming politician's candidacy path to representing District 41. The results of the 2014 and 2016 elections are described to show Henderson's path to becoming a Republican member of the Wyoming House of Representatives.


text:
There was a by-election in the British parliamentary constituency of Copeland on 23 February 2017 (the same day as the Stoke-on-Trent Central by-election), following the resignation of Labour Member of Parliament (MP) Jamie Reed. Conservative candidate Trudy Harrison gained the seat from Labour, the first gain for a governing party in a by-election since 1982.

Result

This was the first time since 1935 that Labour had failed to win the constituency or its predecessor, Whitehaven. It was also the first gain for a governing party at a UK by-election since the 1982 Mitcham and Morden by-election, where the incumbent Labour MP had sought re-election after defecting to the Social Democratic Party against the background of the Falklands War. It was the largest increase in the share of the vote of a governing party in a by-election since the Kingston upon Hull North by-election in January 1966.[1] According to Matt Singh of psephology website Number Cruncher Politics, it was the first directly comparable by-election gain for a governing party since the 1878 by-election in Worcester.[2][3] By this, Singh meant that the governing party gained a seat:

-   without the incumbent having defected from their party (as at the 1982 Mitcham and Morden by-election and the 1929 Preston by-election);
-   without the winning candidate being disqualified (as at the 1961 Bristol South East by-election);
-   where the incumbent's party had a prior majority of more than 3% (unlike at the 1960 Brighouse and Spenborough by-election, the 1953 Sunderland South by-election, and the 1924 Liverpool West Toxteth by-election);
-   where the incumbent had been a member of the principal opposition party (unlike at the 1929 Liverpool Scotland by-election, the 1926 Combined English Universities by-election, the 1922 Hackney South by-election, the 1921 Woolwich East by-election, and the 1912 Hanley by-election); and
-   without there being a significant change in the lineup of parties contesting the seat (as at the 1901 North East Lanarkshire by-election).[4]

The poor result for Labour triggered fresh criticism of Jeremy Corbyn's leadership of the party, with calls for him to stand down as leader.[5][6][7]

Background

The incumbent Labour MP Jamie Reed announced his intention to resign on 21 December 2016[8] in order to become the new Head of Development & Community Relations at Sellafield Ltd,[9] where he had worked before becoming a politician. He was a critic of the Labour Party leader Jeremy Corbyn, a reportedly unpopular politician in the constituency.[10][11] Reed's resignation took effect on 23 January 2017.[12]

The election was held with the Conservatives considerably ahead of Labour in national opinion polls.[13]

Copeland and Whitehaven, the predecessor seat, had been represented by Labour since 1935. Although Reed supported remaining within the European Union, his constituency voted to leave in the June 2016 EU referendum. Because the constituency is not coterminous with any local authority, the exact result is unknown. Chris Hanretty, a Reader in Politics at the University of East Anglia, estimated through a demographic model that in Copeland, 60% of voters voted 'Leave'.[14][15]

Candidates

Labour

Gillian Troughton, a Borough and County Councillor, was selected as the Labour Party candidate on 19 January.[16] During the EU referendum, Troughton had been an active Remain campaigner.[17] The short list to be Labour's candidate, announced on 12 January, had included Barbara Cannon, a former Borough and County Councillor, Rachel Holliday, founder of Calderwood House hostel, and Troughton. Long-listed candidates had included Thomas Docherty, who was the MP for Dunfermline and West Fife from 2010-5 and had previously applied to be the Copeland candidate, before losing to Reed.[18] Andrew Gwynne, shadow cabinet minister without portfolio, was Labour's campaign manager.[19]

Conservatives

On 25 January, Trudy Harrison was selected as the party's candidate. Harrison lives locally in the village of Bootle and has worked at Sellafield.[20] The Conservatives highlighted lower unemployment locally and improved standards in local schools.[21][22] Possible Conservative candidate choices had included Stephen Haraldsen, their candidate in 2015, and Chris Whiteside, a former parliamentary candidate and their candidate in the 2015 Copeland mayoral election.[23]

UK Independence Party

The UK Independence Party's (UKIP) West Cumbria branch selected Fiona Mills as their candidate, a local National Health Service (NHS) worker, member of UKIP's National Executive Committee and county chairwoman, who had stood as the party's candidate in Carlisle in the 2015 general election.[24][25][26][27][28] UKIP leader Paul Nuttall ruled himself out of standing in this by-election, initially to focus on a potential by-election in Leigh,[29] then to contest the Stoke-on-Trent Central by-election.[30]

Liberal Democrats

The Liberal Democrat candidate was confirmed on 12 January 2017 as Cockermouth Town Councillor, Rebecca Hanson.[31] She highlighted Brexit and the NHS.[32]

Green Party

On 24 January 2017, the Green Party announced Jack Lenox, a local software engineer, as their candidate for the by-election.[33] Given the party's opposition to nuclear power and the importance of the nuclear industry in the constituency, their campaign attracted more publicity than normal.[34] They also said that their candidate would be contesting an “anti-nuclear and anti-poverty campaign”.[35]

Independents

Two independent candidates also stood. Copeland borough and Whitehaven town councillor Michael Guest announced his candidacy on 31 January, saying he was aiming to represent people “dissatisfied with party politics”.[36] Whitehaven market stallholder Roy Ivinson, who also submitted nomination papers, had previously stood for seats in the area on a platform of stopping global warming.[37]

Campaign

An early issue in the campaign was plans to downgrade maternity services at West Cumberland Hospital in Whitehaven. The plans were defended by the Conservative Prime Minister, Theresa May.[38] In response to Labour criticism, the Conservative campaign said that decisions about local hospitals were the responsibility of the local NHS trust.[39]

Trade unions claimed that government cuts to Sellafield's employee pension scheme could “threaten the Conservatives' chances of winning the by-election”.[40]

The Conservatives focused on Labour leader Jeremy Corbyn and his long-standing opposition to nuclear energy and nuclear weapons. The constituency contains the Sellafield nuclear decommissioning plant and nuclear submarines are built in nearby Barrow, and Conservative election literature highlighted the potential risks to the Cumbrian economy of Labour policies.[41] Labour campaigners responded that the views of party leader Corbyn do not represent the views of the party.[42] The Conservatives also campaigned on a pro-Brexit line, suggesting that voting Conservative would ensure that Brexit is delivered, whereas voting Labour would encourage Labour to “ignore and forget ... the EU referendum”.[43][44]

It was reported that the Labour candidate had refused requests for interviews from Channel 4, whilst all other major candidates had accepted the request.[45]

A storm, named Doris, hit the constituency on polling day, which some commentators suggested might reduce turnout,[46] though in the event the turnout was relatively high for a Westminster by-election.[47][48]

2015 result

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title: 2017 Copeland by-election

question: What happened after Labour Member of Parliament (MP) Jamie Reed resigned?

answer: There was a by-election in the British parliamentary constituency of Copeland on 23 February 2017, and Conservative candidate Trudy Harrison won the seat from Labour.

question: How long has it been since a governing party candidate gained a seat from Labour in a by-election?

answer: 35 years

question: How long has Labour represented Copeland and Whitehaven?

answer: 82 consecutive years

question: Why did incumbent Labour MP Jamie Reed resign in December 2016?

answer: Aside from being a critic of Labour Party leader, Jeremy Corbyn, Reed was going back to Sellafield Ltd. (he worked there before his political career) to become the new Head of Development & Community Relations.

question: Write a ~2 sentence summary.

answer: Incumbent Labour Member of Parliament (MP) Jamie Reed resigned from his seat to go back to Sellafield Ltd. and become the new Head of Development & Community Relations. His resignation caused the Labour party to lose their seat to a Conservative candidate, a seat they held for 82 years, in a by-election held on February 23, 2017.


text:
[Mural painting from the catacomb of Commodilla. One of the first bearded images of Jesus, late 4th century.]

There is only one description of the physical appearance of Jesus given in the New Testament, and the DEPICTION OF JESUS in pictorial form was controversial in the early Church.[1][2] The depiction of him in art took several centuries to reach a conventional standardized form for his physical appearance, which has subsequently remained largely stable since that time. Most images of Jesus have in common a number of traits which are now almost universally associated with Jesus, although variants are seen.

The conventional image of a fully bearded Jesus with long hair emerged around AD 300, but did not become established until the 6th century in Eastern Christianity, and much later in the West. It has always had the advantage of being easily recognizable, and distinguishing Jesus from other figures shown around him, which the use of a cruciform halo also achieves. Earlier images were much more varied.

Images of Jesus tend to show ethnic characteristics similar to those of the culture in which the image has been created. Beliefs that certain images are historically authentic, or have acquired an authoritative status from Church tradition, remain powerful among some of the faithful, in Eastern Orthodoxy, Anglicanism, and Roman Catholicism. The Shroud of Turin is now the best-known example, though the Image of Edessa and the Veil of Veronica were better known in medieval times.

Early Christianity

Alexamenos graffito

[Engraving of a crucified donkey believed to be an early anti-Christian graffito, it reads: “Alexamenos worships [his] god.”] A very early image which is believed to be an early anti-Christian graffito is the Alexamenos graffito, a unique piece of wall graffiti near the Palatine hill in Rome. The inscription has been ascribed dates ranging from the 1st to the 3rd centuries AD.[3][4][5][6][7] It was apparently drawn by a Roman soldier to mock another soldier who was a Christian. The caption reads, in Greek, “Alexamenos worships [his] God”, while the image shows a man raising his hand toward a crucified figure with a donkey's head. This seems to refer to a Roman misconception that the Jews worshipped a god with the form of a donkey, so that the image would be at once antisemitic and anti-Christian. A small minority of scholars dispute whether this image depicts Jesus, proposing that this image may be a reference to another deity.[8]

Before Constantine

[Incised sarcophagus slab with the _Adoration of the Magi_ from the Catacombs of Rome, 3rd century. Plaster cast with added colour.] Except for Jesus wearing tzitzit—the tassels on a tallit—in Matthew 14:36[9] and Luke 8:43–44,[10] there is no physical description of Jesus contained in any of the canonical Gospels. In the Acts of the Apostles, Jesus is said to have manifested as a “light from heaven” that temporarily blinded the Apostle Paul, but no specific form is given. In the Book of Revelation there is a vision the author had of “someone like a Son of Man” in spirit form: “dressed in a robe reaching down to his feet and with a golden sash around his chest. The hair on his head were white like wool, and his eyes were like blazing fire. His feet were like burnt bronze glowing in a furnace (...) His face was like the sun shining in all its brilliance” (Revelation 1:12–16, NIV). Use in art of the Revelation description of Jesus has generally been restricted to illustrations of the book itself, and nothing in the scripture confirms the spiritual form's resemblance to the physical form Jesus took in his life on Earth.

[Jesus in the Catacombs of Rome. Third-century fresco from the Catacomb of Callixtus of Christ as the Good Shepherd.]

Exodus 20:4–6 “Thou shalt not make unto thee any graven image” is one of the Ten Commandments and except for minor exceptions made Jewish depictions of first-century individuals a scarcity. But attitudes towards the interpretation of this Commandment changed through the centuries, in that while first-century rabbis in Judea objected violently to the depiction of human figures and placement of statues in Temples, third-century Babylonian Jews had different views; and while no figural art from first-century Roman Judea exists, the art on the Dura synagogue walls developed with no objection from the Rabbis early in the third century.[11]

During the persecution of Christians under the Roman Empire, Christian art was necessarily furtive and ambiguous, and there was hostility to idols in a group still with a large component of members with Jewish origins, surrounded by, and polemicising against, sophisticated pagan images of gods. Irenaeus (d. c. 202), Clement of Alexandria (d. 215), Lactantius (c. 240–c. 320) and Eusebius of Caesarea (d. c. 339) disapproved of portrayals in images of Jesus. The 36th canon of the non-ecumenical Synod of Elvira in 306 AD reads, “It has been decreed that no pictures be had in the churches, and that which is worshipped or adored be not painted on the walls”,[12] which has been interpreted by John Calvin and other Protestants as an interdiction of the making of images of Christ.[13] The issue remained the subject of controversy until the end of the 4th century.[14]

The earliest surviving Christian art comes from the late 2nd to early 4th centuries on the walls of tombs belonging, most likely, to wealthy[15] Christians in the catacombs of Rome, although from literary evidence there may well have been panel icons which, like almost all classical painting, have disappeared.

[The Healing of the Paralytic – one of the oldest possible depictions of Jesus,[16] from the Syrian city of Dura Europos, dating from about 235]

Initially Jesus was represented indirectly by pictogram symbols such as the ichthys (fish), the peacock, or an anchor (the Labarum or Chi-Rho was a later development). The staurogram seems to have been a very early representation of the crucified Jesus within the sacred texts. Later personified symbols were used, including Jonah, whose three days in the belly of the whale pre-figured the interval between Christ's death and resurrection; Daniel in the lion's den; or Orpheus charming the animals.[17] The image of “The Good Shepherd”, a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and was probably not understood as a portrait of the historical Jesus at this period.[18] It continues the classical Kriophoros (“ram-bearer” figure), and in some cases may also represent the Shepherd of Hermas, a popular Christian literary work of the 2nd century.[19]

Among the earliest depictions clearly intended to directly represent Jesus himself are many showing him as a baby, usually held by his mother, especially in the _Adoration of the Magi_, seen as the first theophany, or display of the incarnate Christ to the world at large.[20] The oldest known portrait of Jesus, found in Syria and dated to about 235, shows him as a beardless young man of authoritative and dignified bearing. He is depicted dressed in the style of a young philosopher, with close-cropped hair and wearing a tunic and pallium—signs of good breeding in Greco-Roman society. From this, it is evident that some early Christians paid no heed to the historical context of Jesus being a Jew and visualised him solely in terms of their own social context, as a quasi-heroic figure, without supernatural attributes such as a halo (a fourth-century innovation).[21]

The appearance of Jesus had some theological implications. While some Christians thought Jesus should have the beautiful appearance of a young classical hero,[22] and the Gnostics tended to think he could change his appearance at will, for which they cited the Meeting at Emmaus as evidence,[23] others including the Church Fathers Justin (d. 165) and Tertullian (d. 220) believed, following Isaiah:53:2, that Christ's appearance was unremarkable:[24] “he had no form nor comeliness, that we should look upon him, nor beauty that we should delight in him.” But when the pagan Celsus ridiculed the Christian religion for having an ugly God in about 180, Origen (d. 248) cited Psalm 45:3: “Gird thy sword upon thy thigh, mighty one, with thy beauty and fairness”[25] Later the emphasis of leading Christian thinkers changed; Jerome (d. 420) and Augustine of Hippo (d. 430) argued that Jesus must have been ideally beautiful in face and body. For Augustine he was “beautiful as a child, beautiful on earth, beautiful in heaven.”

[Bearded Jesus between Peter and Paul, Catacombs of Marcellinus and Peter, Rome. Second half of the 4th century. Such works “first present us with the fully formed image of Christ in Majesty that will so dominate Byzantine art”[26] For detail of Christ, see this file.] [Christ Pantocrator in a Roman mosaic in the church of Santa Pudenziana, Rome, c. 400–410 AD during the Western Roman Empire]

From the 3rd century onwards, the first narrative scenes from the _Life of Christ_ to be clearly seen are the _Baptism of Christ_, painted in a catacomb in about 200,[27] and the miracle of the _Raising of Lazarus_,[28] both of which can be clearly identified by the inclusion of the dove of the Holy Spirit in _Baptisms_, and the vertical, shroud-wrapped body of Lazarus. Other scenes remain ambiguous—an _agape feast_ may be intended as a _Last Supper_, but before the development of a recognised physical appearance for Christ, and attributes such as the halo, it is impossible to tell, as _tituli_ or captions are rarely used. There are some surviving scenes from Christ's _Works_ of about 235 from the Dura Europos church on the Persian frontier of the Empire. During the 4th century a much greater number of scenes came to be depicted,[29] usually showing Christ as youthful, beardless and with short hair that does not reach his shoulders, although there is considerable variation.[30]

Jesus is sometimes shown performing miracles by means of a wand,[31] as on the doors of Santa Sabina in Rome (430–32). He uses the wand to change water to wine, multiply the bread and fishes, and raise Lazarus.[32] When pictured healing, he only lays on hands. The wand is thought to be a symbol of power. The bare-faced youth with the wand may indicate that Jesus was thought of as a user of magic or wonder worker by some of the early Christians.[33][34] No art has been found picturing Jesus with a wand before the 2nd century. Some scholars suggest that the Gospel of Mark, the Secret Gospel of Mark and the Gospel of John (the so-called Signs Gospel), portray such a wonder worker, user of magic, a magician or a Divine man.[35] Only the Apostle Peter is also depicted in ancient art with a wand.[36]

Another depiction, seen from the late 3rd century or early 4th century onwards, showed Jesus with a beard, and within a few decades can be very close to the conventional type that later emerged.[37] This depiction has been said to draw variously on Imperial imagery, the type of the classical philosopher,[38] and that of Zeus, leader of the Greek gods, or Jupiter, his Roman equivalent,[39] and the protector of Rome. According to art historian Paul Zanker, the bearded type has long hair from the start, and a relatively long beard (contrasting with the short “classical” beard and hair always given to St Peter, and most other apostles);[40] this depiction is specifically associated with “Charismatic” philosophers like Euphrates the Stoic, Dio of Prusa and Apollonius of Tyana, some of whom were claimed to perform miracles.[41]

After the very earliest examples of c. 300, this depiction is mostly used for hieratic images of Jesus, and scenes from his life are more likely to use a beardless, youthful type.[42] The tendency of older scholars such as Talbot Rice to see the beardless Jesus as associated with a “classical” artistic style and the bearded one as representing an “Eastern” one drawing from ancient Syria, Mesopotamia and Persia seems impossible to sustain, and does not feature in more recent analyses. Equally attempts to relate on a consistent basis the explanation for the type chosen in a particular work to the differing theological views of the time have been unsuccessful.[43] From the 3rd century on, some Christian leaders, such as Clement of Alexandria had recommended the wearing of beards by Christian men.[44] The centre parting was also seen from early on, and was also associated with long-haired philosophers. [Christ as Emperor, wearing military dress, and crushing the serpent representing Satan. “I am the way and the truth and the life” (John 14:6) reads the inscription. Ravenna, after 500]

After Constantine

From the middle of the 4th century, after Christianity was legalized by the Edict of Milan in 313, and gained Imperial favour, there was a new range of images of Christ the King,[45] using either of the two physical types described above, but adopting the costume and often the poses of Imperial iconography. These developed into the various forms of Christ in Majesty. Some scholars reject the connection between the political events and developments in iconography, seeing the change as a purely theological one, resulting from the shift of the concept and title of Pantocrator (“Ruler of all”) from God the Father (still not portrayed in art) to Christ, which was a development of the same period, perhaps led by Athanasius of Alexandria (d. 373).[46]

Another depiction drew from classical images of philosophers, often shown as a youthful “intellectual wunderkind” in Roman sarcophagii; the _Traditio Legis_ image initially uses this type.[47] Gradually Jesus became shown as older, and during the 5th century the image with a beard and long hair, now with a cruciform halo, came to dominate, especially in the Eastern Empire. In the earliest large New Testament mosaic cycle, in Sant'Apollinare Nuovo, Ravenna (c. 520), Jesus is beardless though the period of his ministry until the scenes of the Passion, after which he is shown with a beard.[48]

The Good Shepherd, now clearly identified as Christ, with halo and often rich robes, is still depicted, as on the apse mosaic in the church of Santi Cosma e Damiano in Rome, where the twelve apostles are depicted as twelve sheep below the imperial Jesus, or in the Mausoleum of Galla Placidia at Ravenna. [Christ in Majesty, still with no beard, from an English 12th-century illuminated manuscript.]

Once the bearded, long-haired Jesus became the conventional representation of Jesus, his facial features slowly began to be standardised, although this process took until at least the 6th century in the Eastern Church, and much longer in the West, where clean-shaven Jesuses are common until the 12th century, despite the influence of Byzantine art. But by the late Middle Ages the beard became almost universal and when Michelangelo showed a clean-shaven Apollo-like Christ in his _Last Judgment_ fresco in the Sistine Chapel (1534–41) he came under persistent attack in the Counter-Reformation climate of Rome for this, as well as other things.[49]

French scholar Paul Vignon has listed fifteen similarities (“marks”, like tilaka)[50] between most of the icons of Jesus after this point, particularly in the icons of “Christ Pantocrator” (“The all-powerful Messiah”). He claims that these are due to the availability of the Image of Edessa (which he claims to be identical to the Shroud of Turin, via Constantinople)[51] to the artists. Certainly images believed to have miraculous origins, or the Hodegetria, believed to be a portrait of Mary from the life by Saint Luke, were widely regarded as authoritative by the Early Medieval period and greatly influenced depictions. In Eastern Orthodoxy the form of images was, and largely is, regarded as revealed truth, with a status almost equal to scripture, and the aim of artists is to copy earlier images without originality, although the style and content of images does in fact change slightly over time.[52] [The oldest surviving panel icon of _Christ Pantocrator_, encaustic on panel, 6th century, showing the appearance of Jesus that is still immediately recognised today.]

As to the historical appearance of Jesus, in one possible translation of the apostle Paul's First Epistle to the Corinthians, Paul urges Christian men of first-century Corinth not to have long hair.[53] An early commentary by Pelagius (c. AD 354 – c. AD 420/440) says, “Paul was complaining because men were fussing about their hair and women were flaunting their locks in church. Not only was this dishonoring to them, but it was also an incitement to fornication.”[54] Some have speculated that Paul was a Nazirite who kept his hair long even though such speculation is at odds with Paul's statement in I Corinthians 11:14 that long hair for men was shameful at the time. Jesus was a practicing Jew so presumably had a beard.

Later periods

[_Christ Carrying the Cross_, 1580, by El Greco, whose art reflects both his roots in Greek Orthodox traditions and the Catholic Counter-Reformation] By the 5th century depictions of the Passion began to appear, perhaps reflecting a change in the theological focus of the early Church.[55] The 6th-century Rabbula Gospels includes some of the earliest surviving images of the crucifixion and resurrection.[56] By the 6th century the bearded depiction of Jesus had become standard in the East, though the West, especially in northern Europe, continued to mix bearded and unbearded depictions for several centuries. The depiction with a longish face, long straight brown hair parted in the middle, and almond shaped eyes shows consistency from the 6th century to the present. Various legends developed which were believed to authenticate the historical accuracy of the standard depiction, such as the image of Edessa and later the Veil of Veronica.[57]

Partly to aid recognition of the scenes, narrative depictions of the Life of Christ focused increasingly on the events celebrated in the major feasts of the church calendar, and the events of the Passion, neglecting the miracles and other events of Jesus' public ministry, except for the raising of Lazarus, where the mummy-like wrapped body was shown standing upright, giving an unmistakable visual signature.[58] A cruciform halo was worn only by Jesus (and the other persons of the Trinity), while plain halos distinguished Mary, the Apostles and other saints, helping the viewer to read increasingly populated scenes.[59]

The period of Byzantine Iconoclasm acted as a barrier to developments in the East, but by the 9th century art was permitted again. The Transfiguration of Jesus was a major theme in the East and every Eastern Orthodox monk who had trained in icon painting had to prove his craft by painting an icon of the Transfiguration.[60] However, while Western depictions increasingly aimed at realism, in Eastern icons a low regard for perspective and alterations in the size and proportion of an image aim to reach beyond earthly reality to a spitual meaning.[61]

The 13th century witnessed a turning point in the portrayal of the powerful Kyrios image of Jesus as a wonder worker in the West, as the Franciscans began to emphasize the humility of Jesus both at his birth and his death via the nativity scene as well as the crucifixion.[62][63][64] The Franciscans approached both ends of this spectrum of emotions and as the joys of the Nativity of were added to the agony of crucifixion a whole new range of emotions were ushered in, with wide-ranging cultural impact on the image of Jesus for centuries thereafter.[65][66][67][68]

After Giotto, Fra Angelico and others systematically developed uncluttered images that focused on the depiction of Jesus with an ideal human beauty, in works like Leonardo da Vinci's _Last Supper_, arguably the first High Renaissance painting.[69][70] Images of Jesus now drew on classical sculpture, at least in some of their poses. However Michelangelo was considered to have gone much too far in his beardless Christ in his _The Last Judgment_ fresco in the Sistine Chapel, which very clearly adapted classical sculptures of Apollo, and this path was rarely followed by other artists.

The High Renaissance was contemporary with the start of the Protestant Reformation which, especially in its first decades, violently objected to almost all public religious images as idolatrous, and vast numbers were destroyed. Gradually images of Jesus became acceptable to most Protestants in various contexts, especially in narrative contexts, as book illustrations and prints, and later in larger paintings. Protestant art continued the now-standard depiction of the physical appearance of Jesus. Meanwhile, the Catholic Counter-Reformation re-affirmed the importance of art in assisting the devotions of the faithful, and encouraged the production of new images of or including Jesus in enormous numbers, also continuing to use the standard depiction.

By the end of the 19th century, new reports of miraculous images of Jesus had appeared and continue to receive significant attention, e.g. Secondo Pia's 1898 photograph of the Shroud of Turin, one of the most controversial artifacts in history, which during its May 2010 exposition it was visited by over 2 million people.[71][72][73] Another 20th-century depiction of Jesus, namely the Divine Mercy image based on Faustina Kowalska's reported vision has over 100 million followers.[74][75] The first cinematic portrayal of Jesus was in the 1897 film _La Passion du Christ_ produced in Paris, which lasted 5 minutes.[76][77] Thereafter cinematic portrayals have continued to show Jesus with a beard in the standard western depiction that resembles traditional images.[78]

A scene from the documentary film _Super Size Me_ showed American children being unable to identify a common depiction of Jesus, despite recognizing other figures like George Washington and Ronald McDonald.[79]

Conventional depictions

Conventional depictions of Christ developed in medieval art include the narrative scenes of the Life of Christ, and many other conventional depictions:

Common narrative scenes from the _Life of Christ_ in art include:

-   Nativity of Jesus in art
-   Adoration of the Shepherds
-   Adoration of the Magi
-   Finding in the Temple
-   Baptism of Jesus
-   Crucifixion of Jesus
-   Descent from the Cross
-   Last Judgement

Devotional images include:

-   Madonna and child
-   Christ in Majesty
-   Christ Pantokrator
-   Sacred Heart
-   Pietà (mother and dead son)
-   Lamb of God
-   Man of sorrows
-   Pensive Christ

Range of depictions

[An 18th-century Ethiopian image of Jesus] Certain local traditions have maintained different depictions, sometimes reflecting local racial characteristics, as do the Catholic and Orthodox depictions. The Coptic Church of Egypt separated in the 5th century, and has a distinctive depiction of Jesus, consistent with Coptic art. The Ethiopian Church, also Coptic, developed on Coptic traditions, but shows Jesus and all Biblical figures with the Ethiopian appearance of its members. Other traditions in Asia and elsewhere also show the race of Jesus as that of the local population (see Chinese picture in the gallery below). In modern times such variation has become more common, but images following the traditional depiction in both physical appearance and clothing are still dominant, perhaps surprisingly so. In Europe, local ethnic tendencies in depictions of Jesus can be seen, for example in Spanish, German, or Early Netherlandish painting, but almost always surrounding figures are still more strongly characterised. For example, the Virgin Mary, after the vision reported by Bridget of Sweden, was often shown with blonde hair, but Christ's is very rarely paler than a light brown.

Some medieval Western depictions, usually of the Meeting at Emmaus, where his disciples do not recognise him at first (Luke.24.13–32), showed Jesus wearing a Jewish hat.[80]

[The CGI model created in 2001 depicted Jesus' skin color as being darker and more olive-colored than his traditional depictions in Western art.] In 2001, the television series _Son of God_ used one of three first-century Jewish skulls from a leading department of forensic science in Israel to depict Jesus in a new way.[81] A face was constructed using forensic anthropology by Richard Neave, a retired medical artist from the Unit of Art in Medicine at the University of Manchester.[82] The face that Neave constructed suggested that Jesus would have had a broad face and large nose, and differed significantly from the traditional depictions of Jesus in renaissance art.[83] Additional information about Jesus' skin color and hair was provided by Mark Goodacre, a New Testament scholar and professor at Duke University.[84]

Using third-century images from a synagogue—the earliest pictures of Jewish people[85]—Goodacre proposed that Jesus' skin color would have been darker and swarthier than his traditional Western image. He also suggested that he would have had short, curly hair and a short cropped beard.[86] Although entirely speculative as the face of Jesus,[87] the result of the study determined that Jesus' skin would have been more olive-colored than white or black,[88] and that he would have looked like a typical Galilean Semite. Among the points made was that the Bible records that Jesus's disciple Judas had to point him out to those arresting him in Gethsemane. The implied argument is that if Jesus's physical appearance had differed markedly from his disciples, then he would have been relatively easy to identify.[89]

Miraculous images of Jesus

[Secondo Pia's negative of his photo of the Shroud of Turin. Many Christians believe this image to be the Holy Face of Jesus.] There are, however, some images which have been claimed to realistically show how Jesus looked. One early tradition, recorded by Eusebius of Caesarea, says that Jesus once washed his face with water and then dried it with a cloth, leaving an image of his face imprinted on the cloth. This was sent by him to King Abgarus of Edessa, who had sent a messenger asking Jesus to come and heal him of his disease. This image, called the _Mandylion_ or Image of Edessa, appears in history in around 525. Numerous replicas of this “image not made by human hands” remain in circulation. There are also icon compositions of Jesus and Mary that are traditionally believed by many Orthodox to have originated in paintings by Luke the Evangelist.

A currently familiar depiction is that on the Shroud of Turin, whose records go back to 1353. Controversy surrounds the shroud and its exact origin remains subject to debate.[90] The Shroud of Turin is respected by Christians of several traditions, including Baptists, Catholics, Lutherans, Methodists, Orthodox, Pentecostals, and Presbyterians.[91] It is one of the Catholic devotions approved by the Holy See, that to the Holy Face of Jesus, now uses the image of the face on the shroud as it appeared in the negative of the photograph taken by amateur photographer Secondo Pia in 1898.[92][93] The image cannot be clearly seen on the shroud itself with the naked eye, and it surprised Pia to the extent that he said he almost dropped and broke the photographic plate when he first saw the developed negative image on it in the evening of 28 May 1898.[94]

Before 1898, devotion to the Holy Face of Jesus used an image based on the Veil of Veronica, where legend recounts that Veronica from Jerusalem encountered Jesus along the Via Dolorosa on the way to Calvary. When she paused to wipe the sweat from Jesus's face with her veil, the image was imprinted on the cloth. The establishment of these images as Catholic devotions traces back to Sister Marie of St Peter and the Venerable Leo Dupont who started and promoted them from 1844 to 1874 in Tours France, and Sister Maria Pierina De Micheli who associated the image from the Shroud of Turin with the devotion in 1936 in Milan Italy. [“The Saviour Not Made by Hands”, a Novgorodian icon from c. 1100 based on a Byzantine model]

A very popular 20th-century depiction among Roman Catholics and Anglicans is the Divine Mercy image,[95] which was approved by Pope John Paul II in April 2000.[96] The Divine Mercy depiction is formally used in celebrations of Divine Mercy Sunday and is venerated by over 100 million Catholics who follow the devotion.[97] The image is not part of Acheiropoieta in that it has been depicted by modern artists, but the pattern of the image is said to have been miraculously shown to Saint Faustina Kowalska in a vision of Jesus in 1931 in Płock, Poland.[98] Faustina wrote in her diary that Jesus appeared to her and asked her to “Paint an image according to the pattern you see”.[99][100] Faustina eventually found an artist (Eugene Kazimierowski) to depict the Divine Mercy image of Jesus with his right hand raised in a sign of blessing and the left hand touching the garment near his breast, with two large rays, one red, the other white emanating from near his heart.[101][102] After Faustina's death, a number of other artists painted the image, with the depiction by Adolf Hyla being among the most reproduced.[103]

Warner Sallman stated that _The Head of Christ_ was the result of a “miraculous vision that he received late one night”, proclaiming that “the answer came at 2 A.M., January 1924” as “a vision in response to my prayer to God in a despairing situation.”[104] The _Head of Christ_ is venerated in the Coptic Orthodox Church,[105] after twelve-year-old Isaac Ayoub, who diagnosed with cancer, saw the eyes of Jesus in the painting shedding tears; Fr. Ishaq Soliman of St. Mark's Coptic Church in Houston, on the same day, “testified to the miracles” and on the next day, “Dr. Atef Rizkalla, the family physician, examined the youth and certified that there were no traces of leukemia”.[106] With episcopal approval from Bishop Tadros of Port Said and Bishop Yuhanna of Cairo, “Sallman's _Head of Christ_ was exhibited in the Coptic Church”, with “more than fifty thousand people” visiting the church to see it.[107] In addition, several religious magazines have explained the “power of Sallman's picture” by documenting occurrences such as headhunters letting go of a businessman and fleeing after seeing the image, a “thief who aborted his misdeed when he saw the _Head of Christ_ on a living room wall”, and deathbed conversions of non-believers to Christianity.[108] As an extraordinarily successful work of Christian popular devotional art,[109] it had been reproduced over half a billion times worldwide by the end of the 20th century.[110]

Examples

File:ChristAsSol.jpg%7CA representation of Jesus riding in his chariot. Mosaic of the 3rd century on the Vatican grottoes under St. Peter's Basilica. File:Christ Pantocrator, Church of the Holy Sepulchre.png|Christ Pantocrator mosaic in the dome above the Katholikon of the Church of the Holy Sepulchre in Jerusalem. File:Solidus-Justinian II-Christ b-sb1413.jpg|Jesus depicted on an early 8th-century Byzantine coin. After the Byzantine iconoclasm all coins had Christ on them. File:Christ pantocrator daphne1090-1100.jpg|11th-century Christ Pantocrator with the halo in a cross form, used throughout the Middle Ages. Characteristically, he is portrayed as similar in features and skin tone to the culture of the artist. File:Edgar from Winchester Charter.png|A beardless Christ in the Anglo-Saxon New Minster Charter, Winchester, mid-10th century File:Jesus Coat of Arms 1.jpg|An unusual image of Jesus as a medieval knight bearing an attributed coat of arms based on the Veil of Veronica File:Baptism-christ.jpg|_The Baptism of Christ_, by Piero della Francesca, 1449. File:Kristus som den lidende frelser.jpg|_Christ as the Suffering Redeemeer_, c. 1488–1500, by Andrea Mantegna File:Michelangelo, Giudizio Universale 03.jpg|Mary and Christ, in _The Last Judgement_ by Michelangelo, this depiction was much criticised. File:Ethiopia African potrayal of Jesus.JPG|A traditional Ethiopian depiction of Jesus and Mary with distinctively Ethiopian features. File:Follower of Ribera - Christ among the Doctors.jpg|Jesus, aged 12, _Jesus among the Doctors (as a child debating in the temple)_, 1630 by Jusepe de Ribera. File:ChineseJesus.jpg%7CA Chinese depiction of Jesus and the rich man, from Mark chapter 10. File:PortAuPrinceMural.jpg%7CA mural depicting the baptism of Jesus in a typical Haitian rural scenery, Cathédrale de Sainte Trinité, Port-au-Prince, Haiti. File:Touchdown Jesus at Notre Dame.jpg|_The Word of Life_ mural on the side of the Hesburgh Library at the University of Notre Dame. File:Pietro Perugino 040.jpg|Pietro Perugino's depiction of the Crucifixion as _Stabat Mater_, 1482. File:Transfiguration by Lodovico Carracci.jpg|_Transfiguration of Jesus_ depicting him with Elijah, Moses and three apostles by Carracci, 1594. File:Titian 1558 Ancona Crucifixion.jpg|The _Crucifixion_ of Christ, 1558, by Titian. File:StJohnsAshfield StainedGlass GoodShepherd-frame crop.jpg|Jesus as Good Shepherd (stained glass at St John's Ashfield. File:Trevisani baptism christ.JPG|Trevisani's depiction of the typical baptismal scene with the sky opening and the Holy Spirit descending as a dove, 1723. File:Jesus-Christ-from-Hagia-Sophia.jpg%7CJesus Christ Pantocrator – 13th-century mosaic from Hagia Sophia. File:Noel-coypel-the-resurrection-of-christ-1700.jpg|_Resurrection_ by Noël Coypel, 1700, using a hovering depiction of Jesus. File:Christ, the Pantocrator.jpg|19th-century Russian icon of Christ Pantocrator. File:Enrique Simonet - Cabeza de Jesús.jpg|_Head of Jesus_ (1890) by Enrique Simonet. File:Jesus pacifies two warriors (Berlin Cathedral).png|Jesus, with crown and dove of peace, pacifies two fighting warriors, Berlin Cathedral, c. 1900 File:Christ All Mercy (13 c.).jpg|“Christ All Mercy” Eastern Orthodox icon. File:Nestorian Evangelion (Folio 4v).jpg|A Nestorian “Crucifixion of Jesus”, illustration from the _Nestorian Evangelion_, 16th century. File:Restoration of T‘ang Dynasty Ching-chiao Image of Jesus Christ.jpg|Reconstruction of the Chinese Nestorian painting of Jesus Christ, 9th century. File:Jesus as a Manichaean Prophet, 13th century.jpg|_Manichaean Painting of the Buddha Jesus_, a 12th- or 13th-century Chinese hanging scroll depicting Jesus Christ as the Manichaean prophet . File:Jesus Image on a Manichaean Temple Banner.jpg|Reconstruction of the enthroned Jesus () image on a Manichaean temple banner from c. 10th-century Qocho (East Central Asia). File:Icon of Christ.jpg|Contemporary icon of Christ File:SAAM-1956.11.21 1.jpg|Palma il Vecchio, Head of Christ, 16th century, Italy

Sculpture

File:SalvadorDelMundo.jpg|Monumento al Divino Salvador del Mundo is an iconic landmark that represents San Salvador city. It symbolizes the Transfiguration of Jesus standing on top of earth as the savior of the world File:CristoreiPortugal.jpg|_Christ the King_ in Portugal File:Cristo Redentor Rio de Janeiro 4.jpg|_Christ the Redeemer_, the most famous icon in Rio de Janeiro, Brazil File:Chartres2006 092.jpg|_Christ in Majesty_, Chartres Cathedral File:Michelangelo's Pieta 5450 cropncleaned.jpg|Michelangelo's _Pietà_ shows Mary holding the dead body of Jesus File:Cristo de la Concordia 02.jpg|_Cristo de la Concordia_ in Bolivia, claimed to be the largest statue of Jesus ever made File:Cristo del Otero (Palencia).jpg|_Cristo del Otero_, above Palencia, Spain File:Thorvaldsen Christus.jpg|Bertel Thorvaldsen's _Christus_, Church of Our Lady, Copenhagen File:Infant Jesus of Prague.jpg|Infant Jesus of Prague, one of several miniature statues of an infant Christ that are much venerated by the faithful File:Lux Mundi, the sculpture of Jesus at Solid Rock Church.jpg|_Lux Mundi_, a statue of Jesus by Tom Tsuchiya completed in 2012[111] File:Christ the Good Shepherd, Church of the Good Shepherd (Rosemont, Pennsylvania).jpg|The boy Jesus as the Good Shepherd, Church of the Good Shepherd (Rosemont, Pennsylvania)

[1] Philip Schaff commenting on Irenaeus, wrote, 'This censure of images as a Gnostic peculiarity, and as a heathenish corruption, should be noted'. Footnote 300 on Contr. Her. .I.XXV.6. ANF

[2] Synod of Elvira, 'Pictures are not to be placed in churches, so that they do not become objects of worship and adoration', AD 306, Canon 36

[3] Michael Green, _Evangelism in the Early Church_, Wm. B. Eerdmans Publishing, 2004, p. 244

[4] David L. Balch, Carolyn Osiek, _Early Christian Families in Context: An Interdisciplinary Dialogue_, Wm. B. Eerdmans Publishing, 2003, p. 103

[5] B. Hudson MacLean, _An introduction to Greek epigraphy of the Hellenistic and Roman periods from Alexander the Great down to the reign of Constantine_, University of Michigan Press, 2002, p. 208

[6]

[7]

[8]

[9] Matthew 14:46

[10] Luke 8:43–44

[11] Harold W. Attridge, Gohei Hata, et al. _Eusebius, Christianity, and Judaism_. Wayne, MI: Wayne State University Press, 1992. pp. 283–284.

[12] English translation found at Catholic University of America, accessed 5 September 2012 1

[13] John Calvin _Institutes of the Christian Religion_ Book 1, Chapter V. Section 6.

[14] Hellemo, pp. 3–6, and Cartlidge and Elliott, 61 (Eusebius quotation) and _passim_. Clement approved the use of symbolic pictograms.

[15] _The Second Church: Popular Christianity A.D. 200–400_ by Ramsay MacMullen, The Society of Biblical Literature, 2009

[16]

[17] Orpheus as a symbol for David was already found in hellenized Jewish art. Hall, 66

[18] Syndicus, 21–3

[19] Cartlidge and Elliott, 53–55. See also _The Two Faces of Jesus_ by Robin M. Jensen, _Bible Review_, 17.8, October 2002, and _Understanding Early Christian Art_ by Robin M. Jensen, Routledge, 2000

[20] Hall, 70–71

[21] Brandon, S.G.F, “Christ in verbal and depicted imagery”. Neusner, Jacob (ed.): _Christianity, Judaism and other Greco-Roman cults: Studies for Morton Smith at sixty. Part Two: Early Christianity_, pp. 166–167. Brill, 1975.

[22] Zanker, 299

[23] Every, George; _Christian Mythology_, p. 65, Hamlyn 1988 (1970 1st edn.)

[24] Syndicus, 92

[25] Cartlidge and Elliott, 53 – this is Psalm 44 in the Latin Vulgate; English bible translations prefer “glory” and “majesty”

[26] Zanker, 302.

[27] Schiller, I 132. The image comes from the crypt of Lucina in the Catacombs_of_San_Callisto. There are a number of other 3rd-century images.

[28] Painted over 40 times in the catacombs of Rome, from the early 3rd century on, and also on sarcophagii. As with the _Baptism_, some early examples are from Gaul. Schiller, I, 181

[29] Syndicus, 94–95

[30] Syndicus, 92–93, Catacomb images

[31]

[32] Cartlidge and Elliott, 60

[33] '' The Two Faces of Jesus'' by Robin M. Jensen, ''Bible Review, 17.8, Oct 2002

[34] _New Catholic Encyclopedia: Portraits of the Apostles_

[35] _Jesus, the Magician_ by Morton Smith, Harper & Row, 1978

[36]

[37] Zanker, 302

[38] Zanker, 300–303, who is rather dismissive of other origins for the type

[39] Syndicus, 93

[40] Cartlidge and Elliott, 56–57. St Paul often has a long beard, but short hair, as in the catacomb fresco illustrated. St John the Baptist also often has long hair and a beard, and often retains in later art the thick shaggy or wavy long hair seen on some of the earliest depictions of Jesus, and in images of philosophers of the Charismatic type.

[41] Zanker, 257–266 on the charismatics; 299–306 on the type used for Christ

[42] Zanker, pp. 299, note 48, and 300. 2. See also Cartlidge and Elliott, 55–61.

[43] Grabar, 119

[44] Zanker, 290

[45] Syndicus, 92–97, though images of Christ the King are found in the previous century also – Hellemo, 6

[46] Hellemo, 7–14, citing K. Berger in particular.

[47] Zanker, 299. Zanker has a full account of the development of the image of Christ at pp. 289–307.

[48] The two parts of the cycle are on opposite walls of the nave; Talbot Rice, 157. Bridgeman Library

[49] “Last Judgment”, Esperanca Camara, Khan Academy; Blunt Anthony, _Artistic Theory in Italy, 1450–1600_, 112–114, 118–119 [1940] (refs to 1985 edn), OUP,

[50] _The Shroud of Christ_ (“marks”) by Paul Vignon, Paul Tice, (2002 – )

[51] _The Shroud of Christ_ (“Constantinople”) by Paul Vignon, Paul Tice, _op. cit._

[52] Grigg, 5–7

[53] Regarding the alternate NIV translation of 1 Corinthians 11:7, and in agreement with modern interpretations of the New Testament, Walvoord and Zuck note, “The alternate translation in the NIV margin, which interprets the man's covering as long hair, is largely based on the view that verse 15 equated the covering with long hair. It is unlikely, however, that this was the point of verse 4.” John F. Walvoord and Roy B. Zuck, eds., _The Bible Knowledge Commentary: New Testament_, “1 Corinthians 11:4”, (Wheaton: Victor Books, 1983)

[54] Institute for Classical Christian Studies (ICCS) and Thomas Oden, eds., _The Ancient Christian Commentary Series_, “1 Corinthians 1:4”, (Westmont: Inter-Varsity Press, 2005), . Google Books

[55] _The New Westminster Dictionary of Church History_ by Robert Benedetto 2006 pp. 51–53

[56]

[57]

[58] _Iconography of Christian Art, Vol. I_ by G. Schiller 1971 Lund Humphries, London. figs 150-53, 346-54. pp. 181–184

[59]

[60] _The image of God the Father in Orthodox theology and iconography_ by Steven Bigham 1995 pp. 226–227

[61] Archimandrite Vasileios of Stavronikita, “Icons as Liturgical Analogies” in _Hymn of entry: liturgy and life in the Orthodox church_ 1997 pp. 81–90

[62] _The image of St Francis_ by Rosalind B. Brooke 2006 pp. 183–184

[63] _The tradition of Catholic prayer_ by Christian Raab, Harry Hagan, St. Meinrad Archabbey 2007 pp. 86–87

[64] _The vitality of the Christian tradition_ by George Finger Thomas 1944 pp. 110–112

[65]

[66]

[67] _La vida sacra: contemporary Hispanic sacramental theology_ by James L. Empereur, Eduardo Fernández 2006 pp. 3–5

[68] _Philippines_ by Lily Rose R. Tope, Detch P. Nonan-Mercado 2005 p. 109

[69] _Experiencing Art Around Us_ by Thomas Buser 2005 pp. 382–383

[70] _Leonardo da Vinci, the Last Supper: a Cosmic Drama and an Act of Redemption_ by Michael Ladwein 2006 pp. 27, 60

[71] Arthur Barnes, 2003 _Holy Shroud of Turin_ Kessinger Press pp. 2–9

[72] William Meacham, _The Authentication of the Turin Shroud:An Issue in Archaeological Epistemology_, Current Anthropology, Volume 24, No 3, June 1983

[73]

[74] Catherine M. Odell, 1998, _Faustina: Apostle of Divine Mercy_ OSV Press p. 165

[75] _Am With You Always_ by Benedict Groeschel 2010 p. 548

[76] _The Challenge of the Silver Screen (Studies in Religion and the Arts)_ By Freek L. Bakker 2009 p. 1

[77] _Encyclopedia of early cinema_ by Richard Abe 2005 p. 518

[78] _The Blackwell Companion to Jesus_ edited by Delbert Burkett 2010 p. 526

[79] https://www.preachingtoday.com/illustrations/2004/december/15702.html

[80] A 12th-century English example is in the Getty Museum

[81]

[82]

[83]

[84]

[85]

[86]

[87]

[88]

[89]

[90] William Meacham, _The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology_, Current Anthropology, Volume 24, No 3, June 1983

[91]

[92] Joan Carroll Cruz, 1984, _Relics_ OSV Press p. 49

[93] Ann Ball, 2003 _Encyclopedia of Catholic Devotions and Practices_ pp. 239, 635

[94]

[95]

[96] Tim Drake, 2002, Saints of the Jubilee, pp. 85–95

[97]

[98]

[99]

[100]

[101] _A Divine Mercy Resource_ by Richard Torretto 2010 “The Image of Divine Mercy” pp. 84–107

[102] Catherine M. Odell, 1998, Faustina: Apostle of Divine Mercy OSV Press pp. 63–64

[103] _Butler's lives of the saints: the third millennium_ by Paul Burns, Alban Butler 2001 p. 252

[104]

[105]

[106]

[107]

[108]

[109]

[110]

[111]

title: Depiction of Jesus

question: Why are some images of Jesus different from those established by the Church?

answer: Images of Jesus tend to show ethnic characteristics depending on where the image was created.

question: Why did the appearance of Jesus mean so much as to have implications in Theology?

answer: Early Christian thinkers had different ideas on what Jesus should look like, from a beautiful young hero to one who could change his appearance at will to someone with an unremarkable appearance. It was only when the pagan Celsus ridiculed the Christian religion for having an ugly God in around 180 AD when the Bible was quoted directly to describe the appearance of Jesus.


text:
[tpsnews.ca]

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If you need to change the text size on this site, please use your browser's zoom function.

As of December 18, police officers with an approved screening device on hand can demand a breath sample of drivers they lawfully stop, even without reasonable suspicion that they have alcohol in their bodies.

[A machine with a nozzle and buttons]
A roadside alcohol testing device that can be used n any traffic stop after Dec. 18, 2018

Bill C-46 significantly reforms the Criminal Code regime dealing with transportation offences, including alcohol-impaired driving.

Sgt. Brett Moore said a Mandatory Alcohol Screening (MAS) will be done after the person is stopped lawfully by a police officer. Refusal to submit a breath sample could lead to a criminal offence and a mandatory minimum $2,000 fine.

“Research suggests that up to 50 per cent of drivers with a blood alcohol concentration above the legal limit are not detected at roadside checkpoints,” said Moore. “Mandatory alcohol screening will assist in deterring individuals impaired by alcohol from driving as well as better detect those who do.”

MAS is currently authorized in more than 40 countries.

The legislation also focuses on drug-impaired driving, giving police the authority to demand either a Standardized Field Sobriety Test or the use oral fluid drug screeners. If presence of a drug is detected, young, novice and commercial drivers can be immediately suspended from driving. These drivers also have zero tolerance for alcohol.

Sgt. Moore pointed out that on one hand the legalization of cannabis has loosened some aspects of the law pertaining to possession and consumption, but to balance this out, the laws pertaining to operating any form of transportation (motor vehicle, boat, train, and airplane) while under the influence of drugs or alcohol have been strengthened.

Bill C-46 also increases the mandatory fines for first offenders with high blood alcohol concentrations (BAC) without causing bodily harm or death:

-   A first offender with a blood alcohol concentration (BAC) of 80 to 119 mg of alcohol per 100 ml of blood is subject to the current mandatory fine of $1,000
-   The mandatory minimum fine for a first offender with a BAC of 120 to 159 mg of alcohol per 100 ml of blood is raised to $1,500
-   The mandatory minimum fine for a first offender with a BAC of 160 mg or over of alcohol per 100 ml of blood or more is raised to $2,000
-   A first offender who refuses to comply with a lawful demand is subject to a $2,000 minimum fine
-   Second offence is mandatory minimum 30 days imprisonment
-   Third offence is mandatory minimum 120 days imprisonment

A first offender who refuses to comply with a lawful demand is subject to a $2,000 minimum fine.

Impaired driving is the leading criminal cause of death and injury in Canada.

So far this year, Toronto Police has charged over 900 people with an impaired driving offence.

“The number is intolerable,” said Moore. “We also want to remind members of our community and partners that if you suspect an impaired driver on our roads, call 9-1-1.”

Nearly 7,000 calls have been made so far this year.

[TPS crest watermark]

question: Summarize what this article says about US society's views on drinking alcohol.

answer: First of all, people will clearly still drink even if they are operating a motorized vehicle despite suggestions to not do this. There would be no need for this study if this problem didn't exist. Second, since blood alcohol concentration levels must be measured with a possible offender, it suggests people cannot be trusted to be honest about their consumption-i.e., they won't just honestly divulge how many drinks they have had.

question: Summarize the consequences for someone who has drunk over the legal limit in the States.

answer: A first-time offender will be subject to a fine ranging from 1-2K depending on their level of intoxication and whether or not they comply with the police officer. A second offense warrants a minimum of 30 days' imprisonment, and a third offense means at least 120 days' imprisonment. Obviously, drunk driving that results in the harm or death of other people will carry more and steeper legal repercussions.

question: Explain what leads up to consuming alcohol in relatively high quantities and then operating a motor vehicle.


text:
  Looking at the records of the past only reminds you of how much worse things have gotten as you have grown, the sad truth. We must move on, If we live in the PAST we stay in the PAST. Change isn't always bad, even if it feels that way. I realize that I currently haven't even been alive long enough to back up what i'm trying so desperately hard to explain.

  In the dayS where everyone was so innocent, when cutting in the lunch line was a crime punishable by social exile, assisted by the loss of friends that you, in the PAST believed to be your "bestest friend ever". Little did you know that your bestest friend ever will theoretically love and hate you for the next six years of your life. Then eventually they move away leaving you to the place that you dread calling home.

  The girls, they think they like you. Once they see you crack under emmense pressure (which at this point won't even be personally discovered for at least another decade), you are left for your other best friend that promptly took the travelers spot on your friends list. Then after the two dreaded years that could be correctly titled "The Intro to the not so fantastic four" you enter the forementioned not so fantastic four.

  The next four years of your life will determine you. A quote from the movie, "Trainspotting" which fits with such precise accuracy describes this personal judgement day, "Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television." This is not the full quote, but quite a brilliant bit of it. This describes the dreaded four in nearly every way. What if you don't choose these things though? well there is one more choice. Addiction. Now I, by no means succumb to the peer pressure, I am still what some would call a "good boy" decent grades, active in extracurricular activities, plenty of friends, and no children. My choice is life. Even though the current times tell me that happiness in the future starts with happiness in the childhood, It just isn't possible. If you take the road which is, sadly more traveled in my environment, you take risks. Risks that could end your life before you could choose it, risks that could take your friends list, and destroy it. These risks are the   most dangerous things you will ever deal with until this point. The way most see it "Choose life early, live life happily. Choose something risky, well at least you had a good time." Thats not always true, some have life chosen by those preceding them. Those are often the worst of the lot. Not the experts that have been at the lowest possible low since adolescence. Freedom of choice is, PARENTS, is key to the choice of life.

  If you take your core personality and ponder it, you may realize that this terrible time, Is not even the beginning. Your Family, So-called Friends, hobbies, and religious beliefs are the only things that matter if you choose life. Being the only truly important factors doesn't mean they are easily maintained. Thats where your early life affects you. To maintain "life" you need to mimic the activities of the stereotypical "good boy/girl". Thats what determines how you are taken in by society. They could take you in with the other thirty-nine good boy/girls or, they could cling on to the fact that you made a single choice pertaining to the category of addiction. One sign of change, and you aren't accepted by the all so real council of life. You then, dont get to choose a job, or career. This is where you stand, at the very bottom. Right next to the people you refered to as trash. The choice of life is a very delicate one. If you spend to much time doing what you are told, then your childhood is nothing. What stories will you have to tell the family that you thought you chose? Then again, If you don't choose life early on, you don't make it because you aren't seen worthy by the council of life, but really, why should they accept newcomers so late? You felt so strongly against life, at the time it mattered, that you no longer get the freedom of decision. No life, no job, no family, no compact disk players or electrical tin can openers. Only what you chose in your early days. Addiction

title: Addiction (Please leave some sort of comment or feedback, i'm extremely curious of what other people think about my works.) (Not revised/edited)

question: Why does the narrator think people should take risks?

answer: Then at least they'll have a good time.

question: Write a ~2 sentence summary.

answer: The narrator reflects on life and living in the past. They believe that the choices made in the early days of your life are what define you.