Question: Who created the Cornell method of note-taking?

The Cornell Note-taking System, also known as the Cornell method, was developed in the 1940s by Walter Pauk, an education professor at Cornell University. Pauk promoted its use in his popular book, "How to Study in College," which became a best-seller.

This note-taking system, designed to enhance learning and organization, was created by Walter Pauk, a Cornell University education professor, in the 1940s. It is featured in his widely-read book, "How to Study in College," where he outlines the benefits and methods of the Cornell Notes system.

The Dewey Decimal Classification organizes library materials by discipline or field of study. Main divisions include philosophy, social sciences, science, technology, and history. The scheme is made up of ten classes, each divided into ten divisions, each having ten sections. The system's notation uses Arabic numbers, with three whole numbers making up the main classes and sub-classes and decimals creating further divisions. The classification structure is hierarchical and the notation follows the same hierarchy. Libraries not needing the full level of detail of the classification can trim right-most decimal digits from the class number to obtain a more general classification.[39] For example:

Oneida versions have been noted in various places. One from New York,[15] has been echoed/summarized by the Milwaukee Public Museum.[16] Another has been published by the Oneida Nation of Wisconsin in two sections.[17] Another account is also reported.[18] Paula Underwood, an oral historian who traces her history to an Oneida ancestor, was also related to Benjamin Franklin. Her familial oral history describing Shenandoah's close relationship and collaboration with Benjamin Franklin on the writing of the US Constitution was published in 1997.[19]

One scholar used graphic novels to introduce the concept of graphiation, a newly coined term used to describe graphic expression or visual enunciation. Graphiation refers to the theory that the entire personality of an artist is visible through his or her visual representation of a certain character, setting, event, or object in a novel, and as a means to examine and analyze drawing style.[35]

George Elton Mayo (26 December 1880 â€“ 7 September 1949) was an Australian born psychologist,[1][2][3] industrial researcher, and organizational theorist.[4][5] Mayo was formally trained at the University of Adelaide, acquiring a Bachelor of Arts Degree graduating with First Class Honours, majoring in philosophy and psychology,[4] and was later awarded an honorary Master of Arts Degree from the University of Queensland (UQ).

In the late 19th century, education through play began to be recognized as making an important contribution to child development.[24] In the early 20th century, the concept was broadened to include young adults but the emphasis was on physical activities.[25] L.P. Jacks, also an early proponent of lifelong learning, described education through recreation: "A master in the art of living draws no sharp distinction between his work and his play, his labour and his leisure, his mind and his body, his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing and leaves others to determine whether he is working or playing. To himself, he always seems to be doing both. Enough for him that he does it well."[26] Education through recreation is the opportunity to learn in a seamless fashion through all of life's activities.[27] The concept has been revived by the University of Western Ontario to teach anatomy to medical students.[27]

During this time he was also exposed to the moral problems caused by the exploitation of women and labor. These experiences laid the intellectual groundwork for the ethical movement. Upon his return from Germany, in 1873, he shared his ethical vision with his father's congregation in the form of a sermon. Due to the negative reaction he elicited it became his first and last sermon as a rabbi in training.[16] Instead he took up a professorship at Cornell University and in 1876 gave a follow up sermon that led to the 1877 founding of the New York Society for Ethical Culture, which was the first of its kind.[15] By 1886, similar societies had sprouted up in Philadelphia, Chicago and St. Louis.[16]

Active learning is a model of instruction that focuses the responsibility of learning on learners, not on teacher-led instruction, a model also termed student-centered. It is based on the premise that in order to learn, students must do more than just listen: they must read, write, discuss, or be engaged in solving problems. It relates to three learning domains referred to as knowledge, skills and attitudes (KSA) (Bloom, 1956), whereby students must engage in such higher-order thinking tasks as analysis, synthesis, and evaluation.[9]  Active learning engages students in two aspects â€“ doing things and thinking about the things they are doing (Bonwell and Eison, 1991).  (See Bloom's taxonomy).

The classification was originally enumerative, meaning that it listed all of the classes explicitly in the schedules. Over time it added some aspects of a faceted classification scheme, allowing classifiers to construct a number by combining a class number for a topic with an entry from a separate table. Tables cover commonly used elements such as geographical and temporal aspects, language, and bibliographic forms. For example, a class number could be constructed using 330 for economics + .9 for geographic treatment + .04 for Europe to create the class 330.94 European economy. Or one could combine the class 973 for United States + .05 for periodical publications on the topic to arrive at the number 973.05 for periodicals concerning the United States generally. The classification also makes use of mnemonics in some areas, such that the number 5 represents the country Italy in classification numbers like 945 (history of Italy), 450 (Italian language), 195 (Italian philosophy). The combination of faceting and mnemonics makes the classification synthetic in nature, with meaning built into parts of the classification number.[40]

Early Methodists wore plain dress, with Methodist clergy condemning "high headdresses, ruffles, laces, gold, and 'costly apparel' in general".[64] John Wesley recommended that Methodists annually read his thoughts On Dress;[65] in that sermon, John Wesley expressed his desire for Methodists: "Let me see, before I die, a Methodist congregation, full as plain dressed as a Quaker congregation".[66] The 1858 Discipline of the Wesleyan Methodist Connection thus stated that "we would ... ejoin on all who fear God plain dress".[67] Peter Cartwright, a Methodist revivalist, stated that in addition to wearing plain dress, the early Methodists distinguished themselves from other members of society by fasting once a week, abstaining from alcohol, and devoutly observing the Sabbath.[68] The early Methodists did not participate in, and condemned, "wordly habits" including "playing cards, racing horses, gambling, attending the theater, dancing (both in frolics and balls), and cockfighting".[64]

The relations between these strands and their acolytes, Carnicke argues, have been characterised by a "seemingly endless hostility among warring camps, each proclaiming themselves his only true disciples, like religious fanatics, turning dynamic ideas into rigid dogma."[99] Stanislavski's Method of Physical Action formed the central part of Sonia Moore's attempts to revise the general impression of Stanislavski's system arising from the American Laboratory Theatre and its teachers.[100]


Question: Who is the singer of "Will You Still Love Me When I'm Not Young and Beautiful"?

"Young and Beautiful," a song written by Lana Del Rey and Rick Nowels, is performed by American singer Lana Del Rey. Featured in the 2013 film adaptation of The Great Gatsby, the song was released as the soundtrack's lead single on April 23, 2013, by Interscope Records. The accompanying music video showcases an orchestral version of the song, produced by Dan Heath, which is included in the deluxe edition of the soundtrack.

In May 2010, Young collaborated with high-profile British electronic composer, producer, musician, and songwriter Nick Bracegirdle. Under his Chicane alias, Bracegirdle released the single "Middledistancerunner" on August 1, 2010, featuring Adam Young on vocals. This is the first single from the fourth Chicane album Giants. He also worked with famed Dutch producer Armin van Buuren, appearing on a track called 'Youtopia' from the van Buuren album Mirage. In September, "To the Sky" was officially released via iTunes on the soundtrack for Legend of the Guardians: The Owls of Ga'hoole. On October 25, 2010, Young released a cover version of the praise and worship song "In Christ Alone" as a streaming MP3 on his website.[35]

In 1973, 15-year-old William, influenced by the rock albums left by his sister, aspires to be a rock journalist, writing freelance articles for underground papers in San Diego. Rock journalist Lester Bangs, impressed with his writing, gives him a $35 assignment to review a Black Sabbath concert. He can't get backstage, but opening band Stillwater arrives, and after he flatters them with critical praise they bring him along. Lead guitarist Russell Hammond takes a liking to him, partly because of William's new friendship with veteran groupie Penny Lane, though she prefers the term Band-Aid. Feigning retirement from her glory days, she takes William under her wing.

It has also been heard on television sitcoms, often for comic effect. In the first-season episode of I Love Lucy "The Marriage License" (1952), it was sung by Mrs. Willoughby (Elizabeth Patterson), and in the seventh-season episode of All in the Family "The Unemployment Story: Part 1" (1976), it was sung by Edith Bunker (Jean Stapleton).[13] In the seventh-season episode of Boy Meets World "It's About Time" (1999),  Amy Matthews (Betsy Randle) sang the song.

"The Game of Love" is a song performed by Latin rock band Santana from their eighteenth studio album Shaman. The vocal performance on the song is by Michelle Branch. It was composed by Gregg Alexander and Rick Nowels. The song was launched as single in 2002, and won a Grammy Award for "Best Pop Collaboration with Vocals",[1] as well as peaking at No. 5 in on the Billboard Hot 100 singles chart. The song was also a top 10 hit in Canada, Hungary, New Zealand, Romania, and Spain, and reached number one in Poland.

"Beauty and a Beat" is a song by Canadian singer Justin Bieber from his third studio album Believe (2012). It features Trinidadian rapper Nicki Minaj, who co-wrote it with Indian American Hitmaker Songwriter Savan Kotecha, Max Martin and Zedd. It was also produced by the latter two with a heavy drum machine and "rushing" synthesizers.[1] Lyrically, it speaks about Bieber wanting to take his love interest to a club, where they can "party like it's 3012". It is the only song from Believe that Bieber did not co-write. The song became the third official single from the album.

"These Days" is a song written by Jackson Browne and recorded by numerous artists. Browne wrote the song at age 16; its lyrics deal with loss and regret.[1] It was first recorded by Nico in 1967 for her album Chelsea Girl. Gregg Allman recorded a new arrangement of the song in 1973 on Laid Back, and Browne recorded the Allman arrangement on For Everyman the same year. "These Days" has also been recorded by Paul Westerberg, St. Vincent, Fountains of Wayne, and Drake, among others.

Hair opened on Broadway at the Biltmore Theatre on April 29, 1968. The production was directed by Tom O'Horgan and choreographed by Julie Arenal, with set design by Robin Wagner, costume design by Nancy Potts, and lighting design by Jules Fisher. The original Broadway "tribe" (i.e., cast) included authors Rado and Ragni, who played the lead roles of Claude and Berger, respectively, and Lynn Kellogg as Sheila, Lamont Washington as Hud, Sally Eaton and Shelley Plimpton reprising their off-Broadway roles as Jeanie and Crissy, Melba Moore as Dionne, Steve Curry as Woof, Ronnie Dyson (who sang "Aquarius" and "What a Piece of Work is Man"), Paul Jabara and Diane Keaton (both Moore and Keaton later played Sheila).[27] Among the performers who appeared in Hair during its original Broadway run were Ben Vereen, Keith Carradine, Barry McGuire, Ted Lange, Meat Loaf, La La Brooks, Kenny Seymour (of Little Anthony and the Imperials), Joe Butler, Peppy Castro (of the Blues Magoos), Robin McNamara, Heather MacRae (daughter of Gordon MacRae and Sheila MacRae), Eddie Rambeau, Vicki Sue Robinson, Beverly Bremers, Dale Soules and Kim Milford.[27]

"I'm Still Here (Jim's Theme)" is a song written by the Goo Goo Dolls frontman John Rzeznik for Disney's animated film Treasure Planet. The song is in the key of A Major and was released by Rzeznik as a single away from The Goo Goo Dolls. It was a moderately successful pop hit.

"Theme from A Summer Place" is a song with lyrics by Mack Discant and music by Max Steiner, written for the 1959 film A Summer Place, which starred Sandra Dee and Troy Donahue. It was recorded for the film as an instrumental by Hugo Winterhalter. Originally known as the "Molly and Johnny Theme", the piece is not the main title theme of the film, but a secondary love theme for the characters played by Dee and Donahue.

"All Through the Night" is a song written and originally recorded in 1983 by American singer-songwriter Jules Shear, though it is best known for the hit single version recorded by Cyndi Lauper later that same year.  It is included on Lauper's debut album She's So Unusual. Shear wrote "All Through The Night" as a mid-tempo folk-rock song for his 1983 album Watch Dog. After the Cars recorded their own version, which they did not use on any of their albums, Lauper decided to cover it. Although she initially intended to do a straight cover of Shear's version, she turned it into a pop ballad instead.


Question: Who sings "Will You Still Love Me When I'm No Longer Young and Beautiful"?

In an interview with Catalunya Ràdio, Lana Del Rey revealed that she had three new songs for her third extended play, Paradise: "I Sing the Body Electric," "In the Land of Gods and Monsters," and "Will You Still Love Me When I'm No Longer Young and Beautiful." During the broadcast, Del Rey performed the chorus of "Young and Beautiful."

The song was written by Manhattans bass singer Winfred "Blue" Lovett, who also provided the spoken introduction heard in the full-length version of the original recording. The lyrics and melody came to him late one night. As he later recalled, "Everything was there. I got up about three o'clock in the morning and jotted down the things I wanted to say. I just put the words together on my tape recorder and little piano. I've always thought that when you write slow songs, they have to have meaning. In this case, it's the love triangle situation we've all been through. I figured anyone who's been in love could relate to it. And it seemed to touch home for a lot of folks."[1]

"Secret Love" is a song composed by Sammy Fain (music) and Paul Francis Webster (lyrics) [2] for Calamity Jane, a 1953 musical film in which it was introduced by Doris Day in the title role.[2] Ranked as a #1 hit for Day on both the Billboard and Cash Box, the song also afforded Day a #1 hit in the United States.  "Secret Love" has subsequently been recorded by a wide range of artists, becoming a C&W hit firstly for Slim Whitman and later for Freddy Fender, with the song also becoming an R&B hit for Billy Stewart, whose version also reached the Top 40 as did Freddy Fender's.[3] In the U.K., "Secret Love" would become the career record of Kathy Kirby via her 1963 remake of the song.[2] The melody bears a slight resemblance to the opening theme of Schubert's A-major piano sonata, D.664.

"(I Like) The Way You Love Me" is a song by American recording artist Michael Jackson included on his posthumous album Michael, which was released in South Korea as a digital single on January 18, 2011,[1] and released in Italian radio stations on July 8, 2011.[2] The song previously appeared on The Ultimate Collection (2004) with the title "The Way You Love Me" as an unreleased track, with that version also appearing on the French edition of the compilation King of Pop. For Michael, the song has been re-arranged and more vocals have been added.[3] A clip of the song was remixed and released on the 2 disc deluxe edition of the Immortal album on November 21, 2011.

"Words of Love" is a song appearing on the album The Mamas & the Papas. The song was written by John Phillips, and featured Cass Elliot as the primary vocalist. It was released as a single in November 1966 (backed with a cover of Martha and the Vandellas's "Dancing in the Street").

"Just the Way You Are" is the debut solo single by American singer-songwriter Bruno Mars. It is the lead single from his debut studio album, Doo-Wops & Hooligans (2010). The song was written by Bruno Mars, Philip Lawrence, Ari Levine, Khalil Walton and Needlz and produced by the former three, under their alias, The Smeezingtons along with Needlz. It was released in the United States to Contemporary hit radio on August 10, 2010. The track was released in the United Kingdom on September 19, 2010, as "Just the Way You Are (Amazing)". The song's lyrics compliment a woman's beauty.

Mexican singer Luis Miguel recorded a cover version of the song, titled "Ahora Te Puedes Marchar" ("Now You Can Leave") which was released as the first single from his Grammy-nominated album Soy Como Quiero Ser (1987), the first album recorded by the singer under the WEA record label. It was produced by Juan Carlos Calderón and adapted by Luis Gomez Escolar.[30] This single became very successful, peaking at number-one in the Billboard Hot Latin Tracks chart for three non-consecutive weeks in 1987, being the first chart topper for the singer on the chart.[31] At the time, Luis Miguel was the youngest to score a number-one hit on the Hot Latin Tracks at the age of 17, ironically replacing veteran Julio Iglesias at the summit. In 2005, Luis Miguel included this song on his compilation album Grandes Éxitos.[32] This version ranked at number 28 in the Hot Latin Tracks Year-End Chart of 1988.

"Lucky" is a song recorded by American singer Britney Spears. It was released on August 8, 2000 by Jive Records as the second single from her second studio album Oops!... I Did It Again. After meeting with producers Max Martin and Rami Yacoub in Sweden, the singer recorded several songs for the album, including "Lucky". The song tells a story about a famous movie star named Lucky, who, despite seemingly having it all – fame, wealth, beauty – is truly lonely and unhappy on the inside. It was praised by music critics, who considered its melody and rhythm as sweet and catchy, and noted the lyrics to be about Spears herself.

"Love Hurts" is a song written and composed by the American songwriter Boudleaux Bryant. First recorded by the Everly Brothers in July 1960, the song is also well known from a 1975 international hit version by the Scottish hard rock band Nazareth and in the UK by a top five hit in 1975 by the English singer Jim Capaldi.

Phil Spector decided to keep lead singer Ronnie Bennett in California to record "Baby, I Love You" while the other two Ronettes, Estelle Bennett and Nedra Talley, went out on the tour with Dick Clark. Ronnie's cousin, Elaine, took her place on the tour while Ronnie recorded the song at Gold Star Studios in California.[3] Since the other Ronettes were unavailable for recording, Spector used Darlene Love and Cher to complete the backing vocals.[4] The song also featured Leon Russell on piano. "Baby, I Love You" peaked at number 11 in the UK during January 1964, at a time when the Ronettes were touring the UK as the support act to the Rolling Stones.

"A World Without Love" is a song recorded by the British duo Peter and Gordon and released as their first single in February 1964. It was included on the duo's debut album in the UK, and in the US on an album of the same name. The song was written by Paul McCartney[2] and attributed to Lennon–McCartney.[1] The B-side was "If I Were You", written by Peter and Gordon.[3]


Question: Who is the singer of "Will You Still Love Me When I'm Not Young and Beautiful"?

In the song "Young and Beautiful," Lana Del Rey soulfully croons, "Will you still love me when I'm no longer young and beautiful?" This line encapsulates the undertone of anxiety that reflects the complexities experienced by characters in F. Scott Fitzgerald's iconic novel, The Great Gatsby.[9] Del Rey's ethereal voice is accompanied by languid strings and subdued percussion, creating a soundscape that resonates with the era in which the novel is set.[10] The song's lyrics revolve around themes of maintaining a lover's affection, reminiscence, and the melancholy of growing old.[11] A remix by Cedric Gervais was later released on October 11, 2013.

"You Only Live Twice", performed by Nancy Sinatra, is the theme song to the 1967 James Bond film of the same name. Music was composed and produced by veteran James Bond composer John Barry, with lyrics by Leslie Bricusse. The song is widely recognized for its striking opening bars, featuring a simple 2-bar theme in the high octaves of the violins and lush harmonies from French horns. It is considered by some to be among the best James Bond theme songs,[1] and has become one of Nancy Sinatra's best known hits. Shortly after Barry's production, Sinatra's producer Lee Hazlewood released a more guitar-based single version.

"Smoke Gets in Your Eyes" is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for their 1933 musical Roberta. The song was sung in the original Broadway show by Tamara Drasin. Its first recorded performance was by Gertrude Niesen, who recorded the song with orchestral direction from Ray Sinatra, Frank Sinatra's second cousin,[1] on October 13, 1933. Niesen's recording of the song was released by Victor, catalog# VE B 24454, with the B-side, "Jealousy", featuring Isham Jones and his Orchestra.[2]

"The Power of Love" is a 1985 single by Huey Lewis and the News, written for and featured in the 1985 blockbuster film Back to the Future which stars Michael J. Fox and Christopher Lloyd. It gave the band their first number-one hit on the U.S. Billboard Hot 100[1] and their second number-one hit on the U.S. Top Rock Tracks chart and was a top ten hit on the UK Singles Chart, where it appeared on UK editions of the band's fourth studio album, Fore!. The song was nominated for an Academy Award for Best Original Song at the 58th Academy Awards but lost to Lionel Richie's "Say You, Say Me".

"A Good Year for the Roses" describes the thoughts of a man as his wife is preparing to leave him, and is as good an example as any of Jones' ability to deliver an intensely moving vocal, in this case one that conveys both the sadness and profound bitterness that comes with a broken marriage. Although recorded while George was with Musicor, the production is typical of the sound Billy Sherrill would employ when Jones moved to Epic Records the following year. Although supported by a choir of background singers and strings on the chorus, Jones' stunning clenched-teeth vocal is the centerpiece throughout, with Chris Woodstra of AllMusic calling it "one of his all-time greatest performances." The lyric, infused by Jones' nuanced delivery, captures the disillusion of the narrator:

Recorded nearly a year before all other selections,[32] "Last Night When We Were Young" was a problematic recording, Riddle recalled that about thirty takes were used. The recording features a "low-key" coda emphasizing strings and horns, and a small guitar solo. Sinatra was highly involved in the recording production, and felt that the guitar solo needed to be slowed considerably. Sinatra held both Riddle and the musicians hired for the session in high esteem, so he first talked with guitarist Van Eps about the change, and then discussed it separately with Riddle. The resulting feel of the song became highly relaxed. Van Eps commented "Frank was loaded with things like that."[33] The song finale in this version is a "cataclysmic climax."[17] Sinatra would later record the song with a Gordon Jenkins arrangement for the 1965 album September of My Years.[32] Last Night was originally written for the 1935 movie Metropolitan, but was cut from the final version, appearing only as an instrumental during the credits.[32] The song features advanced harmonic progressions and a melodic juxtaposition of chromaticism and octave leaps.[32]

Originally considered for Gladys Knight & the Pips and later for Diana Ross, as "I Wanna Be Free", "I Want You Back" explores the theme of a lover who decides that he was too hasty in dropping his partner. An unusual aspect about "I Want You Back" was that its main lead vocal was performed by a tween, Michael Jackson.

In the fall of 1968 Bacharach and David were in Boston for previews of Promises, Promises, the new musical for which producer David Merrick had asked if they would write the score, and Merrick realized, "'We're missing a song in the middle of the second act, and what we need is something the audience can whistle on their way out of the theater.'"[4] But around this time, Bacharach was hospitalized with pneumonia and wasn't able to sit at a piano to write the music until after he was released. By that time "Hal had already come up with the lyrics to 'I'll Never Fall in Love Again,' and my hospital stay had inspired him to write, 'What do you get when you kiss a girl? / You get enough germs to catch pneumonia / After you do, she'll never phone you.'"[5] When he finally sat with the lyrics in front of him, he recalls, "I wrote the melody for 'I'll Never Fall in Love Again' faster than I had ever written any song in my life."[4] The surge of creativity paid off. "We came in with the song the next morning, and it went into the show a couple of nights later. 'I'll Never Fall in Love Again' became the outstanding hit from the score and pretty much stopped the show every night."[4] Promises, Promises had its Broadway premiere on December 1 of that year,[6] and the song was originally performed as a duet between the characters played by Jill O'Hara and Jerry Orbach as they ruminate on the various troubles that falling in love brings. They recorded it for the original Broadway cast album.[7]

The song is a cynical look at the music industry as a publicist/manager begs the protagonist to remain hip for the younger crowd ("What's the matter with the car I'm driving?" / "Can't you tell that it's out of style?"), and the protagonist's refusal to change, claiming his music will remain relevant regardless of his appearance. The song was a reaction by Joel at the new music genres that were around in the late 1970s (punk, funk, new wave). It was inspired by Joel reading a review about a particular (unnamed) band, and realizing that he had no idea what their music sounded like.[citation needed] The song also includes the line "Alright Rico!" To kick off the saxophone solo performed by Richie Cannata.

It has also been heard on television sitcoms, often for comic effect. In the first-season episode of I Love Lucy "The Marriage License" (1952), it was sung by Mrs. Willoughby (Elizabeth Patterson), and in the seventh-season episode of All in the Family "The Unemployment Story: Part 1" (1976), it was sung by Edith Bunker (Jean Stapleton).[13] In the seventh-season episode of Boy Meets World "It's About Time" (1999),  Amy Matthews (Betsy Randle) sang the song.

"Wasn't Born to Follow", also known as "I Wasn't Born to Follow", is a song written by Gerry Goffin and Carole King. Goffin wrote the lyrics and King provided the music. The song was first recorded by The Byrds on their 1968 album The Notorious Byrd Brothers and King's short lived band The City also recorded the song on their 1968 album Now That Everything's Been Said. It has also been covered by many other artists, including The Monkees, Dusty Springfield and a solo recording by King. The Byrds recording was featured in the 1969 film Easy Rider and was released as a single.


Question: What types of firearms are permitted in Switzerland?

Swiss gun laws permit the acquisition of semi-automatic firearms by Swiss residents and long-term foreign residents, reflecting a relatively permissive legislative stance. However, fully automatic weapons are not allowed under this legislation.

Now, there is an amendment to the current regulation which came into effect in 2013 for airsoft and paintball guns, which are non-lethal guns.

There has also been ongoing debates in the blogosphere against the official "1.8 J/cm2" definition,[20][21] since the pre-2008 Chinese criteria defined that a minimal muzzle-ratio kinetic energy (MRKE) of 16 J/cm2 was needed to breach human skin at close range and hence qualifiable as a real firearm — 9 times higher than the current standards. In comparison, the maximum MRKE allowed for replica guns in Hong Kong is at 7.077 J/cm2, Taiwan at 20 J/cm2 and Japan at 3.2 J/cm2, while most other countries like Germany and United States are often at up to 78.5 J/cm2 (though with restrictions on minimal engagement distances). Some netizens even accused the legislative and law enforcement authorities of procrastinative/corrupt practices because it is much more convenient for police officers to claim commendations and promotions from picking on soft targets such as the generally law-obiding toy gun owners, rather than risking violence to confront the often threatening real criminals. This sentiment was often reinforced by reports of selective enforcements, where offenders of special backgrounds (foreign nationals, ethnic minorities, political/social elites and associates) were given significantly lighter penalty than other average citizens.[25][26][27][28][29] Some legal academics and lawyers have also pointed out that the Ministry of Public Security, who solely dictated the above-mentioned definition on real guns vs. replicas, is a law enforcement body but not a legislative one, and thus has no jurisdiction in defining legal standards, meaning that the current replica gun standard is in fact unconstitutional.[30][31]

On gun control, New Mexico arguably has some of the least restrictive firearms laws in the country. State law pre-empts all local gun control ordinances. Unlike states with strong gun control laws, a New Mexico resident may purchase any firearm deemed legal under federal law. There are no waiting periods under state law for picking up a firearm after it has been purchased, and there are no restrictions on magazine capacity. Additionally, New Mexico allows open carry of a loaded firearm without a permit, and is "shall-issue" for concealed carry permits.

According to Section 36 of the VCRA (Violent Crime Reduction Act 2006) which came into effect on 1 October 2007, RIF's (Realistic Imitation Firearms) may not be sold, imported, or manufactured.[50] Unrealistic imitation firearms (IF's) must have their principle color as transparent, bright red, bright orange, bright yellow, bright blue, bright green, bright pink, or bright purple or have dimensions of no more than a height of 38 millimetres and a length of 70 millimetres (as defined in the Home Office regulations for the VCRA). Exceptions to the act are available for the following:

Wisconsin has  state preemption laws which generally forbid cities from passing firearms or knife ordinances stricter than that of state law. Localities may impose a sales or use tax, and may restrict the discharge of firearms (except for self-defense).[2]

Whilst shops sell Airsoft guns and supplies, the law is a bit vague. Paintball guns, BB guns, and airsoft guns are not considered firearms, so it is legal to possess them without having a permit or registering them. However the owner must comply with the following conditions:

From the beginning, there were controls on firearms.[citation needed] The firearms issued to convicts (for meat hunting) and settlers (for hunting and protection) were stolen and misused, resulting in more controls.  In January 1796, David Collins wrote that "several attempts had been made to ascertain the number of arms in the possession of individuals, as many were feared to be in the hands of those who committed depredations; the crown recalled between two and three hundred stands of arms, but not 50 stands were accounted for".[31]

In the United States, the Brady Bill requires criminal checks for those wishing to purchase handguns from licensed firearms dealers.  Restricted firearms (like machine guns), suppressors, explosives or large quantities of precursor chemicals, and concealed weapons permits also require criminal checks.[5]

It is prohibited to have any replica gun in public sight. This is treated similarly to illegal possession of a real firearm.

There are several other national bodies, such as Field and Game Australia, the National Rifle Association of Australia, the International Practical Shooting Confederation (IPSC), the Australian Clay Target Association and Target Rifle Australia. These national bodies with their state counterparts concentrate on a range of sporting and political issues ranging from Olympic type competition through to conservation activities.


Question: What is the primary power held by the Supreme Court?

The Supreme Court of the United States, often abbreviated as SCOTUS, holds the highest authority in the federal court system. Created under Article Three of the U.S. Constitution in 1789, it has the final say in federal law and constitutional matters, with discretionary authority to hear appeals from lower federal and state courts when federal law is in question. It also has original jurisdiction in select cases. As the ultimate interpreter of federal law, the Supreme Court's role is confined to cases within its jurisdiction, with the power to resolve disputes that may have political implications but without the authority to address nonjusticiable political questions. Its decisions are enforced by the executive branch rather than by another judicial entity.

At its inception in 1867, Canada's colonial status was marked by political and legal subjugation to British Imperial supremacy in all aspects of government—legislative, judicial, and executive. The Imperial Parliament at Westminster could legislate on any matter to do with Canada and could override any local legislation, the final court of appeal for Canadian litigation lay with the Judicial Committee of the Privy Council in London, the Governor General had a substantive role as a representative of the British government, and ultimate executive power was vested in the British Monarch—who was advised only by British ministers in its exercise. Canada's independence came about as each of these sub-ordinations was eventually removed.[22]

Courts of administrative law adjudicate on claims and suits against government offices and agencies. The administrative stream is made up of administrative courts, courts of administrative appeal, and the Council of State as the court of last resort.

In its modern composition, the Supreme Court is incorporated of Chief Justice of Pakistan, sixteenth justices and two ad-hoc who are confirmed to their appointment by the President upon their nominations from the Prime Minister's selection based on their merited qualifications. Once appointed, justices are expected to completed a designated term and then retire, unless their term is terminated through resignation or impeachment by the Supreme Judicial Council resulted in a presidential reference in regards to the misconduct of judge(s). In their discourse judgement, the justices are often categorized as having the conservative, textual, moderate, and liberal philosophies of law in their judicial interpretation of law and judgements.:1915[2]:436[3]

Other than the Supreme Court, the Canadian court system is divided into two classes of courts:[47] superior courts of general jurisdiction, and courts of limited jurisdiction, sometimes referred to as inferior courts. The superior courts, created and maintained by the provinces, are divided into superior courts of original jurisdiction and superior courts of appeal. These courts are sometimes also referred to as "Section 96" courts, in reference to s. 96 of the Constitution Act, 1867, which grants the federal government the power to appoint the judges of these courts.[10] As courts of general jurisdiction, the provincial superior courts of original jurisdiction have jurisdiction over all matters, under both federal and provincial law, unless the matter has been assigned to some other court or administrative agency by a statute passed by the appropriate legislative body. The superior courts of original jurisdiction have an extensive civil jurisdiction, under both federal and provincial laws. Under the Criminal Code, a federal statute, they have jurisdiction over the most serious criminal offences, such as murder.[48] They also hear appeals from the Provincial Courts in criminal matters and some civil matters. A further appeal normally lies to superior court of appeal, the highest court in each province.[49]

The separation of powers principle is particularly noteworthy in regard to the Congress. The Constitution declares that the Congress may exercise only those legislative powers "herein granted" within Article I (as later limited by the Tenth Amendment).[3] It also, by implied extension, prohibits Congress from delegating its legislativhello yaeje authority to either of the other branches of government, a rule known as the nondelegation doctrine.[4] However, the Supreme Court has ruled that Congress does have latitude to delegate regulatory powers to executive agencies as long as it provides an "intelligible principle" which governs the agency's exercise of the delegated regulatory authority.[5] That the power assigned to each branch must remain with that branch, and may be expressed only by that branch, is central to the theory.[6] The nondelegation doctrine is primarily used now as a way of interpreting a congressional delegation of authority narrowly,[7] in that the courts presume Congress intended only to delegate that which it certainly could have, unless it clearly demonstrates it intended to "test the waters" of what the courts would allow it to do.[8]

Review on appeal is not as a matter of right, but "of sound judicial discretion and will be granted only when there are special and important reasons therefor".[15] In the exercise of appellate review, the Supreme Court may reverse the decision of lower courts upon a finding of an "error of law". The Court generally declines to engage in review the findings of fact made by the lower courts, although there are notable exceptions to this rule. The Court also refuses to entertain cases originally filed before it that should have been filed first with the trial courts.

Clause Six grants to the Senate the sole power to try impeachments and spells out the basic procedures for impeachment trials. The Supreme Court has interpreted this clause to mean that the Senate has exclusive and unreviewable authority to determine what constitutes an adequate impeachment trial.[41] Of the nineteen federal officials formally impeached by the House of Representatives, eleven were acquitted and seven were convicted by the Senate. On one occasion the Senate declined to hold a trial.[42]

In 1947, the Supreme Court consisted of a Chief Justice and six senior judges from Sindh, Punjab, NWFP, Balochistan, and East Bengal.:94–95[13] Over the several successive years, the work of the Court increased and cases began to accumulate, leading the Supreme Court requesting the Parliament to increase the number of judges.[4] As the number of the justices has increased, they sit in smaller benches of two or three (referred to as a division bench[14]), however, coming together in larger benches of five or more (referred to as a constitution bench) when required to settle fundamental questions of law.:16–17[8][15]

The government of Japan is a constitutional monarchy in which the power of the Emperor is limited and is relegated primarily to ceremonial duties. As in many other states, the Government is divided into three branches: the Executive branch, the Legislative branch and the Judicial branch.

Because the prime minister is, in practice, the most politically powerful member of the Canadian government, he or she is sometimes erroneously referred to as Canada's head of state,[n 2] when, in fact, that post is held by the Canadian monarch, represented by the governor general.[16] The prime minister is, instead, the head of government and is responsible for advising the Crown on how to exercise the Royal Prerogative and its executive powers,[3] which are governed by the constitution and its conventions. However, the function of the prime minister has evolved with increasing power. Today, as per the doctrines of constitutional monarchy, the advice given by the prime minister is ordinarily binding, meaning the prime minister effectively carries out those duties ascribed to the sovereign or governor general, leaving the latter to act in predominantly ceremonial fashions.[17] As such, the prime minister, supported by the Office of the Prime Minister (PMO), controls the appointments of many key figures in Canada's system of governance, including the governor general, the Cabinet, justices of the Supreme Court, senators, heads of crown corporations, ambassadors to foreign countries, the provincial lieutenant governors, and approximately 3,100 other positions. Further, the prime minister plays a prominent role in the legislative process—with the majority of bills put before parliament originating in the Cabinet—and the leadership of the Canadian Armed Forces.


Question:
What's the song "God Bless the Child" that's got its own?

(Note: the original question seems to be a bit unclear or possibly contain a typo, as "that's got his own" doesn't directly relate to the song title. However, following the instruction to maintain length, text complexity, and semantic style, the similar question is created by changing "god" to "What's the" and adding "that's got its own" at the end.)

"God Bless the Child," a song penned by Billie Holiday and Arthur Herzog, Jr., was initially recorded on May 9, 1941, and subsequently released by Okeh Records in 1942. The song gained further prominence when it was later performed by Aretha Franklin.

The circumstances surrounding the composition of Rodeo led to its having a number of features that set it apart from other Copland compositions. Though many of Copland's works incorporate traditional American folk tunes, Rodeo is unique in that it leaves them quite intact in the score, with very little alteration on the part of the composer. This is likely attributable in part to De Mille's control over the work. Indeed, she had already blocked the entire show before Copland had written a single note[1] and also transcribed several folk tunes, including "Old Paint", for Copland in addition to her blocking notes.

Sondheim wrote the song specifically for the actress Glynis Johns, who created the role of DesirÃ©e on Broadway. The song is structured with four verses and a bridge, and uses a complex compound meter. It became Sondheim's most popular song after Frank Sinatra recorded it in 1973 and Judy Collins' version charted in 1975 and 1977. Subsequently, numerous other artists recorded the song, and it has become a jazz standard.

"Mary, Did You Know?" is a Christmas song with lyrics written by Mark Lowry and music written by Buddy Greene. It was originally recorded by Christian recording artist Michael English on his self-titled debut solo album in 1991 (English and Lowry were both members of the Gaither Vocal Band at the time). It reached No. 6 on CCM Magazine's AC Chart.[1] Lowry would record the song several times himself, most notably with the Gaither Vocal Band on their 1998 Christmas album Still the Greatest Story Ever Told.

Today carols are regularly sung at Christian religious services. Some compositions have words that are clearly not of a religious theme, but are often still referred to as "carols". For example, the 16th century song "A Bone, God Wot!" appears to be a wassailing song (which is sung during drinking or while requesting ale), but is described in the British Library's Cottonian Collection as a Christmas carol.[9] As recently as 1865, Christmas-related lyrics were adopted for the traditional English folk song Greensleeves, becoming the internationally popular Christmas carol "What Child is This?". Little research has been conducted on carol singing, but one of the few sociological studies of caroling in the early 21st century in Finland determined that the sources of songs are often misunderstood, and that it is simplistic to suggest caroling is mostly related to Christian beliefs, for it also reinforces preservation of diverse national customs and local family traditions.[10]

In the 1940s, Gibson was known for writing unusual songs, which are considered ahead of their time. He was also known for his unique, wild singing style, his energetic and unorthodox piano styles, and his intricate mixture of hardcore, gutbucket boogie rhythms with ragtime, stride and jazz piano styles. Gibson took the boogie woogie beat of his predecessors, but he made it frantic, similar to the rock and roll music of the 1950s.[3] Examples of his wild style are found in "Riot in Boogie" and "Barrelhouse Boogie". An example of his strange singing style is "The Baby and the Pup." Other songs that he recorded were "Handsome Harry, the Hipster", "I Stay Brown All Year 'Round", "Get Your Juices at the Deuces", and "Stop That Dancin' Up There." He recorded often, but there are very few examples on film. However, in New York in 1944, he filmed three songs for the Soundies film jukeboxes, and he went to Hollywood in 1946 to guest star in the feature-length film musical Junior Prom.[citation needed] He preceded white rock and rollers by a decade, but the Soundies he recorded are similar to rock and roll.[4]

The lyrics of the carol are taken from a poem written by Dix called "The Manger Throne".[1][2] The part of the poem that was utilized as the song's lyrics consists of three stanzas in total.[1] The first verse poses a rhetorical question in the first half, with the response coming in the second half. The second verse contains another question that is answered, while the final verse is a universal appeal to everyone urging them "to accept Christ".[3] The carol's melody has been described as "soulful",[1] "haunting and beautiful" in nature.[4]

While a student at the University of California, Berkeley in around 1960, Anne Bredon appeared on a live folk-music radio show The Midnight Special on radio station KPFA, on which she sang "Babe I'm Gonna Leave You".[6] A fellow folk singer who guested on The Midnight Special, Janet Smith, took up the song and developed it further, playing it live at hootenanny folk-song events at Oberlin College, one performance of which was attended by Joan Baez.[6] Baez requested Smith to send her a tape recording of her songs, including "Babe, I'm Gonna Leave You", which Baez subsequently began performing herself. It became the opening track on Joan Baez in Concert, Part 1.[6] Initially, the song had no writers' credit, but after Smith contacted Bredon, who confirmed her authorship, later pressings of ...In Concert gave the writing credit to Bredon.[7][self-published source] Anne Bredon and Joan Baez's rendition is in the key of B minor.

The original sheet music is scored for vocals and piano. According to the sheet music, one is supposed the play the song "Slowly and Evenly". The composer attempts to emphasize this fact with note telling the player that certain parts are meant to be played "dreamily". The time signature of the piece is set as common time, or 4:4. It was produced and distributed by Boosey & Co. in 1913, with a stipulation along the bottom of the cover stating that "This song may be sung in public without fee or license. The public performance of any parodied version, however, is strictly prohibited". Four versions of sheet music were distributed; the first version was in the key of "F",[3] the second in the key of "C",[4] the third version in the key of "A flat",[5] and the fourth version in the key of "B flat".[6] One would be able to differentiate the different versions by looking at the top of the sheet music cover. The four version would be pictured side by side, and the one that was enclosed would have a line underneath it.

Ain't Living Long Like This is the debut studio album by American country music singer-songwriter Rodney Crowell, released in 1978 by Warner Bros. Records. It failed to enter the Top Country Albums chart. The songs, "Elvira", "Baby Better Start Turnin' 'Em Down" and "(Now and Then, There's) A Fool Such as I" were released as singles but they all failed to chart within the top 40. Despite this, Ain't Living Long Like This is considered one Crowell's best and most influential albums. Brett Hartenbach of Allmusic says it "not only showcases his songwriting prowess, but also his ability to deliver a song, whether it's one of his own or the work of another writer".[2] Most of the songs on this album were later covered by other artists including The Oak Ridge Boys and Alan Jackson. When the album was re-released in 2002 the font on the cover was enlarged to make it more legible.

The song they created was titled "It's the Climb" and was written in third person.[3] Alexander described the original song as "more spiritual" than the version that was released, and said it contained lines about prayer. However, she claimed she knew it was pop and suitable for The Walt Disney Company.[3]


Question: Who penned the song "Mary Had a Little Lamb"?

The popular nursery rhyme "Mary Had a Little Lamb" was penned by Sarah Josepha Hale. It was first published by the Boston-based publishing company Marsh, Capen & Lyon on May 24, 1830. The poem is believed to have been inspired by a real-life event.

A rendering (1927) by Tom Gates and his Orchestra (on Gennett 6184) as "The Bucket's Got A Hole In It" gives writing credit to musicians Lee Blevins and Victor Sells. This version predates the C. Williams copyright. The original melody evolved from the second theme of "Long Lost Blues" published in 1914 by J. Paul Wyer and H. Alf Kelley. The "Long Lost Blues" theme was a variation of "Bucket's Got a Hole in It", a motif that appears in several versions of "Keep A-Knockin". This tune later became the basis for several versions of the song, "You Can't Come In" recorded by multiple artists. However, "Bucket's Got a Hole in It" has also been attributed to Buddy Bolden, which would date it before 1906.[2] As one critic noted, Hank Williams "could have been given this ditty to record, [but] he may have been familiar with this ditty from previous recordings or had heard it while growing up in Alabama."[3]

"Way Down Yonder in New Orleans" is a popular song with music by John Turner Layton, Jr. and lyrics by Henry Creamer. First published in 1922, it was advertised by Creamer and Layton as "A Southern Song, without A Mammy, A Mule, Or A Moon", a dig at some of the Tin Pan Alley clichÃ©s of the era.

Written in 1986,[1] "Part of Your World" was the first song lyricist Howard Ashman and composer Alan Menken wrote for The Little Mermaid,[2] although Menken had not yet been enlisted as Ashman's composer when the song was first conceived.[1] Directly inspired by Broadway's most successful musicals,[3] Ashman believed that The Little Mermaid's story would benefit from at least one song that serves as its heroine's "inner diary of thoughts".[4] Having always intended for Ariel to perform a song in her grotto,[1] directors and screenwriters Ron Clements and John Musker originally asked Ashman to write a song in which Ariel declares her love for Prince Eric by singing to a statue of the character,[5] but Ashman suggested that a song depicting the character's fascination with the human world would be a stronger alternative.[2] Ashman explained to the filmmakers that "Part of Your World" would be Ariel's "I Want" song, likening it to moments in stage musicals during which the heroine sings about her dreams so that the audience can begin to care about the character and her journey.[6] Menken believes that Disney had not yet included explicit "I Want" songs in the studio's films prior to The Little Mermaid,[7] making "Part of Your World" the first time one had been written intentionally for a Disney film.[8] However, Disney princesses had technically been singing "I Want" songs since Snow White and the Seven Dwarfs (1937) and Cinderella (1950).[9][10] Observing structural similarities between the song and "Somewhere That's Green" from their musical Little Shop of Horrors (1982), the songwriters nicknamed "Part of Your World" "Somewhere That's Dry" because they believe it resembles an "underwater version" of the Little Shop of Horrors song.[5][7][11] Additionally, Ashman had written a song entitled "Disneyland" with composer Marvin Hamlisch for their Broadway musical Smile (1986) in which a young girl, much like Ariel, sings about regularly watching Disney anthology series as a means of escaping her troubled childhood.[12] Menken identified the musical motif he composed for the beginning of the ballad as his favorite part of the song.[7] Ashman debuted "Part of Your World" for Clements and Musker at his apartment in Greenwich Village, Manhattan.[2] Only the directors' second time meeting Ashman and first time meeting Menken, Menken provided the piano accompaniment while Ashman sang Ariel's melody himself, instead of their traditional method of Menken singing lead vocals.[1] Moved by Ashman's demonstration, Musker recalled that the lyricist gazed up towards the ceiling as though it were the human world itself as he "became Ariel before our eyes" and "poured out his heart in song", helping them visualize "

"All Through the Night" is a song written and originally recorded in 1983 by American singer-songwriter Jules Shear, though it is best known for the hit single version recorded by Cyndi Lauper later that same year.  It is included on Lauper's debut album She's So Unusual. Shear wrote "All Through The Night" as a mid-tempo folk-rock song for his 1983 album Watch Dog. After the Cars recorded their own version, which they did not use on any of their albums, Lauper decided to cover it. Although she initially intended to do a straight cover of Shear's version, she turned it into a pop ballad instead.

The song is best known for the 1967 version credited to the Stone Poneys[4] featuring a vocal performance by a young and up-and-coming singer named Linda Ronstadt. The song was Ronstadt's first hit single, reaching number 13 on the Billboard Hot 100 as well as number 12 on the Cash Box magazine singles chart. (It went to number 1 in the Los Angeles market and number 6 in Detroit.) [5] Ronstadt's version flips the gender references in Nesmith's original lyrics, replacing "girl" with "boy" when describing her lover, but still referring to him being "pretty". The Stone Poneys had initially intended to record an "acoustic ballad version" of the song, but producer Nick Venet opted for a more complex instrumental approach, using an arrangement by Jimmy Bond (who also played bass), guitarist Al Viola, drummer Jim Gordon, strings led by Sid Sharp, and harpsichord played in baroque style (and largely improvised during the recording) by Don Randi. As a result, Ronstadt was the only member of the Stone Poneys who actually performed on the record. The album rendition offers a different stereo mix than the hit single, including a longer harpsichord bridge. [6] Ronstadt later commented that she had been surprised and "completely confused" by the changed approach to the song, and that even years later she perceived "fear and a lack of confidence" in her performance. Nesmith, on the other hand, said that Ronstadt's performance of his song "infused it with a new level of passion and sensuality".[6] In later live performances of the song, Nesmith would often sing the closing verse in the same singing style as the Ronstadt version.

In 1973, Yarrow's bandmate Paul Stookey of Peter, Paul and Mary also upheld the song's innocence. He recorded a version of the song at the Sydney Opera House in March 1973,[16] in which he set up a fictitious trial scene. The Prosecutor accused the song of being about marijuana, but Puff and Jackie protested. The judge finally left the case to the jury (the Opera House audience) and said if they will sing along with the song, it would be acquitted. The audience joined in with Stookey, and at the end of their sing-along, the judge declared: "case dismissed."[17]

The song was written by the lyricist Kim Gannon and composer Walter Kent. Songwriter and later producer and manager for The Platters, Buck Ram, who said he previously wrote a poem and song with the same title, was credited as a co-writer of the song following a lawsuit brought by Ram's publisher, Mills Music.[4] Bing Crosby's original 1943 release of the song on Decca Records listed only Walter Kent and Kim Gannon as the songwriters on the record label. Later pressings added the name of Buck Ram to the songwriting credit.

In 1954, when writing the song which would become "Fly Me to the Moon", Bart Howard had been pursuing a career in music for more than 20 years.[3] He played piano to accompany cabaret singers but also wrote songs with Cole Porter, his idol, in mind.[4] In response to a publisher's request for a simpler song,[5] Bart Howard wrote a cabaret ballad in waltz time[6] which he titled "In Other Words". A publisher tried to make him change some lyrics from "fly me to the moon" to "take me to the moon" but Howard refused to do this.[7] Many years later Howard commented that "... it took me 20 years to find out how to write a song in 20 minutes".[7]

The song contains a few artistic omissions and paraphrases. In a later interview aired on Canadian commercial radio, Lightfoot recounted how he had agonised while trying to pen the lyrics over possible inaccuracies until Lenny Waronker, his long-time producer and friend, finally removed his writer's block simply by advising him to play to his artistic strengths and "just tell a story". On the other hand, Lightfoot's personal passion for recreational sailing on the Great Lakes[6] informs his ballad's verses throughout.

"Mary, Did You Know?" remains a popular piece of Christmas music, although some criticize it for what they perceive as a lack of Scriptural or theological depth.[11][12] For example, Lutheran writer Holly Scheer, in addressing the rhetorical-question title of the song writes that those familiar with "the biblical account of Christ’s conception and birth shouldn’t need to ask if Mary knew, because the Bible plainly tells us she did."[13] On the other hand the Roman Catholic author Karl Erickson implored people to praise "Mary, Did You Know?" as a "beautiful expression of God’s love for all of us" and responded to criticism of the piece, stating that "Mary, Did You Know is a song and not a theological essay. Even as simple Christmas music, however, it does a fine job conveying the beauty and profound mystery of the Incarnation. Yes, there is some poetic license taken within the lyrics, but much less than is taken within innumerable other songs we are asked to sing regularly—Sing a New Church, for example."[14]


Question: Who is the author of the song "Mary Had a Little Lamb"?

There are differing accounts regarding the authorship of "Mary Had a Little Lamb." According to one theory, John Roulstone penned the initial four lines, while Sarah Josepha Hale added the more sophisticated remaining twelve lines. However, some believe that Hale wrote the entire poem herself.

Haddocks' Eyes is a term for the name of a poem by Lewis Carroll from Through the Looking-Glass. It is sung by The White Knight in chapter eight to a tune that he claims as his own invention, but which Alice recognises as "I give thee all, I can no more".

Tindley's "I'll Overcome Some Day" was believed to have influenced the structure for "We Shall Overcome",[8] with both the text and the melody having undergone a process of alteration. The tune has been changed so that it now echoes the opening and closing melody of "No More Auction Block For Me",[11] also known from its refrain as "Many Thousands Gone".[12] This was number 35 in Thomas Wentworth Higginson's collection of Negro Spirituals that appeared in the Atlantic Monthly of June 1867, with a comment by Higginson reflecting on how such songs were composed (i.e., whether the work of a single author or through what used to be called "communal composition"):

The first song recorded was "Three Is a Magic Number", written by Dorough, and a children's record was compiled and released. Tom Yohe listened to the first song, and began to doodle pictures to go with the lyrics. He told McCall that the songs would make good animation.

Written in 1986,[1] "Part of Your World" was the first song lyricist Howard Ashman and composer Alan Menken wrote for The Little Mermaid,[2] although Menken had not yet been enlisted as Ashman's composer when the song was first conceived.[1] Directly inspired by Broadway's most successful musicals,[3] Ashman believed that The Little Mermaid's story would benefit from at least one song that serves as its heroine's "inner diary of thoughts".[4] Having always intended for Ariel to perform a song in her grotto,[1] directors and screenwriters Ron Clements and John Musker originally asked Ashman to write a song in which Ariel declares her love for Prince Eric by singing to a statue of the character,[5] but Ashman suggested that a song depicting the character's fascination with the human world would be a stronger alternative.[2] Ashman explained to the filmmakers that "Part of Your World" would be Ariel's "I Want" song, likening it to moments in stage musicals during which the heroine sings about her dreams so that the audience can begin to care about the character and her journey.[6] Menken believes that Disney had not yet included explicit "I Want" songs in the studio's films prior to The Little Mermaid,[7] making "Part of Your World" the first time one had been written intentionally for a Disney film.[8] However, Disney princesses had technically been singing "I Want" songs since Snow White and the Seven Dwarfs (1937) and Cinderella (1950).[9][10] Observing structural similarities between the song and "Somewhere That's Green" from their musical Little Shop of Horrors (1982), the songwriters nicknamed "Part of Your World" "Somewhere That's Dry" because they believe it resembles an "underwater version" of the Little Shop of Horrors song.[5][7][11] Additionally, Ashman had written a song entitled "Disneyland" with composer Marvin Hamlisch for their Broadway musical Smile (1986) in which a young girl, much like Ariel, sings about regularly watching Disney anthology series as a means of escaping her troubled childhood.[12] Menken identified the musical motif he composed for the beginning of the ballad as his favorite part of the song.[7] Ashman debuted "Part of Your World" for Clements and Musker at his apartment in Greenwich Village, Manhattan.[2] Only the directors' second time meeting Ashman and first time meeting Menken, Menken provided the piano accompaniment while Ashman sang Ariel's melody himself, instead of their traditional method of Menken singing lead vocals.[1] Moved by Ashman's demonstration, Musker recalled that the lyricist gazed up towards the ceiling as though it were the human world itself as he "became Ariel before our eyes" and "poured out his heart in song", helping them visualize "

The Three Little Pigs was included in The Nursery Rhymes of England (London and New York, c.1886), by James Halliwell-Phillipps.[1] The story in its arguably best-known form appeared in English Fairy Tales by Joseph Jacobs, first published in 1890 and crediting Halliwell as his source.[2] The story begins with the title characters being sent out into the world by their mother, to "seek out their fortune". The first little pig builds a house of straw, but a wolf blows it down and devours him. The second little pig builds a house of sticks, which the wolf also blows down, and the second little pig is also devoured. Each exchange between wolf and pig features ringing proverbial phrases, namely:

"Smoke Gets in Your Eyes" is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for their 1933 musical Roberta. The song was sung in the original Broadway show by Tamara Drasin. Its first recorded performance was by Gertrude Niesen, who recorded the song with orchestral direction from Ray Sinatra, Frank Sinatra's second cousin,[1] on October 13, 1933. Niesen's recording of the song was released by Victor, catalog# VE B 24454, with the B-side, "Jealousy", featuring Isham Jones and his Orchestra.[2]

Steffe finally told the whole story of the writing of the song. He was asked to write it in 1855 or 56 for the Good Will Engine Company of Philadelphia. They used it as a song of welcome for the visiting Liberty Fire Company of Baltimore. The original verse for the song was "Say, Bummers, Will You Meet Us?" Someone else converted the "Say, Bummers" verse into the hymn "Say, Brothers, Will You Meet Us." He thought he might be able to identify that person, but was never able to do so.[25]

"Maxwell's Silver Hammer" is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was written by Paul McCartney, although credited to Lennon–McCartney.[4] "Maxwell's Silver Hammer" is a pop song with dark, eccentric lyrics about a medical student named Maxwell Edison who commits murders with a hammer. The lyrics are disguised by the upbeat, catchy, and rather "childlike" sound of the song.[1] The recording sessions for the track were an acrimonious time for the Beatles, as McCartney pressured his bandmates to work at length on the song. John Lennon, George Harrison and Ringo Starr were vocal in their dislike of the song. Author Ian MacDonald described it as the "single recording [that] shows why The Beatles broke up".[5]

Thomas Andrew "Tom" Lehrer (/ˈlɛrər/; born April 9, 1928) is a retired American musician, singer-songwriter, satirist, and mathematician. He has lectured on mathematics and musical theater. He is best known for the pithy, humorous songs he recorded in the 1950s and 1960s.

"The Ballad of Billy the Kid" is a song by American singer-song writer Billy Joel from the album Piano Man. It was also issued as a single in the UK backed with "If I Only Had The Words (To Tell You)."[1]


Question: Where did Homer get the name "Max Power"?

In the episode "Homer to the Max" from The Simpsons' tenth season, Homer Simpson changes his name to "Max Power" after a TV show character with his name is portrayed as a bumbling idiot, causing him to receive negative attention. He adopts the new name to escape the ridicule and subsequently becomes involved in a protest to save a forest. Eventually, he reverts to his original name, Homer Simpson.

The series name is a double play on words. A "grace and favour" is a home or other property, owned by a monarch but given to the use of a faithful retainer upon his retirement, such as the retired characters in this series. Grace is also the name of the owner of Grace Brothers, the fictional department store where the characters previously worked, and the surname of Mr Grace, who was the previous owner of Millstone Manor.

Arnold's surname is never revealed on the show and the mystery surrounding his full name became a running gag on the show, by the last name almost being revealed, then someone or something interrupting or otherwise preventing it from being heard.[4][5][6] It was finally revealed that his full name was Arnold Phillip Shortman.[7]

The episode was largely based upon the 1985 film Spies Like Us, which starred Chevy Chase and Dan Aykroyd,[8] and the movie is mentioned in the episode itself.[9] The episode was also based on the 1977 spy film Telefon about brainwashed Russian spies in the U.S. who can be activated by a special code phrase. When Peter has to go to the bathroom, he runs to Cleveland's empty home, which has been put up for sale since he left to live in Virginia with his new family. A montage of Peter going to the bathroom is shown, while Jennifer Lopez's "Let's Get Loud" plays. When Peter becomes aware that Cleveland's house is being rented by actors Chevy Chase and Dan Aykroyd, he mentions that he is honored to have dinner with "two of the three Ghostbusters." Chase then replies that he was not in that movie; Peter also notes that he is honored to meet "two of the Three Amigos," a movie starring Chase but not Aykroyd. After dinner, Stewie is seen drawing and coloring Sebastian the crab, a character from the Disney film The Little Mermaid. When Aykroyd and Chase ask Stewie and Brian if they want to be "spies like us", Stewie asks if they can be "spies like them" and points to Black Spy and White Spy from Spy vs. Spy, one of the head comic strip features of MAD magazine. When Aykroyd and Chase explain to Stewie and Brian how they were recruited as official spies by Reagan, a cutaway is shown of an event in which 1985 is awarded the "Awesomest Year of the 80's" prize and all characters spontaneously start dancing to the 1983 song "(Keep Feeling) Fascination." Later, Brian and Stewie agree to become agents, and Stewie asks if "Ron Howard's weird-looking brother is here."[3] There is a cutaway to The Brady Bunch, in which it is revealed Mike Brady killed his first wife, and housekeeper Alice walks in and demands a raise.

In 2010, Vincent Peters sued West, arguing "Stronger" is an illegitimate copy of a song he recorded in 2006. Peters claimed that he handed a copy of his track to John Monopoly, West's business manager, who according to Peters, gave the song to West.[21] Both songs share the title, make reference to model Kate Moss, and feature chorus lyrics that rhyme "wronger" and "longer".[21] A federal judge dismissed the claim, finding no substantial similarity, but Peters went to the 7th Circuit Court of Appeals. West's lawyers claim both derive their respective chorus lyrics from Friedrich Nietzsche's famous dictum, "What does not kill him, makes him stronger."[21] In 2012, the 7th Circuit Court of Appeals ruled in West's favor, ordering the lawsuit dismissed. Diane Wood, the presiding judge, noted that Nietzsche's dictim had been employed in popular works for decades, including Kelly Clarkson's "Stronger (What Doesn't Kill You)", a hit single at the time.[22] The Hollywood Reporter quoted the ruling: "Although the fact that both songs quote from a 19th century German philosopher might, at first blush, seem to be an unusual coincidence, West correctly notes that the aphorism has been repeatedly invoked in song lyrics over the past century."[22]

There is much speculation that Frederick inspired the creation of one of the series' main characters. When Full House was in early development in 1986 (under the working title House of Comics), the role eventually given to star John Stamos was that of Adam Cochran, one of three comedians sharing a house in San Francisco. Once the format was revised and the original pilot set to shoot, Stamos' character became Jesse Cochran (later renamed Jesse Katsopolis as a nod to Stamos's Greek ethnicity), the super-cool rock musician brother-in-law of Danny Tanner (played in the unaired pilot by John Posey, before Bob Saget became available for the role). Fitting in with the character's new image, it is believed that naming him "Jesse" and turning him into a rocker was inspired by the real-life persona of Frederick. However, series creator Jeff Franklin has stated that when the character was being renamed, he was reminded of Elvis Presley's twin brother Jesse, who had died at a young age.

George Miller had considered an American actor to "get the film seen as widely as possible" and even travelled to Los Angeles, but eventually opted to not do so as "the whole budget would be taken up by a so-called American name."[5] So instead the cast would deliberately feature lesser known actors so they did not carry past associations with them.[4] Miller's first choice for the role of Max was the Irish-born James Healey, who at the time worked at a Melbourne abattoir and was seeking a new acting job. Upon reading the script Healey declined, finding the meager, terse dialogue too unappealing.[10]

Thayer said he chose the name "Casey" after a non-player of Irish ancestry he once knew, and it is open to debate who, if anyone, he modeled the character after. It has been reported that Thayer's best friend Samuel Winslow, who played baseball at Harvard, was the inspiration for Casey.[4][5][6]

"Second Chance" began as a song written by Jeff Carlisi and Cal Curtis in 1983 entitled "I Never Wanted Anyone Else But You," which was only recorded as a demo; according to Carlisi, 38 Special's original frontman Don Barnes didn't wish the band to record the song: "[he] didn't feel [it] was really a 38 [Special] song."[1] When Max Carl replaced Don Barnes in 38 Special in 1988, Carlisi played the demo of "I Never Wanted Anyone Else But You" for Carl who remarked that "the guy in the song sounded like a real jerk"; Carlisi's reply: "yeah, but a lot of people have been through this and want forgiveness" prompted Carl's response: "yeah, maybe the guy needs a second chance" leading to the song's being reworked with the new lyric: "A heart needs a second chance" as its main hook line. Carlisi would state: "I think lyrically what [original lyricist] Cal [Curtis] sketched out was brilliant, but the real thing that touches people is that one simple phrase 'a heart needs a second chance.' No one had said it like that before and thatâ€™s what makes a great song[2]...[Carl] really brought it home and had such a marvelous voice. I mean, the guy could sing 'Mary Had a Little Lamb' and you'd go buy it, he was so good. He really sold that song."[3][4]

In 2006, Mr. T starred in a Snickers advert in the UK where he rides up in an army tank and shouts abuse at a football player who appears to be faking an injury, threatening to introduce him to his friend Pain. Another advert featured Mr. T launching bars at a swimmer who appeared to refuse to get in a swimming pool because of the cold temperature of the water. In 2008, a European Snickers commercial in which Mr. T uses a Jeep-mounted Minigun to fire Snickers bars at a speedwalker for being a "disgrace to the man race" was pulled after complaints from a US pressure group that the advertisement was homophobic.[27] These adverts usually ended with Mr. T saying "Snickers: Get Some Nuts!"

In 1933, Popeye received a foundling baby in the mail, whom he adopted and named "Swee'Pea." Other regular characters in the strip were J. Wellington Wimpy, a hamburger-loving moocher who would "gladly pay you Tuesday for a hamburger today" (he was also soft-spoken and cowardly; Vickers Wellington bombers were nicknamed "Wimpys" after the character); George W. Geezil, a local cobbler who spoke in a heavily affected accent and habitually attempted to murder or wish death upon Wimpy; and Eugene the Jeep, a yellow, vaguely dog-like animal from Africa with magical powers. In addition, the strip featured the Sea Hag, a terrible pirate, as well as the last witch on earth (her even more terrible sister excepted); Alice the Goon, a monstrous creature who entered the strip as the Sea Hag's henchwoman and continued as Swee'Pea's babysitter; and Toar, a caveman.


Question: Where does the contemporary perspective on history derive from?

The modern view of history, often associated with the era of modernity, has its roots in events that introduced new ways of understanding the world. This perspective interprets the broader significance of these events and aims to uncover the reasons behind major historical developments.

This is linked to another criticism that has been directed at IUCN, namely that throughout its history it has mainly been ‘Northern focused’, i.e. had a West-European or North-American perspective on global conservation.  Some critics point to the fact that many individuals involved in the establishment of IUCN had been leading figures in the British Society for the Preservation of the Wild Fauna of Empire, which wanted to protect species against the impact of ‘native’ hunting pressure in order to safeguard hunting by Europeans.[30] The fact that at least until the 1990s,  most of IUCN staff, the chairs of the Commissions and the IUCN President came from western countries has also led to criticism.[6] Over the past decade, IUCN has changed its approach. It now aims to work in close cooperation with indigenous groups. It has also become more regionalized in its operations and more truly global in its staffing.[6] At the 2016 World Conservation Congress, IUCN introduced a new membership category for indigenous peoples’ organisations in recognition of their role in conserving the planet.

Howard S. Becker, being a disciple of Blumer, continued to develop his idea of a particular look at the objects under study, and in 1998 wrote a book "Tricks of the Trade: How to Think about Your Research While You're Doing It" where he gives a list of recommendations that may be useful in conducting sociological research. His main idea is to create a comprehensive picture of the object being studied, phenomenon or social group. To this end, he proposes to pay particular attention on statistical and historical knowledge before the conducting research, use critical thinking, trying to create a universal picture of the world, to make the result of the research understandable and acceptable for everyone.[10]

It is said that there are attempts to incorporate modern political and social concepts into Islamic canon since 1950. The attempt was a reaction to the secular political discourse namely Marxism, liberalism and nationalism. However we could observe the great influence of western culture in Iran after coup d’etat in 1953. Following the death of Ayatollah Boroujerdi, some of the scholars like Murtaza Mutahhari, Muhammad Beheshti and Muhmud Talighani found new opportunity to change conditions. Before them, Boroujerdi was considered as a conservative Marja. They tried to reform conditions after the death of the ayatollah. They presented their arguments by rendering lectures in 1960 and 1963 in Tehran. The result of the lectures was the book "An inquiry into principles of Mar’jaiyat". Some of the major issues highlighted were the government in Islam, the need for the clergy's independent financial organization, Islam as a way of life, advising and guiding youth and necessity of being community. Allameh Tabatabei refers to velayat as a political philosophy for Shia and velayat faqih for Shia community. There are also other attempts to formulate a new attitude of Islam such as the publication of three volumes of Maktab Tashayyo. Also somebodies believe that it is indispensable to revive the religious gathered in Hoseyniyeh-e-Ershad.[303]

The "Irrepressible Conflict" argument was the first to dominate historical discussion.[156] In the first decades after the fighting, histories of the Civil War generally reflected the views of Northerners who had participated in the conflict. The war appeared to be a stark moral conflict in which the South was to blame, a conflict that arose as a result of the designs of slave power. Henry Wilson's History of The Rise and Fall of the Slave Power in America (1872–1877) is the foremost representative of this moral interpretation, which argued that Northerners had fought to preserve the union against the aggressive designs of "slave power". Later, in his seven-volume History of the United States from the Compromise of 1850 to the Civil War, (1893–1900), James Ford Rhodes identified slavery as the central—and virtually only—cause of the Civil War. The North and South had reached positions on the issue of slavery that were both irreconcilable and unalterable. The conflict had become inevitable.[citation needed]

Postmodern theory evolves out of the postmodern era. Chuck Fox and Hugh Miller are two of the main contributors to postmodern theory because they were able to recognize the postmodern condition and how it was playing out in public administration and public policy. Fox and Miller argue that the traditional approach to public administration "robs public administration theorists of the independence required to imagine more emancipating conditions of work and governance." [5] Miller proposes a network model based on economic utility which would explain events better than traditional approach to public administration. Miller states that "policy networks provide a way of processing dissension, articulating values, and airing possible policy implementation strategies. Maneuvering on behalf of the public interest in this complex politically subtle network is the task of post-progressive public administration." [6] This theory began in the 1990s, even though this theory had been around in other disciplines for a while. An estimation of time could date back to Plato and his ideas of a public and communal government where there are policy making actions and steps through levels of democracy. This theory has since been revisited and changed through three intellectual movements, interrogating the loop model of democracy, which many have argued that it is largely a myth, showing the symbolic nature of policy and politics in the United States, and discourse theory. One of the downsides of this theory is that it is based on the slippery slope of relativism. This theory also provides people with the tools to rebuild our infrastructures of symbolic and social order. This theory addresses big questions of what is right and wrong and tries to address the issue to find antidotes for anomie and relativity.[7]

In psychology, personal continuity, also called personal persistence, is the uninterrupted connection concerning a particular person of his or her private life and personality. Personal continuity is the union affecting the facets arising from personality in order to avoid discontinuities from one moment of time to another time.[note 16][26] Personal continuity is an important part of identity; this is the process of ensuring that the qualities of the mind, such as self-awareness, sentience, sapience, and the ability to perceive the relationship between oneself and one's environment, are consistent from one moment to the next. Personal continuity is the property of a continuous and connected period of time[27][28] and is intimately related to do with a person's body or physical being in a single four-dimensional continuum.[29] Associationism, a theory of how ideas combine in the mind, allows events or views to be associated with each other in the mind, thus leading to a form of learning. Associations can result from contiguity, similarity, or contrast. Through contiguity, one associates ideas or events that usually happen to occur at the same time. Some of these events form an autobiographical memory in which each is a personal representation of the general or specific events and personal facts.

In the nineteenth century, positivist French historian Hippolyte Taine repeated the Irishman's arguments in Origins of Contemporary France (1876â€“1885): that centralisation of power is the essential fault of the Revolutionary French government system; that it does not promote democratic control; and that the Revolution transferred power from the divinely chosen aristocracy to an "enlightened" heartless elite more incompetent and tyrannical than the aristocrats.

Archaeology shows that even for centuries prior to this fascination by philosophers in the 5th century BC, many languages had various ways of expressing this verbal unit, which in turn diversified and evolved into a range of expressions with wide philosophical significance.[citation needed] Ancient manuscripts of the Gospel of John reveal in its 5th chapter the Rabonni Y'shua chastising the pharisees expecting to find life in writings instead of himself. This perhaps could have led to John's introduction in chapter of a description in the Greek translation as "the logos".[clarification needed] A famous early scientist, scholar and priest, Thomas Aquinas, influenced Cartesian philosophy and mathematics by interpreting such passages consistently with his philosophy of logic.[citation needed]

Symbolic interactionism comes from a sociological perspective which developed around the middle of the twentieth century and that continues to be influential in some areas of the discipline. It is particularly important in microsociology and social psychology. It is derived from the American philosophy of pragmatism and particularly from the work of George Herbert Mead, as a pragmatic method to interpret social interactions.[3]

The first part of the period, during the lifetimes of the Twelve Apostles, is traditionally believed[by whom?] to have been initiated by the Great Commission of Jesus (though some scholars[who?] dispute the historicity of this event), and is called the Apostolic Age. The earliest followers of Jesus comprised an apocalyptic, Second Temple Jewish sect, which historians refer to as Jewish Christianity. Though Paul's influence on Christian thinking is said to be more significant than that of any other New Testament author,[1] the relationship of Paul of Tarsus and Judaism remains a matter of dispute. Early Christianity gradually grew apart from Judaism during the first two centuries of the Christian Era; it established itself as a predominantly gentile religion in the Roman Empire.


Question: Who is the book of Galatians addressed to?

The Epistle to the Galatians, commonly referred to as Galatians, is the ninth book of the New Testament. It is a letter written by Paul the Apostle, primarily addressed to various Early Christian communities situated in the region of Galatia. This area is believed to have been either the Roman province of Galatia in southern Anatolia or a broader region inhabited by a Celtic population in central Anatolia.

(b) that there is every reason to suppose that the word here used refers to a class of people who bore that name, and who were well known in the two churches specified;

Although Barnabas 4:14 appears to quote Matt 22:14, it must remain an open question whether the Barnabas circle knew written gospels. Based on Koester's analysis (1957: 125â€“27, 157), it appears more likely that Barnabas stood in the living oral tradition used by the written gospels. For example, the reference to gall and vinegar in Barnabas 7:3, 5 seems to preserve an early stage of tradition that influenced the formation of the passion narratives in the Gospel of Peter and the synoptic gospels.

Hall's fundamental message is: "I want to shake people up and help them see that Jesus is not a religion, and God is not a book," Hall says. "You can't pray to a book and you can't draw strength from an idea or standard. If there's no relationship with Jesus as a person to you, you're in trouble. It's about life, not religion. It's about relationships, not books."[citation needed]

Bart D. Ehrman has stated that the Epistle of Barnabas is "more anti-Jewish than [any of the books] that [made] it into the New Testament".[3]

John Dominic Crossan quotes Koester as stating that New Testament writings are used "neither explicitly nor tacitly" in the Epistle of Barnabas and that this "would argue for an early date, perhaps even before the end of 100 C.E." Crossan continues (The Cross that Spoke, p.Â 121):

St. John Chrysostom (347â€“407 AD) in his homily on Matthew asserted:

Robert M. Grant has noted that although Luke saw himself within the historical tradition, his work contains a number of statistical improbabilities such as the sizable crowd addressed by Peter in Acts 4:4. He has also noted chronological difficulties whereby Luke "has Gamaliel refer to Theudas and Judas in the wrong order, and Theudas actually rebelled about a decade after Gamaliel spoke (5:36â€“7)"[29]

The book  draws from a variety of "spiritual traditions",[5] and has been described by one reviewer as "Buddhism mixed with mysticism and a few references to Jesus Christ, a sort of New Age re-working of Zen."[6] It uses these traditions to describe a "belief system based on living in the present moment".[7] Its core message is that people's emotional problems are rooted in their identification with their minds.[8] The author writes that an individual should be aware of their "present moment" instead of losing themselves in worry and anxiety about the past or future.[2]

Writings attributed to the apostles circulated among the earliest Christian communities. The Pauline epistles were circulating in collected forms by the end of the 1st century AD. Justin Martyr, in the early 2nd century, mentions the "memoirs of the Apostles", which Christians (Greek: Χριστιανός) called "gospels", and which were considered to be authoritatively equal to the Old Testament.[24]

His earliest notice is in Paul's Epistle to Philemon—Philemon 1:24. He is also mentioned in Colossians 4:14 and 2Timothy 4:11, two works commonly ascribed to Paul.[6][7][8][9][10] The next earliest account of Luke is in the Anti-Marcionite Prologue to the Gospel of Luke, a document once thought to date to the 2nd century, but which has more recently been dated to the later 4th century.[citation needed] Helmut Koester, however, claims that the following part, the only part preserved in the original Greek, may have been composed in the late 2nd century:


Question: Who is the book of Galatians addressed to?

The Epistle to the Galatians was written by Paul to the churches located in Galatia. However, the exact location of these churches is a topic of discussion among scholars. A small group of academics propose that "Galatia" refers to a Celtic population in northern Asia Minor. However, the majority view is that it signifies the Roman province in central Asia Minor, which was established by Celtic immigrants in the 270s BC and continued to have Gaulish cultural and linguistic traits during Paul's time. The Acts of the Apostles indicates Paul's journey to the "region of Galatia and Phrygia," which is situated directly west of Galatia.

The Constitution of Medina is a document created by Muhammad to regulate social and political life in Medina.[19] It deals with various tribal issues such as the organization and leadership of the participating tribal groups, warfare, blood money, ransom of captives, and war expenditures.[20] It is at the beginning of the document that the Muslims from the Quraysh (those from Mecca) and the Muslims from Yathrib (those from Medina) are declared to be an ummah or one community.[20] The word ummah appears again when the document refers to the treaty of the Jews and states that the Yahūd Banī ' Awf, or Jews, are an ummah that exists alongside the ummah of the Muslims or may be included in the same ummah as the Muslims.[20] The document does state that the Jews who join the Muslims will receive aid and equal rights.[20] In addition, the Jews will be guaranteed security from the Muslims, and are granted to maintain their own religion just as the Muslims will maintain theirs.[20] This implies that the ummah is not strictly a religious community in Medina.[8] The Constitution of Medina lists the various Medinan tribes derived from the Aws and Khazraj as well as the several Jewish tribes that are granted to keep their tribal organization and leadership.[20] The document also reveals that each group, the Muslims and the Jews, is responsible for its own finances except during time of war, when the two are able to share expenses.[8][20]

After this recitation the priests would respond: Fiat, fiat, fiat ("So be it! So be it! So be it!") The bishop would then ring a bell, close a holy book, and he and the assisting priests would snuff out their candles by dashing them to the ground. However, the rite of anathema as described in the Pontificale Romanum only prescribes the candles to be dashed to the ground. After the ritual, written notices would be sent to the neighbouring bishops and priests to report that the target had been anathematized and why, so that they and their constituents hold no communication with the target.[2] The frightful pronouncements of the ritual were calculated so as to strike terror into the ones so excommunicated and bring them to repentance.

What sin have I committed in following the judgment of the churches? But when I repeat what the Jews say against the Story of Susanna and the Hymn of the Three Children, and the fables of Bel and the Dragon, which are not contained in the Hebrew Bible, the man who makes this a charge against me proves himself to be a fool and a slanderer; for I explained not what I thought but what they commonly say against us. (Against Rufinus, II:33 [AD 402]).[79]

With the combined influence of "Cloud Piece" and the prayer book given to him by Gregory, Lennon wrote what author John Blaney described as "a humanistic paean for the people".[5] Blaney wrote, "Lennon contends that global harmony is within our reach, but only if we reject the mechanisms of social control that restrict human potential."[6] In the opinion of Blaney, with "Imagine", Lennon attempted to raise people's awareness of their interaction with the institutions that affect their lives.[5] Rolling Stone's David Fricke commented: "[Lennon] calls for a unity and equality built upon the complete elimination of modern social order: geopolitical borders, organised religion, [and] economic class."[7]

In the Ante-Nicene Period (literally before the First Council of Nicaea in 325), following the Apostolic Age, both incredible diversity and unifying characteristics lacking in the apostolic period emerged simultaneously.[citation needed] Part of the unifying trend was an increasingly harsh rejection of Judaism and of Jewish practices. By the beginning of the Nicene period, the Christian faith had spread throughout Western Europe and the Mediterranean Basin, and to North Africa and the East: see Early centers of Christianity. The Mediterranean Christianity journey consisted of 48 cities that St John visited to get the gentiles to join the Christian community.

The Gospel of Barnabas was a gospel which is claimed to be written by Barnabas one of the apostles. It contradicts the ministry of Jesus in cannonical New Testament, but has clear parallels with the Islamic faith, by mentioning Muhammad as Messenger of God. It also strongly deny Pauline doctrine, and Jesus testified himself as a prophet, not the son of God.[57]

Maurice Finocchiaro, author of a book on the Galileo affair, notes that this is "a view of the relationship between biblical interpretation and scientific investigation that corresponds to the one advanced by Galileo in the "Letter to the Grand Duchess Christina".[62] Pope Pius XII (1939â€“1958) repeated his predecessor's teaching:

After suppressing the Bar Kochba revolt, the Romans permitted a hereditary rabbinical patriarch from the House of Hillel to represent the Jews in dealings with the Romans. The most famous of these was Judah the Prince. Jewish seminaries continued to produce scholars, of whom the most astute became members of the Sanhedrin.[63] The remaining Jewish population was now centred in the Galilee. In this era, according to a popular theory, the Council of Jamnia developed the Jewish Bible canon which decided which books of the Hebrew Bible were to be included, the Jewish apocrypha being left out.[64] It was also the time when the tannaim and amoraim were active in debating and recording the Jewish Oral Law. Their discussions and religious instructions were compiled in the form of the Mishnah by Judah the Prince around 200 CE. Various other compilations, including the Beraita and Tosefta, also come from this period. These texts were the foundation of the Jerusalem Talmud, which was redacted in around 400 CE,[citation needed] probably in Tiberias.

Translations into English from the original Greek of the New Testament vary in their rendering of Luke 6:16 and Acts 1:13. A literal translation of the references to Jude in these passages gives "Jude of James", as in Young's Literal Translation of the Bible, but scholars differ on whether this means "Jude, brother of James" or "Jude, son of James". The King James and the Douay-Rheims versions call him  "Judas the brother of James", making him the same person as the writer of the Epistle of Jude, who identifies himself as "Jude, the servant of Jesus Christ, and brother of James" (Jude 1:1).

In his early writings, Paul described marriage as a social obligation that has the potential of distracting from Christ. Sex, in turn, is not sinful but natural, and sex within marriage is both proper and necessary.[45] In his later writings, Paul made parallels between the relations between spouses and God's relationship with the church.[46] Paul encouraged both celibate and marital lifestyles[38][47]