Question: What was the purpose of revival meetings during the Second Great Awakening?

The purpose of revival meetings during the Second Great Awakening was to spread religious enthusiasm and conversion across the American frontier. These meetings, a key component of the movement, were held in various locations, including Kentucky, Tennessee, and southern Ohio. Each denomination involved in the revivals had its own strengths, such as the Methodists' efficient organization and itinerant ministers known as circuit riders. These circuit riders, often from humble backgrounds, connected with frontier families, facilitating the spread of religious fervor in remote areas.

Amid these reconfigured political landscapes arose two pivotal events: the Panic of 1819 and the Missouri crisis of 1820.[9] Both the alarming economic disaster, which fell heavily upon both agrarian and industrial workers, and the distressing sectional disputes over slavery expansion, produced widespread social unrest and calls for increased democratic control over the future of the American republic.[10] From these disaffected social groups would be assembled the popular base on which political parties would be revived, though these were only beginning to take shape at the time of the 1824 presidential election.[11]

In the middle of the 19th century a spiritual revival known as the Oxford Movement began in the Church of England. Those involved came to be known as Anglo-Catholics whose aim was to recall the Church of England to its origins and to restore reverence and beauty in worship. Out of the Oxford Movement came the first religious communities to be founded since the Dissolution of the Monasteries by Henry VIII of England and among these the Community of St Mary the Virgin was one of the first.

The right of assembly was originally distinguished from the right to petition. In United States v. Cruikshank (1875),[238] the Supreme Court held that "the right of the people peaceably to assemble for the purpose of petitioning Congress for a redress of grievances, or for anything else connected with the powers or duties of the National Government, is an attribute of national citizenship, and, as such, under protection of, and guaranteed by, the United States. The very idea of a government, republican in form, implies a right on the part of its citizens to meet peaceably for consultation in respect to public affairs and to petition for a redress of grievances."[239] Justice Morrison Waite's opinion for the Court carefully distinguished the right to peaceably assemble as a secondary right, while the right to petition was labeled to be a primary right. Later cases, however, paid less attention to these distinctions.[232]

During the 1980s and 1990s, Little Richard officiated at celebrity weddings. In 2006, Little Richard wedded twenty couples who won a contest in one ceremony.[152] The musician used his experience and knowledge as a minister and elder statesman of rock and roll to preach at funerals of musical friends such as Wilson Pickett and Ike Turner.[153] At a benefit concert in 2009 to raise funds to help rebuild children's playgrounds destroyed by Hurricane Katrina, Little Richard asked guest of honor Fats Domino to pray with him and others. His assistants handed out inspirational booklets at the concertâ€”a common practice at Little Richard's shows.[154] He somberly told a Howard Theatre, Washington, D.C. audience in June 2012, "I know this is not Church, but get close to the Lord. The world is getting close to the end. Get close to the Lord."[112] In 2013, Little Richard elaborated on his spiritual philosophies, stating "God talked to me the other night. He said He's getting ready to come. The world's getting ready to end and He's coming, wrapped in flames of fire with a rainbow around his throne." Rolling Stone reported his apocalyptic prophesies generated snickers from some audience members as well as cheers of support. Little Richard responded by stating: "When I talk to you about [Jesus], I'm not playing. I'm almost 81 years old. Without God, I wouldn't be here."[155] In 2017, he came back to the Seventh-day Adventist Church, been rebaptized and 3ABN had an interview with Little Richard, and later he shared his personal testimony at 3ABN Fall Camp Meeting 2017.[156][157][158]

Puritan poetry was highly religious in nature, and one of the earliest books of poetry published was the Bay Psalm Book, a set of translations of the biblical Psalms; however, the translators' intention was not to create great literature but to create hymns that could be used in worship.[2] Among lyric poets, the most important figures are Anne Bradstreet, who wrote personal poems about her family and homelife; pastor Edward Taylor, whose best poems, the Preparatory Meditations, were written to help him prepare for leading worship; and Michael Wigglesworth, whose best-selling poem, The Day of Doom (1660), describes the time of judgment. It was published in the same year that anti-Puritan Charles II was restored to the British throne. He followed it two years later with God's Controversy With New England. Nicholas Noyes was also known for his doggerel verse.

On January 21, 1786, the Virginia Legislature, following James Madison's recommendation, invited all the states to send delegates to Annapolis, Maryland to discuss ways to reduce interstate conflict. At what came to be known as the Annapolis Convention, the few state delegates in attendance endorsed a motion that called for all states to meet in Philadelphia in May 1787 to discuss ways to improve the Articles of Confederation in a "Grand Convention." Although the states' representatives to the Constitutional Convention in Philadelphia were only authorized to amend the Articles, the representatives held secret, closed-door sessions and wrote a new constitution. The new Constitution gave much more power to the central government, but characterization of the result is disputed. The general goal of the authors was to get close to a republic as defined by the philosophers of the Age of Enlightenment, while trying to address the many difficulties of the interstate relationships. Historian Forrest McDonald, using the ideas of James Madison from Federalist 39, describes the change this way:

For about 20 years, the Adventist movement consisted of a small, loosely knit group of people who came from many churches and whose primary means of connection and interaction was through James White's periodical The Advent Review and Sabbath Herald. They embraced the doctrines of the Sabbath, the heavenly sanctuary interpretation of Daniel 8:14, conditional immortality, and the expectation of Christ's premillennial return. Among its most prominent figures were Joseph Bates, James White, and Ellen G. White. Ellen White came to occupy a particularly central role; her many visions and spiritual leadership convinced her fellow Adventists that she possessed the gift of prophecy.

Broadly speaking, the era was characterized by a democratic spirit and built upon Jackson's equal political policy (subsequent to ending what he termed a "monopoly" of government by elites). Even before the Jacksonian era began, suffrage had been extended to a majority of white male adult citizens, a result the Jacksonians celebrated.[1] Jacksonian democracy also promoted the strength of the presidency and executive branch at the expense of Congress, while also seeking to broaden the public's participation in government. The Jacksonians demanded elected (not appointed) judges and rewrote many state constitutions to reflect the new values. In national terms, they favored geographical expansion, justifying it in terms of Manifest destiny. There was usually a consensus among both Jacksonians and Whigs that battles over slavery should be avoided.

Supply Belcher, born in Stoughton, Massachusetts, though later based out of Farmington, Maine, is also especially well known. His only published tunebook was 1794's The Harmony of Maine, which included anthems, fuging pieces, psalms and hymns, a number of which were secular. His songs were distinctively folky and down-to-earth. His contemporary Daniel Read, a Massachusetts-born musician who later moved to New Haven, Connecticut, was a popular musician who supported himself almost entirely off the sale of tunebooks. His first publication was entitled The American Singing Book; or, a New and Easy Guide to the Art of Psalmody Devised for the Use of Singing Schools in America. The title's use of psalmody is here referring to singing societies which were spreading across the country, and is used without religious connotations.

On his return to India he established the Indian Reform Association, which had five areas of activity: inexpensive literature, female improvement, education, temperance, and charity. In two lectures delivered between 1881 and 1883 he shared his latest doctrines. They were "That Marvelous Mystery — the Trinity" and "Asia's Message to Europe." The latter is an eloquent plea against the Europeanizing of Asia, as well as a protest against Western sectarianism. During the intervals of his last illness he wrote The New Samhita, or the Sacred Laws of the Aryans of the New Dispensation. He died on 8 January 1884. His Hindu funeral was attended by over 2000 people.[29]


Question: What was the objective of a revival meeting during the Second Great Awakening?

During the Second Great Awakening, revival meetings, often held as camp meetings in frontier regions, served as pivotal religious gatherings. These events were not only the first exposure to organized religion for many settlers but also significant social occasions. Typically lasting several days, camp meetings drew settlers from sparsely populated areas, offering them a chance to bond and worship together. The intense emotions evoked by these meetings, with their focus on individual sin and the need for salvation through Christ, were often accompanied by enthusiastic expressions of faith such as dancing, shouting, and singing. Converts, upon returning home, would either join or establish local churches, contributing to their rapid growth. The Second Great Awakening represented a transformative period in American religious history, characterized by a shift towards the belief in man's dependence on divine grace for salvation, a doctrine emphasized by Calvinist sects.

During this time many Americans found it difficult to reconcile slavery with their interpretation of Christianity and the lofty sentiments that flowed from the Declaration of Independence. A small antislavery movement, led by the Quakers, had some impact in the 1780's and by the late 1780's all of the states except for Georgia had placed some restrictions on their participation in slave trafficking. Still, no serious national political movement against slavery developed, largely due to the overriding concern over achieving national unity.[11] When the Constitutional Convention met, slavery was the one issue "that left the least possibility of compromise, the one that would most pit morality against pragmatism.[12] In the end, while many would take comfort in the fact that the word slavery never occurs in the Constitution, critics note that the three-fifths clause provided slaveholders with extra representatives in Congress, the requirement of the federal government to suppress domestic violence would dedicate national resources to defending against slave revolts, a twenty-year delay in banning the import of slaves allowed the South to fortify its labor needs, and the amendment process made the national abolition of slavery very unlikely in the foreseeable future.[13]

Despite American successes, the mismanagement of the Army during the war distressed Calhoun, and he resolved to strengthen and centralize the War Department.[32] The militia had proven itself quite unreliable during the war and Calhoun saw the need for a permanent and professional military force. In 1816 he called for building an effective navy, including steam frigates, as well as a standing army of adequate size. The British blockade of the coast had underscored the necessity of rapid means of internal transportation; Calhoun proposed a system of "great permanent roads". The blockade had cut off the import of manufactured items, so he emphasized the need to encourage more domestic manufacture, fully realizing that industry was based in the Northeast. The dependence of the old financial system on import duties was devastated when the blockade cut off imports. Calhoun called for a system of internal taxation that would not collapse from a war-time shrinkage of maritime trade, as the tariffs had done. The expiration of the charter of the First Bank of the United States had also distressed the Treasury, so to reinvigorate and modernize the economy Calhoun called for a new national bank. A new bank was chartered as the Second Bank of the United States by Congress and approved by President James Madison in 1816. Through his proposals, Calhoun emphasized a national footing and downplayed sectionalism and states rights. Historian Ulrich B. Phillips says that at this stage of Calhoun's career, "The word nation was often on his lips, and his conviction was to enhance national unity which he identified with national power."[33]

As Risjord (1961) notes, a powerful motivation for the Americans was the desire to uphold national honour in the face of what they considered to be British insults such as the Chesapeake–Leopard Affair.[21] H. W. Brands says, "The other war hawks spoke of the struggle with Britain as a second war of independence; [Andrew] Jackson, who still bore scars from the first war of independence held that view with special conviction. The approaching conflict was about violations of American rights, but it was also about vindication of American identity."[22] Americans at the time and historians since often called it the United States' "Second War of Independence".[23]

The Modernist American movement was a reflection of American life in the 20th century. In the quickly industrializing world and hastened pace of life, it was easy for the individual to be swallowed up by the vastness of things, left wandering, devoid of purpose. Social boundaries in race, class, sex, wealth and religion were being challenged. As the social structure was challenged by new incoming views, the bounds of traditional standards and social structure dissolved, and a loss of identity was what remained, translating eventually into isolation, alienation and an overall feeling of separateness from any kind of "whole". The unity of a war-rallied country was dying, along with it the illusion of the pleasantries it sold to its soldiers and people. The world was left violent, vulgar and spiritually empty.

In the fifty years preceding the start of the revival process, a version of spoken Hebrew already existed in the markets of Jerusalem. The Sephardic Jews who spoke Ladino or Arabic and the Ashkenazi Jews who spoke Yiddish needed a common language for commercial purposes. The most obvious choice was Hebrew. Although Hebrew was spoken in this case, it was not a native mother tongue, but more of a pidgin.

An early important political response to the opening of hostilities was the convening of the Albany Congress in June and July, 1754. The goal of the congress was to formalize a unified front in trade and negotiations with various Indians, since allegiance of the various tribes and nations was seen to be pivotal in the war that was unfolding. The plan that the delegates agreed to was neither ratified by the colonial legislatures nor approved of by the crown. Nevertheless, the format of the congress and many specifics of the plan became the prototype for confederation during the War of Independence.

Sherman's military campaigns of 1864 and 1865 freed many slaves, who greeted him "as a second Moses or Aaron"[85] and joined his marches through Georgia and the Carolinas by the tens of thousands. The fate of these refugees became a pressing military and political issue. Some abolitionists accused Sherman of doing little to alleviate the precarious living conditions of the freed slaves.[88] To address this issue, on January 12, 1865, Sherman met in Savannah with Secretary of War Stanton and with twenty local black leaders. After Sherman's departure, Garrison Frazier, a Baptist minister, declared in response to an inquiry about the feelings of the black community:

The disastrous outcome of the January 1863 Uprising had produced a distrust of romanticism, an aversion to ideals and illusions, and turned the search for redemption toward sober thought and work directed at realistic goals. The watchword became "organic work"â€”a term for the campaign for economic improvement, which was regarded as a prime requisite for progress. Poles prepared for such work by studying the natural sciences and economics: they absorbed Charles Darwin's biological theories, Mill's economic theories, Henry Thomas Buckle's deterministic theory of civilization. At length they became aware of the connection between their own convictions and aims and the Positivist philosophy of Auguste Comte, and borrowed its name and watchwords.[52]

The new United States saw a newspaper boom beginning with the Revolutionary era, accelerated by spirited debates over the establishment of a new government, spurred on by subsidies contained in the 1792 Postal Service Act, and continuing into the 1800s.[94][95] American newspapers got many of their stories by copying reports from each other. Thus by offering free postage to newspapers wishing to exchange copies, the Postal Service Act subsidized a rapidly growing news network through which different stories could percolate.[96] Newspapers thrived during the colonization of the West, fueled by high literacy and a newspaper-loving culture.[97] By 1880, San Francisco rivaled New York in number of different newspapers and in printed newspaper copies per capita.[98] Boosters of new towns felt that newspapers covering local events brought legitimacy, recognition, and community.[99] The 1830s American, wrote Alexis de Tocqueville, was "a very civilized man prepared for a time to face life in the forest, plunging into the wilderness of the New World with his Bible, ax, and newspapers."[100] In France, the Revolution brought forth an abundance of newspapers and a new climate of press freedom, followed by a return to repression under Napoleon.[101] In 1792 the Revolutionaries set up a news ministry called the Bureau d'Esprit.[102]

The story is often told that in 1755, Nathaniel Gilbert, while convalescing, read a treatise of John Wesley, An Appeal to Men of Reason and Religion sent to him by his brother Francis. As a result of having read this book Gilbert, two years later, journeyed to England with three of his slaves and there in a drawing room meeting arranged in Wandsworth on 15 January 1759, met the preacher John Wesley. He returned to the Caribbean that same year and on his subsequent return began to preach to his slaves in Antigua.[114]


Question: When was "Catch Me If You Can" created?

"Catch Me If You Can," a 2002 American biographical crime film directed and co-produced by Steven Spielberg, is based on the life of Frank Abagnale. The movie, scripted by Jeff Nathanson, chronicles Abagnale's exploits as a con artist who impersonated a Pan American World Airways pilot, a Georgia doctor, and a Louisiana parish prosecutor before his 19th birthday. The film's central theme revolves around Abagnale's check fraud, which was so sophisticated that the FBI later sought his assistance in apprehending other check forgers. The cast includes Leonardo DiCaprio and Tom Hanks in lead roles, with Christopher Walken, Martin Sheen, and Nathalie Baye providing strong support.

Veronica Mars is an American television series created by Rob Thomas. The series ran for three seasons; it premiered on September 22, 2004, during UPN's last two years, and ended on May 22, 2007, after a season on UPN's successor, The CW.[1] The series balances murder mystery, high school and college drama, featuring social commentary with sarcasm and off-beat humor in a style often compared to film noir.[2] Set in the fictional town of Neptune, Veronica Mars starred Kristen Bell as the title character, a student who progressed from high school to college during the series while moonlighting as a private investigator under the wing of her detective father. Episodes have a distinct structure: Veronica solves a different "case of the week" while continually trying to solve a season-long mystery.[3] The first two seasons of the series have a season-long mystery arc, in which the conflict is introduced in the first episode of the season and resolved in the finale.[4] The third season takes on a different format, focusing on smaller mystery arcs that last the course of several episodes.[5]

Billy Crystal's opening monologue poked fun at the change (or rather the lack thereof) between the time he had hosted the ceremony in 1991, and the current one: "Things were so different then. You know how different it was? Bush was president, the economy was tanking and we'd just finished a war with Iraq." Crystal's pre-recorded collage started off with him camming (poking fun at film piracy) in a movie theater, then opening up his ticket envelope to find the One Ring which he put on which magically transported him to the silver screen, and one of that year's film characters that he parodied was Gollum. Crystal also sang themes to each of the nominees. For Mystic River it was Ol' Man River from Show Boat. For Lost in Translation it was Maria from West Side Story, with director Sofia Coppola's name replacing the title. For The Lord of the Rings: The Return of the King, it was My Favorite Things from The Sound of Music, and Crystal jokingly apologized to Julie Andrews before the song. For Seabiscuit it was Goldfinger. And finally for Master and Commander: The Far Side of the World it was Come Fly with Me.

From the Children's Theatre Company, the musical was transferred to Broadway by Running Subway (James Sanna). This version with book and lyrics by Timothy Mason, original score by Mel Marvin, directed by Matt August and created and conceived by Jack O'Brien. The Broadway production debuted on November 8, 2006 at the Foxwoods Theatre (then the Hilton theatre) for the Christmas season and closed on January 7, 2007. This production is notable for being the first Broadway musical to offer 12 performances a week.[4] In the first week of December 2006, the musical topped the Broadway Box Office grosses, putting an end to Wicked's top-grossing streak that had lasted 100 weeks.[5]

The theme song, "Keep Your Eye on the Sparrow", was written by Dave Grusin and Morgan Ames; initially an instrumental, lyrics were added in later seasons that were sung by Sammy Davis, Jr. Every episode of Baretta began with the song, which contained the motto, "Don't do the crime if you can't do the time." The song was released as a single in Europe in 1976, reaching number one in the Dutch Top 40 as "Baretta's Theme". The music for the theme song was performed by Los Angeles-based Latin influenced Rock band El Chicano from Los Angeles, California. El Chicano also released the song as a 45 and also as a track on one of their albums. The "Baretta" theme song by El Chicano was a huge hit in many countries including Turkey, Malaysia, Singapore, France and The Philippines.

Chicago is an American musical with music by John Kander, lyrics by Fred Ebb, and book by Ebb and Bob Fosse. Set in Prohibition-era Chicago, the musical is based on a 1926 play of the same name by reporter Maurine Dallas Watkins about actual criminals and crimes she reported on. The story is a satire on corruption in the administration of criminal justice and the concept of the "celebrity criminal".

All the instrumental tracks are amalgams of various sequences and musical cues from the film rather than straight score excerpts. The end credits of the film feature the song "If You Asked Me To" sung by Patti LaBelle. Though the song was a top ten R&B charter and a minor pop hit for LaBelle, in 1992, the song was covered by and became a much bigger hit for singer CÃ©line Dion. The track "Wedding Party", used during the wedding of Felix Leiter to Della Churchill, makes reference to the track "Jump Up" from the first Bond film, Dr. No.

"Cocktails" is the eighteenth episode of the third season of the US version of The Office, and the show's forty-sixth episode overall. It was written by actor Paul Lieberstein and directed by  Lost series creator J. J. Abrams, his first such credit for The Office. NBC hired Abrams and Joss Whedon to each direct an episode during their February sweeps week. Michael Patrick McGill, Dan Cole, Owen Daniels, and Jean Villepique guest starred.

In October 1997, Thompson was a member of the fictional musical group called the Spicy Crispy Girls, a take off of the Spice Girls, a British pop music girl group (at the time one of the most popular groups in the world), in comedic national television commercials for the Jack in the Box fast-food chain restaurant.[15][16][17] The commercials were used to promote the new Jack in the Box Spicy Crispy Sandwich, with the girls dancing in "the Jack groove." [18][19] The Spicy Crispy Girls concept was used as a model for another successful advertising campaign called the 'Meaty Cheesy Boys.'[20][21] At the 1998 Association of Independent Commercial Producers (AICP) Show, one of the Spicy Crispy Girls commercials won the top award for humor.[22][23]

By the late 1970s, Frederick had changed his beat to movie and TV score composing. He performed vocals for the character "Tommy Dee" (played by Paul Land) in the 1980 Taylor Hackford film The Idolmaker. A single from the picture's soundtrack, "Here Is My Love", was released in both stereo and mono formats. That same year, Frederick played Alice Cooper's roadie in the film Roadie. In 1982, Frederick composed the score for the Troma Entertainment motion picture The Fanatic (aka The Last Horror Film). Many more major theatrical titles would follow, including that of Garry Marshall's 1984 hit The Flamingo Kid.

Enfield first came to wide public attention when appearing on Channel 4's Saturday Live as several different characters created with Paul Whitehouse. These quickly entered the national consciousness. Among these characters were Stavros, a Greek kebab shop owner with fractured English; and Loadsamoney, an obnoxious, Cockney plasterer who constantly boasted about how much money he earned. The Loadsamoney character was created in reaction to the policies of the Thatcher government of the day, and took on a life of its own, sampling the songs "Money, Money" from the musical Cabaret and Money, Money, Money by ABBA to spawn a hit single in 1988 and a sell-out live tour.[3] In May 1988, Labour Party leader Neil Kinnock used the term loadsamoney to criticise the policies of the Conservative government and journalists began to refer to the "loadsamoney mentality" and the "loadsamoney economy".[4]


Question: When was Catch Me If You Can made?

The development of the film "Catch Me If You Can" began in 1980, but it wasn't until 1997 that the rights to Abagnale's book were acquired by Spielberg's DreamWorks. The movie went through a series of potential directors, including David Fincher, Gore Verbinski, Lasse Hallström, Miloš Forman, and Cameron Crowe, before Spielberg himself took the helm. Production occurred between February and May 2002. The movie was a hit both financially and critically, receiving positive reviews from both critics and Abagnale himself.

Michael Bublé is the self-titled third studio album and major label debut album released by Canadian crooner Michael Bublé. The album was released on February 11, 2003. The album spawned four singles: "How Can You Mend a Broken Heart", "Kissing A Fool", "Sway" and "Spider-Man Theme". It has since sold more than 1.8 million units worldwide.

The Deer Hunter is a 1978 American epic war drama film co-written and directed by Michael Cimino about a trio of Russian American steelworkers whose lives are changed forever after they fought in the Vietnam War. The three soldiers are played by Robert De Niro, Christopher Walken, and John Savage, with John Cazale (in his final role), Meryl Streep, and George Dzundza playing supporting roles. The story takes place in Clairton, Pennsylvania, a small working class town on the Monongahela River south of Pittsburgh, and in Vietnam.

In 2000, he won the Perrier Comedy Award at the Edinburgh Fringe, in the guise of his own grizzled uncle, Otis Lee Crenshaw, the much-convicted country music singer. He has released several albums, including How Do We Do It? Volume! in 2003, and a concert video, as this character. The first album, London Not Tennessee, in 2001, was recorded on the first comedy tour, and included two duets on stage with US singer Catherine Porter. In 2004, he published a book of the man's memoirs, entitled Otis Lee Crenshaw: I Blame Society, and in 2007 he finished a screenplay for a film based on the book, written for the director Mel Smith.[16]

Hoot is a 2002 young adult novel by Carl Hiaasen. The setting takes place in Florida, where new arrival Roy makes two oddball friends and a bad enemy, and joins an effort to stop construction of a pancake house which would destroy a colony of burrowing owls who live on the site. The book won a Newbery Honor award in 2003.[1] A film adaptation of the book was released in May 2006, starring Logan Lerman, Brie Larson, and Cody Linley.[2] Hiaasen and Wil Shriner, the director and script-writer, "fought long and hard to stay truthful to the book."[3]

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.

The Italian Job is a 2003 American heist film directed by F. Gary Gray, written by Wayne and Donna Powers and produced by Donald DeLine. The film stars Mark Wahlberg, Charlize Theron, Jason Statham, Edward Norton, Seth Green, Mos Def and Donald Sutherland. It is an American remake of the 1969 British film of the same name, and is about a team of thieves who plan to steal gold from a former associate who double-crossed them. Despite the shared title, the plot and characters of this film differ from those of its source material; Gray described the film as "an homage to the original."[4]

He made his directorial debut with She's Gotta Have It (1986), and has since directed such films as Do the Right Thing (1989), Malcolm X (1992), The Original Kings of Comedy (2000), 25th Hour (2002), Inside Man (2006), and most recently Chi-Raq (2015). Lee has acted in ten of his own films.

That same year, Gandolfini returned to HBO as the executive producer of the Emmy-nominated documentary special, Alive Day Memories: Home From Iraq, his first project after The Sopranos and the first production for his company Attaboy Films, which was opened in 2006 with producing partner Alexandra Ryan. He returned to the stage in 2009, appearing in Broadway's God of Carnage with Marcia Gay Harden, Hope Davis, and Jeff Daniels. He received a Tony Award nomination in the category of Best Performance by a Leading Actor in a Play for his role in the play, but lost to Geoffrey Rush, who played the lead in Exit the King. He played the Mayor of New York in the 2009 remake of The Taking of Pelham 123.

Cary Grant (born Archibald Alec Leach; January 18, 1904 – November 29, 1986) was an English-American actor, known as one of classic Hollywood's definitive leading men. He began a career in Hollywood in the early 1930s, and became known for his transatlantic accent, debonair demeanor, light-hearted approach to acting, and sense of comic timing. He became an American citizen in 1942.

Joseph Brooks, born Joseph Kaplan[1] (March 11, 1938 – May 22, 2011),[2] and also known as Joe Brooks or Joey Brooks, was an American composer, director, producer, and screenwriter. He was a prolific writer of advertising jingles and wrote the hit songs "My Ship Is Comin' In", "If Ever I See You Again", and "You Light Up My Life", the latter being composed for the hit film of the same name that he also wrote, directed, and produced. In his later years he became the subject of an investigation after being accused of a series of casting-couch rapes. He was indicted in 2009, but committed suicide on May 22, 2011, before his trial.


Question: When was Catch Me If You Can made?

The production of Catch Me If You Can began in January 2002, although the actual filming commenced in February 2002 in Los Angeles, California. The movie was shot across 147 different locations over a period of 52 days. Locations included Burbank, Downey, New York City, LA/Ontario International Airport, Quebec City, and Montreal. The film was shot efficiently, with scenes that were initially expected to take three days being completed in an afternoon. The production team moved from Park Avenue, outside the Waldorf-Astoria Hotel, to Orange, New Jersey, and then returned to Brooklyn for bank and courthouse scenes. The TWA Flight Center at John F. Kennedy International Airport was also used as a filming location. Quebec City was selected for its European ambiance and French atmosphere. Place Royale in Old Quebec served as Montrichard, with the church in the background of the arrest scene being Notre-Dame-des-Victoires. The filming concluded on May 12 in Montreal.

A River Runs Through It is a 1992 American period coming-of-age drama film directed by Robert Redford and starring Craig Sheffer, Brad Pitt, Tom Skerritt, Brenda Blethyn, and Emily Lloyd. It is a based on the 1976 semi-autobiographical novel A River Runs Through It by Norman Maclean, adapted for the screen by Richard Friedenberg. Set in and around Missoula, Montana, the story follows two sons of a Presbyterian minister, one studious and the other rebellious, as they grow up and come of age in the Rocky Mountain region during a span of time from roughly World War I to the early days of the Great Depression, including part of the Prohibition era.[2]

The single disc "Collector's Edition" contains two audio commentaries, one a light-hearted and humorous discussion between Roach, Stiller, De Niro and producer Jane Rosenthal and the other a more formal technical commentary on the film-making aspects by the director and editor Jon Poll. The director discusses issues that include working with the cast, utilizing the best camera angles for comedic effect, discussing scenes that were improvised and scenes that were scripted, and commenting on issues surrounding shooting on location. The editor speaks about putting together the best functioning comedy from material that was filmed and discusses some deleted scenes that were excluded from the DVD release. In addition, the DVD features a twelve-minute outtake section, three minutes of deleted scenes, and Universal's Spotlight on Location featurette. Spotlight on Location is a standard 24-minute-long featurette about the making of the film which includes interviews with the cast members and contains behind-the-scenes footage.[59] It also contains two games called Take The Lie Detector Test and The Forecaster Game as well as PC material such as wallpapers and screensavers.[59][60] The region 2 edition of the DVD was released on October 22, 2001. A region 1 "Bonus Edition" was released on December 14, 2004 and contains three additional featurettes: Silly Cat Tricks, The Truth About Lying and a 12-minute-long Jay Roach: A Director's Profile.[14]

The Great Escape is a 1963 American World War II epic film based on an escape by British Commonwealth prisoners of war from a German POW camp, starring Steve McQueen, James Garner, and Richard Attenborough, filmed in Panavision.

Bringing Down the House: The Inside Story of Six MIT Students Who Took Vegas for Millions is a book by Ben Mezrich about a group of MIT card counters commonly known as the MIT Blackjack Team. Though the book is classified as non-fiction, the Boston Globe alleges that the book contains significant fictional elements, that many of the key events propelling the drama did not occur in real life, and that others were exaggerated greatly.[1] The book was adapted into the movie 21.

Joseph Brooks, born Joseph Kaplan[1] (March 11, 1938 – May 22, 2011),[2] and also known as Joe Brooks or Joey Brooks, was an American composer, director, producer, and screenwriter. He was a prolific writer of advertising jingles and wrote the hit songs "My Ship Is Comin' In", "If Ever I See You Again", and "You Light Up My Life", the latter being composed for the hit film of the same name that he also wrote, directed, and produced. In his later years he became the subject of an investigation after being accused of a series of casting-couch rapes. He was indicted in 2009, but committed suicide on May 22, 2011, before his trial.

In 2004, Thompson was used for "performance capture" for dance scenes in the Oscar nominated animated feature, Shark Tale. During performance capture (i.e., motion capture), the performer wears a suit affixed with reflective markers that record the human actions; this data is used to animate digital character models in computer animation. The animated characters perform the same actions as the human actor. Thompson did performance capture in dance scenes for animated characters portrayed by Angelina Jolie and Renée Zellweger. Shark Tale grossed $367 million worldwide and was nominated for Best Animated Feature at the 77th Academy Awards show.

A few feature films have been shot in Huntsville, including 20 Years After[101] (2008, originally released as Like Moles, Like Rats),[102] Air Band (2005),[103] and Constellation (2005).[104] Portions of the film SpaceCamp (1986) were filmed at Huntsville's U.S. Space and Rocket Center at the eponymous facility. The U.S. Space and Rocket Center stood in for NASA in the 1989 movie Beyond the Stars starring Martin Sheen, Christian Slater, and Sharon Stone. Following in the motif of the "Rocket City", Columbia Pictures filmed Ravagers (1979) in The Land Trust's Historic Three Caves Quarry, at the U.S. Space and Rocket Center, and on location at an antebellum home located next door to Lee High School. This cult classic starred Richard Harris, Ernest Borgnine, Ann Turkel, Art Carney and Cecily Hovanes.

Brightman performed "Pie Jesu" and "There You'll Be" at the United States Memorial Day concert on 25 May 2008 held on the west lawn of the United States Capitol in Washington DC. The show was broadcast live on PBS before a concert audience of 300,000, as well as to American troops serving around the world on the American Forces Radio and Television Network.[71][72] Brightman made her feature film debut as Blind Mag in the rock musical film Repo! The Genetic Opera which was released on 7 November 2008.[73][74][75] Brightman was cast in the film at the last minute after the original actress who was cast for the role was dropped.[75]

The Bling Ring is a 2013 internationally co-produced satirical crime film written, directed and produced by Sofia Coppola.[4] It features an ensemble cast, led by Katie Chang, Israel Broussard, Emma Watson, Taissa Farmiga and Claire Julien. It is based on the 2010 Vanity Fair article "The Suspects Wore Louboutins" by Nancy Jo Sales, which dealt with a real-life gang known as the Bling Ring.

In 1932, during the Great Depression, Yankee Irving (Jake T. Austin) is young baseball fan, whose father Stanley (Mandy Patinkin) works as a janitor for Yankee Stadium. While the two are on the premises, a thief steals Babe Ruth's famous bat Darlin' (Whoopi Goldberg), with the result that Yankee's father is blamed and fired, who blamed Yankee for stealing it and framing his own father. The true thief is Lefty Maginnis (William H. Macy), a pitcher for the Chicago Cubs. Lefty works for Cubs owner Napoleon Cross (Robin Williams), who desires to see the Cubs defeat the Yankees during the 1932 World Series.


Question: What is the official symbol for the Quebec Winter Carnival?

The Quebec Winter Carnival, also known as the Carnaval de Québec, is a major pre-Lenten celebration in Quebec City. Since its inception in 1894, it has been held regularly since 1955, with Bonhomme Carnaval, the festival's iconic mascot, making his debut that year. In 2006, the event attracted an estimated one million visitors, solidifying its status as the world's largest winter festival. The official symbol of the Quebec Winter Carnival is Bonhomme Carnaval, a friendly snowman figure that embodies the spirit of the event.

Bulls have held a place of significance in human culture since before the beginning of recorded history. They appear in cave paintings estimated to be up to 17,000 years old. The mythic Bull of the Heavens plays a role in the ancient Sumerian Epic of Gilgamesh, dating as far back as 2150 BC. The importance of the bull is reflected in its appearance in the zodiac as Taurus, and its numerous appearances in mythology, where it is often associated with fertility. See also Korban. In Hinduism, a bull named Nandi, usually depicted seated, is worshipped as the vehicle of the god Shiva and depicted on many of the images of that God. Symbolically, the bull appears commonly in heraldry, and, in modern times, as a mascot for both amateur and professional sports teams.

The bear on the first bear flag and other early bear flags more closely resembles the more common American black bear than a grizzly, seen in the lack of shoulder hump and narrower muzzle.[citation needed] Moreover, the first bear flag closely resembles the coat of arms of Bern, Switzerland, its capital city. The coat of arms displays a black bear walking toward the left with fierce claws and a protruding tongue. Switzerland was the home country of John Sutter, who established Sutter's Fort, in the area which would spawn the California Gold Rush and eventually become Sacramento, California's state capital.

The Faith of the Seven, often called simply "The Faith", is the predominant religion of Westeros,[55] although it has only a few followers on the Iron Islands and in the North.[citation needed] Martin based the Faith on the medieval Catholic Church and the Christian doctrine of the Trinity.[43] The Seven describe the seven aspects of one god,[56] consisting of the Father, Mother, Maiden, Crone, Smith, Warrior, and Stranger (resembling Christianity's Father, Son, and Holy Spirit).[43] According to Martin, the Mother, Maiden, and Crone were inspired by mystic views of womanhood, while the Father, Smith, and Warrior as traditional Abrahamic masculine elements were added later.[56] The Stranger, neither male nor female, represents mystery and death.[55] The Mother is invoked for healthy child-birth, the Warrior for strength in battle, etc.[55] The symbol of the Faith is a septagram (continuously drawn seven-pointed star).

Those skilled at preparing arena ice are often in demand for major events where ice quality is critical. The popularity of the sport of hockey in Canada has led its icemakers to be particularly sought after. One such team of professionals was responsible for placing a loonie coin under center ice at the 2002 Winter Olympics in Salt Lake City, Utah; as both Canadian teams (men's and women's) won their respective hockey gold medals, the coin was christened "lucky" and is now in the possession of the Hockey Hall of Fame[10] after having been retrieved from beneath the ice.

The bald eagle [77][78] in the official seal holds a shield that carries a lamp, a cogwheel and; a volcano and tree (sometimes rendered erroneously as a star and the planet Saturn). These symbols represent science and medicine, engineering, and agriculture respectively. Until today, the University takes pride in these three areas of knowledge as these degree programs in U.P. are acknowledged as Centers of Excellence in the Philippines by the Commission on Higher Education. A myth persists that the bird in the seal is in fact, a parrot, as stated in some Freshmen orientation materials. The University's varsity team was also once called the Parrots, adding to the confusion about the species of the bird in question. An explanation for the use of the eagle in the seal is that it was derived from the coat of arms of the City of Manila and the Great Seal of the United States of America.[78]

A younger Weiss, without the scar she later received in the White Trailer, has to fight in the icy courtyard of Schnee manor. Her opponents are multiple white Beowolf Grimm. Weiss kills most of the monsters by using her rapier, glyph Semblance and fire Dust. However, waves of snow push her weapon out of Weiss' hands, leaving her defenseless. A Beowolf jumps her and she can barely keep it away from her throat. Other creatures join the attack, and Weiss calls out for her sister Winter. The Beowolves, creatures which were summoned by the Semblance of the older Schnee sister, disappear, and the training is over. Winter walks over to Weiss and tells her that she will not always be there to save her litte sister. Weiss promises to get better, but Winter states that she has to if she ever wants to leave. She leaves Weiss alone in the cold.

The official Cubs team mascot is a young bear cub, named Clark, described by the team's press release as a young and friendly Cub. Clark made his debut at Advocate Health Care on January 13, 2014, the same day as the press release announcing his installation as the club's first ever official physical mascot.[59] The bear cub itself was used in the clubs since the early 1900s and was the inspiration of the Chicago Staleys changing their team's name to the Chicago Bears, because the Cubs allowed the football team to play at Wrigley Field in the 1930s.

"The Wind That Shakes the Barley" is an Irish ballad written by Robert Dwyer Joyce (1836â€“1883), a Limerick-born poet and professor of English literature. The song is written from the perspective of a doomed young Wexford rebel who is about to sacrifice his relationship with his loved one and plunge into the cauldron of violence associated with the 1798 rebellion in Ireland.[1] The references to barley in the song derive from the fact that the rebels often carried barley or oats in their pockets as provisions for when on the march. This gave rise to the post-rebellion phenomenon of barley growing and marking the "croppy-holes," mass unmarked graves into which slain rebels were thrown, symbolizing the regenerative nature of Irish resistance to British rule. As the barley will grow every year in the Spring time of the year this is said to symbolize Irish resistance to British oppression and that Ireland will never yield and will always oppose British rule on the island.[2]

The initial crest was a 'C-B' in a shield. The adoption of the 'Bulldogs' name and mascot took place in 1978. There have been three main versions of the mascot logo. The first, which featured a snarling bulldog inside a circle, was replaced in 1998 by a more 'cartoonish' logo of a bulldog's head. In 2009, the club announced that the logo would be changing again, and asked members to vote on which of two similar proposed logos would be used from 2010. The rationale for the logo change was to celebrate the club's 75th anniversary in 2010 and to better reflect the club's "true essence and history".[6] Two months later, the new design was unveiled, with the official change of logo taking place in November 2009.[7] The current logo returns to the standing bulldog of the 1978â€“1997 logo, although it is no longer snarling. It also references elements of the club's history by incorporating the 'C-B' emblem, the club's year of foundation (1935), and the blue and white 'V' design which has featured on many of the club's jerseys over the years. The change of name from 'Bulldogs' to 'Canterbury-Bankstown Bulldogs' took place after the new logo was unveiled.

The snowy owl (Bubo scandiacus) is a large, white owl of the typical owl family. Snowy owls are native to Arctic regions in North America and Eurasia. Males are almost all white, while females have more flecks of black plumage. Juvenile snowy owls have black feathers until they turn white. The snowy owl is a ground nester that primarily hunts rodents and waterfowl, and opportunistically eats carrion. Most owls sleep during the day and hunt at night, but the snowy owl is active during the day, especially in the summertime.


Question: Which apostle addressed the Council of Jerusalem?

At the Council of Jerusalem, after hearing the counsel of Simon Peter (Acts 15:7-11 and Acts 15:14), Barnabas and Paul recounted their experiences ministering to the gentiles (Acts 15:12). The apostle James then cited the prophecy of Amos (Acts 15:16-17, referencing Amos 9:11-12), adding his own insights[6] to the passage: "All His works are known to God from eternity"[7]. James then proposed a resolution, which was endorsed by the Church and came to be known as the Apostolic Decree.

Anne Bower writes about Jewish characters at mealtime as part of the broader movement she believes started in the 1960s where filmmakers started producing work that explored the "Jewish self-definition."[4] She postulates that the dinner table becomes an arena where Jewish characters are often and most pointedly put into "conflicts with their ethnic and sexual selves."[4] She describes the example of Greg sitting down for dinner with the Byrnes family and being asked to bless the food. In this scene, Greg attempts to recite a prayer by improvising and, in doing so, launches into a recital of the song "Day by Day" from Act I of Godspell. Bower notes this scene as "particularly important for establishing the cultural distance"[4] between the Jewish Greg and the Christian Byrnes. She noted that the social gap is further widened next morning when Greg is the last person to arrive at the breakfast table; he shows up wearing pajamas while everyone else is fully clothed. Here Greg is shown eating a bagel, which Bower argues as being a clear signifier of Jewishness.[4]

James Jordan argues that the office of prophet involves more than delivering the direct revelations of God. He writes, "The full meaning of prophet is council member, a member of God's Divine Council . . . Moses, who is an exemplary prophet of the Old Covenant (Numbers 12:6–8) . . . not only received information from the Counsel and passed its decisions onto the people . . . he also actively argued before the Council when he felt it necessary, even 'changing God's mind' on occasion (Exodus 32:7–14, 30–35; Numbers 14:13–19)." [38] In this way, Christ is executing a prophetic office when he intercedes for Christians and ordinary Christians are executing a prophetic office when they reason with God on the behalf of others in prayer, just as Moses interceded and persuaded God on behalf of Israel as part of his prophetic function.

Augustine sent a report of his success to Gregory with certain questions concerning his work. In 601 Mellitus, Justus and others brought the pope's replies, with the pallium for Augustine and a present of sacred vessels, vestments, relics, books, and the like. Gregory directed the new archbishop to ordain as soon as possible twelve suffragan bishops and to send a bishop to York, who should also have twelve suffragans. Augustine did not carry out this papal plan, nor did he establish the primatial see at London (in the Kingdom of the East Saxons) as Gregory intended, as the Londoners remained heathen. Augustine did consecrate Mellitus as bishop of London and Justus as bishop of Rochester.

The author quotes liberally from the Old Testament, including the apocryphal books. He quotes from the New Testament gospels twice (4:14, 5:9),[5] and is in general agreement with the New Testament presentation of salvation-history. He quotes material resembling 4 Esdras (12.1) and 1 Enoch (4.3; 16.5), which did not become part of the Biblical canon except in some traditions (e.g. 1 Enoch is considered scriptural in the Ethiopian church). The closing Two Ways section (chapters 18â€“21), see also Didache, which contains a series of moral injunctions, presents "another gnosis and teaching" (18.1) in relation to the body of the epistle, and its connection to the latter has given rise to much discussion.[citation needed]

In a letter (c. 405) to Exsuperius of Toulouse, a Gallic bishop, Pope Innocent I mentioned the sacred books that were already received in the canon.[42] When these bishops and councils spoke on the matter, however, they were not defining something new, but instead "were ratifying what had already become the mind of the Church."[43] Thus, from the 4th century, there existed unanimity in the West concerning the New Testament canon (as it is today),[44] and by the 5th century the East, with a few exceptions, had come to accept the Book of Revelation and thus had come into harmony on the matter of the New Testament canon.[45]

The Catholic Encyclopedia states that "At Jerusalem there was a renewal, or at least a survival, of Jewish ideas, the tendency there being distinctly unfavourable to the deuteros. St. Cyril of Jerusalem, while vindicating for the Church the right to fix the Canon, places them among the apocrypha and forbids all books to be read privately which are not read in the churches. In Antioch and Syria the attitude was more favourable. St. Epiphanius of Salamis hesitated about the rank of some deuteros. While he esteemed them, they did not hold the same place as the Hebrew books in his regard. On the other hand, the Oriental versions and Greek manuscripts of the period are more liberal. They have all the deuterocanonicals and, in some cases, certain apocrypha."[29]

Most modern translations (including the New International Version, Revised Standard Version and New Revised Standard Version), identify him as "Jude the son of James", and not the same person as the author of the Epistle of Jude. Protestant scholar Darrell L. Bock writes that it must mean "son" not "brother", because when "brother" is intended, the Greek word for "brother" (adelphos) is present.[10] Bock also says that means he was not the brother of Jesus.

In all likelihood an official record of the proceedings was made either during the council itself or shortly afterwards. The assembled bishops informed the pope that a copy of all the "Acta" would be transmitted to him; in March, 453, Pope Leo commissioned Julian of Cos, then at Constantinople, to make a collection of all the Acts and translate them into Latin.[clarification needed] Most of the documents, chiefly the minutes of the sessions, were written in Greek; others, e.g. the imperial letters, were issued in both languages; others, again, e.g. the papal letters, were written in Latin. Eventually nearly all of them were translated into both languages.

Justinian I attempted to bring those monks who still rejected the decision of the Council of Chalcedon into communion with the greater church. The exact time of this event is unknown, but it is believed to have been between 535 and 548. St Abraham of Farshut was summoned to Constantinople and he chose to bring with him four monks. Upon arrival, Justinian summoned them and informed them that they would either accept the decision of the Council or lose their positions. Abraham refused to entertain the idea. Theodora tried to persuade Justinian to change his mind, seemingly to no avail. Abraham himself stated in a letter to his monks that he preferred to remain in exile rather than subscribe to a faith contrary to that of Athanasius.[clarification needed] They were not alone, and the non-Chalcedon churches compose Oriental Orthodoxy, with the Church of Alexandria as their primus inter pares. Only in recent years has a degree of rapprochement between Chalcedonian Christians and the Oriental Orthodox been seen.

Although this Longer Ending is of great antiquity, some early Church Fathers were familiar with mss that lacked it.  Eusebius, in the first half of the fourth century, wrote, in response to a query from a man named Marinus, about how Matthew 28:1 conflicts with the Longer Ending on which day Jesus rose from the dead, with the comment, "He who is for getting rid of the entire passage [at the end of Mark] will say that it is not met with in all the copies of Mark's Gospel; the accurate copies, at all events, making the end of Mark's narrative come after the words ... '... for they were afraid.' [verse 8] For at those words, in almost all copies of the Gospel According to Mark, comes the end. What follows, which is met with seldom, [and only] in some copies, certainly not in all, might be dispensed with; especially if it should prove to contradict the record of the other Evangelists. This, then, is what a person will say who is for evading and entirely getting rid of a gratuitous problem."  Eusebius goes on to try to reconcile the Longer Ending with the other Gospel accounts, if the Longer Ending were to be regarded as authentic.[64]  St. Jerome, in the first half of the fifth century, received a very similar query from a lady named Hedibia and responded, "Either we should reject the testimony of Mark, which is met with in scarcely any copies of the Gospel, - almost all the Greek codices being without this passage, - especially since it seems to narrate what contradicts the other Gospels; - or else, we shall reply that both Evangelists state what is true."[65] This might be thought an authoritative statement but Jerome compromised it by including the Longer Ending, without any apparent notation about doubting it, in his Latin Vulgate, and Burgon (among others) thinks this inclusion is an endorsement of its authenticity.[66] It has been suggested or suspected that Jerome's expression of doubt was actually a rehash of the similar comment by Eusebius,[67] but, to the contrary, it is possible that Jerome was unaware of this particular opinion of Eusebius, considering that it was utterly unknown to modern scholars until its fortuitous discovery in 1825. Burgon also found a patristic comment previously attributed to Gregory of Nyssa (of the late fourth century), but which he suspected was more likely written by Hesychius of Jerusalem (middle of the fifth century) or Severus of Antioch (middle sixth century), again answering the same sort of query, and saying, "In the more accurate copies, the Gospel according to Mark has its end at 'for they were afraid.' In some copies, however, this also is added - 'Now when He was risen early [on] the first day of the week, He appeared first to Mary Magdalene ....'."  In this instance Gregory of Nyssa (or Hesychius or Severus) goes on to eliminate the problem by suggesting the imposition of punctuation different from that used in any of the Greek manuscripts (the earliest had no punctuation at all, the later mss had little more than commas and periods) or in the KJV, to make the first verse of the Longer Ending appear to be "Now when He was risen: Early on the first day of the week He appeared first to Mary Magdalene ....."   In other words, that Jesus had risen presumably at the end of the Sabbath, as suggested in the other Gospels, but He did not appear to Mary Magdalene until the next day.[68]


Question: Who is the actor that portrays Eric on Boy Meets World?

Will Friedle, an American actor and voice actor, is widely recognized for his portrayal of Eric Matthews, the often-clueless older brother on the popular 1990s sitcom Boy Meets World, which aired from 1993 to 2000. Beyond this role, Friedle has lent his voice to a variety of animated characters, including Terry McGinnis/Batman in Batman Beyond and Ron Stoppable in Kim Possible. He has also provided the voice for Deadpool in Ultimate Spider-Man and Star-Lord in the animated Guardians of the Galaxy series, taking over from Chris Cox. Friedle's extensive voice acting credits include roles such as Doyle in The Secret Saturdays, Lion-O in the rebooted ThunderCats, and Blue Beetle in Batman: The Brave and the Bold. More recently, he voiced Bumblebee in the concluding episode of Transformers: Prime, the movie Transformers Prime Beast Hunters: Predacons Rising, and in the subsequent series Transformers: Robots in Disguise and Transformers: Rescue Bots.

After moving to Los Angeles, he took the stage name of David Anders due to another actor using the name David Holt. In 2001, he played a high school senior in the Olsen twins' series So Little Time. Later in 2001, he landed the role of Julian Sark in Alias; originally a guest star, Anders was made a regular and lasted until 2006. Before his acting debut in Alias, Anders worked at The Gap and taught tennis. Between 2001 and 2006, while working on Alias, Anders made guest appearances on television shows such as Charmed, CSI and Grey's Anatomy. Anders also worked in independent film, and was involved in several plays. In 2002, he played in the independent film, The Surge. In December 2001, he appeared in The Source magazine in an ad for the rapper Canibus, in which Anders doubled as Eminem.[citation needed] In 2005, Anders joined the cast of Beautiful, an Off-Broadway rock musical, as the lead. Beautiful was shown during the New York International Fringe Festival. In the same year, he participated in the film Circadian Rhythm. In 2006, Anders worked on the horror film Left in Darkness alongside actress Monica Keena. In 2007, Anders played the role of ELI in the film of the same name, ELI.

Samantha begins a relationship with a much younger waiter, Jerry Jerrod, who turns out to be a struggling actor. She uses her PR skills to help his career, even changing his name to Smith Jerrod. Despite trying to keep their relationship as casual as her others, she develops true feelings for him. Smith supports her after she is diagnosed with breast cancer, shaving his own head in sympathy after catching her shaving her head when chemotherapy makes her hair fall out. He also insists on waiting for her when her treatment diminishes her sex drive. When he flies home from his movie shoot just to tell her that he loves her, she replies, "You have meant more to me than any man I've ever known."

Julie Camden-Hastings (Deborah Raffin) is the younger sister of Eric. She flies in from New York to be with the Camdens for Thanksgiving. While she is there, she tries to hide the fact that she is an alcoholic. When Simon is playing "Batman", he takes the key to the liquor cabinet, pretending it is the key to Gotham City. Julie tries to get the key back, but when he would not give it to her, she attacks him. Annie runs in and throws her out of the house. Instead of sending her to a hospital, Eric locks her in his bedroom while she starts to go through detoxification. She eventually checks herself into a rehab center. After living in the center for a few months, she goes back to New York to live with her parents, the Colonel and Ruth. She returns to Glenoak two years later to get a fresh start. Back in New York, everyone knows that she used to be an alcoholic and she is fired as a principal because of her drinking.

Ben Kinkirk (Geoff Stults) is Kevin's older brother. They are two years apart. He is introduced as Mary's fellow firefighter trainee in Buffalo (in the season six episode "Relationships"). Ben becomes interested in Mary while she is pondering Wilson's marriage proposal. Ben attends Kevin and Lucy's wedding in the episode "We Do." The last time he appears is in season 11's "Pain in the Neck", where he attempts to flirt with Ms. Margo, the teacher who made a move on Eric.

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.

Early in the season Matt loses his job when the halfway house closes, and Michael finds him a job in the social-services department of Wilshire Memorial. He befriends a Russian doctor, Katya Petrova (Beata Pozniak). Katya is attracted to Matt, who tells her he is gay. When she is in danger of deportation, he offers to marry her so her five-year-old daughter Nikki (Mara Wilson) can remain in the U.S. However, Matt's "marriage" now hampers his love life. When Katya returns to Russia to visit her family she decides to stay and sends for her daughter, freeing an emotional Matt from their arrangement. He becomes romantically involved with Jeffrey Lindley (Jason Beghe), a closeted U.S. Navy officer, although he disagrees with Jeffrey's secrecy. Although Matt persuades Jeffrey to come out, he regrets it when Jeffrey is discharged from the service and leaves town.

He meets a girl named Deena in sixth grade, and finds out that Eric consoled her family years ago when she was diagnosed with leukemia. They date for the majority of middle school, but break up on the last day of eighth grade, though they remain friends.

Reverend Morgan Hamilton (Dorian Harewood) is a minister at Trinity Church and a close friend of Eric's. He first appears in "No Funerals and a Wedding" where he attends Jenny Jackson's funeral. In "The Color of God", his church building is burnt to the ground by racists, and he and his family are invited to stay at the Camdensâ€™. He speaks at Eric's church, where his entire congregation attends the week after the church was burnt. He is sad and angry, but is relieved when the Glenoak Community Church gives him funding to rebuild. He later appears in "America's Most Wanted", where he rounds up all of the athletes who had stole items from the Varsity Cafe and brings them to the courthouse. This causes the manager of the restaurant to drop the charges. He later appears in "Happy's Valentine", where he goes camping with his wife, Eric and Annie. He and Eric secretly call Sgt. Michaels to check the house and make sure everything is okay.

More recently, he has gained recognition for his recurring supporting roles as Jack Geller on Friends (1994–2004), as Reuben Tishkoff in the Ocean's Trilogy (2001–2007), and as Ezra Goldman in Ray Donovan (2013–2015). Until its cancellation, he had a leading role in the 2017 TV series Doubt.

Erica Hahn was initially conceived as a minor character, and occasional guest-star rival of Preston Burke (Isaiah Washington). The character first appeared in three episodes of the show's second season, followed by another two episodes of the show's third season. Discussing whether she thought Hahn might become a main character after her season three appearance, Smith has stated that at the time: "I didn't really think it was going to work out",[8] joking that "After every time I would hope that they would call and also hope not too – kind of like when I used to be single."[9] However, following Washington's departure from the show, Hahn was brought back as a main character in the show's fourth season, replacing Burke as Seattle Grace's Head of Cardiothoracic Surgery. Smith has said that she was not expecting her character to be introduced to the show full-time, as she "didn't want to be disappointed if it didn't happen."[10] She has stated that a deciding factor in her return was the opportunity it presented to explore the character in greater depth, explaining: "When I work on something that has a beginning, middle and end, I can create an arc. With Dr. Hahn, I need to figure out who she is".[8] Researching the role, Smith watched a heart surgery performed, and liaised with the surgical nurses employed by Grey's Anatomy producers to maintain realism in the show's operating room. She dubbed this research stressful, stating that "I got very neurotic about the fact that I didn’t go to medical school. I’m not actually a doctor",[9] explaining; "I have no idea what it really is to be a surgeon and yet I have to act like I am really good at it.[8] I have to look like I’ve been doing it a long time".[9]


Question: Where is the Country Music Hall of Fame situated?

The Country Music Hall of Fame and Museum is situated in Nashville, Tennessee. It is among the largest museums globally, dedicated to preserving and interpreting American vernacular music. Since its charter in 1964, the museum has collected one of the most extensive music collections in the world.

The first phase of the project opened in fall of 2007,[54] and featured the first Bass Pro Shops in New England, as well as Circuit City (now closed), Bed Bath & Beyond, Five Guys Burgers, Christmas Tree Shops, and Staples.[53] In December 2007, the Patriots and CBS announced plans to build a themed restaurant and nightclub, named "CBS Scene", at the site, which would also include studios for CBS-owned WBZ-TV.[55] The restaurant was part of the second phase of the project, which included an open mall, a health center, a Cinema de Lux movie theater, a four-star Renaissance hotel, and "The Hall at Patriot Place." Attached to Gillette Stadium, the Hall includes a two-level interactive museum honoring the Patriots accomplishments and Super Bowl championships, plus the Patriots Pro Shop.[56] The first restaurants and stores in phase two began opening in July 2008, and were followed by the openings of the Hall at Patriot Place and the CBS Scene in time for the beginning of the 2008 New England Patriots season. More locations, including the health center and hotel, opened in 2009, along with additional sites in phase one.

Phillips died of respiratory failure at St. Francis Hospital in Memphis, on July 30, 2003, only one day before the original Sun Studio was designated a National Historic Landmark, and just over a month before the death of former Sun Records recording star Johnny Cash, on September 12, 2003. Phillips is interred in the Memorial Park Cemetery in Memphis.

In 1994, a portion of U.S. Route 79 was named Wilma Rudolph Boulevard, extending from Interstate 24, exit 4, in Clarksville to the Red River (Lynnwood-Tarpley) bridge near the Kraft Street intersection.[33] On November 21, 1995, the Wilma Rudolph Memorial Commission placed a black marble marker at her gravesite in Clarksville's Foster Memorial Garden Cemetery.[35] In April 1996, a life-size bronze statue of Rudolph was erected "at the southern end of the Cumberland River Walk at the base of the Pedestrian Overpass" at College Street and Riverside Drive in Clarksville.[48]

Cleveland may also have been chosen as the organization's site because the city offered the best financial package. As The Plain Dealer music critic Michael Norman noted, "It was $65 million... Cleveland wanted it here and put up the money." Co-founder Jann Wenner later said, "One of the small sad things is we didn't do it in New York in the first place," but then added, "I am absolutely delighted that the Rock and Roll Hall of Fame and Museum is in Cleveland."

A music video was released for the song, directed by Trey Fanjoy. The video features Lambert singing in a town square in Lebanon, Tennessee mixed with scenes from Shelbyville, Tennessee. The video's depicts people's everyday lives in a small town, including a diner and high school; all of these scenes are shot in black and white. Lambert is also seen playing her guitar and singing on a red carpet with camera flashes, neon signs, and her band, to contrast with the small town image, and is shot in color rather than black and white. This is her second video to be shot in both black and white and in color, after "New Strings" in 2006. In Lambert's own words, "Famous in a Small Town is really, (really) how it was growing up in Lindale."[2]

Cassietta George (born Cassietta Baker on January 23, 1929 in Memphis, Tennessee-January 3, 1995 in Los Angeles, California) was an American gospel vocalist, and composer. George was a member of Queen of Gospel Albertina Walker's The Caravans, the most popular touring gospel group from the late 1950s to the mid-1960s. She later launched a successful solo career, recording over 16 albums in Los Angeles for Audio Arts Inc. Along the way, George wrote over a hundred songs, and was twice nominated for a Grammy in 1969 & 1979, for Best Soul Gospel Performance.[1] In 2017, she was inducted into the Memphis Music Hall of Fame.

Williams likely first heard "My Bucket's Got a Hole in It" from Rufus Payne, nicknamed "Tee Tot," a black street singer who taught a young Hank to play blues guitar.[6] In the essay to the 1990 Polygram box set Hank Williams: The Original Singles Collection, Colin Escott quotes Williams in an interview with Ralph Gleason in 1952: "I was shinin' shoes and sellin' newspapers and following this old Nigrah around to get him to teach me how to play the git-tar. I'd give him 15 cents or whatever I could get ahold of for a lesson." Understandably, producer Fred Rose was wary of the song's commercial potential; as country music historian Escott notes, "Fred Rose's opposition to the song had a lot to do with the fact that it mentioned beer, and probably had something to do with the fact that Acuff-Rose didn't publish it." In addition, Williams originally had a couplet mentioning a Ford automobile ("Me an' my baby, we got a Ford/Now we change the gears from the running board") and Rose demanded that, if Williams did record it, the reference be dropped because if Hank endorsed Ford, "then deejays sponsored by GM, Chrysler, and Studebaker wouldn't spin his record."[7] Williams recorded the song on August 30, 1949 at Herzog Studio in Cincinnati, Ohio (the same session that produced the B-side "I'm So Lonesome I Could Cry"). He is backed by members of the Pleasant Valley Boys - Zeke Turner (lead guitar), Jerry Byrd (steel guitar), and Louis Innis (rhythm guitar) - as well as Tommy Jackson (fiddle) and Ernie Newton (bass).[8]

A music video for the song debuted on the television network CMT on August 16, 2007, at which point the song had fallen from the charts and entered recurrent rotation. In the video, a man (Ronnie Gilley of Enterprise, AL) hits a circumstance similar to the lyrics of the song and finds himself stranded "in the middle of nowhere." Though his cellular reception is very poor, he is able to contact George Jones, who then calls Darryl Worley (who is relaxing in a pool with several women) and several others. Worley then calls Roy Oswalt who is working out with several other athletes; everyone contacted arrives in a cavalcade of vehicles to help with the predicament. Larry the Cable Guy makes a cameo in the video. The video is directed by Flick Wiltshire.

Bryan opens the show with "Move" and past hits, "That's My Kind of Night" and "Kick the Dust Up". When it comes time for "Fast", the audience is treated to photos of Bryan's family that are shown on screen. Some of them are from Bryan's wedding to his wife Caroline. Bryan begins and ends "Fast" with just himself and his guitar. At one point of the show Bryan and his band moves to b-stage for the intimate portion of the concert. There he begins to play the piano. At the b-stage Bryan cover's Alabama's "Mountain Music" and Neil Diamond's "Sweet Caroline", then follows up with his slowed down hit "Strip It Down". In Nashville Little Big Town's Kimberly Fairchild made a special appearance to perform her and Bryan's single, "Home Alone Tonight". Afterwards they sung Little Big Town's hit single "Girl Crush" together. Bryan ends the night with "I Don't Want This Night" and "Country Girl (Shake It for Me)".[2]

Meant to be a humorous song, as evidenced by its ironic title and chorus, the composition took on additional poignancy following Williams' death. In fact, the urban legend that the song was #1 at the time of his demise is not far from the truth, as he did in fact die in the early hours of January 1953. Williams recorded the song at Castle Studio in Nashville on June 13, 1952 with backing provided by Jerry Rivers (fiddle), Don Helms (steel guitar), Chet Atkins (lead guitar), Chuck Wright (bass) and probably Ernie Newton (bass).[1] Atkins recalled later, "We recorded 'I'll Never Get Out of this World Alive' and after each take, he'd sit down in a chair. I remember thinking, 'Hoss, you're not jivin',' because he was so weak that all he could do was just sing a few lines, and then just fall in the chair."[2]


Question: Was the Nightmare Before Christmas initially a Disney film?

The Nightmare Before Christmas, a film that originated from a poem penned by Tim Burton in 1982 during his tenure as an animator at Walt Disney Feature Animation, was initially considered by Disney for development as a short film or a 30-minute TV special following the success of Vincent. After revisiting the idea periodically, Burton struck a development deal with Disney in 1990, leading to the film's production that began in July 1991 in San Francisco. Disney chose to release the film under its Touchstone Pictures label due to concerns that the film's dark and eerie theme might be too intense for a young audience.

The film was co-produced by Walt Disney Pictures and Jerry Bruckheimer Films and released by Buena Vista Pictures. On September 29, 2000, the film's soundtrack was released by Walt Disney Records. It features songs by several recording artists including Creedence Clearwater Revival, The Hollies, Marvin Gaye, James Taylor, The Temptations, and Cat Stevens.

On September 17, 2011, Disney entered into an exclusive, long-term licensing agreement with Cameron's Lightstorm Entertainment and Fox Filmed Entertainment for the worldwide theme park rights to Avatar; Disney agreed to pay Cameron and Fox a licensing fee and a percentage of merchandise sales.[17][20] The deal was officially announced to the public on September 20, 2011.[21] The highlight of the announcement was that Disney's Animal Kingdom would receive a new themed area entirely devoted to Avatar.[9] While no specifics were announced, the new area was described as being several acres in size and costing an estimated $400 million to build, a scale similar to Cars Land at Disney California Adventure in California.[22] The area was later estimated to cost approximately $500 million.[17] Disney showcased a first look presentation of the land at the 2013 Japan D23 Expo.[1]

Spawn is a 1997 American supernatural superhero horror film based on the comic book character of the same name. Directed and co-written by Mark A.Z. Dippé, the film stars Michael Jai White in the title role, and is the first film to feature an African American actor portraying a major comic book superhero.[3] Spawn depicts the origin story of the title character, beginning with the murder of soldier/assassin Al Simmons. He is resurrected as Spawn, the reluctant, demonic leader of Hell's army. He ultimately refuses to lead the army in the war against Heaven and turns away from evil. The film co-stars John Leguizamo (as The Violator, Al's demonic guide and enemy of the film's antagonist) and Nicol Williamson (as Al's mentor, Cogliostro). Martin Sheen, Theresa Randle, D. B. Sweeney, Melinda Clarke, and Frank Welker (as the voice of Malebolgia) also star in the film.

As was common with Pixar features, the production became difficult as delivery dates loomed and hours inevitably became longer. Still, Toy Story 2, with its highly compressed production schedule, was especially trying.[20] While hard work and long hours were common to the team by that point (especially so to Lasseter), running flat-out on Toy Story 2 for month after month began to take a toll. The overwork spun out into carpal tunnel syndrome for some animators,[20] and repetitive strain injuries for others.[25] Catmull would later disclose that "a full third of the staff" ended up with some form of RSI by the time the film was finished.[26] Pixar did not encourage long hours, and, in fact, set limits on how many hours employees could work by approving or disapproving overtime. Employees' self-imposed compulsions to excel often trumped any other constraints, and were especially common to younger employees.[20] In one instance, an animator had forgotten to drop his child off at daycare one morning and, in a mental haze, forgot the baby in the back seat of his car in the parking lot. "Although quick action by rescue workers headed off the worst, the incident became a horrible indicator that some on the crew were working too hard," wrote David Price in his 2008 book The Pixar Touch.[27]

The mansion scenes were filmed at Sable Ranch in Santa Clarita, California. The main building was constructed over a period of weeks while the cupola and chimneys on the top of the mansion were computer-generated. The rest of film was shot in New Orleans and surrounding areas. The paperboy in the opening scene is the nephew of the director, Rob Minkoff. A Hidden Mickey is briefly seen when Ramsley pours the poison in the goblet of wine during the wedding. Upon leaving the mansion via ghost carriage to find the mausoleum, Ezra exclaims "there's always my way," a pivotal line of dialogue from the pre-show from the Disney theme park ride.

In the United States, the film had an outdoor premiere on August 28, 2010 as part of the Outdoor Cinema Food Fest at La Cienega Park in Beverly Hills, California.[6] Between September 3 and 19, 2010, the film was shown at the El Capitan Theatre,[6] in order to make it eligible for the Academy Award for Best Animated Feature. Disney qualified the film in an unsuccessful effort to expand the category's final nominations from three to five, as, under the Academy rules in effect that year, five films could only have been nominated in a calendar year in which 16 or more animated films were submitted.[7]

In 1997, after International Family Entertainment put The Family Channel up for sale, News Corporation made an offer to acquire the channel. The company wanted to use The Family Channel to serve as a cable outlet for the library of children's programs it owned and broadcast as part of the Fox Broadcasting Company's Fox Kids lineup, then owned by a joint venture of News Corporation and television production company Saban Entertainment, so it could compete against established children's cable channels, such as Nickelodeon and Cartoon Network. News Corporation then entered into discussions to purchase a stake in the channel with IFE as a partner.[15][16] After competing bids were submitted by Nickelodeon parent Viacom and The Walt Disney Company (parent of fellow competitor Disney Channel) to acquire IFE as a whole, News Corporation placed its own bid to buy the company for $1.8 billion.[17] On June 11, 1997, International Family Entertainment was acquired by the Fox/Saban consortium, Fox Kids Worldwide, for $1.9 billion.[18][19] The Family Channel was officially renamed Fox Family Channel on August 15, 1998.[20][21]

The Graveyard has been completely covered in snow and the spiral hill from Halloween Town sits in the middle of the graveyard, covered with snow and singing, glowing jack-o-lanterns. Jack Skellington greets guests at the gates, wishing them a Merry Christmas with Zero. A quintet of busts have been topped with singing jack-o-lanterns while the graveyard ghosts sing about their perfect Christmas. Ghosts ride around on bicycles with Jack's bonedeer. Giant ice angles with jack-o-lantern heads blow on their horns overhead. Guests finally enter the exit crypt, as the Vampire Teddy Bear plays his own little horn to say goodbye.

In 1989, Mike Richardson and Todd Moyer (who was Executive Vice President of Dark Horse Comics) first approached New Line Cinema about adapting the comic The Mask into a film, after having seen other offers. The main character went through several transformations, and the project was stalled a couple of times.[3]

In November 1997, Disney executives Roth and Peter Schneider viewed the film's story reels, with some finished animation, in a screening room at Pixar. They were impressed with the quality of work and became interested in releasing Toy Story 2 in theaters.[21] In addition to the unexpected artistic caliber, there were other reasons that made the case for a theatrical release more compelling. The economics of a direct-to-video Pixar release were not working as well as hoped thanks to the higher salaries of the crew. After negotiations, Jobs and Roth agreed that the split of costs and profits for Toy Story 2 would follow the model of a newly created five-film dealâ€”but Toy Story 2 would not count as one of the five films. Disney had bargained in the contract for five original features, not sequels, thus assuring five sets of new characters for its theme parks and merchandise. Jobs gathered the crew and announced the change in plans for the film on February 5, 1998.[22]


Question: Who do the characters symbolize in the movie 8 Mile?

8 Mile is a film inspired by Eminem's real-life experiences, centering on the story of aspiring white rapper B-Rabbit, played by Eminem himself, as he strives to succeed in the predominantly African-American rap scene. The movie's name originates from 8 Mile Road, the significant boundary dividing the mostly black city of Detroit from the largely white suburbs of Wayne County, Oakland County, and Macomb County. The production was primarily shot on location to capture the authentic essence of the setting.

The video depicts two Marines riding a HMMWV in a desert and getting hit by an explosion. After they take cover and look for the attacker, one of them reveals that he suffered a wound. The other Marine provides first aid and calls for help, and while he's eventually medevaced by a helicopter, it is implied that he fainted. The video then forwards to another situation involving the remaining Marine in another group riding a HMMWV and getting stopped in the road by a car and a civilian in front of it holding a jumper cable in the air. The group, suspecting it might be an ambush, circles around the car and keeps the man at gunpoint, only to find a woman in chador in the back seat. They order her out of the car, but she approaches the protagonist, who keeps holding her at gunpoint. The video then climaxes when the Marines nervously look at each other, fearing that she might be a suicide bomber, but eventually the Marine lowers his weapon and signals to the rest to do the same. The Marines help the man to push start the car, and the protagonist remains looking at the sky. Scenes of the band performing in the desert are interspersed within the video.

Jonsin has explained what goes on in the "Space Bound" video. He suggested that viewers watch it multiple times to figure out the concept and draw their own conclusion.[18] He called the video 'tricky', saying that the meaning is not obvious or completely clear in the video and one must watch it a few times to find it. Jonsin spoke about Eminem's two egos seen in the video as well:

Songbirds and their associated symbolism appear throughout the novel. Their family name Finch is also Lee's mother's maiden name. The titular mockingbird is a key motif of this theme, which first appears when Atticus, having given his children air-rifles for Christmas, allows their Uncle Jack to teach them to shoot. Atticus warns them that, although they can "shoot all the bluejays they want", they must remember that "it's a sin to kill a mockingbird".[77] Confused, Scout approaches her neighbor Miss Maudie, who explains that mockingbirds never harm other living creatures. She points out that mockingbirds simply provide pleasure with their songs, saying, "They don't do one thing but sing their hearts out for us."[77] Writer Edwin Bruell summarized the symbolism when he wrote in 1964, "'To kill a mockingbird' is to kill that which is innocent and harmlessâ€”like Tom Robinson."[56] Scholars have noted that Lee often returns to the mockingbird theme when trying to make a moral point.[30][78][79]

Tania Modleski, author of Clint Eastwood and Male Weepies, said, "[f]or many reviewers, Gran Torino represents the final step in Eastwood’s repudiation of the Dirty Harry persona. If Unforgiven ends up being equivocal in its attitude toward violence and vigilantism, Gran Torino appears to accept the impotence of the lone, avenging hero" and that the impotence "is perhaps underlined by Walt’s repeated gesture of pointing his finger at villains as if it were a gun."[10] Amy Biancolli of the Houston Chronicle said that though Walt, an "old fart", does not have the same name as Dirty Harry, "there’s no mistaking the rasp in his voice or the uncompromising crankiness of his Weltanschauung."[11] Tom Charity of CNN said of Walt, "Like other Eastwood heroes before him, Walt sacrifices his independence by accepting that others depend on him."[12] John Serba of The Grand Rapids Press said that Walt, who is "bitter, hopelessly cranky," "shares a sense of moral certainty" with Callahan, but that Walt "is infused with the wisdom and weariness" that Callahan does not have.[13]

The miniseries stars Lawrence Hilton-Jacobs as the Jacksons' patriarch Joseph Jackson, Angela Bassett as the family matriarch Katherine Jackson, Alex Burrall, Jason Weaver and Wylie Draper played Michael Jackson in different eras, while Bumper Robinson and Terrence Howard played Jackie Jackson in different eras, Shakiem Jamar Evans and Angel Vargas played Tito Jackson, Margaret Avery as Katherine's mother Martha Scruse, Holly Robinson Peete as Diana Ross, Billy Dee Williams as Berry Gordy and Vanessa L. Williams as Suzanne de Passe. The opening titles of the film shows footage of the real Jacksons rehearsing, performing on stage, a few clips from the "Can You Feel It" music video, album covers, magazine covers and pictures of the family. The film is mostly based on the autobiography written by Katherine Jackson, who issued the 1990 autobiography, My Family. Part one of the film was based on how Joseph and Katherine managed to raise their children, first in Gary, Indiana, then later dealing with The Jackson 5's early fame and its consequences. Part two of the film is based on the struggles of young Michael Jackson as he deals with his brothers marrying early into The Jackson 5 success, his problems with acne as a teenager, his eventual solo superstardom based on the success of his albums Off the Wall and Thriller and his legendary Motown 25 performance of "Billie Jean" as well as his difficult relationship with his father.

At the 2002 World Winter Sport Games, rival men's singles skaters Chazz Michael Michaels, a skillful skater but raunchy sex addict, and Jimmy MacElroy, an equally talented but sheltered and effeminate skater, tie for gold. While standing on the awards podium, the two have an argument that escalates into a fight and ends with the World Games mascot being accidentally set on fire. As a result, the National Figure Skating Association strips both men of their medals and bans them from men's singles competition for life. Jimmy's competitive adoptive father, billionaire Darren MacElroy, immediately disowns him and leaves him stranded on the side of the road.

After losing a fight, boxer Zack Gomes is informed by a doctor that he has sustained a partially detached retina, and he may risk permanent blindness should he receive another hit to the head. On his way out of the hospital, he overhears the receptionist talking about MMA while viewing the website for an upcoming underground event known as "The Beatdown". Talented MMA fighter Tim Newhouse struggles to help his family when they are in debt following the death of his father. Former high school wrestler Mike Stokes is the new kid in college and deals with issues involving his father leaving his mother for a man. Comic book store clerk Justin Epstein is walking home when he is run down and stabbed by bullies. However, he is saved by Tim and his martial arts master Case Walker, who are training in a vacant lot.

"Thriller" serves as an autobiographical recap of the two years following From Under the Cork Tree's release, referencing the band's mediocre CD reviews and breakout success, as well as thanking their "diehard" fans.[29] The song discusses the band's Best New Artist Grammy loss, and Wentz calls it the "most narcissistic song on the album".[21] The line "Fix me in forty-five" is a reference to the length of a therapy session.[21] On "This Ain't a Scene, It's an Arms Race", Wentz uses wartime-inspired metaphors to discuss their newfound popularity; he called the song "kind of a tongue-in-cheek look at the way we are so addicted and obsessed with new arts, cultures and loves â€“ to the point where it just becomes oversaturated."[20][29] "I'm Like a Lawyer..." has been described as "about as close to a love song as you'll get from this band, a rare moment of tenderness among songs about blog entries, guest lists, and therapy sessions."[29] In a tribute to the politicized Chicago hardcore scene, Wentz describes the story of a rigged court case of African-American civil rights activist Fred Hampton, Jr. in "You're Crashing, But You're No Wave".[21] The song has been described as a "very well-written track, a welcome respite from the one-liners which permeate the majority of the record."[24]

Job and Bigger are parallel characters in their dealings with suffering. That further suggests the aptness of Wright's epigraph.[13] Job suffered trials from an outside force that he could not control. Similar to Job, Bigger struggled with an outside force of the racial norms of society. The parallel is further strengthened by the freedom both characters display in their defiance.

The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant African-American, is carried in upside down on a pole. He declares himself "president of the United States of Love" ("Colored Spade"). In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from "Manchester, England". A tribe member reminds him that he's really from Flushing, New York ("Manchester England"). Hud, Woof and Berger declare what color they are ("I'm Black"), while Claude says that he's "invisible". The tribe recites a list of things they lack ("Ain't Got No"). Four African-American tribe members recite street signs in symbolic sequence ("Dead End").