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#21 Harry Potter and the Order of the Phoenix by J. K. Rowling
Join Harry and his friends as they return to Hogwarts School of Wizardry and Witchcraft for their fifth year.
Shortly before his return to Hogwarts, Harry and Dudley, his big, dumb muggle cousin, face a Dementor attack... right in the middle of Little Whinging! Harry ends up using magic to repel the dementors, but because of that offense—underage magic in the presence of muggles—he is forced to attend a hearing and face possible expulsion from Hogwarts! But just what were dementors doing in Little Whinging if not specifically sent to attack Harry?
So begins Harry Potter and the Order of the Phoenix, the fifth book in the Harry Potter series. The Order of the Phoenix is actually a secret society of Wizards and Witches founded by Dumbledore, it's members being the same that fought against Voldemort last time. Unfortunately, with Cornelius Fudge and the rest of the Ministry of Magic vehemently denying Voldemort's return, and taking every opportunity they can to slander both Dumbledore and Harry through stories in the Daily Prophet, the Order definitely has their work cut out for them.
Starting with the fourth book, Harry Potter and the Goblet of Fire, these books have definitely gotten darker, and in my opinion have stepped outside the realm of children's books while still remaining in the young adult category.
I didn't like this book quite as much as The Goblet of Fire which seemed to have a lot more going on. Overall, it was still an excellent book as I rated it 8 out of 10; however I just couldn't help comparing it to Goblet of Fire, and in that regard, I didn't feel it quite measured up to that standard.
(I actually feel the opposite about the movie versions: Goblet left out so much from the book, missing a lot of key points and issues, that I didn't like it that much; while Phoenix was more complete to the book, and perhaps even a bit more flashy than its predecessor.)
Tags: fantasy, paranormal/occult, young adult
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redpajama_set_name: RedPajamaCommonCrawl


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International Commission on Missing Persons
Inquiry Center
Report a Missing Person
ICMP Board of Commissioners
Ambassador (Ret) Thomas Miller, Chairman
Her Majesty Queen Noor, Jordan
Ambassador Knut Vollebæk, former Norwegian Foreign Minister
Ambassador Rolf Ekéus, former OSCE High Commissioner on National Minorities
Rt. Hon. Alistair Burt, British Member of Parliament
Judge Sanji Monageng
María Eugenia Brizuela de Ávila
Bert Koenders
Ambassador Dirk Brengelmann
Former Chairpersons
Steering Committee on Forensic Science Programs
Advisory Committee of Government Representatives
Kathryne Bomberger, Director-General
Andreas Kleiser, Director for Policy and Cooperation
Thomas Parsons, Director of Science and Technology
Adnan Rizvic, Director of Data Systems and Coordination
Simon Short, Director of Corporate Services
Deborah Ruiz Verduzco, Head of Civil Society Initiatives
René Huel, Head of DNA Laboratories Division
Rasa Ostrauskaite, Head of Iraq Program
Fawaz Abdulabbas Abdulameer, Deputy Head of Iraq Program
Caroline Barker, Head of Archaeology and Anthropology Division
Lena Alhusseini, Head of the Syria/MENA Program
Matthew Holliday, Head of Western Balkans Program
Samira Krehic, Deputy Head of Western Balkans Program
Andreas Forer, Head of Colombia Program
Edin H. Jasaragic, Head of the Data Coordination Division
Alessandra La Vaccara, Program Manager of the Missing Migrants Program
Kevin Sullivan, Communications Manager
Working for ICMP
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List of ICMP's holidays in 2020
From 2010 through 2018, Tom Miller served as President/CEO of International Executive Service Corps, a non-profit that provides expertise to developing countries to train in best business practices. Tom is presently the Chair of the Board of Intralot, Inc., a corporation that runs lotteries in 11 states and the District of Columbia.
Since 2011, Tom has served as Chair of the Board of the International Commission on Missing Persons, an internationally acclaimed organization that identifies missing persons by using DNA-matching techniques. He also serves on the boards of Partnership for a Secure America (promoting bipartisanship in US foreign policy), The People's Trust (supporting young entrepreneurs in Greece), and Lampsa (a Greek hotel company). From 2005 through 2008, he served as CEO of Plan International, a nongovernmental organization that works in 66 countries to improve the lives of children in developing countries.
A 29-year career diplomat, Tom's experience in the Foreign Service spanned many continents. From 2001-04, he served as U.S. ambassador to Greece, where he focused on security concerns of the 2004 Olympic Games in Athens. From 1999-2001, as U.S. Ambassador to Bosnia-Herzegovina, he worked on helping the country recover after a devastating war. From 1997-99, he was Special Coordinator for the Cyprus negotiations (rank of ambassador). He was also posted to Thailand as well as the State Department in Washington, where he focused on North Africa, the Middle East, and counter-terrorism issues.
A native of the Chicago area, Ambassador Miller holds five degrees, including a Ph.D., from the University of Michigan.
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Celebrity news and Сelebrity gossip
Hot Celebrity News
Fashion trends & news
New generation of rising stars
Since 1992, Vanity Fair magazine does Vanities section featuring a full-page portrait of a promising young star. Here are the latest women in film industry who have it all to make it to having their names on the Walk of Fame. Here is a fastidious pick of four girls out of Vanity Fair's 24.
Provenance: North Hollywood, California.
You first glimpsed her as … Jodie Foster's doppelgänger daughter in Panic Room (2002). "[Director] David Fincher does a lot of takes," Stewart says:
There was this one scene we must have done, like, 80 times. I didn't know that it wasn't the norm. Now I wouldn't be as chill with it … "
Because now she's a prolific industry veteran, with four films due out this year. Namely, In the Land of Women, The Messengers, The Cake Eaters (the directorial debut of Mary Stuart Masterson, with Stewart in the lead role), and Sean Penn's Into the Wild, based on the Jon Krakauer book. But is this the life for her? Not necessarily:
I want to go to college for literature. I want to be a writer. I mean, I love what I do, but it's not all I want to do—be a professional liar for the rest of my life."
Still, Kristen's no brooder: "I love big-band music, and I'm taking swing classes now. I can't wait till I'm going to be able to be tossed up in the air."
Provenance: London.
You know her as … the cold-eyed young Brit who stole The Devil Wears Prada, delivering the performance most comically evocative of what editorial assistants are really like at … oh, certain publishing companies we've heard of. "I kind of knew that girl—she's a total impersonation of various people whom I would find personally excruciating," says Blunt, who is also a 2007 Golden Globe winner for her performance in the BBC drama Gideon's Daughter.
But what I liked about that character was that there was the opportunity to glimpse something beyond sarcasm. There's a vulnerability that's transparent to me, when someone defines herself just by having an association with someone else."
And you'll know her better still after you see her this year in … Wind Chill, a thriller produced by George Clooney and Steven Soderbergh ("I literally went from wearing Manolos to huge snow boots covered in blood and mud"); The Great Buck Howard, with John Malkovich, Tom Hanks, and Colin Hanks; Dan in Real Life, in which she gets to "have a dance-off" with Steve Carell; and The Jane Austen Book Club, an ensemble piece in which Blunt plays "a total nerd—a different part for me, because I often play the fast-talking, manipulative sort of character." Extraordinary, considering that …
I had a really bad stutter as a child. It never occurred to me that I would want to be on the stage, because I couldn't even bloody talk. My parents tried everything: I had speech therapy, I had [recordings of] dolphins squeaking at me at night to try and relax me, cranial osteopathy, everything you could do. And then I had a rather wonderful teacher who encouraged me to do the class play when I was about 12. I think he had the faith in me that I'd rise to the occasion. Or maybe he just had the smarts to say, 'Why don't you be someone else?'"
And now she's smooth-talked her way into a relationship with swingin' singer Michael Bublé: "It's wonderful. I love him. We met at some awards ceremony and I was a bit of a fan and I told him, and he liked compliments, obviously."
Provenance: Rockland County, New York.
Currently serving humankind as … Claire, "the Cheerleader," on NBC's breakout hit Heroes. "[The show] just sort of plopped in my lap," Panettiere says:
I was walking out of a general meeting with NBC, and they were like, 'Oh, hey, by the way, read this'—this script with a cockroach running across the front of it. And I read it, and it was amazing."
Look out, Mandy Moore: Panettiere's debut album, for which she co-wrote most of the songs, comes out this spring.
My [day] job is to portray people who are not myself, and this is sort of getting to portray a little bit of me." What happens to college plans when you have a hit series at 17? "I've got 15 alumni from Duke University in my family. I absolutely want to go to college, but I don't know if it's going to work out with this series. [To her mom, Lesley] How long are we on contract? [Mom says, "I think it's six years."] Oh my God, I'll be 23!"
And finally the hottest pick. She is the one from Mamma Mia!
Provenance: Allentown, Pennsylvania.
You know her… as the coming-of-age teen in everyone's favorite polygamy-motif'd TV show, Big Love. But you'll see her next as Meryl Streep's daughter in the screen adaptation of Mamma Mia! "She's the coolest human being ever," says Seyfried of her on-camera mom. She didn't treat me like I was younger. She respected me. I couldn't ask for anything better." Diablo rising: Next up for Seyfried is Jennifer's Body, the latest project from multi-tattooed Oscar-winning screenwriter Diablo Cody.
I play the nerdy best friend of Jennifer, who becomes a zombie. I'm like the heroine of the movie. I have to try to save the small town we live in."
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Posted to: Amanda Seyfried, Emily Blunt, George Clooney, Hayden Panettiere, Jodie Foster, John Malkovich, Kristen Stewart, Meryl Streep, Sean Penn, Tom Hanks
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Brit Awards 2013 Highlights & Winners List	»
The Brit Awards 2013 went with a glam as usual gathering celebs from Britain and across the pond to honor the winners in various music categories. Adele won another Skyfall accolade, while the best album of the year has gone to British Female Solo Artist award winner Emeli Sandé.
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The rebirth of the media barons of old
Imagine we lived in a Britain where a handful of multi-millionaires owned almost the entire media, and had names like Viscount Rothermere, Lord Northcliffe and Baron Beaverbrook.
That was the situation only a few decades ago. Today, it would be hard for us to imagine a media system of that nature could describe itself as "free" or the "fourth estate", and claim to be a tenacious watchdog of other power centres.
The media of that time, most of us would agree now, was simply a tool of the upper class, looking out for its interests. It really was no more complicated than that.
And yet, as Nafeez Ahmed argues in the lengthy article below, the English-speaking world today is little different. Instead of Lords and Viscounts, we have a handful of trans-national corporations, with annual turnovers in the billions or trillions, that control almost our entire media.
In the US, just six huge conglomerates own not just all the newspapers and TV channels, but every lens through which we perceive the world: the films, music, ads, and popular websites we consume every waking moment.
The personnel who control these media conglomerates are not only fabulously wealthy but have diverse business interests that will be affected by how our societies are run, what laws apply or don't, and how foreign policy is made.
Even more worrying, as Ahmed highlights in detail, the heads of these media corporations often have additional interests in military and defence corporations, what he terms a "media-military-industrial complex".
Ahmed: "Consider, then, the fact that these individuals simultaneously hold senior positions in global media conglomerates and giant defence contractors, profiting directly from the dividends of 'reconstruction' in devastated war zones like Iraq and Afghanistan, on the back of wars enabled by their own propaganda."
And yet most of us continue to look to the media for an impartial and accurate picture of the world, simply because Time Warner, Walt Disney, Viacom and News Corp, unlike their recent forebears, don't preface their names with the title Lord or Viscount. These faceless, profit-driven corporations have persuaded us that they are dispassionate, neutral and classless – unlike their all too flesh-and-blood predecessors.
Even with the new possibilities offered by the internet, most traffic is still limited to sites that are controlled by these same big players.
And the new platforms like Google, as Ahmed's and Wikileak's investigations show, have enjoyed ties to western security establishments from the very beginning of their development. Edward Snowden's revelations show they continue to cooperate closely with state surveillance agencies like the NSA.
Ahmed: "These examples demonstrate the nature of the networks that dominate the global corporate media: an interlocking nexus of private defence contractors, banks, investment firms, and corporate giants with a vested interest in perpetuating the power and privilege of their own class: no matter the implications for the loss of life of millions of people."
Ahmed also outlines how these modern media barons, and their enablers in the political class, are starting to undermine the outposts in the new media where real information and critical thinking flourish.
www.mediareform.org.uk/blog/how-the-mainstream-media-became-a-neo-stalinist-propaganda-regime-for-wealthy-neocons
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How Old-Earth Inerrantists Are Unintentionally Undermining Inerrancy
Posted by Josh Toupos | Creation, Research | 0 |
Ideas have consequences. In fact, ideas often have unintended consequences. American sociologist Robert K. Merton coined the term "law of unintended consequences" to illustrate that policy changes often have far-reaching consequences beyond the actual changes themselves. An example was the use of Agent Orange in the Vietnam War. The pesticide killed the foliage in the jungle so troops could fight easier, but it also gave cancer and possibly other diseases to those same troops.
It seems like old-earth theologians, many of whom also believe in biblical inerrancy, have stumbled upon an unintended consequence for their hermeneutic: undermining the very Bible they claim to uphold.
The Chicago Statement on Biblical Inerrancy (CSBI) is a clear statement of the Bible's accuracy regarding everything it teaches. A biblical creationist could completely agree with everything in it, and even find seeming support for the plain interpretation of the creation account:
We deny that Biblical infallibility and inerrancy are limited to spiritual, religious, or redemptive themes, exclusive of assertions in the fields of history and science. We further deny that scientific hypotheses about earth history may properly be used to overturn the teaching of Scripture on creation and the flood.1
In 1982, the ICBI produced the "Chicago Statement on Biblical Hermeneutics" (CSBH). Article 15 affirms,
We affirm the necessity of interpreting the Bible according to its literal, or normal, sense. The literal sense is the grammatical-historical sense, that is, the meaning which the writer expressed. Interpretation according to the literal sense will take account of all figures of speech and literary forms found in the text.2
Article 22 seems to even contain a clear statement in support of creation:
We affirm that Genesis 1–11 is factual, as is the rest of the book. We deny that the teachings of Genesis 1–11 are mythical and that scientific hypotheses about earth history or the origin of humanity may be invoked to overthrow what Scripture teaches about creation.3
So, it might be surprising to learn that most of the signatories of these documents were old-earth creationists or theistic evolutionists. One of the leaders in the writing of the CSBI, Norman Geisler, said,
Most of the founders and framers of the early inerrancy movement of the 1900s (e.g., Warfield and Hodge) and the contemporary movement of the 1970–80s (e.g., the International Council on Biblical Inerrancy) held firmly to inerrancy but saw no necessary tie of it to a Young Earth view.4
Additionally, many of the signers have made public statements affirming various old-earth views regarding creation. How do they reconcile their old-earth views with their strong affirmations of inerrancy?
Additionally, many of the signers have made public statements affirming various old-earth views regarding creation.
Data Versus Interpretation
Article 20 of CSBH states, "We further affirm that in some cases extrabiblical data have value for clarifying what Scripture teaches, and for prompting correction of faulty interpretations."5 Article 21 of CSBH states,
We affirm the harmony of special [revelation] with general revelation and therefore of biblical teaching with the facts of nature. We deny that any genuine scientific facts are inconsistent with the true meaning of any passage of Scripture.6
But sometimes, what old-earth creationists accept as "data" or "facts" are actually the interpretations of data. For instance, all geologists (both creationists and evolutionists) agree on the composition of the rock layers in the Grand Canyon. But the statement, "The layers of the Grand Canyon were deposited over the course of 300 million years, and the canyon was carved in about 5 million years by the Colorado River," is an interpretation of the evidence. A biblical creationist interpretation would be, "The layers of the Grand Canyon were laid down by water during the global flood of Noah's day, and the canyon was carved as the floodwaters drained from the continent."
Biblical young-earth creationists, of course, agree that no fact from the natural world will contradict Scripture. However, the wording of this statement would allow for interpretations of facts to affect the interpretation of Scripture.
In fact, Scripture defines and limits general revelation. Romans 1:18–20 explains that creation reveals God's existence and some of his attributes to all people in all places and at all times, regardless of their age, education, culture, or religion. The universality of the revelation is why people are without excuse when they fail to worship and thank God. This is also why the Bible calls the atheist a fool (Psalm 14:1) when he denies God's existence, and why people are culpable for worshipping anything in creation rather than God.
History assures us that many things believed by the majority of scientists today will be rejected as false in the future.
However, old-earth creationists redefine general revelation as a collection of truth claims believed by most modern scientists and understood only by the fraction of modern humanity who understands twentieth and twenty-first century science. History assures us that many things believed by the majority of scientists today will be rejected as false in the future. Nowhere does Scripture teach that nature is infallible when teaching about the history and origin of the world. In other words, creation is not the 67th book of the Bible, as Hugh Ross erroneously teaches.
This also prompts one to consider what kinds of change in interpretation the CSBH would allow. While most would concede that extrabiblical sources could shed light on the meaning of a rarely used word in Scripture or clarify the historical context of a passage, Christians should be cautious about letting extrabiblical data change the meaning of Scripture to something that was never recognized in the history of Christian interpretation of Scripture. Extrabiblical data can add the equivalent of color to a black-and-white photo, but it should not be allowed to change the entire picture!
Unfortunately, old-earth creationists, perhaps unintentionally, end up allowing extrabiblical interpretations of data to change critical details of the picture where there is no biblical justification to do so. The timeframe is stretched from a little over 6,000 years to around 13.8 billion years. The order of creation is also changed. In the biblical account, God created the stars on day four, after the earth, sea, dry land, and plants. The evolutionary account has stars forming long before the earth and plants. But because of the CSBH loophole, the "extrabiblical" evidence can be used to radically alter the timescale and order of creation while remaining inerrantist.
Theological Implications
Old-earth creation has theological as well as historical implications, because it also places death and disease in the animal world before human sin. All old-earth views accept millions of years of what philosophers call "natural evil." In contrast, Christians have historically recognized that both moral evil (sinful actions of human beings like murder, adultery, and theft) and natural evil (disease, famine, hurricanes, etc.) are the result of Adam's sin and God's resulting curse on creation. By asserting that natural evil was not introduced at the fall, but was part of God's design at creation, old-earth creationists radically reinterpret the creation account.
Misplaced Hermeneutical Humility
The CSBI was released over 40 years ago, but old-earth inerrantists today repeat the same errors. Until his death in 2019, leading inerrantist Norman Geisler maintained belief in an old earth. He stated, "The problem is deepened by the fact that there is prima facie evidence to indicate that the days of Genesis are indeed 24 hour periods."7 However, he claims, "Scientific dating has demonstrated that life emerged gradually over many millions of years. . . Most scientific evidence sets the age of the world at billions of years."8 In other words, what he wrongly views as "general revelation" overrules what he recognizes to be special revelation!
The late R. C. Sproul, another old-earth inerrantist, was interviewed on Tim Challies' popular blog. Challies asked him, "Have you ever had second thoughts about the stand that you took in favor of a six-day creation and a young earth, especially in view of all the new material on the subject that has come out since 2006?"9 Sproul responded,
Well, that's kind of a complex question because when I took the stand, I took the stand on a six-day creation. I didn't take a stand on a young earth. I don't know how old the earth is. I didn't know then. I still don't. And what do we mean by "young earth"? If you're thinking six thousand years, I doubt that. If you're thinking 12 billion years, I doubt that, too. All I was speaking about was the understanding of what the Scriptures teach regarding the six days of creation. And I'm not even sure it's correct to say that I took a stand. I said that's what my view was. When you say you have a view, it's one thing to say, "I think that this is the way it is." It's another thing to take a stand where you say: "Here I stand. I'm going to die on this mountain." I could be wrong in my understanding of Genesis. It's very difficult to deal with the literary genre in the opening verses of the beginning chapters of Genesis. I think there has to be some room for some flexibility on it.10
However, there are multiple literary markers that Genesis 1–11 is historical narrative and not poetry or myth. And the genealogies in Genesis 5 and 11, combined with other equally historical and chronological statements throughout the rest of the Old Testament, give us a clear timeline of a little over 6,000 years from creation to today.
Given the clarity of the biblical evidence, why did Sproul doubt the young-earth timeline? At a conference, Sproul said the following:
For some people, it's an all-or-nothing issue. When people ask me how old the earth is, I tell them I don't know. Because I don't. And I'll tell you why I don't. In the first place, the Bible does not give us a date of creation. Now it gives us hints and inclinations that would indicate in many cases, a young earth. And at the same time, you get all this expanding universe and all this astronomical dating and triangulation and all that stuff coming from outside the church that makes me wonder.11
[Sproul] acknowledged that the biblical data indicates a young earth, but the evolutionary interpretations of scientific data make him unsure of the actual history of the world.
In other words, he acknowledged that the biblical data indicates a young earth, but the evolutionary interpretations of scientific data make him unsure of the actual history of the world. The weight he gives to this evolutionary interpretation makes him both minimize the biblical data (it is possible to create a timeline from creation to the birth of Christ using the biblical data, which is more than "hinting" at a young earth) and consider a view of earth history that is nowhere in Scripture in hints, implications, or otherwise.
It might seem humble to allow for uncertainty regarding the age of the earth, but it is actually arrogant to insert uncertainty where Scripture is clear. Unfortunately, evangelicalism is filled with similar "theoretical inerrantists" who take an otherwise strong stance on Scripture but unfortunately allow for evolutionary views.
Science over Scripture?
Article 20 of CSBH states, "We deny that extra-biblical views ever disprove the teaching of Scripture or hold priority over it."12 But in fact, they allow the interpretations of the scientific majority to determine their views on the age of the earth and Noah's flood. Those long-age interpretations are the only reason for the hermeneutical false humility that claims Scripture is less than clear regarding creation and the age of the earth. Reinterpreting these parts of the Bible to accommodate long ages is another way of saying that the Bible is in error.
Equally concerning is that many do not attach much importance to the age of the earth. They do not study Genesis 1–11 carefully and are not familiar with the work done by young-earth scientists and theologians. As a result, the vast majority of Bible scholars and Christian leaders over the last two centuries have uncritically accepted claims that rest on a foundation of naturalistic philosophy that is fundamentally hostile to Christianity.
Geological Evolution: A Naturalistic Myth
When people think of evolution, they normally think of the biological idea that all life is descended from a common ancestor, a single-celled creature generated from a primordial soup. However, just as important to the naturalistic worldview is geological evolution, the idea that the stars and planets formed over billions of years following the first event in the universe, the big bang. Geological evolution further states that geological uniformitarianism can best explain earth's geological history.
For the first 1800 years of church history, almost universally, Christians believed in what could be termed "young-earth creationism."
For the first 1800 years of church history, almost universally, Christians believed in what could be termed young-earth creationism. An early-nineteenth century group of geologists known as the "scriptural geologists" defended the biblical view against long-age views. They raised biblical, geological, and philosophical arguments against various old-earth views that were developing at the time. Particularly, they affirmed the six-day creation, a global flood in Noah's day, and the earth's age of around 6,000 years old.
After 1840, the uniformitarian view became the ruling dogma in geology. As uniformitarians became professors and taught that view to their students, it became the dominant view, crowding out biblical geology.
Charles Lyell, the uniformitarian most responsible for that view's dominance, was not coming from an impartial view of dispassionately weighing the evidence—he was overtly anti-biblical. His goal was to "free the science [of geology] from Moses."13
So what we have is two views, one Christian and one anti-Christian, competing over two views of world history, using the evidence in the present to try to reconstruct what happened in the past. The difference is that Christians have an inerrant, inspired record of world history that records geologically significant events—creation and the global flood of Noah's day. When old-earth inerrantists take the side of the uniformitarians, they are agreeing with them that the Bible's historical record is somehow lacking, or even in error.
Darwin was directly influenced by Lyell's uniformitarianism and applied the same naturalism to biology. In 1844 he wrote,
I always feel as if my books came half out of Lyell's brains and that I never acknowledge this sufficiently, nor do I know how I can, without saying so in so many words—for I have always thought that the great merit of the Principles [of Geology], was that it altered the whole tone of one's mind & therefore that when seeing a thing never seen by Lyell, one yet saw it partially through his eyes.14
However, some modern geologists reject uniformitarianism. Some non-Christian geologists, such as Derek Ager, who wrote a book entitled The New Catastrophism, argue from a naturalistic basis that some geological evidence can be better explained by rapid, catastrophic formation than by slow and gradual processes over long periods of time.
While these naturalistic catastrophists may be as hostile to Scripture as Lyell was and operate with the assumption of the same timescale, their alternate view of geology shows that the geological evidence is open to interpretation and that criticism of uniformitarianism is by no means limited to the religious.
Cosmological Evolution: A Naturalistic Myth
The big bang theory is another piece of the naturalistic myth that is increasingly under attack even from secularists. Internationally-known astrophysicist Eric Lerner wrote,
Big bang theory today relies on a growing number of hypothetical entities—things that we have never observed. Inflation, dark matter and dark energy are the most prominent. Without them, there would be fatal contradictions between the observations made by astronomers and the predictions of the big bang theory. In no other field of physics would this continual recourse to new hypothetical objects be accepted as a way of bridging the gap between theory and observation. It would, at the least, raise serious questions about the validity of the underlying theory.15
Lerner is far from the only astrophysicist that shares these views. The late Halton Arp, who died in 2013, rejected the big bang and wrote, "Scientists, particularly at the most prestigious institutions, regularly suppress and ridicule findings which contradict their current theories and assumptions . . . astronomers now feel compelled to fit the observations to the theory and not vice versa."16
These secularist dissenters from the big bang theory show that the only reason the big bang appears to be a fact is because its proponents are suppressing contrary views.
These secularist dissenters from the big bang theory show that the only reason the big bang appears to be a fact is because its proponents are suppressing contrary views. Not only is it impossible to harmonize these naturalistic paradigms with Scripture, they are not even accepted by some eminent naturalists!
Old-earth inerrantists likely have sincere intentions to "save" Genesis from what they mistakenly view as proven science by allowing it to control their interpretation. However, by doing so, they undermine the inerrancy and thus the authority of the Bible.
Biblical Creationist Response to Old Earth Inerrantists
The preface to CSBI said,
We invite response to this statement from any who see reason to amend its affirmations about Scripture by the light of Scripture itself, under whose infallible authority we stand as we speak. We claim no personal infallibility for the witness we bear, and for any help which enables us to strengthen this testimony to God's Word we shall be grateful.17
A group of fourteen inerrantist scholars, most of them Bible professors, responded to this invitation by producing a supplement statement of affirmations and denials. It was published in Coming to Grips with Genesis: Biblical Authority and the Age of the Earth18 and is also available on the AiG website. Anyone who has a master's degree or higher in some field of theology can sign the document. Although Coming to Grips with Genesis has been sold at many annual Evangelical Theological Society meetings, it seems that old-earth theologians have largely ignored the book and its arguments.
While it is possible to be an inerrantist and believe in evolution and/or millions of years, it is not consistent, and requires old-earth inerrantists to play hermeneutical tricks that undermine inerrancy itself.
While it is possible to be an inerrantist and believe in evolution and/or millions of years, it is not consistent, and requires old-earth inerrantists to play hermeneutical tricks that undermine inerrancy itself. Many Christian leaders who proudly proclaim "sola Scriptura" unintentionally actually practice "sola Scientia" (science alone) when they allow the interpretations of naturalistic scientists to control their interpretation of the first chapters of the Bible.
It is clear from the Bible's own witness and the unanimous interpretation of the Church for the first 1800 years of its existence that Genesis 1–11 is history. If Scripture is the only inerrant book, we must affirm its teachings over any other truth claims. It must be the supreme authority in everything that it teaches—not only in matters of theology and morality, but in any area its pronouncements touch—including history and science. We cannot separate the Bible's inerrancy from its authority.
Theologians demonstrate true humility when they handle Scripture with reverence, taking seriously its claims and allowing Scripture to interpret Scripture, rather than reinterpreting Scripture to fit with naturalistic philosophy that is fundamentally hostile to biblical claims.
Christians should not be afraid to stand firmly on the foundation of Scripture and boldly proclaim and defend what God clearly says regarding the creation and history of the world. As America and the rest of the once-Christian West sink deeper into moral insanity, wickedness, and animosity toward Bible-believing Christians, may God help us to be faithful in the tremendous battle over the truth of God's inerrant and supremely authoritative Word.
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Detail of "Adam and Eve" by Gustav Klimt.Museum of Fine Arts, boston
An occasion in itself, the first ever display of a painting by Gustav Klimt (1862-1918) at the Museum of Fine Arts, also confirms a new trend in museum showmanship — and I like it.
It involves negotiating with other institutions to borrow, for a few months, single works of art, and then making a bit of a fuss over them. Put them on display. Adorn them with one or two, maybe half a dozen, other works from your own museum's collection — works that enhance or illuminate some aspect of the borrowed work. And voila! There's your show.
Inexpensive, juicy, surprisingly satisfying.
In this era of rising borrowing costs and ballooning overheads (often the result of ill-conceived expansions), this more modest approach to temporary exhibitions is at once practical and commendable. It's all about focus.
The Museum of Fine Arts has been mounting such shows for several years under the auspices of its Visiting Masterpieces series. The program has an improvised, what-will-they-pull-out-of-the-hat-next? aspect that I enjoy.
Since 2010, the museum has played host to Van Gogh's "The Sower" (from the Van Gogh Museum), Cezanne's "The Large Bathers" (from the Philadelphia Museum of Art), Renoir's "Dance in the Country" and "Dance in the City" (the Musee d'Orsay) as well as the Capitoline Brutus and works by Caravaggio and Piero della Francesca from Italy.
It has borrowed the Klimt, which was painted within 12 months of the artist's death and left unfinished, from the Osterreichische Galerie Belvedere in Vienna.
Inevitably, these loans involve a quid pro quo — usually a work or works sent from the MFA to the lending institution. But such arrangements seem more spontaneous and civil than the more brutish business of organizing large-scale blockbusters, with their colossal logistical and financial challenges and necessarily long lead times, and obviously preferable to gutting the museum of its masterpieces for traveling shows that raise revenue.
The MFA's "Visiting Masterpieces" approach is also being pursued by other museums in the region. The Worcester Art Museum recently launched its so-called "Master Series," which is all about spotlighting a work — often borrowed, but sometimes taken from Worcester's own collection — and pairing it with one or two others.
Presently, it is showing a gigantic Norman Rockwell drawing, recently acquired from the Higgins Armory Museum, and Raphael's beautiful "The Small Cowper Madonna," which is on loan from the National Gallery in Washington, D.C.
Raphael's "The Small Cowper Madonna."national gallery of art
The visiting Raphael has been paired with a similar painting of the Virgin and Child from Worcester's own collection, which the museum acquired in 1940, believing it to be a Raphael. That attribution was long ago set aside. It's easy to see why — especially when you see it next to "The Small Cowper Madonna," which Raphael painted as a young man, shortly after coming to Florence from Urbino.
A Virgin and Child once believed to be by Raphael.worcester art museum
The Worcester picture is lovely enough, but there is something thwarted and incomplete about it. The background landscape feels insubstantial; the infant Christ's fingers are absurdly stubby; and his mother's face — with its half-closed eyes and strikingly long, straight nose — is stylized to the point of vacancy.
Note, too, the way the arc describing the back of the boy's head perfectly touches the arc of the Virgin's cheek. As a compositional conceit, it's suspiciously contrived — not at all a trick Raphael would have played.
Raphael epitomized instead the Italian ideal of sprezzatura: the notion, which was soon to be developed by Baldassare Castiglione in "The Book of the Courtier" (1528), of a personal freedom and nonchalance that avoids any appearance of over-diligence. His art expressed what Raphael's contemporary, Giorgio Vasari, called "a grace beyond measure."
It is exciting, up close, to see Raphael's under-drawing in "The Small Cowper Madonna." We can see, in these visible outlines, the beginning of what we think of now as the modern style — a style that was massively influential not only in Raphael's day, but for the next 400 years. I'm talking about Raphael's special way of combining an unprecedented naturalism, a fidelity to the three-dimensional appearance of reality, with a form of idealization — a style.
In unexpected ways, that distinctive combination raises its head again in the work of Gustav Klimt, which is part of what makes these two mini-exhibitions so interesting to think about in tandem.
In Raphael, style amounts to an ongoing conversation between the earthly world of appearances (with all its imperfections) and a divine or ideal realm. You can see the dialog at its most rudimentary level in the contrast between, on the one hand, the realism of the fabric that is stretched across the Virgin's bust so that it forms creases at the seam, and, on the other, the idealization expressed by the uninflected curve of her jaw line and the continuous, apparently boneless curve of her right shoulder.
In Raphael's many studies for his paintings of the Virgin with the infant Christ (and often John the Baptist), what stands out are the circling motions of his pen. You can feel the beginnings of a Christian theology in these simple-seeming motions.
For Raphael, the circle was a perfect form, linked to the divine. But in his drawing, the circles, even as they seem to search for the perfection of completion, are never actually complete. Instead, they are left as unfinished arcs, or they are distended into ellipses — imperfect circles, suggestive of the earthly, rather than the heavenly realm.
Of course, these ellipses and incomplete arcs also serve important pictorial functions. On the one hand, they are decorative: They establish rhythms and echoes across the surface of the picture.
But they are also fully alive, fully plastic (bendable, malleable); their smallest inflections help Raphael carve out the illusion of space, pushing his figures back behind the flat surface of the image into an imaginary depth, an earthly, embodied landscape. Repeated with small variations, they also convey bodily animation.
Raphael's easy naturalism is reinforced in a painting like "The Small Cowper Madonna" by his beautiful rendering of light and his subtle modeling. The way this naturalism harmonizes so comfortably with the divine is what makes his works so fresh, and so timelessly beautiful.
Raphael forged a style, as personal and unmistakable in its way as any 20th-century style, but it was a style of unassailable integrity. By 1917, when Klimt painted his "Adam and Eve," on show at the Museum of Fine Arts, the world had moved on from the idea that the relationship between an ideal world and reality — between the heavenly realm and the "fallen" world — could be expressed so comfortably, so seamlessly.
Yet Klimt's art expressed exactly the same underlying tensions as Raphael's. It was the tension between naturalism and idealism; between a decorative organization of the picture's surface, and a convincing illusion of reality.
Against Raphael's repeating arcs, Klimt expressed the scurrying, flickering, twitchy character of modern life with his wild, unraveling line, full of serpentine energies ominously disturbed.
The line, for instance, that defines the contour of Eve's left side (on our right) has no natural grace or proportion — not by Raphaelesque standards, anyway. It seems to ripple and bend wherever it will. And yet Eve's frontally displayed body, with its veinous pallor, thick thighs, and pink knees, also feels extremely naturalistic.
"If he wants to make a woman, let him make a woman," said Picasso after seeing Matisse's "Blue Nude (Memory of Biskra)" in 1907. "If he wants to make a design, let him make a design. This is between the two."
The same thing could be said of Klimt — but with a crucial difference: Where Matisse struggled endlessly to unite his feeling for decoration with his fidelity to sensual reality, Klimt was happy to play up the dissonance.
It is often observed that Klimt's preoccupations overlapped with those of Sigmund Freud, the father of psychoanalysis, who was thinking and writing and treating patients in the same social milieu in Vienna in which Klimt was painting. The painter's unfinished rendering of Eve (which may have been the last woman he ever painted) suggests a similar desire to excavate the instinctual and especially the erotic side of existence, buried beneath layers of civilization and repression.
Klimt, who was the cofounder and first president of the Vienna Secession, had been painting erotic subjects since the 1890s. But to be addressing this theme in 1917, against a backdrop of mass death and destruction — and indeed the artist's own impending death — must surely have felt charged. (Freud at the same time was cogitating on ideas that would soon become "Beyond the Pleasure Principle" — his brilliant, speculative meditation on the so-called "death drive.")
In the Bible, the story of Adam and Eve is linked not with a knitting together of heavenly and earthly realms, as in the art of Raphael, but with a fall from perfection, with the curse of original sin.
But in this painting Klimt is less interested in any traditionally Christian take on original sin, and more concerned with emphasizing Eve's powerful eroticism. She may, as she emerges from the thigh of the shadowy male figure of Adam behind her, represent the liberation of female sexuality, but it is a sexuality you feel Klimt, and men in general, might feel threatened or overwhelmed by.
His Eve, in other words, is not just a pretty woman. She is the archetype of the femme fatale — that evergreen product of the patriarchal imagination that was especially in vogue in Klimt's day.
What are we to make of Klimt's vision a century later? His ideas, and his take on female sexuality, do not seem particularly current. It seems that he, like Freud and like his Scandinavian contemporaries Edvard Munch and August Strindberg, wanted to register the radical, tragic nature of the conflict between the sexes — to see it in all its terrible grandeur.
Although these visions suggest strong streaks of misogyny — Strindberg, for instance, was "mocked and maddened," as Germaine Greer once wrote, "by the very inscrutability of the female body compared to the pathetic exposure of male libido" — they might in some ways contain truths ignored by our current tendency to trivialize the problem of male-female relations.
Still, aesthetically, I find Klimt's style uncomfortable. At times, he can seem like a society portraitist and decorator looking for, but never quite finding, a deeper purpose.
His much younger protégé, Egon Schiele, represented here by a charcoal and watercolor drawing and a drypoint from the MFA's collection, pushed his master's delicately dissonant aesthetic powerfully in the direction of naturalism — but it was a neurotic naturalism that frequently tipped over into histrionics.
"Two Nudes (Lovers)" by Oskar Kokoschka. Museum of Fine Arts, Boston
The same tendency manifested itself, albeit with different results, in the work of Oskar Kokoschka. The MFA's Kokoschka, "Two Nudes (Lovers)" from 1913 — a portrait of the artist awkwardly embracing his lover, the legendary Alma Mahler, in a dismal-looking Eden — hangs here next to Klimt's "Adam and Eve."
The juxtaposition intensifies, by contrast, the Klimt's decorative aspects, just as the Klimt's blushing fragility brings out the blowsy Expressionism of the Kokoschka. Neither is especially enhanced by the pairing.
Klimt's drawings, it must be said, are among the most beautiful of the 20th century. They turn Raphael's incomplete arcs into looping, dancing tangles that twitch with erotic energy. Two are included here, along with Ferdinand Hodler's famous "Secession" poster from 1904, rounding off a fascinating, provocative display.
Visiting Masterpiece :
Gustav Klimt's Adam and Eve
At: Museum of Fine Arts, through April 27. 617-267-9300. www.mfa.org
Raphael: The Cowper Madonna
At: Worcester Art Museum, Worcester, through Sept. 27.
508-799-4406, www.worcesterart.org
• More from Sebastian Smee
Sebastian Smee can be reached at ssmee@globe.com.


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Congress will probably leave town without voting on a disaster bill
Partisan deadlock over how much relief aid should go to Puerto Rico is showing no signs of easing
Posted Apr 9, 2019 6:17 PM
@davidlerman2
Debt limit talks pick up pace and tax credit bonanza 9/11 aid bill passes House after emotional lobbying campaign Why there's no Senate spending plan as deadline nears
Jennifer Shutt
Sen. Richard Shelby, R-Ala., exits the Senators Only elevator in the Dirksen Senate Office Building on Wednesday, March 27, 2019. (Bill Clark/CQ Roll Call file photo)
A partisan deadlock over a disaster relief package showed no signs of easing Tuesday, as the two camps traded barbs over aid for hurricane-ravaged Puerto Rico.
Senate Republicans made a new offer over the weekend that Democrats dismissed, weakening prospects for a deal before lawmakers leave town later this week for a two-week Easter recess. President Donald Trump has told Republicans he won't support additional aid to Puerto Rico beyond an extra $600 million in food assistance that is already included in a GOP-written bill.
[2020 Democrats reject GOP call to back Iowa disaster aid]
"Things look bleak," said Senate Appropriations Chairman Richard C. Shelby who held talks in recent days with Democrats and the White House. "But you never know. Sometimes there's a storm before the sun comes up."
Democrats have sought an additional $462 million for long-term rebuilding of the U.S. island territory, along with a commitment to speed up the delivery of billions of dollars in aid that has yet to be disbursed by the Department of Housing and Urban Development.
But the latest Republican offer includes no such guarantee and provides no additional funding explicitly for Puerto Rico, according to a senior Democratic aide. Instead, it enlarges a pot of money that could be tapped by all disaster zones nationwide, while denying eligibility to Puerto Rico until all previously approved aid that has been held up gets spent, the aide said.
Shelby declined to discuss details of the offer, but he acknowledged a concern among Republicans that Puerto Rico is in line for more aid without sufficient accountability. "They've got billions of dollars they haven't even spent," the Alabama Republican said. "That's a problem."
[Democrats look to defend Obamacare with disaster aid amendment]
Sen. Patrick J. Leahy of Vermont, the top Democrat on the Appropriations Committee, said Republicans aren't treating all areas of the country equally by denying needed assistance to Puerto Rico. "As long as they want to keep Puerto Rico out, I can't fully understand it," he said. "I think Americans are Americans are Americans."
Republicans are likely unwilling to meet urgent needs in Puerto Rico because "they're afraid Donald Trump will oppose it," Leahy said.
Also Watch: What is congressional recess? Explaining time off in the House and Senate
The $16.7 billion package drafted by GOP appropriators would offer long-delayed relief to victims of hurricanes, wildfires, floods and other natural disasters from California to the Southeast. The House passed an initial package in January, only to watch it stall for months as the dispute over Puerto Rico intensified.
House Democrats, meanwhile, offered up another aid package on Tuesday, though it wasn't clear any new legislation could win approval before the Easter recess begins.
"Senate Republicans have bent to the will of President Trump and torpedoed relief for all disasters because of the President's bizarre vendetta against Puerto Rico," House Appropriations Chairwoman Nita Lowey, D-N.Y., said in a statement. "This legislation provides robust, comprehensive assistance that will help all Americans affected by natural disasters recover and rebuild. I urge my Republican colleagues to come to their senses and join Democrats in advancing this bill and delivering prompt relief."
The new $17.2 billion offering from House Democrats is similar to the $14.2 billion package that chamber passed in January, with an additional $3 billion tacked on to respond to flooding in the Midwest and tornadoes that ripped through Southeastern states this year.
Of the new funds, $1.5 billion would be distributed through the Army Corps of Engineers, and the other $1 billion run through HUD's Community Development Block Grant program and another $500 million through the Agriculture Department's Emergency Conservation Program for farmers and ranchers to rehabilitate farmland damaged by recent disasters.
Paul M. Krawzak contributed to this report.
Topics: budget congressional-affairs democrats politics republicans senate Agriculture Alabama Appropriations california democrats Donald J. Trump Executive Branch food health care House Iowa media New York Nita M Lowey Patrick J Leahy Republicans Richard C Shelby Senate Vermont White House BUDG


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Friends Trivia: Did Phoebe Buffay Say This?
by Joey Haverford
in Movies and TV
The sitcom Friends is still revered as one of the greatest comedy shows in the history of television. A show about six friends attempting to find happiness through the struggles of love, careers and friendship connected with the mainstream audience of the 90s. People still eat it up today with the sitcom being a massive hit on syndication. All six main characters have strong followings, but Phoebe Buffay may very well be the most entertaining of them all. Lisa Kudrow did a tremendous job using her comedic chops and general likeable nature to make Phoebe a true joy to watch grow through the seasons.
An offbeat personality with many charming intricacies provided the character with the tools to steal many scenes. All of the characters had their fair share of great quotes that still bring the laughs today, but Phoebe clearly was at the top of the list when looking back at the top one-liners. We will look at some of the funnier and more memorable quotes from the show to see just how well you remember Phoebe. You don't even have to guess which character said it. Your task is to correctly predict if it is true or false that Phoebe Buffay was the one to drop the following quotes on Friends.
Did Phoebe say: "Your collective dating records reads like a who's who of human crap!"
The love lives of the Friends characters often led to humorous situations of heartbreak. Everyone struggled to find love through the various seasons before ending up with their eventual partners. At one point in the show, one of the characters snapped at their fellow friends by calling out their dating histories. In fairness, any of them could have said this to any combination of the others. Phoebe definitely did not have much of a filter. Was she the one to deliver the truth bomb to a couple of her pals?
Did Phoebe say: "Welcome to the real world. It sucks. You're gonna love it!"
The opening song of Friends discusses the difficulties of the real world regarding jobs, money and romance. It remains one of the defining themes of the show with everyone battling to find their eventual happiness. One character states this quote in a very cold manner to describe how the real world works. Phoebe is both a realist and a sweetheart. Could she have said such a blunt statement to someone entering the pains of the real world for the first time?
Did Phoebe say: "If you want to recieve emails about my upcoming shows, please give me money so I can buy a computer."
All of the Friends characters had their own passions and careers. Phoebe tried to get her singing career going with performances at Central Perk but a few other friends did their own projects at various points. Life in New York has always been expensive making it difficult for the struggling youngsters to afford the latest technology crazes. Someone clearly couldn't afford a computer to keep up with email. Did Phoebe utter the aforementioned quote when attempting to get financially compensated for her talent?
Did Phoebe say: "I'm a lady. I don't kiss and tell, but this hickey speaks for itself."
Romance was always a big part of Friends with all six characters having countless relationships throughout the show. Phoebe had her fair share of love interests as well. One of the ladies stated the prior comment regarding a hickey. It could have been any one of them having fun following a date. Monica and Rachel both had strong comedic comments but Phoebe always had their number. Did Phoebe drop the following line about her love life to her other friends asking about it?
Did Phoebe say: "How long do cats live? Like assuming you don't throw 'em under a bus or something?"
Phoebe often experienced the important moments in life from the time she searched for her birth parents to the time she gave birth to triplets. Along the way, many significant questions were asked regarding the significance of the world. The quote in play here references a very important fact about the lifespan of cats. Phoebe clearly liked the feline but even the biggest cat fanatics have their questions. Did she ask the following question about a cat's ability to age assuming no trucks are involved?
Did Phoebe say: "Your love is like a giant pigeon crapping on my heart."
Many of the romances in Friends provided odd dynamics. Love is not always the easiest thing to describe. One of the characters clearly had a unique way of expressing the love being bestowed upon them. There are worse things than to have your love compared to than a giant pigeon crapping on one's heart. The description was uttered by someone that has a way with words. Was Phoebe the wordsmith to discuss the love being shown by one of her suitors?
Did Phoebe say: "If he doesn't like you this is all a moo point. ... Yeah, it's like a cow's opinion. It just doesn't matter. It's moo."
Most of the main characters on Friends had their fair share of ditzy moments. Phoebe definitely doesn't escape this with her moments of brain farts creating great humor for the show. One of the characters struggles to figure out the difference between the very real phrase "moot point" and the very fake "moo point." The funny mix up gives us a great one-liner that still stands out today two decades later. Is Phoebe the one that delivered this hilarious quote?
Did Phoebe say: "I have to go before I put your head through a wall."
We all have our moments of frustration even when it comes to our best friends. Phoebe was known to snap at various times when her pals started to get on her nerves, but the same can be said for the other five characters as well. One of them nearly reached the point of no return when having to step out before developing the anger to throw the other's head through a wall. Anger management would be suggested to most but it was just another fun moment for the friends. Was Phoebe the culprit of saying this threat?
Did Phoebe say: "I'm full, and yet I know if I stop eating this, I'll regret it. "
Everyone can appreciate this quote in any context of life. There are times when you know you've had way too much to eat, but the meal is so good that you have to keep on going. The decision to stop and leave some back will end with regret for the smart decision. Someone on Friends said this quote regarding a delicious food. Hint: It was about very addictive cheesecake. Was Phoebe the character to fall this in love with the incredible dessert?
Did Phoebe say: "I may play the fool at times but I'm more than a pretty blonde girl with an ass that won't quit."
Phoebe was very confident in what she brought to the table in the dating world. The bold commentary of Phoebe often led to quotes like this. However, Rachel also delivered similar lines when it came time to bring the sass during friendly conversations. One of the blonde Friends characters defended their intellect while dropping their confidence for their beauty. The description could be believable either way but true Friends fans remember who said it. Was it Phoebe that delivered the memorable quote?
Did Phoebe say: "I wish I could but I don't want to."
There are times when you just don't want to help out your friends no matter how much you love them. A Friends characters perfectly sums up the struggle here when you wish you could help but you just don't want to. The blunt Phoebe could very well be the one to drop the truth bomb, but all of the characters had their moments of dry humor. This one clearly is more subtle than the other jokes. It still brings the laughs. Do we owe Phoebe thanks for the memory?
Did Phoebe say: "Oh, are you setting Ross up with someone? Does she have a wedding dress?"
The gang often jokes with Ross Gellar regarding his history of failed marriages. Ross has taken the big steps towards commitment with it seemingly failing each time. All of his friends engage in banter at his expense when it comes to the divorce history. Someone had a hilarious line when it came time to set up Ross with a date. The callback to his marriages is used with the wedding dress joke. Was Phoebe the jokester to razz Ross for his failed marriages?
Did Phoebe say: "If we were in prison, you guys would be like my bitches."
Phoebe's upbringing made her tougher than her other friends. This line definitely shows a bit of toughness when one of the friends pulls rank over the others. The quote comes when someone had to exude dominance to prevent multiple pals from bickering like school children. We all know how often the Friends gang would engage in petty arguments over the silliest things. Did Phoebe become the one to step up and put them in check before delivering the aforementioned quote?
Did Phoebe say: "How can you let him talk to your crotch like that?"
Rachel's pregnancy in the later seasons gave us the following funny moment. Ross is talking to the belly of Rachel trying to give some early words of encouragement to the couple's baby. One of the other characters decides to ruin the moment by chiming in with a humorous comment. To the random person, talking into the lower region of a woman can look ridiculous and it was perfectly used as humor here. Was Phoebe the one to call out Ross for his harmless excitement of becoming a father again?
Did Phoebe say: "Raspberries? Good. Ladyfingers? Good. Beef? GOOD!"
Food was a big part of Friends. Monica was a great chef well versed in cooking great meals. Joey was a great eater well versed in eating all meals. This led to many memorable meals shared between the friends. Thanksgiving episodes became a huge annual tradition thanks to the cooking aspect. Other episodes also featured various food related stories. Rachel made a horrible meal that led to one unique friend enjoying the unusual combination of foods. Did Phoebe enjoy the bizarre concoction from Rachel?
Did Phoebe say: "I just have this really strong feeling that this cat is my mother."
Phoebe would often find herself believing in many odd theories. The free spirit allowed her to live an oddball life with beliefs that the other friends would not know how to deal with. Someone definitely went a bit far off with their visions of spirituality and how the universe works. The theory that the soul of a cat was carried over from a parent is certainly one of the oddest things uttered by a Friends character. Was it Phoebe to give us this quote?
Did Phoebe say: "Come on Ross, you're a paleontologist, dig a little deeper."
Ross' job as a paleontologist gave the friends many opportunities to make fun of him through the form of wordplay. In general, looking at the fossils of dinosaurs and other old creatures is a pretty impressive career, but Ross found his way as the butt of many jokes. Someone used tremendous wordplay to tell Ross to dig a little deeper by referencing his career for the subtle joke. Is Phoebe the genius character to have masterfully pulled this one off during a conversation with Ross?
Did Phoebe say: "They don't know we know they know we know."
One memorable quote comes from the time Monica and Chandler started dating. The two friends kept their relationship a secret from the others until it was discovered. Some of those in the know decided to punish Monica and Chandler by pranking them. This confusing quote is the one uttered as the plan gets set into motion. The person to deliver this quote is the one that becomes one of the leaders to make the couple uncomfortable. Did Phoebe say this and help start the plan for revenge?
Did Phoebe say: "When I walk outside naked, people throw garbage at me."
Phoebe doesn't seem like the obvious choice for this quote given the obvious beauty of Lisa Kudrow. However, stranger things have been said by the characters with humor creating odd moments. None of the Friends stars were unattractive enough to believe someone would throw garbage at the sight of their nudity. One of them did however joke about it with the self-deprecating humor. Was Phoebe the one that claimed she would be met with unbearable hostility at the reaction of strangers seeing her naked?
Did Phoebe say: "Sure I peed on her. And if I had to, I'd pee on any one of you!"
The friends of Friends found their way into many awkward predicaments through the years. One specific moment featured one of them in peril following a painful beach incident involving jellyfish. The only way to treat the pain was for another one to urinate on the person in pain creating the hilariously uncomfortable quote. Upon being judged for helping a friend, a character dropped the quote to describe their actions out of love. Was Phoebe the friend that had to defend the terrible moment of friendship?
Did Phoebe say: "Everyone looks so happy. I hate that."
The moment of happiness isn't always shared, and some of them can be downright painful. One of the Friends characters showed this by delivering a quote that hit at the strings of anyone that has been disgusted at the overwhelming happiness by others. The bitterness can become comical when the right character delivers the line. We all felt agreement when this specific quote was said on Friends. Was Phoebe the one to give us a harsh dose of reality that connected with our jaded side?
Did Phoebe say: "Isn't that just kick-you-in-the-crotch, spit-on-your-neck fantastic?"
Another snarky comments on Friends comes in the theme of reacting to bad news. The over the top reaction provides the perfect combination of anger and sarcasm to bring hilarity to the quote. A unique new uniting of words can truly create a new phrase when you least expect. One of the characters could have sold t-shirts with the following phrase that adds new meaning to fantastic. Did Phoebe deliver this line of cynicism that would become a great quote in Friends history?
Did Phoebe say: "You always see these really beautiful women with these really nothing guys. You can be one of these guys."
The pep talks on Friends ranged from heartfelt words to lift the spirits of loved ones to a hilarious line that put things in perspective. This specific quote came from one of the ladies giving advice to a guy going through his own personal lows. Many of the relationships on Friends featured a beautiful woman with a significantly less impressive guy proving the theory of this quote right. Was Phoebe the one to say it during a moment of sage advice?
Did Phoebe say: "Just so you know, it's not that common, it doesn't happen to every guy, and it is a big deal!"
The arguments on Friends could get hostile when the characters were mad enough. This specific quote features a moment where a couple breaks up in very angry fashion. One of the ladies gets angry towards her former boyfriend and delivers the savage comment to put him in his place. It is remembered as one of the funnier insults from the storied sitcom. Did Phoebe say this in a moment of rage at one of her relationships ending in memorable fashion?
Did Phoebe say: "I've been reading up on it and for your information, minks are not very nice."
One of the characters gets heat for wearing a fancy mink coat due to the issue of animal skin being responsible for it. The humorous quote comes at the defense of the guilty person just wanting to enjoy her new favorite jacket without the negativity associated with it. Chandler is the one to call out the woman in question for wearing the jacket before getting shut down with the one liner. Was Phoebe the one to say the memorable quote defending the fur coat?
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Home » Gist/Gossip
REVEALED: The Late Prophet TB Joshua's Net Worth
June 9, 2021 Joyloaded Gist/Gossip 0
Late Nigerian televangelist and pastor Temitope Balogun Joshua, popularly known as TB Joshua, is said to have been one of Nigeria's richest pastors.
The founder of the Synagogue Church of All Nation was very wealthy according to a website called Glusea which rank the net worth of celebrities and other famous personalities.
Prophet TB Joshua's net worth according to the site was valued at US$ 150 million as at the time of writing.
Glusea indicated that the man of God owned a private jet worth US$ 60 million and several fleet of luxurious vehicles.
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According to Nigerian news site Otakukart, TB Joshua was named among the top 50 most influential people in Africa by the pan-African magazine, The Africa Report and New African Magazine.
Forbes reported back in 2011 that the prophet was the 3rd richest pastor in Africa, but his church came out to vehemently debunk those claims.
He was also the most popular pastor on Youtube according to Otakukart.
According to Al Jazeera, more than 15,000 people from Nigeria and abroad streamed his usual Sunday service.
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Announcing his death on Facebook, TB Joshua Ministry wrote: "God has taken his servant Prophet TB Joshua home…. His last moment on earth were spent in the service of God."
Prophet TB Joshua died at age 57 peacefully in his home on Saturday 5th of June, after a live broadcast. He left behind a wife and 3 children. According to various reports, the man of God was battling Stroke, but this information is yet to be confirmed by his family.
T.B Joshua
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