Paragraph 1: The Phillies' first May game opened a series with the Washington Nationals on May 2. The Nationals won, 5–3, despite a quality start by Lee. Philadelphia won game two 7–2, thanks to a strong start from A. J. Burnett (the first Phillies starter of the season to win a home game), a Cody Asche home run and four–for-five hitting by Jimmy Rollins. The Phillies took the series' rubber match, 1–0, with a strong start from Roberto Hernandez and a first-inning RBI triple by Jimmy Rollins. The team then hosted the Toronto Blue Jays, with Kyle Kendrick starting against former Phillie J. A. Happ in the series' first game. The Phillies lost, 3–0; Kendrick had no run support, losing his eighth consecutive decision (dating back to 2013) despite a "decent" ERA. The club lost the next night as well, with Cole Hamels giving up five runs in six innings; despite a sixth-inning grand slam by Asche to tie the game, the Blue Jays came back in extra innings for a 6–5 win. The home-and-home series then moved to Toronto for two games, where the Phillies gave up nine runs in the seventh inning of the first game to lose 10–0. After the game, Shawn Camp was outrighted from the roster and Luis García recalled. The series concluded the next night, with five Blue Jays home runs giving them a 12–6 win. The Phillies then began a three-game series at Citi Field with the New York Mets. Hernandez started game one, pitching five innings and allowing one run; in his first hit of the day, Marlon Byrd batted in Chase Utley (the go-ahead run) in the top of the 11th inning. Papelbon saved the game in the bottom of the 11th and the Phillies won 3–2, snapping a four-game losing streak. They won another one-run game (5–4) the next night; Ryan Howard's RBI single in the top of the ninth gave the Phillies the lead, and Papelbon recorded his 11th save of the season. In the final game of the series Hamels consistently had "an answer" to the Mets' offense, throwing a career-high 133 pitches in seven innings, allowing one run and striking out 10 hitters. Entering the ninth inning, the Phillies led 4–1; with Papelbon unavailable, Antonio Bastardo and Hernandez squandered the lead and the Phillies lost 5–4 in 11 innings. The teams finished a series which was " ... ugly, between two deeply flawed teams: more than 12 hours of game time, nearly 80 runners left on base combined."

Paragraph 2: The songwriting process for California was much less collaborative than the band's previous albums. Despite having a more accessible sound than prior releases, saxophonist Clinton McKinnon has stated, "It wasn’t some attempt at reconciling how much we’d previously tortured our audiences with white-noise [...] it wasn’t some conscious attempt to normalise our music or make it all the more palatable." On the album's writing and sound, Trevor Dunn stated in a 2017 interview that, "[we] never discussed our projected direction. We never sat down and said, 'ok the last record was like that so now let’s attempt this.' Instead we individually brought things to the collective table that somehow coalesced without premeditation." He goes on to state that "the recording of California was a bit of a nightmare. We attempted frugality by recording a lot in our rehearsal space which [our guitarist] Trey [Spruance] had partially turned into a recording studio.  But we also spread the work out over various outside studios with a number of engineers as well as additional musicians.  In the end we had two 24-track tape machines and two ADAT machines linked. That record would have been much easier to manage had Pro Tools come along a bit sooner."

Paragraph 3: The Phillies' first May game opened a series with the Washington Nationals on May 2. The Nationals won, 5–3, despite a quality start by Lee. Philadelphia won game two 7–2, thanks to a strong start from A. J. Burnett (the first Phillies starter of the season to win a home game), a Cody Asche home run and four–for-five hitting by Jimmy Rollins. The Phillies took the series' rubber match, 1–0, with a strong start from Roberto Hernandez and a first-inning RBI triple by Jimmy Rollins. The team then hosted the Toronto Blue Jays, with Kyle Kendrick starting against former Phillie J. A. Happ in the series' first game. The Phillies lost, 3–0; Kendrick had no run support, losing his eighth consecutive decision (dating back to 2013) despite a "decent" ERA. The club lost the next night as well, with Cole Hamels giving up five runs in six innings; despite a sixth-inning grand slam by Asche to tie the game, the Blue Jays came back in extra innings for a 6–5 win. The home-and-home series then moved to Toronto for two games, where the Phillies gave up nine runs in the seventh inning of the first game to lose 10–0. After the game, Shawn Camp was outrighted from the roster and Luis García recalled. The series concluded the next night, with five Blue Jays home runs giving them a 12–6 win. The Phillies then began a three-game series at Citi Field with the New York Mets. Hernandez started game one, pitching five innings and allowing one run; in his first hit of the day, Marlon Byrd batted in Chase Utley (the go-ahead run) in the top of the 11th inning. Papelbon saved the game in the bottom of the 11th and the Phillies won 3–2, snapping a four-game losing streak. They won another one-run game (5–4) the next night; Ryan Howard's RBI single in the top of the ninth gave the Phillies the lead, and Papelbon recorded his 11th save of the season. In the final game of the series Hamels consistently had "an answer" to the Mets' offense, throwing a career-high 133 pitches in seven innings, allowing one run and striking out 10 hitters. Entering the ninth inning, the Phillies led 4–1; with Papelbon unavailable, Antonio Bastardo and Hernandez squandered the lead and the Phillies lost 5–4 in 11 innings. The teams finished a series which was " ... ugly, between two deeply flawed teams: more than 12 hours of game time, nearly 80 runners left on base combined."

Paragraph 4: On the second half kickoff, Munsey recovered a fumble from Steelers returner Dave Brown.  But a few plays later, Pittsburgh cornerback Mel Blount intercepted a pass and returned it 20 yards to the Baltimore 7-yard line. From there, Rocky Bleier scored on a 7-yard rushing touchdown giving the Steelers a 14–10 lead. In the fourth quarter, a short punt from David Lee gave the Steelers favorable field position, and they scored on Bradshaw's 2-yard run, increasing their lead to 21–10.  Now with the game slipping away, Colts coach Ted Marchibroda benched Domres (who had completed only 2 of 11 passes) and replaced him with Bert Jones (who had earlier left the game due to injury), who promptly gave the team a golden opportunity to rally back with a 58-yard completion to Doughty on the Steelers 3-yard line.  But on the next play, Ham knocked the ball out of Jones's hand as he was winding up for a pass.  Linebacker Andy Russell recovered the fumble and returned it for an NFL playoff record 93 yards to the end zone.  Russell's play is claimed by some as the longest single football play in time duration.  Sports Illustrated called the play the "longest, slowest touchdown ever witnessed."

Paragraph 5: Renato Castellani won the Grand Prix at the Venice Film Festival for his 1954 film of Romeo and Juliet. His film contains interpolated scenes intended to establish the class system and Catholicism of Renaissance Verona, and the nature of the feud. Some of Castellani's changes have been criticised as ineffective: interpolated dialogue is often banal, and the Prince's appearances are reimagined as formal hearings: undermining the spontaneity of Benvolio's defence of Romeo's behaviour in the duel scene. The major supporting roles are vastly reduced, including that of the nurse; Mercutio becomes (in the words of Daniel Rosenthal) "the tiniest of cameos" and Friar Laurence "an irritating ditherer", although Pauline Kael, who loved the film, called this Friar Laurence "a radiantly silly little man". Castellani's most prominent changes related to Romeo's character, cutting back or removing scenes involving his parents, Benvolio and Mercutio in order to highlight Romeo's isolation, and inserting a parting scene in which Montague coldly pulls his banished son out of Lady Montague's farewell embrace. Another criticism made by film scholar Patricia Tatspaugh is that the realism of the settings, so carefully established throughout the film, "goes seriously off the rails when it come to the Capulets' vault". Castellani uses competing visual images in relation to the central characters: ominous grilles (and their shadows) contrasted with frequent optimistic shots of blue sky. A well-known stage Romeo, John Gielgud, played Castellani's chorus (and would reprise the role in the 1978 BBC Shakespeare version). Laurence Harvey, as Romeo, was already an experienced screen actor, who would shortly take over roles intended for the late James Dean in Walk on the Wild Side and Summer and Smoke. By contrast, Susan Shentall, as Juliet, was a secretarial student who was discovered by the director in a London pub, and was cast for her "pale sweet skin and honey-blonde hair". She failed to rise to the demands of the role, and would marry shortly after the shoot, never returning to screen acting. Other parts were played by inexperienced actors, also: Mercutio was played by an architect, Montague by a gondolier from Venice, and the Prince by a novelist. Critics responded to the film as a piece of cinema (its visuals were especially admired in Italy, where it was filmed) but not as a performance of Shakespeare's play: Robert Hatch in The Nation said "We had come to see a play... perhaps we should not complain that we were shown a sumptuous travelogue", and Time's reviewer added that "Castellani's Romeo and Juliet is a fine film poem... Unfortunately it is not Shakespeare's poem!"

Paragraph 6: Renato Castellani won the Grand Prix at the Venice Film Festival for his 1954 film of Romeo and Juliet. His film contains interpolated scenes intended to establish the class system and Catholicism of Renaissance Verona, and the nature of the feud. Some of Castellani's changes have been criticised as ineffective: interpolated dialogue is often banal, and the Prince's appearances are reimagined as formal hearings: undermining the spontaneity of Benvolio's defence of Romeo's behaviour in the duel scene. The major supporting roles are vastly reduced, including that of the nurse; Mercutio becomes (in the words of Daniel Rosenthal) "the tiniest of cameos" and Friar Laurence "an irritating ditherer", although Pauline Kael, who loved the film, called this Friar Laurence "a radiantly silly little man". Castellani's most prominent changes related to Romeo's character, cutting back or removing scenes involving his parents, Benvolio and Mercutio in order to highlight Romeo's isolation, and inserting a parting scene in which Montague coldly pulls his banished son out of Lady Montague's farewell embrace. Another criticism made by film scholar Patricia Tatspaugh is that the realism of the settings, so carefully established throughout the film, "goes seriously off the rails when it come to the Capulets' vault". Castellani uses competing visual images in relation to the central characters: ominous grilles (and their shadows) contrasted with frequent optimistic shots of blue sky. A well-known stage Romeo, John Gielgud, played Castellani's chorus (and would reprise the role in the 1978 BBC Shakespeare version). Laurence Harvey, as Romeo, was already an experienced screen actor, who would shortly take over roles intended for the late James Dean in Walk on the Wild Side and Summer and Smoke. By contrast, Susan Shentall, as Juliet, was a secretarial student who was discovered by the director in a London pub, and was cast for her "pale sweet skin and honey-blonde hair". She failed to rise to the demands of the role, and would marry shortly after the shoot, never returning to screen acting. Other parts were played by inexperienced actors, also: Mercutio was played by an architect, Montague by a gondolier from Venice, and the Prince by a novelist. Critics responded to the film as a piece of cinema (its visuals were especially admired in Italy, where it was filmed) but not as a performance of Shakespeare's play: Robert Hatch in The Nation said "We had come to see a play... perhaps we should not complain that we were shown a sumptuous travelogue", and Time's reviewer added that "Castellani's Romeo and Juliet is a fine film poem... Unfortunately it is not Shakespeare's poem!"

Paragraph 7: In Terhathum, there is a rock called ‘boksimara’ which translates to “witch killer stone”. It is said that 200 years ago, accused women were taken to boksimara to be hanged from its precipice. To this day, these types of outdated customs and traditions continue to be prevalent among various castes and tribes. Laxmi Maya Nepali, a victim and inhabitant of Shrijung Village Development committee from Terhathum expresses her pain of being accused of being a witch:"I had to stay alone in an old house, it was difficult to move around for me, people used to call me witch; even my own relatives did not let me stay at home    accusing me of being a witch. One of my relatives gave birth to a dead baby and they accused me as their baby was dead because of my witchcraft powers. Even my son was badly beaten by his own nephew.”The atrocities that these women face can also prevent them from equal access to education. Without the tools to succeed academically, the accused women are not able to change their societal status. The traditional ways and superstitious beliefs of Nepali culture trap accused women in a vicious cycle. This continues as they are denied opportunities to educate themselves and they are forced to suffer, oftentimes in poverty, for the rest of their lives.

Paragraph 8: The songwriting process for California was much less collaborative than the band's previous albums. Despite having a more accessible sound than prior releases, saxophonist Clinton McKinnon has stated, "It wasn’t some attempt at reconciling how much we’d previously tortured our audiences with white-noise [...] it wasn’t some conscious attempt to normalise our music or make it all the more palatable." On the album's writing and sound, Trevor Dunn stated in a 2017 interview that, "[we] never discussed our projected direction. We never sat down and said, 'ok the last record was like that so now let’s attempt this.' Instead we individually brought things to the collective table that somehow coalesced without premeditation." He goes on to state that "the recording of California was a bit of a nightmare. We attempted frugality by recording a lot in our rehearsal space which [our guitarist] Trey [Spruance] had partially turned into a recording studio.  But we also spread the work out over various outside studios with a number of engineers as well as additional musicians.  In the end we had two 24-track tape machines and two ADAT machines linked. That record would have been much easier to manage had Pro Tools come along a bit sooner."

Paragraph 9: Renato Castellani won the Grand Prix at the Venice Film Festival for his 1954 film of Romeo and Juliet. His film contains interpolated scenes intended to establish the class system and Catholicism of Renaissance Verona, and the nature of the feud. Some of Castellani's changes have been criticised as ineffective: interpolated dialogue is often banal, and the Prince's appearances are reimagined as formal hearings: undermining the spontaneity of Benvolio's defence of Romeo's behaviour in the duel scene. The major supporting roles are vastly reduced, including that of the nurse; Mercutio becomes (in the words of Daniel Rosenthal) "the tiniest of cameos" and Friar Laurence "an irritating ditherer", although Pauline Kael, who loved the film, called this Friar Laurence "a radiantly silly little man". Castellani's most prominent changes related to Romeo's character, cutting back or removing scenes involving his parents, Benvolio and Mercutio in order to highlight Romeo's isolation, and inserting a parting scene in which Montague coldly pulls his banished son out of Lady Montague's farewell embrace. Another criticism made by film scholar Patricia Tatspaugh is that the realism of the settings, so carefully established throughout the film, "goes seriously off the rails when it come to the Capulets' vault". Castellani uses competing visual images in relation to the central characters: ominous grilles (and their shadows) contrasted with frequent optimistic shots of blue sky. A well-known stage Romeo, John Gielgud, played Castellani's chorus (and would reprise the role in the 1978 BBC Shakespeare version). Laurence Harvey, as Romeo, was already an experienced screen actor, who would shortly take over roles intended for the late James Dean in Walk on the Wild Side and Summer and Smoke. By contrast, Susan Shentall, as Juliet, was a secretarial student who was discovered by the director in a London pub, and was cast for her "pale sweet skin and honey-blonde hair". She failed to rise to the demands of the role, and would marry shortly after the shoot, never returning to screen acting. Other parts were played by inexperienced actors, also: Mercutio was played by an architect, Montague by a gondolier from Venice, and the Prince by a novelist. Critics responded to the film as a piece of cinema (its visuals were especially admired in Italy, where it was filmed) but not as a performance of Shakespeare's play: Robert Hatch in The Nation said "We had come to see a play... perhaps we should not complain that we were shown a sumptuous travelogue", and Time's reviewer added that "Castellani's Romeo and Juliet is a fine film poem... Unfortunately it is not Shakespeare's poem!"

Paragraph 10: The Phillies' first May game opened a series with the Washington Nationals on May 2. The Nationals won, 5–3, despite a quality start by Lee. Philadelphia won game two 7–2, thanks to a strong start from A. J. Burnett (the first Phillies starter of the season to win a home game), a Cody Asche home run and four–for-five hitting by Jimmy Rollins. The Phillies took the series' rubber match, 1–0, with a strong start from Roberto Hernandez and a first-inning RBI triple by Jimmy Rollins. The team then hosted the Toronto Blue Jays, with Kyle Kendrick starting against former Phillie J. A. Happ in the series' first game. The Phillies lost, 3–0; Kendrick had no run support, losing his eighth consecutive decision (dating back to 2013) despite a "decent" ERA. The club lost the next night as well, with Cole Hamels giving up five runs in six innings; despite a sixth-inning grand slam by Asche to tie the game, the Blue Jays came back in extra innings for a 6–5 win. The home-and-home series then moved to Toronto for two games, where the Phillies gave up nine runs in the seventh inning of the first game to lose 10–0. After the game, Shawn Camp was outrighted from the roster and Luis García recalled. The series concluded the next night, with five Blue Jays home runs giving them a 12–6 win. The Phillies then began a three-game series at Citi Field with the New York Mets. Hernandez started game one, pitching five innings and allowing one run; in his first hit of the day, Marlon Byrd batted in Chase Utley (the go-ahead run) in the top of the 11th inning. Papelbon saved the game in the bottom of the 11th and the Phillies won 3–2, snapping a four-game losing streak. They won another one-run game (5–4) the next night; Ryan Howard's RBI single in the top of the ninth gave the Phillies the lead, and Papelbon recorded his 11th save of the season. In the final game of the series Hamels consistently had "an answer" to the Mets' offense, throwing a career-high 133 pitches in seven innings, allowing one run and striking out 10 hitters. Entering the ninth inning, the Phillies led 4–1; with Papelbon unavailable, Antonio Bastardo and Hernandez squandered the lead and the Phillies lost 5–4 in 11 innings. The teams finished a series which was " ... ugly, between two deeply flawed teams: more than 12 hours of game time, nearly 80 runners left on base combined."

Paragraph 11: In Terhathum, there is a rock called ‘boksimara’ which translates to “witch killer stone”. It is said that 200 years ago, accused women were taken to boksimara to be hanged from its precipice. To this day, these types of outdated customs and traditions continue to be prevalent among various castes and tribes. Laxmi Maya Nepali, a victim and inhabitant of Shrijung Village Development committee from Terhathum expresses her pain of being accused of being a witch:"I had to stay alone in an old house, it was difficult to move around for me, people used to call me witch; even my own relatives did not let me stay at home    accusing me of being a witch. One of my relatives gave birth to a dead baby and they accused me as their baby was dead because of my witchcraft powers. Even my son was badly beaten by his own nephew.”The atrocities that these women face can also prevent them from equal access to education. Without the tools to succeed academically, the accused women are not able to change their societal status. The traditional ways and superstitious beliefs of Nepali culture trap accused women in a vicious cycle. This continues as they are denied opportunities to educate themselves and they are forced to suffer, oftentimes in poverty, for the rest of their lives.

Paragraph 12: Renato Castellani won the Grand Prix at the Venice Film Festival for his 1954 film of Romeo and Juliet. His film contains interpolated scenes intended to establish the class system and Catholicism of Renaissance Verona, and the nature of the feud. Some of Castellani's changes have been criticised as ineffective: interpolated dialogue is often banal, and the Prince's appearances are reimagined as formal hearings: undermining the spontaneity of Benvolio's defence of Romeo's behaviour in the duel scene. The major supporting roles are vastly reduced, including that of the nurse; Mercutio becomes (in the words of Daniel Rosenthal) "the tiniest of cameos" and Friar Laurence "an irritating ditherer", although Pauline Kael, who loved the film, called this Friar Laurence "a radiantly silly little man". Castellani's most prominent changes related to Romeo's character, cutting back or removing scenes involving his parents, Benvolio and Mercutio in order to highlight Romeo's isolation, and inserting a parting scene in which Montague coldly pulls his banished son out of Lady Montague's farewell embrace. Another criticism made by film scholar Patricia Tatspaugh is that the realism of the settings, so carefully established throughout the film, "goes seriously off the rails when it come to the Capulets' vault". Castellani uses competing visual images in relation to the central characters: ominous grilles (and their shadows) contrasted with frequent optimistic shots of blue sky. A well-known stage Romeo, John Gielgud, played Castellani's chorus (and would reprise the role in the 1978 BBC Shakespeare version). Laurence Harvey, as Romeo, was already an experienced screen actor, who would shortly take over roles intended for the late James Dean in Walk on the Wild Side and Summer and Smoke. By contrast, Susan Shentall, as Juliet, was a secretarial student who was discovered by the director in a London pub, and was cast for her "pale sweet skin and honey-blonde hair". She failed to rise to the demands of the role, and would marry shortly after the shoot, never returning to screen acting. Other parts were played by inexperienced actors, also: Mercutio was played by an architect, Montague by a gondolier from Venice, and the Prince by a novelist. Critics responded to the film as a piece of cinema (its visuals were especially admired in Italy, where it was filmed) but not as a performance of Shakespeare's play: Robert Hatch in The Nation said "We had come to see a play... perhaps we should not complain that we were shown a sumptuous travelogue", and Time's reviewer added that "Castellani's Romeo and Juliet is a fine film poem... Unfortunately it is not Shakespeare's poem!"

Paragraph 13: On November 25, several deputies wrote to Morales, demanding that the situation be amended. Their demands included: an apology from the President to the members of the National Assembly regarding the events which took place the previous night; the trial and punishment of Colonel Hilarión Daza and Captain Luis Eguino, who had led the charge into the Palace; the promotion of Manuel Lavadenz, who had "bravely" stood his ground against the military band; and the discussion of the Aullagas Question, a controversy involving extraordinary expenditures by the President and his cabinet. The President took this as a challenge, interpreting the demands to be humiliating. As such, he became determined to shut down the Assembly himself. At 15:00, Morales met his ministers and aides-de-camp, announcing the following: "I shall close Congress. Whoever wants to follow me, follow me; whoever does not, do not". The Bolivian Army, stationed in front of the Government Palace, saluted Morales when he entered, singing the Bolivian National Anthem. The President entered the legislative salon alongside his ministers, General Ildefonso Sanjinés, and several other military officers. Morales entered the empty room and gave a lengthy and passionate speech:People! As the first magistrate of Bolivia, I have come to close this Assembly, whose benches today are deserted by a group of treacherous, infamous, and perfidious men, who, far from fulfilling their mission, have abused their power and authority to disrupt and hinder the progress of the government, attempting to make me seem a felon. They are the ones who cause the misfortunes of our country, a nation that had been destined to be great and today finds itself in poverty, covered with rags and misery. But, gentlemen, what could be expected from men who have come to occupy these benches for their own interest; of men without work, who have nothing else to eat but the sweat of the poor? Which of them has a position? Parasitic plants! You know them, and you know well that there are not even six of them that are not hungry for power… You know that I have been accused of being a thief! Me! Me! By those ruffians that have wanted to usurp your rights. You know me well; I am proud to have been born among you and under this sky. Taking the leadership of this country after our great revolution, I have wanted nothing more than justice and I have had no other intention than that in my conscience. I, gentlemen, have not stolen… the chief magistrate of the nation is poor like the people, and he has not been a Balthasar: he barely has enough to live in misery… By getting rid of these perfidious traitors, who have no conscience nor dignity, I have enthroned justice and liberty. That very freedom which is so great and so beautiful that it is the very happiness of the peoples; that freedom and that justice that these men do not know.

Paragraph 14: The Phillies' first May game opened a series with the Washington Nationals on May 2. The Nationals won, 5–3, despite a quality start by Lee. Philadelphia won game two 7–2, thanks to a strong start from A. J. Burnett (the first Phillies starter of the season to win a home game), a Cody Asche home run and four–for-five hitting by Jimmy Rollins. The Phillies took the series' rubber match, 1–0, with a strong start from Roberto Hernandez and a first-inning RBI triple by Jimmy Rollins. The team then hosted the Toronto Blue Jays, with Kyle Kendrick starting against former Phillie J. A. Happ in the series' first game. The Phillies lost, 3–0; Kendrick had no run support, losing his eighth consecutive decision (dating back to 2013) despite a "decent" ERA. The club lost the next night as well, with Cole Hamels giving up five runs in six innings; despite a sixth-inning grand slam by Asche to tie the game, the Blue Jays came back in extra innings for a 6–5 win. The home-and-home series then moved to Toronto for two games, where the Phillies gave up nine runs in the seventh inning of the first game to lose 10–0. After the game, Shawn Camp was outrighted from the roster and Luis García recalled. The series concluded the next night, with five Blue Jays home runs giving them a 12–6 win. The Phillies then began a three-game series at Citi Field with the New York Mets. Hernandez started game one, pitching five innings and allowing one run; in his first hit of the day, Marlon Byrd batted in Chase Utley (the go-ahead run) in the top of the 11th inning. Papelbon saved the game in the bottom of the 11th and the Phillies won 3–2, snapping a four-game losing streak. They won another one-run game (5–4) the next night; Ryan Howard's RBI single in the top of the ninth gave the Phillies the lead, and Papelbon recorded his 11th save of the season. In the final game of the series Hamels consistently had "an answer" to the Mets' offense, throwing a career-high 133 pitches in seven innings, allowing one run and striking out 10 hitters. Entering the ninth inning, the Phillies led 4–1; with Papelbon unavailable, Antonio Bastardo and Hernandez squandered the lead and the Phillies lost 5–4 in 11 innings. The teams finished a series which was " ... ugly, between two deeply flawed teams: more than 12 hours of game time, nearly 80 runners left on base combined."

Paragraph 15: On the second half kickoff, Munsey recovered a fumble from Steelers returner Dave Brown.  But a few plays later, Pittsburgh cornerback Mel Blount intercepted a pass and returned it 20 yards to the Baltimore 7-yard line. From there, Rocky Bleier scored on a 7-yard rushing touchdown giving the Steelers a 14–10 lead. In the fourth quarter, a short punt from David Lee gave the Steelers favorable field position, and they scored on Bradshaw's 2-yard run, increasing their lead to 21–10.  Now with the game slipping away, Colts coach Ted Marchibroda benched Domres (who had completed only 2 of 11 passes) and replaced him with Bert Jones (who had earlier left the game due to injury), who promptly gave the team a golden opportunity to rally back with a 58-yard completion to Doughty on the Steelers 3-yard line.  But on the next play, Ham knocked the ball out of Jones's hand as he was winding up for a pass.  Linebacker Andy Russell recovered the fumble and returned it for an NFL playoff record 93 yards to the end zone.  Russell's play is claimed by some as the longest single football play in time duration.  Sports Illustrated called the play the "longest, slowest touchdown ever witnessed."

Paragraph 16: In 1973, Julie's husband, Scott, is killed in a construction accident while working for Anderson Manufacturing. Phyllis and Bob Anderson feel guilty and offer Julie a house and financial support, and Bob soon divorces Phyllis and marries Julie. Julie deals with another blow when Addie is diagnosed with cancer and discovers she is pregnant with Doug's child, Julie's, half-sister. Addie gives birth to daughter Hope and falls into a coma. Addie comes out of her coma and makes Julie promise to care for the baby and Doug. However Addie goes into remission only to be killed in a hit and run accident. In 1975, Julie suffers a miscarriage and divorces Bob the following year to reunite with Doug. Shortly after Doug and Julie announce their engagement, Kim Douglas shows up in Salem claiming to the legal wife of Brent Douglas, Doug's real name. After a few months, Kim eventually reveals that she and Doug had been divorced for many years, so Julie and Doug marry. In 1977, Doug falls on hard times when he loses his liquor license and, eventually, the club. Julie buys back the club and turns it into Doug's Coffee House, but Doug is forced to leave Salem for a while to take care of business elsewhere. During his absence, Julie faces problems with the club staff and Larry Atwood helps her through it. Julie is not aware that Larry has set Doug up in a dope bust to keep him out of Salem while he goes after Julie. In 1979, Julie is badly burned by Maggie Horton's oven when it blows up in her face. When Julie sees the scars from her injuries, she is sure that Doug will no longer want her as his wife. When a reconstructive operation fails, Julie flies to Mexico and gets a divorce behind Doug's back. She has a successful operation, but by this time, he has married his widowed sister-in-law, Lee Dumonde. Determined to hang onto Doug, Lee tries to have Julie killed by a hit man but fails. After divorcing Lee, Doug remarries Julie, and they settle into a happy marriage. They become involved with an investigation of Stefano DiMera's criminal activities that ends with his presumed death. Their contentment is interrupted by Doug's heart attack after finding Hope about to make love with Bo Brady. In early 1984, Doug and Julie decide to take a cruise around the world, but by 1986 have separated again. Doug comes back to town without her, indicating that Julie's opening of a dress shop in Paris became more important to her than their marriage. Later, Doug leaves for parts unknown, still not reconciled with Julie.

Paragraph 17: The Phillies' first May game opened a series with the Washington Nationals on May 2. The Nationals won, 5–3, despite a quality start by Lee. Philadelphia won game two 7–2, thanks to a strong start from A. J. Burnett (the first Phillies starter of the season to win a home game), a Cody Asche home run and four–for-five hitting by Jimmy Rollins. The Phillies took the series' rubber match, 1–0, with a strong start from Roberto Hernandez and a first-inning RBI triple by Jimmy Rollins. The team then hosted the Toronto Blue Jays, with Kyle Kendrick starting against former Phillie J. A. Happ in the series' first game. The Phillies lost, 3–0; Kendrick had no run support, losing his eighth consecutive decision (dating back to 2013) despite a "decent" ERA. The club lost the next night as well, with Cole Hamels giving up five runs in six innings; despite a sixth-inning grand slam by Asche to tie the game, the Blue Jays came back in extra innings for a 6–5 win. The home-and-home series then moved to Toronto for two games, where the Phillies gave up nine runs in the seventh inning of the first game to lose 10–0. After the game, Shawn Camp was outrighted from the roster and Luis García recalled. The series concluded the next night, with five Blue Jays home runs giving them a 12–6 win. The Phillies then began a three-game series at Citi Field with the New York Mets. Hernandez started game one, pitching five innings and allowing one run; in his first hit of the day, Marlon Byrd batted in Chase Utley (the go-ahead run) in the top of the 11th inning. Papelbon saved the game in the bottom of the 11th and the Phillies won 3–2, snapping a four-game losing streak. They won another one-run game (5–4) the next night; Ryan Howard's RBI single in the top of the ninth gave the Phillies the lead, and Papelbon recorded his 11th save of the season. In the final game of the series Hamels consistently had "an answer" to the Mets' offense, throwing a career-high 133 pitches in seven innings, allowing one run and striking out 10 hitters. Entering the ninth inning, the Phillies led 4–1; with Papelbon unavailable, Antonio Bastardo and Hernandez squandered the lead and the Phillies lost 5–4 in 11 innings. The teams finished a series which was " ... ugly, between two deeply flawed teams: more than 12 hours of game time, nearly 80 runners left on base combined."

Paragraph 18: Renato Castellani won the Grand Prix at the Venice Film Festival for his 1954 film of Romeo and Juliet. His film contains interpolated scenes intended to establish the class system and Catholicism of Renaissance Verona, and the nature of the feud. Some of Castellani's changes have been criticised as ineffective: interpolated dialogue is often banal, and the Prince's appearances are reimagined as formal hearings: undermining the spontaneity of Benvolio's defence of Romeo's behaviour in the duel scene. The major supporting roles are vastly reduced, including that of the nurse; Mercutio becomes (in the words of Daniel Rosenthal) "the tiniest of cameos" and Friar Laurence "an irritating ditherer", although Pauline Kael, who loved the film, called this Friar Laurence "a radiantly silly little man". Castellani's most prominent changes related to Romeo's character, cutting back or removing scenes involving his parents, Benvolio and Mercutio in order to highlight Romeo's isolation, and inserting a parting scene in which Montague coldly pulls his banished son out of Lady Montague's farewell embrace. Another criticism made by film scholar Patricia Tatspaugh is that the realism of the settings, so carefully established throughout the film, "goes seriously off the rails when it come to the Capulets' vault". Castellani uses competing visual images in relation to the central characters: ominous grilles (and their shadows) contrasted with frequent optimistic shots of blue sky. A well-known stage Romeo, John Gielgud, played Castellani's chorus (and would reprise the role in the 1978 BBC Shakespeare version). Laurence Harvey, as Romeo, was already an experienced screen actor, who would shortly take over roles intended for the late James Dean in Walk on the Wild Side and Summer and Smoke. By contrast, Susan Shentall, as Juliet, was a secretarial student who was discovered by the director in a London pub, and was cast for her "pale sweet skin and honey-blonde hair". She failed to rise to the demands of the role, and would marry shortly after the shoot, never returning to screen acting. Other parts were played by inexperienced actors, also: Mercutio was played by an architect, Montague by a gondolier from Venice, and the Prince by a novelist. Critics responded to the film as a piece of cinema (its visuals were especially admired in Italy, where it was filmed) but not as a performance of Shakespeare's play: Robert Hatch in The Nation said "We had come to see a play... perhaps we should not complain that we were shown a sumptuous travelogue", and Time's reviewer added that "Castellani's Romeo and Juliet is a fine film poem... Unfortunately it is not Shakespeare's poem!"

Paragraph 19: In Terhathum, there is a rock called ‘boksimara’ which translates to “witch killer stone”. It is said that 200 years ago, accused women were taken to boksimara to be hanged from its precipice. To this day, these types of outdated customs and traditions continue to be prevalent among various castes and tribes. Laxmi Maya Nepali, a victim and inhabitant of Shrijung Village Development committee from Terhathum expresses her pain of being accused of being a witch:"I had to stay alone in an old house, it was difficult to move around for me, people used to call me witch; even my own relatives did not let me stay at home    accusing me of being a witch. One of my relatives gave birth to a dead baby and they accused me as their baby was dead because of my witchcraft powers. Even my son was badly beaten by his own nephew.”The atrocities that these women face can also prevent them from equal access to education. Without the tools to succeed academically, the accused women are not able to change their societal status. The traditional ways and superstitious beliefs of Nepali culture trap accused women in a vicious cycle. This continues as they are denied opportunities to educate themselves and they are forced to suffer, oftentimes in poverty, for the rest of their lives.

Answer: 11