Generate an explanation for the given claim using the provided supporting material from the paragraph. Please consider the following points while generating an output. 1) The claim will always have supporting proof in the paragraph, and the paragraph will have a clear point of view supporting the claim. 2) There can be instances where direct correlation to the claim is not available. Make use of the sentences in the paragraph to provide a corresponding output supporting the claim. 3) The explanation should be at least one and at most twelve sentences long.

Example Input: Paragraph: The unveiling of former President Barack Obama’s official portrait on 12 February 2018 also introduced many Americans to artist Kehinde Wiley for the first time as well, as opening the door to late-breaking controversy over some of Wiley’s earlier work. Wiley, who has described his own visual style as “bombastic, syrupy, and garish,” is celebrated in the contemporary art world for his large-scale portraits of black and brown men and women striking heroic poses modeled on those of aristocrats in classic European paintings. Two portraits in particular, both of them modern takes on the biblical story of Judith beheading Holofernes and featuring elegantly-dressed black women brandishing the severed heads of white women, suddenly turned controversial in the context of Wiley’s new role as a presidential portraitist. Images of the paintings were shared on social media with comments stating or implying that their content is racist: This what is confusing to me … you can’t have Confederate flags … you take down historical statues because they are racist but the 44th POTUS picks the guy who painted these pictures to paint his presidential portrait and that’s just fine? Maybe I’m missing something? #tcot pic.twitter.com/9RhYCGPQK7 — Jeannie-ology (@jeanniology) February 12, 2018  So a racist ex-President selects a racist artist to paint his picture. Anyone surprised? Artist Who Painted Obama’s Official Portrait Known For Painting Blacks Beheading Whites https://t.co/JarXVYUQ27 — American Real News (@USArealnews) February 13, 2018  In a post on right-wing blog TheGatewayPundit.com, Kehinde Wiley was described as being “known for” and “having a great fondness for” painting black people beheading white people: Both beheading pieces are titled “Judith beheading Holofernes”, referencing a story in the Book of Judith, which involves a beautiful woman who seduces an invading general before he is able to destroy their land, gets him drunk, and then decapitates him. Typical artists from the Rennaissance [sic] era have placed Judith in the role of a scriptural savior, “a type of the praying Virgin or the church or as a figure who tramples Satan and harrows Hell.” Given the historical context and how Wiley recreated it in his works, is hard to interpret his use of this theme as anything other than a blatant statement of racism; black women are the powerful angels of the earth, conquering the white devils. Can you imagine for a second if George W. Bush, or any other former president, decided on a painter who was famous for depicting white people killing black people to paint his official portrait? It’s hard to imagine, right? Yea, that’s because it’s disgusting and backward. It is not the case, however, that Wiley was “famous for depicting black people killing white people” before politically motivated commentators chose to make it so. Far from it. Of the scores of paintings the artist has produced, only the two based on the biblical beheading story depict such a scene. They generated very little controversy before Wiley’s portrait of Obama was publicly unveiled. That the strong, couture-clad black females in the paintings are depicted in the immediate aftermath of decapitating white women is not incidental. As with many works of art, this was meant to be provocative (“I think at its best what art is doing is setting up a set of provocations,” Wiley said in a 2015 interview). A 2012 article on the web site of the North Carolina Museum of Art (NCMA) supplies some needed context: Known for his monumental portraits of young black men, placed in historical poses and settings appropriated from Old Master paintings, Kehinde Wiley critiques the racism of art history while also commenting on contemporary street culture and masculine identity. Reinventing classical portraiture and questioning who is represented in the portraits found in museums worldwide, Wiley states, “The whole conversation of my work has to do with power and who has it.” Judith and Holofernes is from Wiley’s most recent body of work and his first series of paintings to feature female subjects. Wiley uses “street casting” to find his models — walking city streets and asking ordinary people if they would pose for a portrait. He met the model for this painting, Treisha Lowe, at Fulton Mall, a pedestrian shopping street in downtown Brooklyn. This painting references a specific art-historical work, a 17th-century painting by Giovanni Baglione, Judith and the Head of Holofernes (1608). The subject is taken from the apocryphal Old Testament Book of Judith, in which a Jewish town is under attack by the Assyrian army led by the general Holofernes. Judith, a widow from the town, goes to Holofernes under the pretense of helping him defeat the Jews. After he falls asleep, she cuts his head off with his own sword, and the town defeats the army. Wiley translates this image of a courageous, powerful woman into a contemporary version that resonates with fury and righteousness. “It’s sort of a play on the ‘kill whitey’ thing,” Wiley said in a 2012 interview with New York Magazine. The operative word is “play.”  What is all too easy to miss on a cursory glance is the deeply conceptual nature of these works. We turn again to the NCMA’s commentary: Wiley takes obvious artistic license with the story — Holofernes is represented by a woman’s head, and Judith wears a gown designed by Riccardo Tisci of Givenchy. This new rendition can be interpreted on many different levels, including racial and gender identity and inequity, the representation of women throughout art history, and society’s ideals for beauty. In Wiley’s words, “I am painting women in order to come to terms with the depictions of gender within the context of art history. One has to broaden the conversation . . . This series of works attempts to reconcile the presence of black female stereotypes that surrounds their presence and/or absence in art history, and the notions of beauty, spectacle, and the ‘grand’ in painting.” In contrast to the blunt literalism of those who prefer to interpret these paintings as a celebration of racial violence, art critic Walter Robinson writes that Wiley’s take on Judith and Holofernes “suggests, with a jovial brutality, that Judith would prefer to be done with white standards of beauty.” If, as Wiley has said, his intent as an artist is to be provocative, he can consider himself successful. Claim: Kehinde Wiley, the artist who painted former President Barack Obama's official portrait, also produced a pair of paintings depicting black women decapitating white people.
Example Output: We reached out to Mr. Wiley for comment, but did not receive a reply.

Example Input: Paragraph: "For the third year in a row, the Milwaukee Brewers’ lights-out closer John Axford faced a challenge when it came to getting to spring training on time. In 2010, it was an auto accident; in 2011 a case of food poisoning. This season it was red tape involving his 8-month-old son, J.B., also known to Axford’s Twitter followers as ""Little Ax."" The boy was born in Milwaukee, and is a U.S. citizen. The elder Axford, however, is a Canadian. And his trip to Arizona was delayed because he didn’t have a passport for the baby when he was planning to fly from Canada into the United States. His Twitter followers (@JohnAxford) got a play-by-play of his travel travails. Among the offerings: ""Thank you Homeland Security for not letting my AMERICAN son into AMERICA! #3YearValentinesCurse #WontBeSeeingYouTodayWarmWeatherInPhoenix""  He was more expansive in an interview with the Journal Sentinel, which is what prompted us to turn our version of the radar gun -- the Truth-O-Meter -- on Axford. ""Homeland Security requires passports for every age, no matter what,"" Axford said in the interview. ""You can arrive by land or sea if you're under the age of 15 with a birth certificate, but if you go by air Homeland Security requires passports for everybody, no matter what the age."" Is he right? Passports only by air, though birth certificates suffice by car or boat? Now, it’s  Axford is a sports figure. But his statement touches squarely on U.S. policy. So we checked with the State Department, Homeland Security, border control and several federal government websites. Turns out the rules are different for border-crossing babies, depending on the mode of travel. If you’re traveling by air, you need a passport. Period. And, yes, you have to get a photograph of the kid. A kid passport costs $105. However, if you’re coming by land -- such as the border crossing in Detroit -- the rules are less strict, and less expensive. ""U.S. children ages 15 and under arriving by land or sea from a contiguous territory may present an original or copy of his or her birth certificate (issued by the Vital Records Department in the state where he or she was born), a Consular Report of Birth Abroad, or a Naturalization Certificate. If the child is a newborn and the actual birth certificate has not arrived from the Vital Records Department, we will accept a Hospital issued birth certificate."" Each year, the federal government issues about 450,000 passports to infants, a spokeswoman for the State Department said in an email. The department even provides helpful hints for how to take a passport picture of your little one. Kiddie passports are valid for five years. In the end, Axford got to spring training the hard way, again. His father drove the family across the border to Detroit and they caught a flight from there to Arizona. Our conclusion  Axford’s trip back to the mound took a detour. He said it was because of travel delays and said federal law required his baby to have a passport to fly back into the country. He learned a valuable lesson about border crossing: The feds are always right." Claim: All travelers -- even babies -- arriving in the U.S. by air must have a passport.
Example Output: Milwaukee Brewers pitcher John Axford says even babies need a passport to enter the U.S. by air

Example Input: Paragraph: But that was before being told by doctors in August that he had a degenerative spinal condition that could have left him paralyzed. Hurley returned to work full time Wednesday, less than two weeks after having surgery to replace two disks in his neck with artificial ones. He expects to make a full recovery, but says as health scares go, this was terrifying. “I started worrying and having a lot of anxiety about my health and my ability to get back to being myself,” he said. “You start playing worst-case scenarios in your head.” Hurley said doctors told him the condition was part hereditary and part a result of years of the wear and tear associated with being a life-long athlete. He said he was hoping to deal with the discomfort and tingling he was feeling through physical therapy or maybe an injection, but doctors quickly told him that he needed immediate surgery and that any hard fall or bump could leave him paralyzed. He had the surgery on Sept. 6, with the doctor using an incision in his throat to get to his spine. He said he was told that for experts, it’s a relatively routine procedure. The 46-year-old coach said he felt better immediately, but still has some restrictions for the next month, such as being prohibited from flying or lifting anything heavier than 10 pounds. Hurley, known for his animated coaching style, said he’s kept recruits informed and is very confident the situation won’t have any long-term effects on his ability to do his job the way he always has done it. But, he said the first major health issue has changed his perspective on life. “How important my faith is to me was reinforced; how important my family is to me was reinforced,” he said. “And just how important I am to my players, to not just succeed and excel in their careers. My true sense and purpose as a coach came into much clearer focus for me.” His players gave him a warm welcome back on Wednesday. He said that meant a lot to him, but didn’t make him go any easier on them. “Any of like that feeling sorry for me or good will toward the coach returning from injury went out the door when I got on guys for their lack of defensive prowess,” he said. “Yeah, all that love is gone.” UConn opens its season Nov. 8 against Sacred Heart. Claim: UConn men’s coach Hurley back at work after spinal surgery.
Example Output:
UConn men’s basketball coach Dan Hurley says he spent his life believing that when it came to his health, he was bulletproof.