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.

Input: Consider 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.

Output: We reached out to Mr. Wiley for comment, but did not receive a reply.


Input: Consider Input: Paragraph: "In a discussion on MSNBC's  Hardball  program about whether the government ought to consider prosecuting people involved in enhanced interrogation techniques used on some terror suspects, former U.S. Rep. Duncan Hunter, a Republican from California, argued that the issue really comes down to waterboarding. ""And,"" he said, ""waterboarding is not torture."" In fact, said Hunter, a Vietnam veteran and former candidate for president, ""We waterboard, incidentally, hundreds of our own military personnel. They waterboard themselves in training to toughen themselves up."" He added, ""The Geneva Convention .. .was analyzed by the lawyers in place, and they came to the conclusion, especially about waterboarding, because that's the primary thing, that, since we do it to our own soldiers, by the hundreds, incidentally, and it doesn't hurt them, and they — and it makes them tougher, and it doesn't hurt anybody — Khalid Sheikh Mohammed gained weight after he was waterboarded — we decided that, since we do that to our own soldiers in training... we‘re not going to consider that torture. "" Hunter later challenged host Chris Matthews saying, ""But the point is, if we do it, are we torturing American soldiers? You have to answer yes if you consider waterboarding to be torture."" Matthews said the difference is that U.S. service people know they are in training. They know they aren't going to be killed. ""That captured person who is one of our enemies has no idea what we‘re doing when we submit him to water torture."" Said Hunter: ""If we use it with our own soldiers in training, as we do waterboarding, then it should be allowed with people who have killed thousands of Americans."" We decided to examine Hunter's claim about waterboarding our service personnel as part of their training and found that he is right. U.S. special operations troops have, in the past, sometimes used a form of waterboarding as part of survival exercises, called Survival, Evasion, Resistance and Escape training. The idea is to prepare them in the event they are ever captured and interrogated with such means. According to reports in the  New York Times  and  Vanity Fair,  the CIA adopted some of the interrogation techniques used on terror suspects from that SERE training, including the use of waterboarding. According to the  Vanity Fair  story, three-week SERE training for the U.S. soldiers included waterboarding, forced nudity, extreme temperatures, sexual and religious ridicule, agonizing stress positions, and starvation-level rations. The story quotes Michael Rolince, former section chief of the FBI's International Terrorism Operations: ""You're not going to die, but you think you are."" But while the techniques may have been derived from SERE training, a different, more intense brand of waterboarding was used on terror suspects, according to recently released CIA documents. According to a May 7, 2004, CIA Inspector General special report on interrogation techniques used on terror suspects, which has some parts redacted, ""OIG’s (Office of the Inspector General's) review of the videotapes revealed that the waterboard technique employed at (redacted) was different from the technique as described in the DoJ (Department of Justice) opinion and used in the SERE training. The difference was in the manner in which the detainee’s breathing was obstructed. At the SERE School and in the DoJ opinion, the subject’s airflow is disrupted by the firm application of a damp cloth over the air passages; the interrogator applies a small amount of water to the cloth in a controlled manner. By contest, the Agency interrogator (redacted) continuously applied large volumes of water to a cloth that covered the detainee’s mouth and nose. One of the psychologists/interrogators acknowledged that the Agency’s use of the technique differed from that used in SERE training and explained that the Agency’s technique is different because it is 'for real' and is more poignant and convincing."" The report also says the CIA's Office of Medical Services has characterized the SERE waterboarding as ""so different from the subsequent Agency usage as to make it almost irrelevant."" The office said its frequency and intensity raised questions about whether it was effective or medically safe. So we think Hunter misleads a bit by equating waterboarding in training of military personnel with the technique used on terror suspects. According to the CIA inspector general's report, the technique used on the suspects was more powerful and convincing. And in the case of one terror suspect, it was used 183 times, often in rapid succession. So to argue the technique isn't torture because it is used on American servicemen as part of training ignores that it was not used in the same way. Still, Hunter is correct that the U.S. military has waterboarded servicemen as part of survival training. And so we rule his statement ." Claim: We waterboard, incidentally, hundreds of our own military personnel. They waterboard themselves in training to toughen themselves up.

Output: Duncan Hunter says we have waterboarded our own military as part of training exercises


Input: Consider Input: Paragraph: The Lynn School Committee voted unanimously on the proposal on Thursday night at a packed meeting divided roughly equally been those who supported the plan, and those opposed to it. Julie Chan, a pediatric nurse practitioner with the Lynn Community Health Center, said last year there were 57 pregnant minors in the Lynn schools. She said there have been 21 chlamydia cases in the district’s schools this year. According to the most recent state Public Health Department figures, Lynn’s teen birth rate was 29.2 births per 1,000 girls aged 15 to 19, more than triple the state rate. Claim: School district offer birth control in high schools.


Output: A Massachusetts school district has voted to provide free birth control products and emergency contraception to students who ask to battle a high teen pregnancy rate and the spread of sexually transmitted diseases.