Oh dear. Another tale of woe from me When I met my ex, I was in foster care. I was a very confused 17 year old, and she took an interest in me, and we would talk about all my problems with my own family, and everything that was going wrong with me. I even 'came out' to her at one point. We spent a lot of time together and gradually, I thought I might not be gay after all, as I had feelings of love for her. Eventually, we started dating and I tried to suppress my gay feelings. Eventually, I proposed. We were engaged for just over a year and I got married at the age of 19. I have to admit, when the wedding plans got firmed up and much closer to the date, I started to feel that I was in fact still gay but so much money had already been spent, and plans made that I was too afraid to pull out. Don't get me wrong, I still love my ex wife a heck of a lot, but as my very best friend. I hate to use the phrase, but with everything that has gone on with me the last few years, she has been 'my rock'. We separated after about 8 years, when our daughter was 7 years old, and I told her why. I just couldn't go on living the lie. I hate myself for doing it to her. Selfishly, I wouldn't change things though, as I have my daughter and I love her, and I love being a parent. We had 'Unexpected Song' played as she walked down the aisle at the church; the lyrics really summed up how we felt about each other and how we had gotten together Unexpected Song Michael Crawford YouTube. According to the above context, answer the following question. When was the daughter born?

OPTIONS:
- not enough information
- A year before the wedding
- A year after the marriage was over.
- A year after the wedding

Answer: A year after the wedding

Problem: OPTIONS:
- commoners were not sculpted
- somebody commissioned the sculpture
- not enough information
- artist usually sculpted leaders
Q: One of the more surprising objects in the Getty Villa's newly reinstalled gallery of later Roman sculpture is a marble bust of a youth leaning out of a circular frame, mounted high on the gallery wall. J. Paul Getty originally acquired this particular sculpture in 1973, but it has been off view for many years. The recent reinstallation of the Getty Museum's antiquities collection at the Villa provided the opportunity to resurrect many such objects from storage and put them on display. Bringing this strange object back to the public eye enabled us to askand answerseveral questions about it. Whoif anyonedoes it represent? When was it carved? Where was it made, and how did it end up in Los Angeles? In preparation for its display, we researched and reinterpreted the object, exploring both its ancient function and modern history. In its new display, this object is fittingly surrounded by other examples of late Roman sculpture from the third and fourth centuries. Its inclusion in this gallery was not always a given, however, as the figure was long misidentified as a portrait of young Caracalla, who at ten years old became joint emperor with his father in A.D. 198.(1) But recent scholarship questioned the Caracalla identification and the object's date, suggesting it was carved at least a hundred years later.(2) In light of this research, curator Jens Daehner pushed to reexamine the sculpture and consider including it in the reinstallation. In early 2015, the Antiquities Department brought this tondo and many other potential objects for the new galleries out of storage for viewing, providing curators, conservators, mount makers, preps, and registrars a chance to approve and prepare artworks for possible display. After the storage viewing and subsequent research, we updated the object record to conform with what scholars had suggested: this is not a second-century portrait of Caracalla but a fourth-century bust of a youth or divinity. To answer our next question of who the tondo represents, we then had to take a... According to the above context, answer the following question. What is the likely reason the sculpture was thought to be an emperor?
Answer: commoners were not sculpted

input with options: A confession: I quietly love flying. This year, I've done 163,581 miles of it. I love that when you fly a lot, the airport social media staff say 'hello' on Twitter when you arrive and the cabin crew on your home route (or even on the Brisbane-Dubai non-stop route) recognise you from last time. I like getting great service, and see so many things about systems-thinking that work well in airlines, that I'm happy to forgive small indiscrepancies when they occur. All that said, flying strangles our planet as much as eating too much red meat, and for many, many reasons, I've wanted to stop flying quite so much, while not restricting the spread and growth of the ideas from our firm, NoTosh. I'm quite sure that nobody reading this blog really cares about how much I travel, but keeping an annual count on it has become a new year habit. When I started working at Channel 4, and then continuing when I created NoTosh, I wanted to keep track of what seemed like an interminable number of miles on the road and in the air. By 2012, 2013 and last year, I was beginning to wonder if I'd ever be able to get the number of miles down when they seemed to represent even more trips to the moon and back each and every year. When you run a company based in Edinburgh with a great team living in Melbourne, you could easily spend your life on a plane - one flying to Melbourne feels better than two or more flying to Edinburgh. Indeed, in 2012, 2013 and 2014 it felt like I really did spend my life on a plane, as I went to the moon and back in my annual travel, with anything up to seven trips a year to Australia. According to the above context, answer the following question. What do the airlines do for frequent flyers when they land?
OPTIONS:
- not enough information
- greeting them on social media
- give them great service
- giving them discounts
output:
greeting them on social media