Q: Bryan C. Keene and Alexandra Kaczenski of the Getty Museum's Manuscripts Department have spent the last few years preparing for an exhibition and publication titled Sacred Landscapes: Nature in Renaissance Manuscripts that aims to examine representations of "green spaces" such as gardens, vistas, and their relation to the divine. In particular, Bryan and Alexandra focus on the ways in which artists during the European Middle Ages and Renaissance embedded the pages of illuminated manuscripts with depictions of the natural world so that nature could guide prayer, chant, and meditation. For Bryan, this project represents a continuation of his interest in sacred gardens that began with his graduate work on the garden imagery that influenced Botticelli's Agony in the Garden painting. In 2013 he curated the exhibition and authored the accompanying book Gardens of the Renaissance. For Alexandra, interest in this subject stems from her scholarly focus on Flemish manuscripts and their relation to Flemish landscape paintings. She brought to the project a complementary interest in issues of environmental and landscape destruction, which also were themes of the exhibition and publication. Though floral and nature studies of the Renaissance and Early Modern periods have been extensively investigatedthe scientific notebooks of Leonardo da Vinci, for example, are well documentedthis exhibition turns its focus on landscape and the divine. Curatorial research has shed new light on subjects such as the seemingly "scattered" floral arrangements represented within the pages of these books and their relationship to humoral theory and religion. Bryan adds, "The tension that we find in these borders is, on the one hand, intricately rendered leaf and petal structures of plants or flowers, and on the other, hidden whimsical elements, all of which combine to create a rich tapestry of meaning, both symbolic and scientific. Alex and I will continue to explore the potential meaning within this botanical and arboreal chaos." Sacred... Who is Leonardo da Vinci? - author - not enough information - artist - manuscript writer
A: not enough information

Q: I was about 14 and lived near a large tract of undeveloped land where people would go and park to fool around. There was a dirt road through the tract, but further down, it crossed two huge concrete pipes. The dirt was washed out between them, and the deep gulch made it impossible to cross in a car. Sometimes, eight or ten of us would go looking for parked cars. If we found one or more, we would go move this incredibly heavy stump onto the road and lay a telephone pole across it. It took all of us and it was incredibly heavy. It was impossible to drive around it because of the ditches and there was no way two or three people could move it. We'd go back to the car and set off a big string of fire crackers or shake the cat and slap on it and run like crazy. We'd watch from the woods as they drove like heck and come to a screeching stop at our roadblock. The guy would get out and try to lift the pole. Never happen. Then the car would drive the other way. That wouldn't happen because of the pipes. We'd go home leaving them in there. This was before cell phones, and it was miles to a pay phone. We'd go back the next day and find the stump and pole moved. We thought it was real funny until one night we set it up and beat on the trunk of a car. A couple was inside, getting it on. We hadn't noticed a guy sitting on the hood with a bottle of booze and a pistol. As we ran, he was shooting and we could hear bullets going through the underbrush. No one was hit, thank goodness. That was the end of that stunt. Why were the boys scared at the final act? - Because they usually leave their homes before the stunt - Because the man seated on the car's hood was shooting at them - not enough information - Because they considered their acts to be funny
A: Because the man seated on the car's hood was shooting at them

Q: The next morning I called up my friend, Nick Unger, who worked for the police department. He agreed to meet me at the Casbah, a glorious little dive bar a few blocks from my apartment. It opened first thing in the morning, realizing the best drunks start early. By the time he showed up I was already deep into my third drink and trying charm the bartender, Maggie, into comping my fourth. I was failing miserably as usual, but at least it was fun trying. As soon as Nick walked through the front door, I slammed my palm down on the bar top. "Tricky Nicky! Have a drink, brother!" He slid onto the bar stool beside me and smiled warmly at the bartender. "Has this low life been giving you grief, Maggie?" She grinned at him. "Only since I opened the front door." Nick winked at her and ordered a half-pint of stout. "Pansy," I scoffed and slammed the rest of my whiskey. He shook his head. "God I miss you, you mad bastard. I can't imagine why Andrea won't let you come around the house anymore." I shrugged. "I know, it's like as soon as she started squirting out brood, she suddenly gets all uptight about people starting fires in the middle of your living room." "Imagine," he said as he raised his glass of beer. I clinked my empty glass to his. "So guess who I ran into last night at Jenny's wedding?" He shrugged. "Brian Lopez." He chuckled. "No shit. How is old Double-Dip?' "Fat and sad," I replied while waving Maggie over for a refill. "And married to a smoking hottie. Well, married or engaged or whatever." Nick nodded. "I met her. They were at a Police Union dinner around the holidays. She's a butterface." I arched my eyebrow. "She had a face?" Maggie rolled her eyes while she filled my glass. Nick caught her glance. "I know, he's got no class, but what are you gonna do?" "Anyways," I continued, "she's way too hot for him, and that's not gonna end well. You just know that one of these days he's gonna come home and find her with the pool boy or some shit." When did the narrator run into Brian Lopez? - During Jenny's wedding - not enough information - After Jenny's wedding - Before Jenny's wedding
A: During Jenny's wedding