Datasets:
Reproducibility
/
naacl22_wikitext15M

Dataset card Data Studio Files Community
text
stringlengths
0
7.06k
10 was released to commemorate the tenth anniversary of MercyMe 's single " I Can Only Imagine " . In 1999 , the band was working on an independent record , The Worship Project , and needed one more song to fill out the project . Lead singer Bart Millard wrote the song while reminiscing about his father 's death . Although the band was aiming to produce a worship record of easy @-@ to @-@ sing songs , they included it because it was important to Millard . It was later included on the band 's major @-@ label debut , 2001 's Almost There , where it became a hit on Christian radio before crossing over and becoming successful on mainstream radio in 2003 . Around eight months before the release of 10 , the band had been approached by their label about producing a greatest @-@ hits record . The band was initially against the idea , and according to Millard , they felt it had always meant a band was near the end of their career . However , Millard later remembered he had written the song in 1999 , and the idea shifted from a greatest @-@ hits record to a celebration of the song 's ten @-@ year anniversary , a concept the band was more comfortable with .
= = Content = =
= = = Music = = =
10 includes fifteen songs : twelve of the band 's number @-@ one Christian radio singles ( three each from Undone , Coming Up to Breathe , and All That Is Within Me , two from Spoken For , and one from Almost There ) , as well as three bonus tracks . Live versions of ten of the band 's songs were also included on some versions of the album " I Can Only Imagine ( Symphony Edition ) " was recorded at Abbey Road Studios in London with the London Session Orchestra . " Ten Simple Rules " , described as having a " Fifties twist " sound , was originally included as music video on Hoop <unk> , a children 's video DVD . Lyrically , it relates the Ten Commandments . The band had begun playing it in concerts and , according to Millard , it developed a following of fans who wanted it to be put on CD . " Only Temporary " , a rock song with a " distinct southern influence " , was a new track , which the band had not included on any other album or project .
= = = Videos = = =
Physical versions of 10 were released with a ' Sight ' DVD containing video content . In addition to music videos for " I Can Only Imagine " , " So Long Self " , " God with Us " , " You Reign " , and " Finally Home " , it includes live videos for " Word of God Speak " , " Bring the Rain " , and " Hold Fast " that were recorded live throughout the band 's fall 2008 tour by one camera . " Spoken For " and " Homesick " were taken from the band 's 2004 live DVD MercyMe Live , while " In the Blink of an Eye " was taken from the collector 's edition of their 2007 album All That Is Within Me . Two featurettes were also included : " The Making of ' I Can Only Imagine ' " , which had previously appeared on MercyMe Live , and " Gospel Music Channel 's Faith & Fame : MercyMe " , which recounts the band 's career from their early years on . The iTunes version of 10 only includes the two featurettes .
= = Release and commercial performance = =
10 was released on April 7 , 2009 . Several different versions of the album were released . Physically , the album received a release in a two @-@ disc collection , featuring the ' Sound ' CD and ' Sight ' DVD , as well as in a three @-@ disc " Deluxe Edition " including an additional CD of 10 live songs . Digitally , 10 was released to iTunes on October 7 , 2009 , including the sound CD content and live recordings , as well as the two documentaries .
10 sold 30 @,@ 000 copies in its first week , debuting at number 18 on the Billboard 200 and number one on the Billboard Christian Albums chart . It spent two weeks atop the Christian Albums chart and 73 weeks on the chart in total . It ranked as the 13th best @-@ selling Christian album of 2009 in the United States and the 40th best @-@ selling Christian album of 2010 in the United States .
= = Critical reception = =
10 received mostly positive reviews from music critics . Jared Johnson of AllMusic gave the album 4 @.@ 5 out of 5 stars and noted it as an ' Album Pick ' , calling it " one of the best and most long @-@ awaited greatest @-@ hits albums in recent memory " . Johnson praised the amount of content , saying " For fans , the videos alone make this worth picking up " . Jenna DeWitt of The Baylor Lariat gave it an A- , praising " I Can Only Imagine ( Symphony Edition ) " as " awe @-@ inspiring " as well as the DVD content , and saying " the only mistake in buying this album is if you are really tired of the extensive radio airplay that these hits have gotten " . Dave Derbyshire of Cross Rhythms gave the album nine out of ten squares , calling it a " brilliant introduction " to the band . His only criticism on the album was that he considered a few of the songs as being overly sentimental . Matt Johnson of Jesus Freak Hideout gave the album three out of five stars . Johnson noted the DVD content as being " what really makes this worth your money " , but was critical of the interface ; he also felt the CD content , while solid , did not include enough songs and that the new recordings weren 't particularly impressive . He noted the orchestra and Millard 's vocals as conflicting on the re @-@ recording of " I Can Only Imagine " , but also said that it " takes the song to new heights than previously conceived " . Justin Michael of Sight Magazine gave the album a positive review , calling it " A must for all MercyMe fans , for those who need a hooky melody with a message and for people who love getting a free DVD with their albums ! " ; he also praised the one @-@ camera tour videos , but noted " Ten Simple Rules " is " not their brightest musical moment " .
= = Track listing = =
= = Personnel = =
Credits from the album liner notes
= = Charts = =
= French cruiser Chanzy =
Chanzy was an Amiral Charner @-@ class armored cruiser built for the French Navy in the 1890s . Upon completion , she served in the Mediterranean Squadron and she was assigned to the International Squadron off the island of Crete during the Greco @-@ Turkish War of 1897 to protect French interests and citizens . The ship was in reserve for several years in the middle of the first decade of the 20th century before she was transferred to French Indochina in 1906 . Chanzy ran aground off the Chinese coast in mid @-@ 1907 , where she proved impossible to refloat and was destroyed in place after her crew was rescued without loss .
= = Design and description = =
The Amiral Charner @-@ class ships were designed to be smaller and cheaper than the preceding armored cruiser design , the Dupuy de Lôme . Like the older ship , they were intended to fill the commerce @-@ raiding strategy of the Jeune École .
Chanzy measured 106 @.@ 12 meters ( 348 ft 2 in ) between perpendiculars , with a beam of 14 @.@ 04 meters ( 46 ft 1 in ) . The ship had a forward draft of 5 @.@ 55 meters ( 18 ft 3 in ) and drew 6 @.@ 06 meters ( 19 ft 11 in ) aft . She displaced 4 @,@ 748 metric tons ( 4 @,@ 673 long tons ) at normal load and 4 @,@ 990 metric tons ( 4 @,@ 910 long tons ) at deep load .
The Amiral Charner class had two triple @-@ expansion steam engines , each driving a single propeller shaft . Steam for the engines was provided by 16 Belleville boilers and they were rated at a total of 8 @,@ 300 metric horsepower ( 6 @,@ 100 kW ) using forced draft . Amiral Charner had a designed speed of 19 knots ( 35 km / h ; 22 mph ) and carried up to 535 metric tons ( 527 long tons ; 590 short tons ) of coal that allowed her to steam for 4 @,@ 000 nautical miles ( 7 @,@ 400 km ; 4 @,@ 600 mi ) at a speed of 10 knots ( 19 km / h ; 12 mph ) .
The ships of the Amiral Charner class had a main armament that consisted of two Canon de 194 mm Modèle 1887 guns that were mounted in single gun turrets , one each fore and aft of the superstructure . Their secondary armament comprised six Canon de 138 @.@ 6 mm Modèle 1887 guns , each in single gun turrets on each broadside . For anti @-@ torpedo boat defense , they carried four 65 @-@ millimeter ( 2 @.@ 6 in ) guns , four 47 @-@ millimeter ( 1 @.@ 9 in ) and eight 37 @-@ millimeter ( 1 @.@ 5 in ) five @-@ barreled revolving Hotchkiss guns . They were also armed with four 450 @-@ millimeter ( 17 @.@ 7 in ) pivoting torpedo tubes ; two mounted on each broadside above water .
The side of the Amiral Charner class was generally protected by 92 millimeters ( 3 @.@ 6 in ) of steel armor , from 1 @.@ 3 meters ( 4 ft 3 in ) below the waterline to 2 @.@ 5 meters ( 8 ft 2 in ) above it . The bottom 20 centimeters ( 7 @.@ 9 in ) tapered in thickness and the armor at the ends of the ships thinned to 60 millimeters ( 2 @.@ 4 in ) . The curved protective deck of mild steel had a thickness of 40 millimeters ( 1 @.@ 6 in ) along its centerline that increased to 50 millimeters ( 2 @.@ 0 in ) at its outer edges . Protecting the boiler rooms , engine rooms , and magazines below it was a thin splinter deck . A watertight internal cofferdam , filled with cellulose , ran the length of the ship from the protective deck to a height of 1 @.@ 2 meters ( 4 ft ) above the waterline . Below the protective deck the ship was divided by 13 watertight transverse bulkheads with five more above it . The ship 's conning tower and turrets were protected by 92 millimeters of armor .
= = Construction and career = =
Chanzy , named after General Antoine Chanzy , was ordered from Chantiers et Ateliers de la Gironde on 18 December 1899 and laid down the following month at their shipyard in Bordeaux . She was launched on 24 January 1894 and initially was commissioned for her sea trials on 6 February . These began two days later and revealed so many problems with her engines and boilers that Chanzy was decommissioned for repairs on 6 December . Recommissioned on 1 May 1895 to test the repairs , she entered service on 20 July .
The ship was initially assigned to the 1st Light Division of the Mediterranean Squadron before she was transferred to the 4th Light Division on 18 May 1896 . Chanzy participated in the annual fleet maneuvers that summer before she was placed in reserve for repairs at Toulon in August . The ship began trials on 28 December before she was sent to Crete on 16 February 1897 as part of the French contingent of the International Squadron deployed there during the Greco @-@ Turkish War to protect Western interests and citizens . She remained with the squadron until 25 February 1898 . Upon arriving in France , Chanzy was assigned to the reserve squadron and did little for the rest of the year other than participate in the annual naval maneuvers .
On 1 January 1899 the ship was reassigned to the 1st Light Division and her most notable activities for the year were visits to the Balearic Islands and ports in the Aegean Sea and Middle East . Her main steam pipe fractured on 20 February and injured three crewmen . Chanzy was repaired in time to participate in the annual maneuvers and spent three weeks in September attached to the elderly gunnery ship Couronne before making a cruise to French North Africa . The ship began a brief deployment to the Levant on 1 February 1901 and returned on 4 April for the annual maneuvers before returning to the Levant on 30 October . She arrived back at Toulon on 1 February 1902 and began a long period of relative inactivity that lasted until she was formally placed in reserve when the new armored cruiser Marseillaise replaced her in the squadron in May 1904 .
Chanzy was recommissioned on 15 September 1906 for service with the Far Eastern Squadron and departed on 15 November . She arrived at Saigon , French Indochina , on 10 January 1907 and visited Hong Kong and ports in China , and Japan in April and May . While departing from Shanghai on 20 May in thick fog , she ran aground on rocks off Ballard Island in the Chusan Islands . Her sister ship Bruix and the protected cruisers D 'Entrecasteaux and Alger attempted to pull her off , but could not do so in the heavy seas . Her crew remained aboard attempting to get her off until they were evacuated without loss on 1 June when the ship began to founder and the wreck was demolished by the other cruisers on 12 June .
= Privy Garden of the Palace of Whitehall =
The Privy Garden of the Palace of Whitehall was a large enclosed space in Westminster , London , that was originally a pleasure garden used by the late Tudor and Stuart monarchs of England . It was created under Henry VIII and was expanded and improved under his successors , but lost its royal patronage after the Palace of Whitehall was almost totally destroyed by fire in 1698 .
From the start of the 18th century onwards , the garden went through major changes as it fell into neglect . It was painted in 1747 by Canaletto during a period of transition , as Westminster was being transformed by the construction of new buildings and roads . By the start of the 19th century it had been redeveloped as the site for a row of townhouses , some of which were occupied by prime ministers seeking homes near the government buildings nearby . The last remnants of the Privy Garden were destroyed in 1938 during the construction of government offices which now house the Ministry of Defence 's headquarters building .
= = Origins and layout = =
The Privy Garden originated in the 16th century as part of the estate of York Place ; Cardinal Wolsey 's London residence . The estate already had a privy , or private , garden that was located behind what is now the Banqueting House . An orchard , which was part of the estate , adjoined it to the south . When Henry VIII seized York Place , he bought more land to the south of the orchard to expand the estate . The old privy garden was cobbled over and later became known as the Pebble Court , while the orchard was converted into a new and much larger Privy Garden , known at first as the " great garden " . At the time , Westminster was not heavily built up as it is now , and York Place – later renamed Whitehall Palace – lay within a suburban area dominated by parks and gardens . St. James 's Park , across the other side of Whitehall , was a royal hunting ground .
Henry 's garden was very ornately decorated , as 16th @-@ century visitors noted . The Spanish Duke of Nájera wrote of a visit in 1544 in which he saw " a very pleasant garden with great walks and avenues in all directions , containing many sculptures of men and women , children and birds and monsters , and other strange figures in low and high relief . " Von Wedel recorded in 1584 that in the garden were " thirty @-@ four high columns , covered with various fine paintings ; also different animals carved in wood , with their horns gilt , are set on the top of the columns , together with flags bearing the queen 's arms . In the middle of the garden is a nice fountain with a remarkable sun @-@ dial , showing the time in thirty different ways . Between the spaces that are planted in the garden there are fine walks grown with grass , and the spaces are planted very artistically , surrounded by plants in the shape of seats . "
The earliest surviving depiction of the garden , from 1670 , shows a very different layout . By this time the garden had been redesigned in a grid pattern with sixteen squares of grass separated by paths . The relentless expansion of the Palace of Whitehall , which was by now a sprawling jumble of structures , had hemmed in the Privy Garden behind walls and buildings on all sides . A high wall to the west separated it from The Street , the main thoroughfare at the south end of Whitehall that bisected the palace in a north @-@ south direction . To the north , a range of buildings occupied by high @-@ ranking courtiers separated it from the Pebble Court that lay behind the Banqueting House , while to the east the Stone Gallery and state apartments , used by the king 's closest courtiers , blocked it off from the River Thames . The royal apartments were off the Stone Gallery and had a view of the Privy Garden , with a screen in place to prevent passers @-@ by from seeing the naked king in his 7 by 7 feet ( 2 @.@ 1 by 2 @.@ 1 m ) bathtub . A row of trees on the south side screened it from the Bowling Green , which had been an orchard in Henry VIII 's time but was converted for leisure use after the Restoration . A terrace also separated the Privy Garden from the Bowling Green , but this was removed in 1673 – 4 and part of the Bowling Green was added to the garden .
The Privy Garden was originally created as a private royal pleasure garden and continued to serve a similar purpose during the Interregnum ( 1649 – 1660 ) , when the English Council of State put considerable effort and money into repairing and improving the garden . They appear to have reserved it exclusively for their own use , with their own individual keys for access . By Samuel Pepys ' time , after the Restoration of the monarchy , it had become " a through @-@ passage , and common . " The wall that enclosed the garden was often used by ballad @-@ sellers to display their wares to passers @-@ by , and courtiers used it to air their laundry . Pepys recorded his titillation at the sight of the underwear of Charles II 's mistress , Lady Castlemaine , hanging out to dry in the Privy Garden . A century later , James Boswell wrote in his diary that he had taken a prostitute into the garden and " indulged sensuality " , but he was shocked to find when he got home that she had stolen his handkerchief .
= = Sculptures and other features = =
For a time , each of the grass squares in the garden had a statue in its centre , standing on its own pedestal . They were probably moved there from St James 's Palace in the 1650s but became the target of Puritan zealotry during the Interregnum , due to the perception that they were biblically prohibited " graven images " . A woman named Mary <unk> wrote to Oliver Cromwell to demand that they be taken down , demanding that he " demolish those monsters which are set up as ornaments in [ the ] privy garden , for whilst they stand , though you see no evil in them , yet there is much evil in it , for whilst the crosses and altars of the idols remained <unk> away in Jerusalem , the wrath of God continued against Israel . " One man took more direct action ; it was recorded in 1659 that " about this time there was a cook that lived by the Palace Gate , Westminster , that in Sermon time went into Whitehall Garden , and with him carried a smith 's great hammer ; he broke there those goodly statue of brass and marble , which report said they were the neatest made and the best workmanship in Europe , in half an hour 's time [ he ] did above £ 500 worth of hurt . "
The statues were eventually taken down when Charles II came to the throne and were either repaired or replaced . A bronze statue of James II by Grinling Gibbons , depicting the king wearing the robes of a Roman emperor , stood just outside the garden in the Pebble Court from 1686 to 1898 ( with a short interruption during the Glorious Revolution ) . It now occupies a spot in Trafalgar Square outside the National Gallery .
A large sundial , set up on the orders of James I , stood in the middle of the garden from 1624 . The dial was designed by Edmund Gunter , professor of astronomy at Gresham College . It consisted of a large stone pedestal with four dials at the four corners and " the great horizontal concave " in the centre , with east , west , north and south dials at the sides . It was subsequently vandalised , allegedly by an intoxicated courtier , and fell into ruin in Charles II 's reign . Andrew Marvell lamented that
In 1669 a new King 's Sun Dial was erected for Charles II , designed by Father Francis Hall , a Jesuit priest . It was an extremely elaborate construction that Hall detailed in a book , <unk> of the <unk> , that he published in 1673 to explain how it operated . It stood 3 metres ( 9 @.@ 8 ft ) high and was constructed of stone , brass and wood , with gilded ironwork and painted glass panels to accompany its 270 component dials . It resembled " a fountain of glass spheres , or a giant candelabrum with tiered , branching arms ending in crystal globes " , which showed not only the hours of the day but " many things also belonging to geography , astrology , and astronomy , by the sun 's shadow made visible to the eye . "
The King was fascinated by astronomy ; his personal association with the science was illustrated by the fact that the sundial was not only his personal pride and joy but was also designed to serve as a symbol of the Stuart family . It had glass portraits mounted on it , depicting Charles , Queen Catherine , the Duke of York , the Queen Mother and Prince Rupert . A watchman was posted to guard it against the kind of vandalism that had wrecked the earlier sundial , but in June 1675 it was severely damaged when it was attacked by John Wilmot , 2nd Earl of Rochester , much to the king 's fury . The fate of the ruined dial is unknown ; it was last recorded standing at Buckingham House ( later Buckingham Palace ) in 1710 .
= = From Privy Garden to Whitehall Gardens = =
After the destruction by fire of the Palace of Whitehall in 1698 , the surroundings of the Privy Garden changed dramatically . Most of the palace buildings had been burned down in the 1698 fire ; others were torn down as the last vestiges of the old Tudor and Stuart Palace were removed . With the demise of the Privy Gallery , the Privy Garden was extended north to include the Pebble Court behind the Banqueting House .
The garden remained in Crown ownership but it became neglected and filthy with the departure of the monarchy from Whitehall . In 1733 the Duke of Richmond and other residents of the surviving properties adjoining the garden petitioned that they be allowed to lease the " void ground " of the garden . The Crown agreed , and in 1734 most of the garden was leased to the Dukes of Richmond and Montagu , the Earl of Loudon and Sir Conyers D 'Arcy .
When Canaletto painted a view of the garden looking north from the Duke of Richmond 's dining room in Richmond House in 1747 , it was a last view of a prospect that was soon to disappear with the demolition of the old palace 's Holbein Gate adjoining the garden . Parliament Street was driven through the western side of the garden in 1750 to connect Whitehall to the Palace of Westminster . At the start of the 19th century the garden 's " decayed wall , long fringed by pamphlets , ballads , and ragged advertisements " was removed and replaced by an iron railing and newly planted trees . Its north side remained " most confused and unpleasant " , terminating in a maze of " fifty narrow passages , formed by sheds , blank walls , the residences of the nobility , and the workshops of the tradesmen . "
The area was ripe for redevelopment by the landholding elite , who wished to have suitably grand townhouses to occupy while attending Parliament and the court . The vestiges of the Privy Garden became the site of a new street . In 1808 a row of houses called Whitehall Gardens was constructed on the site . Behind each house , long grassy gardens planted with rows of trees led directly down to the river , until they were cut off by the construction of the Victoria Embankment along the river bank between 1865 and 1870 . Prime Minister Benjamin Disraeli lived in one of the houses between 1873 and 1875 , while Sir Robert Peel lived in another ( and died there in 1850 after falling from his horse on Constitution Hill ) . The trees outside the front entrance to Whitehall Gardens were the last survivors of the original Privy Garden , and stood until as recently as the late 1930s .
Among the houses in Whitehall Gardens were Montagu House and Pembroke House , a Palladian riverside villa with elaborate interiors . The houses were demolished along with the rest of Whitehall Gardens in 1938 , in what the architectural historian John Harris described as " a monstrous act of vandalism " , to make way for the construction of the new offices of the Board of Trade and Air Ministry . The interior decorations of four of Pembroke House 's rooms were saved after its demolition and were reinstalled in the new government offices , now the Ministry of Defence 's Main Building .
= Prelude to a Million Years =
Prelude to a Million Years : A Book of Wood Engravings is a 1933 wordless novel consisting of thirty wood engravings by American artist Lynd Ward ( 1905 – 1985 ) . It was the fourth of Ward 's six wordless novels , a genre Ward discovered while studying wood engraving in Europe , and delved into under the influence of the works of Frans Masereel and Otto Nückel . The symbol @-@ rich story tells of a sculptor who , in his quest for ideal beauty , neglects the reality of the struggles of his neighbors in the depths of the Great Depression . The engravings are done in a softer Art Deco style in contrast to the German Expressionism @-@ influenced artwork of Ward 's earlier works .
= = Background = =
Lynd Ward ( 1905 – 1985 ) was a son of Methodist minister and social activist Harry F. Ward ( 1873 – 1966 ) . Throughout his career the younger Ward displayed in his work the influence of his father 's interest in social injustice . Ward married writer May McNeer in 1926 and the couple left for Europe , where Ward spent a year studying wood engraving in Leipzig , Germany . There he encountered German Expressionist art and read the wordless novel The Sun ( 1919 ) by Flemish woodcut artist Frans Masereel ( 1889 – 1972 ) .
Ward returned to the United States and freelanced his illustrations . In 1929 , he came across German artist Otto Nückel 's wordless novel Destiny ( 1926 ) in New York City . The work inspired Ward to create a wordless novel of his own , Gods ' Man ( 1929 ) , which he followed with Madman 's Drum ( 1930 ) and Wild Pilgrimage ( 1932 ) . In December 1931 , Ward and McNeer were among the nine cofounders of Equinox Cooperative Press , dedicated to a hands @-@ on approach to bookmaking .
= = Content and style = =
The book opens with a dream sequence in which a sculptor worships before a flower symbolizing beauty . The sculptor struggles to capture his vision of beauty in a sculpture of an idealized woman . In his artistic pursuits he neglects the reality around him and the toll the Depression of the 1930s has taken on the people whose paths he crosses — a neighbor who is beaten by her husband , violent social protest , jingoistic nationalists , and drunkenness . He is engulfed in flames when he returns to his studio trying to flee it all .
Ward returns to the theme of an artist in a decaying culture that he explored in his first wordless novel , Gods ' Man ( 1929 ) , and intended the work as a commentary on how the Depression that had colored outlooks since Gods ' Man ; headlines declaring endless layoffs , strikes , lock @-@ outs , and political spin . To Ward , " Inevitably a process of polarization of the citizenry was set in motion " .
The style has evolved from the angular German Expressionism of Ward 's earlier books to a softer Art Deco one . He uses symbols throughout the book , such as the spinning of a spiderweb to indicate the passage of time , a fire hydrant echoing the emotions of a street riot , towering city buildings for capitalism , and flags for patriotism . The most prominent symbol is a flower , representing the artist 's distracted quest for beauty while he remains indifferent to the turmoil around him .
= = Production , publication , and reception = =