Updated Wed. Oct. 25 2006 2:14 PM ET
Associated Press
LOS ANGELES — It’s a familiar image for millions of Christians: Jesus Christ, with a crown of thorns, hanging from the cross. What color is he? In a controversial new film opening Friday, he is black.
"Color of the Cross" tells a traditional story, focusing on the last 48 hours of his life as told in the Gospels. In this version, though, race contributes to his persecution.
It is the first representation in the history of American cinema of Jesus as a black man.
"It’s very important because (the film) is going to provide an image of Jesus for African-Americans that is no longer under the control of whites," says Stephenson Humphries-Brooks, an associate professor of religious studies at New York’s Hamilton College and author of "Cinematic Savior: Hollywood’s Making of the American Christ."
What Jesus looked like has long been debated by theologians around the world. Different cultures have imagined him in different ways, says Stephen Prothero, chairman of the religion department at Boston University. In Japan, Jesus looks Japanese. In Africa, he is black. But in America he is almost always white, like the fair-haired savior painted by Leonardo Da Vinci in "The Last Supper" in 1495.
While some black churches have images of a black Jesus behind the altar and others have claimed Christ was black, Prothero says "none of those arguments or images have filtered much into the mainstream."
Filmmaker Jean Claude LaMarre set out to change that with "Color of the Cross." LaMarre, who plays Jesus, wrote, directed and financed the film. It will open in 30 theaters in predominantly black neighborhoods.
"Black people in this country are the only race of people who worship a god outside their own image," says LaMarre, 38, adding that showing Christ as a black man is "the most poignant way to deal with the issue of race in this country because it goes to the heart of how we look at the world."
It also provides a positive image of blacks, something that’s been scant in the U.S., says the Rev. Cecil "Chip" Murray, longtime leader of L.A.’s First African Methodist Episcopal Church and a producer of the film.
"It could be revolutionary because, for four centuries in our nation, blacks have been at the lowest end of the stratum," he says. "I think it will traumatize the United States more than it will foreign nations who, to some extent, don’t have a centuries-old concept of equating black with negativity."
Humphries-Brooks agrees. Other countries are likely to view the film "in a more detached manner," he says, "because of the way (they) see our race-relations problem."
Why does race matter in the story of Christ?
"Jesus isn’t in the hands of historians," Prothero says. "What we have now is our own debate and, in that debate, race has to be a factor because race is a big predicament in American life."
Film is a powerful place to have the discussion, says Humphries-Brooks, who calls the medium "one of the last places that is quasi-public for the formation of values in America."
"Artistic and aesthetic views are as important in developing religious values as the words we speak. Everybody goes to the movies. Not everybody goes to the same church."
Filmmaker LaMarre thinks the film can only have a positive effect.
"The message is that colour, a coloured Jesus Christ, doesn’t matter," he says. "That’s why the movie is important. When you have one prevailing image out there, it suggests colour does matter."
LONDON, England (Reuters) — Beaming people in Star Trek fashion is still in the realms of science fiction but physicists in Denmark have teleported information from light to matter bringing quantum communication and computing closer to reality.
Until now scientists have teleported similar objects such as light or single atoms over short distances from one spot to another in a split second.
But Professor Eugene Polzik and his team at the Niels Bohr Institute at Copenhagen University in Denmark have made a breakthrough by using both light and matter.
"It is one step further because for the first time it involves teleportation between light and matter, two different objects. One is the carrier of information and the other one is the storage medium," Polzik explained in an interview on Wednesday.
The experiment involved for the first time a macroscopic atomic object containing thousands of billions of atoms. They also teleported the information a distance of half a meter but believe it can be extended further.
"This is why it is said: ‘Wake up, sleeper, rise from the dead, and Christ will shine on you.’ Be very careful, then, how you live—not as unwise but as wise, making the most of every opportunity, because the days are evil." – Ephesians 5:14-16
I don’t know why but it occured to me that I should post this old classic. Maybe there’s a message for someone out there in this. Enjoy!
Casey at the Bat
by Ernest L. Thayer
1888
The outlook wasn’t brilliant for the Mudville nine that day,
The score stood four to two, with but one inning more to play.
And then when Cooney died at first, and Barrows did the same,
A pall-like silence fell upon the patrons of the game.
A straggling few got up to go in deep despair.
The rest clung to that hope which springs eternal in the human breast.
They thought, "if only Casey could but get a whack at that.
We’d put up even money now, with Casey at the bat."
But Flynn preceded Casey, as did also Jimmy Blake;
and the former was a hoodoo, while the latter was a cake.
So upon that stricken multitude, grim melancholy sat;
for there seemed but little chance of Casey getting to the bat.
But Flynn let drive a single, to the wonderment of all.
And Blake, the much despised, tore the cover off the ball.
And when the dust had lifted, and men saw what had occurred,
there was Jimmy safe at second and Flynn a-hugging third.
Then from five thousand throats and more there rose a lusty yell;
it rumbled through the valley, it rattled in the dell;
it pounded through on the mountain and recoiled upon the flat;
for Casey, mighty Casey, was advancing to the bat.
There was ease in Casey’s manner as he stepped into his place,
there was pride in Casey’s bearing and a smile lit Casey’s face.
And when, responding to the cheers, he lightly doffed his hat,
no stranger in the crowd could doubt t’was Casey at the bat.
Ten thousand eyes were on him as he rubbed his hands with dirt.
Five thousand tongues applauded when he wiped them on his shirt.
Then, while the writhing pitcher ground the ball into his hip,
defiance flashed in Casey’s eye, a sneer curled Casey’s lip.
And now the leather-covered sphere came hurtling through the air,
and Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped —
"That ain’t my style," said Casey. "Strike one!" the umpire said.
From the benches, black with people, there went up a muffled roar,
like the beating of the storm waves on a stern and distant shore.
"Kill him! Kill the umpire!" shouted someone on the stand,
and it’s likely they’d have killed him had not Casey raised his hand.
With a smile of Christian charity, great Casey’s visage shone,
he stilled the rising tumult, he bade the game go on.
He signaled to the pitcher, and once more the dun sphere flew,
but Casey still ignored it, and the umpire said, "Strike two!"
"Fraud!" cried the maddened thousands, and echo answered "Fraud!"
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
and they knew that Casey wouldn’t let that ball go by again.
The sneer has fled from Casey’s lip, the teeth are clenched in hate.
He pounds, with cruel violence, his bat upon the plate.
And now the pitcher holds the ball, and now he lets it go,
and now the air is shattered by the force of Casey’s blow.
Oh, somewhere in this favored land the sun is shining bright.
The band is playing somewhere, and somewhere hearts are light.
And, somewhere men are laughing, and little children shout,
but there is no joy in Mudville –
mighty Casey has struck out.
Harnessing Chaos 