Because rebroadcast transmitters were not planned to be converted to digital, many markets stood to lose over-the-air coverage from CBC or Radio-Canada, or both. As a result, only seven of the markets subject to the August 31, 2011 transition deadline were planned to have both CBC and Radio-Canada in digital, and 13 other markets were planned to have either CBC or Radio-Canada in digital. In mid-August 2011, the CRTC granted the CBC an extension, until August 31, 2012, to continue operating its analogue transmitters in markets subject to the August 31, 2011 transition deadline. This CRTC decision prevented many markets subject to the transition deadline from losing signals for CBC or Radio-Canada, or both at the transition deadline. At the transition deadline, Barrie, Ontario lost both CBC and Radio-Canada signals as the CBC did not request that the CRTC allow these transmitters to continue operating.
At the deadline, which area lost broadcast entirely?
Barrie, Ontario

In Johannine "agent Christology" the submission of Jesus to crucifixion is a sacrifice made as an agent of God or servant of God, for the sake of eventual victory. This builds on the salvific theme of the Gospel of John which begins in John 1:29 with John the Baptist's proclamation: "The Lamb of God who takes away the sins of the world". Further reinforcement of the concept is provided in Revelation 21:14 where the "lamb slain but standing" is the only one worthy of handling the scroll (i.e. the book) containing the names of those who are to be saved.
What is another name for Jesus given?
The Lamb of God

The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States.
When did the Estudiantina Figaro come to the US?
January 2, 1880