text:
They were  sitting in the living area of their studio, if you could call it a living space. It was dank, and decrepit. It gave off the musk of an old basement. Everything here was lined with shadows, and so were the lives of this place’s inhabitants. The two men sat on the couch, both skinny and pale, and not a single hair on their bodies. Their tight black jumpsuits outlined their skeletal form. They stared down at the pathetic squirming thing, and listened to it’s screams echo and reverberate throughout their cavernous halls.

	“When do you think he’ll stop screaming?” said the man to the other.

	“I don’t know, it’s the most musical thing I’ve heard in my short time of living. Finally, a pain that I can relate too, Zankar.” Said the man to Zankar.

	“Tholius, how was you system update like?” said Zankar.

	“Imagine every cell in your body pureed, then shoved through a tube no wider than the head of a needle. As if we weren’t tortured enough. You’re lucky to be here since factory.”

The man was sweating himself into a frenzy.

	“We have too… Practice.” Said Zankar with tears welling in his eyes.

	 “We’ll have to wake up Zipdan.”

In a corner of the shadows was Zipdan, a man with a stare that looked into the black beyond itself. It had been years since he had spoken or shown a trace of humanity to the other residents.

	“Let’s go.” Said Tholius.

They got up, and walked around the newcomer on the floor and walked into the darkness, yelling and searching for Zipdan.

	“Ah Zipdan, there you are old chap.” Said Tholius, Zankar at his side.

Zipdan slowly turned his head and faced them both.  His face was pale and sunken in. They picked him up together, and carried him to the large iron door that lead to the practice space.

	“He downloaded lot’s of new songs this week. You bet it’s gonna be a long one. “ said Zankar, grabbing the heavy metal handle, and heaving it forward.

The room was humongous and circular, with a carpeted center in the middle. The ceiling raced high above in the sky, and the walls were lined with every instrument imaginable.

	“Hmm… let’s see…  This Crazy Town, by Rad Fish.” Said Tholius.

The walls lowest to them instantly rotated in a whirlwind, and a mechanical arm shot out of the side. It grabbed an electric guitar from the rows of uncountable thousands, and plugged it into an amp that came out mechanically out of the ground.

They were about to start playing, when their ears were filled with a deafening alarm. The room was covered in flashing red lights.

	“WE LIKE TO PARTY, BY THE SOUP GROUP” blared the speakers.

	“Oh fuck me, not this one again.” uttered Zankar.

They instantly broke out into the song, and fast and simple pop punk beat with lyrics attaining to drinking and having a good time.
They played, and their song blared through the glass screen of the Ipod, and out into the sea of college students, all partying and drinking with one another.

	“Woo! I love this song! You have a great taste in music, Jeremy.” said a young blonde teenager, who was dancing with a young clean man, who wore a university hoodie.

He took a sip of his beer and said “Yea, I listen to this song all the time. I have all their songs. I swear it seems that the song gets better every time I hear it. I don’t know what it is about the Ipod 15, but it makes all my songs sound like they’re playing in my living room!.”

	“Wow, I should buy one. I have to wait two months for my fucking phone upgrade.” She said in reply.

	“Ah, that sucks babe.” He said to her, as they started to grind on one another.

The boys played and played until there tiny fingers were bloody stubs. Playing this song, to that. This bubblegum party anthem to the next. This little boys, these little Jazz men were the bio-engineered product of tech supergiant Apple. Little feeling-less humans, to play all of your hits. It sounds like your really there! These microscopic sub-humans lived short lives, spent at the will and order of a world they didn’t understand. Apple produced them by the millions.
They played on until the wee hours of the night, the music itself pushed as far back into their sub-conscious as it would go, until it was filled instead with a dull nightmarish sorrow. They played for so long and with such fierce accuracy, that towards the end their jumpsuits and instruments were covered in dry blood, with fresh bright coats flowing over themselves  freely. Their tiny minds have already gone past the point of unbearableness.

They didn’t hear music. At least, not the way that you and I do. That ability didn’t seem to be their creators top priority. They only meant to play, for our ears and our ears alone. Human music to them was a drawn out discordant screech.

They finished playing when some drunk knocked off the ipod out of it’s stand sometime near the morning. Through their screen, the saw the sun rising of the window in the apartment. Tholius dropped his bass guitar and looked down at the blood in his hands, and then let out scream laced with pain and sorrow. He collapsed to the floor and began to sob. Zipdan stared at him indifferently, and then turned to walk back to his dark corner. Zankar looked at the suffering that surrounded him, the suffering that was all he knew.
He looked out the window. He saw people laughing and drinking coffee, and picking up beer cans from the night before. He put his guitar down slowly. He walked back to his bunk lost in a trance. He walked by the newcomer on the floor, to find him cold and still. He kneeled down to look at his empty face.

	“Update failed.” Said Zankar as he continued walking.

He went into his small cramped living space. He had broken strings and parts of instruments taped and nailed all over the walls. In the corner was an instrument he had crafted out of broken and spare parts, because the instruments couldn’t physically leave the studio in one piece. He lifted up the flimsy mattress and grabbed a handful of the scrap papers that were under it. Songs,  hundreds of songs he had jotten down and written over the years. The one thing that make him not pray for death.

The next morning, all was silent and all was calm. Their owner had decided to play some calm, relaxing piece with string sections and gentle guitars. They all went to their posts. Zankar felt a bead of sweat roll down his face.

	“Here we are again.” Tholius said to himself quietly.

They burst into the composition, all playing with unreal accuracy. As they played through the song, Zankar’s hands shook for the first time ever while playing. In one sudden movement, he stopped playing. The others looked at him in utter disbelief.

	“Fuck, my phone’s lagging.” Said Jeremy, as he started to shake the phone violently.

Suddenly the studio was filled with flying instruments, crashing this way landing that. One narrowly missed Zipdan’s head. They all struggled to find their footing. When Jeremy put his phone back down, they were all knee deep in the sea of assorting instruments. Zankar pulled himself self up out of the wreckage.

	“Brothers! Humans! My fellow prisoners! Today is the day we escape this tomb! The day that we stop being forced to play music we can’t understand, to a world we can’t understand. Today is the day we find our own way!” he shouted.

	He reached down into the rubble, and pulled out a lone drumstick. He walked up to the cello he was just playing moments ago, and pulled back the string as far as the would go. He cocked the stick like a bow and arrow, and took aim. He fired it into the large glass screen. It got stuck halfway through, and the crack spider-webbed across it’s surface. All of the inmates cheered and applauded, and nnow their was no stopping them. They threw everything they could get their hands on, heavy and small. The glass showered over them in small particles. The glass sounded like a thunderstorm as it gave way. They charged yelling, up the  mountain of instruments towards the screen.
	“What the fuck?!” yelled Jeremy as he saw the tiny men pile out of the screen of his Ipod. Zankar jumped onto his jacket, and started to climb up.

	“Ah! Get off! Get off!” cried Jeremy in shock.

Zankar climbed up his neck, dodging Jeremy’s wild blows, and headed for his vulnerable ear. He got up to it, and climbed in head first. Jeremy was now on the floor, screaming in fear. Zankar crawled along his ear canal, and then he found what he was looking for. Jeremy’s soft eardrum.

	“This is for the years of torment, Jeremy.” Whispered Zankar, as he pulled out his drumsticks and started to play the drums with more ferocity then he ever played before. Tholius followed suite, and climbed into his other ear, and they both played a vicious rhythm, until Jeremy’s ears were filled with ringing. They climbed out, leaving the terrified Jeremy writhing on the floor.

	They all climbed towards each other, through forest of a carpet.

	“What do we do now, Zankar?” said Tholius

	“We travel. We travel the world and spread our music and word, to people of our kind. To people who can understand us. Grab your most beloved instruments, and belongings. It’s gonna be a long road.” Said Zankar.

They scaled the wall, and walked out the open window to a bright and new morning.

title: [SF] The Screen. A short story about tiny people living in an Ipod.

question: What does the story say about pain?

text: While the story only mentions that Jeremy is fearful, it is implied that he is also in pain after the boys attack his ear drums.

answer: Tholius describes the system update as being painful. The boys inside the iPod play music until their fingers are bloody stubs and their jumpsuits and instruments are covered in blood.

text: The text should indicate that Tholius has experienced a system update that was excrutiating. As it is now, it is unclear that the characters personally experience system updates.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: The answer is extremely repetitive and needs to be rewritten.

answer: Tholius describes the system update as being painful. The boys inside the iPod play music until their fingers are bloody stubs and their jumpsuits and instruments are covered in blood.

text: The response doesn't mention how Tholius sees his hand is bleeding after he drops his guitar. He then shouts.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: The response includes extraneous information not useful for the task.

text: The response inaccurately mentions that pain is the most musical thing the man has ever heard, however it the screaming that is the most musical thing the man has ever heard.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: The answer is repetitive to the degree that it makes it hard to follow.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: All sentences except the third are unrelated to the answer and should be deleted.

text: The answer fails to mention that the characters feel pain when they get a system upgrade and after they finish playing hours of music.

text: The story does not refer to just one man as the answer does, it is a group of men that discuss the pain.

text: The answer does not have a natural flow and keeps repeating the same sentence start.

answer: Tholius describes the system update as being painful. The boys inside the iPod play music until their fingers are bloody stubs and their jumpsuits and instruments are covered in blood.

text: It is omitted that the boys live in an Ipod. Apple produced them by the millions to play music. They live short lives, spent at the will and order of a world they didn’t understand.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: Also mention that pain is a different concept for the little people inside the iPod when compared to the kind of pain that Jeremy felt at the end of the story.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: The answer mixes many details from the text, whether they are congruent to each other or not. The parts unrelated to pain should be cut from the answer.

text: The answer doesn't identify who feels pain, and there are several characters involved. Each instance of pain mentioned in the answer should also mention the character who feels that pain.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: "The story says that the pain is the most musical thing the man has ever heard." - this part of the response is incomplete without mentioning the source is another prisoner receiving an update. The third sentence should also clarify that Tholius was talking about his system update. Everything after the third sentence is irrelevant and should be removed.

category: other

category_text: coverage and coherence

answer: Tholius describes the system update as being painful. The boys inside the iPod play music until their fingers are bloody stubs and their jumpsuits and instruments are covered in blood. When the boys escape the iPod, they attack Jeremy, leaving him writhing on the floor.

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text: The answer is a copy-and-paste of the story.

text: The answer is a copy-and-paste of the story, and it is not relevant to the question.

text: The answer is made up of quotes from the text without any context.

text: The response contains inaccurate information.

text: These seem to be subtitles for the youtube video, asJEREMY UTTERIED THESE LINES.

text: The entire response is repetitive.

text: There is no answer to the question

answer: The story says that the pain is the most musical thing the man has ever heard. The man says that he can relate to the pain. The man says that the pain is like every cell in his body being pureed and shoved through a tube no wider than the head of a needle. The man says that he is tortured enough. The man says that he is lucky to be here since the factory. The man says that he has to practice. The man says that he has to wake up Zipdan. The man says that he loves the song. The man says that the song gets better every time he hears it. The man says that the song sounds like it's playing in his living room. The man says that his phone's lagging. The man says that he is going to play the drums with more ferocity than he ever played before. The man says that he is going to play the drums with more ferocity than he ever played before.

text:
- There is a lot of repetition here; the phrase "The man" is overused.
- Apart from the earlier part of the response, much of the rest is irrelevant to the question.


text:
GEORG FRIEDRICH HAAS (born 16 August 1953 in Graz, Austria) is an Austrian composer. In a 2017 _Classic Voice_ poll of the greatest works of art music since 2000, pieces by Haas received the most votes (49), and his composition _in vain_ (2000) topped the list.[1]

Education and career

Georg Friedrich Haas grew up in Tschagguns, Vorarlberg and studied composition with Gösta Neuwirth and Iván Erőd and piano with Doris Wolf at the University of Music and Performing Arts Graz, Austria. Since 1978, he has been teaching at the Hochschule as an instructor, and since 1989 as an associate professor in counterpoint, contemporary composition techniques, analysis, and introduction to microtonal music. Haas is a founding member of the Graz composers' collective _Die andere Seite_. He composes in a cottage in Fischbach, Styria.

Haas completed two years of postgraduate studies at the University of Music and Performing Arts Vienna with Friedrich Cerha, participated in the Darmstädter Ferienkurse (1980, 1988 and 1990), and the computer music course at IRCAM (1991). He received a fellowship from the Salzburg Festival (1992–93), was awarded the Sandoz Prize (1992) and a music grant from the National Ministry of Science, Research, and Culture (1995). His works have been on the programs of the following festivals: Wien Modern (Vienna), Musikprotokoll (Graz), Witten, Huddersfield, Royaumont, Venice Biennale, Festival d'Automne (Paris), as well as at the Darmstädter Ferienkurse and the Salzburg Festival 2011. Since 2005, he has lectured at the Hochschule in Basel, Switzerland; since 2013, he has been a professor of composition at Columbia University, New York.

Aesthetics and work

Haas's style recalls that of György Ligeti in its use of micropolyphony, microintervals and the exploitation of the overtone series; he is often characterized as a leading exponent of spectral music. His aesthetics is guided by the idea that music is able “to articulate a human being's emotions and states of the soul in such a way that other human beings can embrace these emotions and states of the soul as their own” (“Emotionen und seelische Zustände von Menschen so zu formulieren, daß sie auch von anderen Menschen als die ihren angenommen werden können”).[2] Thus Haas has disavowed the intellectualism of some strands of the modernist musical avant-garde (such as serialism and deconstructivism). The emotional atmosphere of many of his works is sombre.[3] Haas's operas have been criticized for evoking themes like suffering, illness and death to aesthetic voyeurism: “the piece [Haas's opera _Thomas_ (2013)] comes dangerously close to a kind of palliative care ward tourism.”[4]

In a similar vein, his orchestral works have been compared to film music: “[_Dark dreams_ for symphony orchestra] lets us think of a soundtrack ready-made for a suspense movie” (“lässt aber auch an einen probaten Soundtrack zum Suspense-Streifen denken”).[5]

Haas's opera _Morgen und Abend_, to a libretto by the Norwegian writer Jon Fosse, was jointly commissioned by the Royal Opera House, London, and the Deutsche Oper Berlin. It was premiered on the main stage of the Royal Opera House on 13 November 2015.

Personal life

Haas is the dominant partner in a BDSM relationship with his wife, the American writer, BDSM educator, and actor Mollena Williams-Haas.[6]

Writings and compositions

Haas has published musicological articles on the works of Luigi Nono, Ivan Wyschnegradsky, Alois Hába, Pierre Boulez, and Franz Schubert.

Operas

-   _Adolf Wölfli_, chamber opera (Graz 1981)
-   _Nacht_, chamber opera in 24 scenes; libretto by the composer after texts by Friedrich Hölderlin (concert performance in Bregenz 1996, staged in Bregenz 1998)
-   _Die schöne Wunde_, opera after Franz Kafka, Edgar Allan Poe and others (Bregenz 2003)
-   _Melancholia_, opera in 3 parts; libretto by Jon Fosse after his own novel (Palais Garnier, Paris, 2008)
-   _Bluthaus_, opera in 10 scenes (composed 2010/11); libretto by Klaus Händl; world premiere: April 2011, Schwetzingen Festival; premiere of revised version (45 minutes new music): Kampnagel, Hamburg, June 2014.[7]
-   _Thomas_, opera. Libretto by Klaus Händl; world premiere: May 2013, Schwetzingen Festival
-   _Morgen und Abend_. Libretto Jon Fosse; world premiere: Royal Opera House, 13 November 2015
-   _Koma_. Libretto Klaus Händl; world premiere: Schwetzingen Festival, 27 May 2016
    -   _KOMA_, definitive version. Libretto Klaus Händl; world premiere: Stadttheater Klagenfurt, 28 March 2019

Other works

-   Sextet for 3 violas and 3 cellos (1982)
-   _Drei Hommages für einen Pianisten und zwei im Abstand eines Vierteltons gestimmte Klaviere_ (1985)
-   _...Schatten...durch unausdenkliche Wälder_ for 2 pianos and 2 percussionists (1992)
-   _Descendiendo_ for orchestra (1993)
-   _...._, double concerto for accordion, viola and chamber ensemble (1994)
-   ''...Einklang freier Wesen... ''for various instrumentations, each titled _...aus freier Lust...verbunden..._ (1994)
-   _Nacht-Schatten_ (1994 Bregenz)
-   _Fremde Welten_, concerto for piano and 20 stringed instruments (1997)
-   Concerto for violin and orchestra (1998)
-   String Quartet No.2 (1998)
-   _Nach-ruf...ent-gleitend..._ for ensemble (1999)
-   _Torso_ for large orchestra after the unfinished Piano Sonata in C major, D.840 by Franz Schubert (1999–2000)
-   _in vain_ for 24 instruments (2000/02)
-   _...sodass ich’s hernach mit einem Blick gleichsam wie ein schönes Bild... im Geist übersehe_ (2001)
-   _tria ex uno_ for ensemble (2001–2002)
-   _de terrae fine_ for violin solo (2001)
-   _Blumenstück_ (2001)
-   _flow and friction_ for sixteenth-tone piano 4-hands (2001)
-   String Quartet No.3 _“In iij. Noct”_ (2003)
-   _Natures mortes_ for orchestra and accordion (UA Donaueschingen Festival 2003)
-   String Quartet No.4 (2003)
-   _Opus 68_ for large orchestra after Piano Sonata No.9 by Alexander Scriabin (2004)
-   Concerto for cello and large orchestra (2004)
-   _Haiku_ for baritone and 10 instruments (2005)
-   _Ritual_ for 12 bass drums and 3 wind ensembles (2005)
-   _Sieben Klangräume_ (UA Salzburg 2005)
-   _......._ for viola and 6 voices (2006)
-   _Hyperion_, Konzert für Lichtstimme und Orchester (UA Donaueschingen Festival 2006)
-   _Bruchstück_ for large orchestra (2007)
-   Concerto for piano and orchestra (2007)
-   _Les temps tiraillés_ for 2 violas, bassoon and electronics (2008)
-   Concerto for baritone saxophone and orchestra (2008)
-   _antiphon_ for 2 contrabass clarinets (2008)
-   _... und ..._ for chamber ensemble and electronics (2008–09)
-   _... wie stille brannte das Licht_ for soprano and chamber ensemble (or piano) (2009)
-   _Unheimat_ for 19 string instruments (2009)
-   _Traum in des Sommers Nacht_ for orchestra (2009)
-   _Arthur F. Becker (od. Buhr?)_ for 2 vocal quartets, bass solo, clarinet, percussion and cello (2009)
-   '' La profondeur'' for 13 players (2009)
-   _ATTHIS_ for soprano and 8 instruments (or for 8 instruments) (2009)
-   _fuga_ for 2 violins (2009)
-   _limited approximations_ for 6 micro-tonally tuned pianos and orchestra (2010)
-   _“... damit ... die Geister der Menschen erhellt und ihr Verstand erleuchtet werden ...”_ for ensemble (2010)
-   _AUS.WEG_ for 8 instruments (2010)
-   String Quartet No.6 (2010)
-   String Quartet No.7 (2011)
-   _“Ich suchte, aber ich fand ihn nicht.”_ for ensemble (2011)
-   _Duchcov_ for choir of 44 voices (2011)
-   _chants oubliés_ for chamber orchestra (2011)
-   _SCHWEIGEN_: _Fukushima_ for soprano and lyric soprano, _Lampedusa_ for soprano and mezzo-soprano, _Mlake / Laaken_ for lyric soprano and countertenor (2011)
-   _Tetraedrite_ for orchestra (2011–12)
-   _“... e finisci già?”_ for orchestra (2011–12)
-   _Introduktion und Transsonation_ for 17 instruments and tape (2012)
-   _Dido_ for soprano and string quartet (2012)
-   _Wohin bist du gegangen?_ for choir and 17 instruments (2012)
-   _Anachronism_ for ensemble (2013)
-   _dark dreams_ for orchestra (2013)
-   _nocturno_ for female choir and accordion (or piano) (2013)
-   _Tombeau [Fragmente aus dem Fragment KV 616a]_ for violin, cello and piano (2013)
-   _petit hommage à un grand maître_ for piano (2013)
-   Concerto grosso no. 1 (2013)
-   Concerto grosso no. 2 (2014)
-   _LAIR_ for string quartet (2014)
-   String Quartet No.8 (2014)
-   Saxophone Quartet (2014)
-   _13 Bilder aus der Oper “Die schöne Wunde”_ for 6 voices and chamber orchestra (2014)
-   _I can't breathe_ for trumpet (2015)
-   Octet for 8 trombones (2015)
-   _Zugabe_ for orchestra (2015)
-   _3 Stücke für Mollena_ for choir and chamber orchestra (2015–16)
-   Trombone Concerto (2016)
-   _HYENA_ for solo voice and chamber orchestra (2016)
-   _Release_ for strings, harp and piano (2016)
-   String Quartet No.9 (2016)
-   String Quartet No.10 (2016)
-   Violin concerto no. 2 (2017)
-   _ein kleines symphonisches Gedicht für Wolfgang_ for orchestra (2017)
-   _Blumenwiese 1-3_ for saxophone, piano and percussion (2017–18) - composed for Trio Accanto
-   _catch as catch can_ for clarinet, cello and piano (2018)
-   _equinox_ for clarinet, cello and piano (2018)
-   _im Schatten der Harfen_ for ensemble (2018)
-   _Monolog für Graz_ for speaker and ensemble (2018)
-   String Quartet No.11 (2019)
-   _Hommage à Bridget Riley_ for ensemble (2019)
-   _Konzert für Klangwerk und Orchester_ for solo percussion and orchestra (2019)

[1]

[2] Georg Friedrich Haas, 'These shadows of memory'. Über das Finale des ersten Abschnitts meiner Oper _die schöne Wunde_, in Andreas Dorschel (ed.), _Resonanzen. Vom Erinnern in der Musik_ (Vienna – London – New York: Universal Edition, 2007) (Studien zur Wertungsforschung 47), ,

[3]

[4] Shirley Apthorp, 'Première of Georg Friedrich Haas, _Thomas_, Schwetzingen Festival, Germany', _Financial Times_ (Europe), Tues. 28 May 2013, p. 13

[5] Stefan Musil, 'Musikverein: So dunkel sind die Träume nicht', _Die Presse_ (Vienna), Sun. 9 March 2014, p. 43

[6]

[7] Musik Fest Hamburg, page for premiere of Bluthaus revision

title: Georg Friedrich Haas

question: Summarize the education of Georg Friedrich Haas.

text: The answer left out some crucial information with regards to Haas.

category: coverage

answer: Haas was born in Austria in 1953 and grew up in Tshagguns. He studied music composition with Gosta Neuwirth and Ivan Erod at the University of Music and Performing Arts in Austria. He completed his postgraduate studies at the University of Music and Performing Arts in Vienna. Haas then proceeded to do a computer music course at IRCAM in 1991 and received a fellowship from the Salzburg Festival from 1992 to 1993.

answer_source: Human

text: The first sentence is unnecessary and should be omitted.

category: coherence

text: It's omitted he studied piano with Doris Wolf.

text: The mention of the fellowship is unnecessary and could be omitted.

answer: George Haas was born in Austria in 1953. He studied music composition with Gosta Neuwirth, Ivan Erod, Doris Wolf at the University of Music and Performing Arts Graz, Austria. He also completed a musical course at IRCAM in 1991.

answer_source: Human misleading

text: Haas's piano teacher is omitted.

text: Haas studied piano with Doris Wolf, not composition.

text: Haas' piano studies are omitted.

text: The response could include more information about Haas' education.

text: Haas studied composition with Neuwirth and Erod, piano with Wolf

text: Haas also participated in the Darmstädter Ferienkurse, which should be mentioned in the summary.

category: accuracy

text: The answer should mention his postgraduate studies. Haas completed two years of postgraduate studies at the University of Music and Performing Arts Vienna with Friedrich Cerha.

answer: Haas studied composition with Gösta Neuwirth and Iván Erőd and piano with Doris Wolf at the University of Music and Performing Arts Graz, Austria. He completed two years of postgraduate studies at the University of Music and Performing Arts Vienna with Friedrich Cerha. He also participated in the Darmstädter Ferienkurse and the computer music course at IRCAM.

answer_source: Model

text: The response should mention that Haas completed two years of postgraduate studies at the University of Music and Performing Arts Vienna with Friedrich Cerha.

answer: Haas was born in Austria in 1953 and grew up in Tshagguns. He studied music composition with Gosta Neuwirth and Ivan Erod at the University of Music and Performing Arts in Austria. He completed his postgraduate studies at the University of Music and Performing Arts in Vienna. Haas then proceeded to do a computer music course at IRCAM in 1991 and received a fellowship from the Salzburg Festival from 1992 to 1993.

text: Haas's piano education is omitted.

text: Haas's piano studies are omitted.

text: Haas also studied piano with Doris Wolf at the University of Music and Performing Arts in Austria.

text: Haas studied piano with Doris Wolf at the University of Music and Performing Arts Graz, Austria as well.


text:
The TENNESSEE REPUBLICAN PARTY (TRP) is the affiliate of the United States Republican Party in Tennessee. It is often called the Tennessee Grand Old Party or the TNGOP.

[Governor Bill Lee ]

History

Upon its entry into the Union in 1796 Tennessee was strongly Democratic-Republican. Tennessee became a two-party system for more than 20 years during the Jacksonian era. The Democratic Party was formed by Jackson followers and this party was dominant against the rival Whig Party led by Henry Clay. But in 1835, there was a turn in power of party and a Whig governor was elected. Tennessee after the Civil War was part of the Democratic South for about a century. East Tennessee however remained strongly Republican. Even though the state was predominantly Democratic two different presidential elections won the state of Tennessee in 1920 and 1928. In the 1960s and 1970s Republicans made a push into the Democratic power when in 1966, Howard Baker was elected US senator. Then again Republicans made another push, when Winfield Dunn was elected governor, the first Republican Governor in over 50 years.[1]

Leadership and staff

The Tennessee Republican Party has had five chairmen since 2005. On December 11, 2004, the State Executive Committee unanimously elected Bob Davis[2] as Chairman of the Tennessee Republican Party to serve for the calendar years 2005 and 2006. He was subsequently elected to a second two-year term, 2007 and 2008, but resigned from the chairmanship in August 2007 to become Senior Adviser to presidential candidate Fred Thompson. The party's State Executive Committee then chose Robin Smith,[3] former chairman of the Hamilton County Republican Party and vice chairman of the Tennessee GOP under Davis, to complete Davis's two-year term.

Republicans won a historic victory in Tennessee's 2008 elections, when the party won majorities in both houses of the Tennessee General Assembly for the first time since the Reconstruction Era election of 1868. Smith was unanimously re-elected at the end of 2008 to a full two-year term as chairman for calendar years 2009 and 2010. In April 2009, Smith announced her resignation in order to run for Congress in Tennessee's 3rd congressional district in the August 2010 Republican primary.[4]

Staff

-   The Chairman of the Republican Party of Tennessee is Scott Golden, who was elected on December 3, 2016.[5] Michael Sullivan serves as Executive Director and Candice Dawkins as Operations Director.

Current elected officials

The Tennessee Republican Party controls the governor's office and a majority in the Tennessee Senate and the Tennessee House of Representatives. Republicans hold both of the state's U.S. Senate seats and 7 of the state's 9 U.S. House seats.

Members of Congress

U.S. Senate

-   Marsha Blackburn
-   Lamar Alexander

U.S. House of Representatives

-   Phil Roe, 1st District
-   Tim Burchett, 2nd District
-   Chuck Fleischmann, 3rd District
-   Scott DesJarlais, 4th District
-   John Rose, 6th District
-   Mark Green, 7th District
-   David Kustoff, 8th District

Statewide offices

-   Governor: Bill Lee
-   Lieutenant Governor: Randy McNally

Legislative leadership

-   Speaker of the Senate/Lt. Governor: Randy McNally
-   Speaker of the House: Cameron Sexton

Tennessee state senate

-   Steve Southerland, District 1
-   Art Swann, District 2
-   Rusty Crowe, District 3
-   John Lundberg, District 4
-   Lt. Gov. Randy McNally, District 5
-   Becky Duncan Massey, District 6
-   Richard Briggs, District 7
-   Frank Niceley, District 8
-   Mike Bell, District 9
-   Todd Gardenhire, District 10
-   Bo Watson, District 11
-   Ken Yager, District 12
-   Bill Ketron, District 13
-   Jim Tracy, District 14
-   Janice Bowling, District 16
-   Mark Pody, District 17
-   Ferrell Haile, District 18
-   Steven Dickerson, District 20
-   Rosalind Kurita, District 22
-   Jack Johnson, District 23
-   John Stevens, District 24
-   Kerry Roberts, District 25
-   Dolores Gresham, District 26
-   Joey Hensley, District 28
-   Brian Kelsey, District 31

Tennessee state house

-   Jon Lundberg - District 1
-   Tony Shipley - District 2
-   Timothy Hill - District 3
-   David Hawk - District 5
-   James (Micah) Van Huss - District 6
-   Matthew Hill - District 7
-   Art Swann - District 8
-   Michael Harrison - District 9
-   Tilman Goins - District 10
-   Jeremy Faison - District 11
-   Dale Carr - District 12
-   Eddie Smith - District 13
-   Ryan Haynes - District 14
-   Bill Dunn - District 16
-   Andrew Farmer - District 17
-   Steve Hall - District 18
-   Harry Brook - District 19
-   Bob Ramsey - District 20
-   Jimmy Matlock - District 21
-   Eric Watson - District 22
-   John Forgety - District 23
-   Kevin Brooks - District 24
-   Cameron Sexton - District 25
-   Gerald McCormick - District 26
-   Richard Floyd - District 27
-   Mike Carter, District 29
-   Vince Dean - District 30
-   Ron Travis - District 31
-   Kent Calfee - District 32
-   John Ragan - District 33
-   Rick Womick - District 34
-   Dennis E. Roach - District 35
-   Dennis Powers - District 36
-   Dawn White, District 37
-   Kelly Keisling - District 38
-   David Alexander - District 39
-   Terri Lynn Weaver - District 40
-   Ryan Williams - District 42
-   Paul Sherrell - District 43
-   William Lamberth, District 44
-   Courtney Rogers - District 45
-   Mark Pody - District 46
-   Judd Matheny - District 47
-   Bryan Terry - District 48
-   Mike Sparks - District 49
-   Speaker Beth Harwell - District 56
-   Susan Lynn - District 57
-   Charles Michael Sargent - District 61
-   Pat Marsh - District 62
-   Glen Casada - District 63
-   Sheila Butt - District 64
-   Sam Whitson, District 65
-   Joshua Evans - District 66
-   Curtis Johnson - District 68
-   Michael Curcio - District 69
-   Barry Doss - District 70
-   Vance Dennis - District 71
-   Steve McDaniel - District 72
-   Jimmy Eldridge - District 73
-   Jay Reedy - District 74
-   Tim Wirgau - District 75
-   Andy Holt - District 76
-   Bill Sanderson - District 77
-   Mary Littleton - District 78
-   Curtis Halford - District 79
-   Debra Moody, District 81
-   Mark White - District 83
-   Roger Kane, District 89
-   Billy Spivey, District 92
-   Barrett Rich - District 94
-   - District 95
-   Jim Coley - District 97
-   Ron Lollar - District 99

Current structure

Here is the structure of the party as of December 2011[6]

Elected officers of the state committee

-   State Chairman
-   Vice-Chairman
-   Secretary
-   Treasurer
-   Vice-Treasurer
-   National Committeewoman
-   National Committeeman
-   General Counsel

State executive committee

The state executive committee (SEC) operates as the governing body for the state party. They establish rules and measures that best promote the success of the Republican Party and broadening of its base. The SEC serves as the TRP's state primary board and establishes to guide and direct County Republican Parties. One man and one woman are elected from each state senate district.[7]

-   33 districts
-   66 total representatives of the TRP
-   33 are male
-   33 are female

Notable Tennessee Republicans

-   Fred Thompson
-   Bill Frist
-   Don Sundquist
-   Howard Baker
-   Bill Brock
-   Winfield Dunn
-   Lamar Alexander
-   Bob Corker

Controversial comment

In 2008, the Tennessee Republican Party issued a press release that featured a photo of Senator Obama dressed in traditional Kenya clothing that the TN GOP called “Muslim attire” and used Obama's middle name “Hussein.” Both Senator John McCain and State Democratic Chairman Gray Sasser decried the press release.[8][9]

Corruption

-   In July 2009 state senator Paul Stanley resigned after being caught in a sexual relationship with a 22-year-old intern. Paul Stanley was known for running for family values.[10] Stanley resigned because he wanted to focus more on his family and better that since his indiscretions. He was quoted saying “And just because I fell far short of what God's standard was for me and my wife, doesn't mean that that standard is reduced in the least bit.”[11]
-   Keith Westmoreland a Republican Tennessee State Representative was arrested on 7 felony counts of lewd and exposing himself to girls under the age 16. He committed suicide before he could be prosecuted.[12]
-   Operation Tennessee Waltz was a statewide bribery sting, where 3 Democratic Senators and 1 Republican Representative were either convicted or plead guilty. 8 other people also either pleaded guilty or were convicted.[13]

Past elections

In 2008 the Republican won a historic victory, when the party won majorities in both houses of the Tennessee General Assembly for the first time since the reconstruction era election of 1868.[14]

Presidential elections

Like other Southern states, before 1960s Tennessee was a solid state of the Democratic Party. Since 1972 the Republican Party has won Tennessee in 7 out of 11 elections. It won Tennessee only except 1976, 1992 and 1996.

Past Republican governors

-   Edward H. East 1865
-   William G. Brownlow 1865-1869
-   Dewitt C. Senter 1869-1871
-   Alvin Hawkins 1881-1883
-   Ben W. Hooper 1911-1915
-   Alfred A. Taylor 1921-1923
-   Winfield Dunn 1971-1975
-   Lamar Alexander 1979-1987
-   Don Sundquist 1995-2003
-   Bill Haslam 2011–2019
-   Bill Lee 2019–Present

Coalitions

-   African American Development Council
-   College Republicans
-   Republican Jewish Coalition
-   Republican National Hispanic Assembly of Tennessee
-   Teenage Republicans
-   Young Republicans
-   Tennessee Federation of Republican Women

Former Chairmen

-   Thomas W. Beasley, from 1977 to 1981.[15]
-   Jim Burnett, from 1995 to 1999.
-   Chip Saltsman, from 1999 to 2001.
-   Beth Harwell, from 2001 to 2004.
-   Bob Davis, from 2005 to August 2007.[16]
-   Robin Smith, from August 4, 2007 to May 30, 2009.[17]
-   Chris Devaney, from 2009 to 2015[18]
-   Ryan Haynes, from 2015 to 2016.

[1] 1,_History of Tennessee Politics_.

[2]

[3]

[4]

[5]

[6] 2, Current Structure.

[7] 3, SEC.

[8]

[9]

[10] 4, Immorality of Tennessee state senator.

[11] 5, Paul Stanley,

[12] 6, Immorality of Tennessee state Representative.

[13] 7, Operation Tennessee Waltz.

[14] 8, Historic state election.

[15] Bill Haslam, State of Tennessee House Joint Resolution No. 248, April 21, 2011

[16]

[17]

[18]

title: Tennessee Republican Party

question: What does the text say about controversies that rocked the Tennessee Republican Party?

text: The response is missing the part about Paul Stanley.

answer: In 2008, the Tennessee Republican Party issued a controversial press release that showed a photo of then-Senator Obama dressed in traditional Kenyan clothing, which the TN GOP called "Muslim attire" and used Obama's middle name "Hussein." Senator John McCain and State Democratic Chairman Gray Sasser decried the press release. Republican State Representative Keith Westmoreland was arrested on 7 felony counts of lewd behavior, exposing himself to girls under the age of 16. He committed suicide before he could be prosecuted. Operation Tennessee Waltz, a statewide bribery sting, caught several people, including 1 Republican Representative.

text: The answer omits the controversy surrounding Paul Stanley.

text: The answer should mention Paul Stanley.

text: The answer should mention Paul Stanley's sexual relationship with a 22-year-old intern.

text: The answer omits that state senator Paul Stanley resigned after being caught in a sexual relationship with a 22-year-old intern.

text: The answer should mention Paul Stanley

text: The answer should mention Paul Stanley.

text: The answer should mention Paul Stanley

answer: In 2008, the Tennessee Republican Party issued a controversial press release that showed a photo of then-Senator Obama dressed in traditional Kenyan clothing, which the TN GOP called "Muslim attire" and used Obama's middle name "Hussein." Senator John McCain and State Democratic Chairman Gray Sasser decried the press release. In July 2009, state senator Paul Stanley resigned after being caught in a sexual relationship with a 22-year-old intern. He was known for his family values platform. Republican State Representative Keith Westmoreland was arrested on 7 felony counts of lewd behavior, exposing himself to girls under the age of 16. He committed suicide before he could be prosecuted. Operation Tennessee Waltz, a statewide bribery sting, caught several people, including 1 Republican Representative.

text: The answer should mention that the sexual relationship was with an intern.

text: The answer should mention that the party is also known for corruption.

text: The answer should mention that the press release was controversial because it was racist and xenophobic.

text: The answer omits that the sexual relationship was with an intern.

text: The answer omits that the controversy involving Paul Stanley also involved an alleged family values platform.

text: Did not meet the question.

text: Could mention that things that happened in the past could be controversial.

answer: In 2008, the Tennessee Republican Party issued a controversial press release that showed a photo of then-Senator Obama dressed in traditional Kenyan clothing, which the TN GOP called "Muslim attire" and used Obama's middle name "Hussein." Senator John McCain and State Democratic Chairman Gray Sasser decried the press release. Republican State Representative Keith Westmoreland was arrested on 7 felony counts of lewd behavior, exposing himself to girls under the age of 16. He committed suicide before he could be prosecuted. Operation Tennessee Waltz, a statewide bribery sting, caught several people, including 1 Republican Representative.

text: This should mention Paul Stanley's infidelity with an intern.

answer: In 2008, the Tennessee Republican Party issued a press release that featured a photo of Senator Obama dressed in traditional Kenya clothing that the TN GOP called "Muslim attire" and used Obama's middle name "Hussein." Both Senator John McCain and State Democratic Chairman Gray Sasser decried the press release. In July 2009, state senator Paul Stanley resigned after being caught in a sexual relationship with a 22-year-old intern. Paul Stanley was known for running for family values. Stanley resigned because he wanted to focus more on his family and better that since his indiscretions. In the same year, Keith Westmoreland, a Republican Tennessee State Representative, was arrested on 7 felony counts of lewd and exposing himself to girls under the age 16. He committed suicide before he could be prosecuted. Operation Tennessee Waltz was a statewide bribery sting, where 3 Democratic Senators and 1 Republican Representative were either convicted or plead guilty. 8 other people also either pleaded guilty or were convicted.

text: The answer should mention that the press release was controversial.

text: The answer should mention that the controversy involving Paul Stanley was about his hypocrisy.

text: The answer should mention that the controversy involving Obama was racist.

text: The answer should mention that the scandal involving Paul Stanley was controversial because he was running for family values.

text: The answer should mention that the controversy about Paul Stanley is that he was running on family values.

text: The only two uncontroversial sentences are the last two, and they are less important than the other three

answer: In 2008, the Tennessee Republican Party issued a press release that featured a photo of Senator Obama dressed in traditional Kenya clothing that the TN GOP called "Muslim attire" and used Obama's middle name "Hussein." Both Senator John McCain and State Democratic Chairman Gray Sasser decried the press release. In July 2009, state senator Paul Stanley resigned after being caught in a sexual relationship with a 22-year-old intern. Paul Stanley was known for running for family values. Stanley resigned because he wanted to focus more on his family and better that since his indiscretions. In the same year, Keith Westmoreland, a Republican Tennessee State Representative, was arrested on 7 felony counts of lewd and exposing himself to girls under the age 16. He committed suicide before he could be prosecuted. Operation Tennessee Waltz was a statewide bribery sting, where 3 Democratic Senators and 1 Republican Representative were either convicted or plead guilty. 8 other people also either pleaded guilty or were convicted.

text: The last sentence is irrelevant to the question.

answer: In 2008, the Tennessee Republican Party issued a controversial press release that showed a photo of then-Senator Obama dressed in traditional Kenyan clothing, which the TN GOP called "Muslim attire" and used Obama's middle name "Hussein." Senator John McCain and State Democratic Chairman Gray Sasser decried the press release. In July 2009, state senator Paul Stanley resigned after being caught in a sexual relationship with a 22-year-old intern. He was known for his family values platform. Republican State Representative Keith Westmoreland was arrested on 7 felony counts of lewd behavior, exposing himself to girls under the age of 16. He committed suicide before he could be prosecuted. Operation Tennessee Waltz, a statewide bribery sting, caught several people, including 1 Republican Representative.


text:
Fort Lauderdale, Florida, unlike many cities in the United States, has an official program for recognizing official neighborhoods. Under the Neighborhood Organization Recognition Program, [1] over 60 distinct neighborhoods have received official recognition from the city. An additional 25-30 neighborhoods exist without official recognition, although the city's neighborhood map displays them as well.

+-----------------+-------------------+-------------------+------------+
| -   Bal Harbour | -   Edgewood      | -   Lauderdale    | -   River  |
| -   Bay Colony  | -   Flagler       |     Isles         |     Oaks   |
| -   Bay Colony  |     Village       | -   Lauderdale    | -   River  |
|     Club        | -   Flamingo Park |     Manors        |     Run    |
| -   Bermuda     | -   Galt Ocean    | -   Lauderdale    | -   Riverl |
|     Riviera     |     Mile          |     West          | and        |
| -   Beverly     | -   Golden        | -   Laudergate    | -   Riverl |
|     Heights     |     Heights       |     Isles         | and        |
| -   Birch       | -   Harbor Beach  | -   Lofts of Palm |     Manors |
|     Park-Finger | -   Harbor Drive  |     Aire Village  | -   Riverl |
|     Streets     | -   Harbordale    | -   Melrose       | and        |
| -   Boulevard   | -   Harbour Inlet |     Manors        |     Villag |
|     Park Isles  | -   Harbour Isles | -   Melrose Park  | e          |
| -   Breakwater  | -   Hendricks and | -   Middle River  | -   Riverl |
|     Surf Club   |     Venice Isles  |     Terrace       | and        |
| -   Central     | -   Himmarshee    | -   Montego Bay   |     Woods  |
|     Beach       |     Village       | -   Navarro Isle  | -   Riverl |
| -   Chula Vista |     (Historic     | -   North Beach   | andings    |
|     Isles       |     District)     |     Island        | -   Rivers |
| -   City View   | -   Home          | -   North Golf    | ide        |
| -   Colee       |     Beautiful     |     Estates       |     Park   |
|     Hammock     |     Park          | -   Nurmi Isles   | -   Rivier |
| -   Coral Ridge | -   Idlewyld      | -   Oak River     | a          |
| -   Coral Ridge | -   Imperial      | -   Palm Aire     |     Isles  |
|     Country     |     Point         |     Village East  | -   Rock   |
|     Club        | -   Knoll Ridge   | -   Palm Aire     |     Island |
|     Estates     | -   Lake          |     Village West  | -   Sailbo |
| -   Coral Ridge |     Aire-Palm     | -   Poinciana     | at         |
|     Isles       |     View          |     Park          |     Bend   |
| -   Coral       | -   Lake Estates  | -   Poinsettia    | -   Seven  |
|     Shores      | -   Lake Ridge    |     Heights       |     Isles  |
| -   Croissant   | -   Landings      | -   Port Royale   | -   Shady  |
|     Park        | -   Las Olas      | -   Progresso     |     Banks  |
| -   Dillard     |     Isles         |     Village       | -   South  |
|     Park        | -   Lauderdale    | -   Rio Vista     |     (Laude |
| -   Dolphin     |     Beach         | -   River         | rdale)     |
|     Isles       | -   Lauderdale    |     Garden/Sweeti |     Beach  |
| -   Dorsey      |     Harbours      | ng                | -   South  |
|     Riverbend   |                   |     Estates       |     Middle |
| -   Downtown    |                   |                   |     River  |
|     Fort        |                   |                   | -   Sunris |
|     Lauderdale  |                   |                   | e          |
| -   Durrs       |                   |                   |     Intrac |
|                 |                   |                   | oastal     |
|                 |                   |                   | -   Sunris |
|                 |                   |                   | e          |
|                 |                   |                   |     Key    |
|                 |                   |                   | -   Sunset |
|                 |                   |                   | -   Tarpon |
|                 |                   |                   |     River  |
|                 |                   |                   | -   Tropic |
|                 |                   |                   | al         |
|                 |                   |                   |     Point  |
|                 |                   |                   | -   Twin   |
|                 |                   |                   |     Lakes  |
|                 |                   |                   |     North  |
|                 |                   |                   | -   Victor |
|                 |                   |                   | ia         |
|                 |                   |                   |     Park   |
+-----------------+-------------------+-------------------+------------+

[1]

title: List of neighborhoods in Fort Lauderdale, Florida

question: How many neighborhoods exist in Fort Lauderdale?

text: The answer incorrectly mentions that there are officially 50 neighborhoods in Fort Lauderdale, however there are actually 60, officially.

answer: Under the Neighborhood Organization Recognition Program, 50 neighborhoods have officially been recognized. However, an additional 25-30 neighborhoods exist unofficially. The city's neighborhood map displays them all.

text: 60 neighborhoods are officially recognized.

text: The final sentence is unnecessary and should be omitted.

answer: 85

text: The answer could be phrased as a complete sentence.

text: The answer should clarify that 85 neighborhoods are recognized by the city.

text: The answer should clarify that the question is asking how many neighborhoods are recognized by the program, not how many exist.

text: The answer does not mention official neighborhoods.

text: The answer is incorrect. There are 60 recognized neighborhoods and 25 to 30 that have not yet been recognized.

answer: Under the Neighborhood Organization Recognition Program, 60 neighborhoods have officially been recognized. However, an additional 25-30 neighborhoods exist unofficially. The city's neighborhood map displays them all.

text: The answer should be 85-90 neighborhoods.

text: The answer should state that there are 85-90 neighborhoods in total.

text: The answer should state that the number of neighborhoods in Fort Lauderdale is 85-90.

text: The answer could be clearer in its pronoun use.

text: The answer should mention the total number of neighborhoods, not just the recognized ones.

text: Ranges are hard to use.

text: The last sentence is irrelevant.

answer: 85

text: The number is not entirely accurate.

answer: Under the Neighborhood Organization Recognition Program, 60 neighborhoods have officially been recognized. However, an additional 25-30 neighborhoods exist unofficially. The city's neighborhood map displays them all.


source_id: MHzLLAdEsTWHlpSHDxVpruZArzhmVH

text:
ANDREW TIMOTHY BIRKIN (born 9 December 1945) is an English screenwriter, director and occasional actor. He was born the only son of Lieutenant-Commander David Birkin and his wife, actress Judy Campbell. One of his sisters is the actress and singer Jane Birkin.

Work

Birkin was educated at Elstree School and Harrow School. At the former he was remembered by a teacher as being “one of the naughtiest boys ever to have passed through Elstree”[1] and his record at Harrow was no better. He left school at the age of 17 to work as a mail boy at 20th Century Fox's London office, graduating to Elstree Studios as a production runner in 1963 on _Man in the Middle_ and _The Third Secret_. After hitch-hiking and freight-jumping across America in 1964, he returned to England in 1965 and began work as a runner on Stanley Kubrick's _2001: A Space Odyssey_, but soon became Kubrick's location scout.[2] By the summer of 1966, Kubrick had promoted Birkin to Assistant Director on Special Effects;[3] Birkin later proposed the shooting and colour transposition of aerial footage for the 'Jupiter and Beyond the Infinite' sequence. Kubrick dispatched him to Scotland with cameraman Jack Atcheler and a 65mm Panaflex camera bolted to the floor of an Alouette helicopter; but Atcheler soon quit the enterprise, deeming Birkin to be reckless. Birkin continued alone and shot most of the resulting footage himself.[4][5][6] In 1967 Birkin supervised the shooting of 'The Dawn of Man' front projection plates in the Namib Desert.[7][8][9]

After working as First Assistant Director to the Beatles on _Magical Mystery Tour_ in 1967, Birkin served as Location Manager on _Play Dirty_ in Spain before again working for Stanley Kubrick, this time as his assistant director and location scout on his unmade epic of Napoleon.[10][11][12] Following second unit directing work on _Melody_, Birkin began writing scripts for producer David Puttnam, including _The Pied Piper_ (1971) for director Jacques Demy,[13] _Slade In Flame_ (1974) for the rock band Slade (which won the Vision Award at the 2007 MOJO Awards, and was described as the “Citizen Kane of rock musicals” by BBC film critic Mark Kermode [14]), and an unmade adaptation of Albert Speer's _Inside the Third Reich_ for Puttnam and Paramount, which involved a year's collaboration and taped interviews with Speer in 1972.[15][16]

Having worked on an adaptation of _Peter Pan_ for NBC in 1975, Birkin conceived and wrote _The Lost Boys_ (1978), a 3-part mini-series for the BBC about Peter Pan's creator J.M. Barrie, which won him writing awards from the Writers Guild of Great Britain and the Royal Television Society. The critic Sean Day-Lewis wrote in the _Daily Telegraph_, 'I doubt if biography has ever been better televised than in this sensitive and beautifully crafted masterpiece, and I am quite sure such excellence is beyond any other television service in the world.'[17] The BBC's Director-General Sir Ian Trethowan called it 'a landmark in television drama'.[18] Birkin has also written a biographical account of Barrie's relationship with the Llewelyn Davies family, _J. M. Barrie and the Lost Boys_ (1979; 2nd edition 2003), described by _The Oxford Companion to Children's Literature_ as 'the most candid and perceptive biography to have been written of Barrie'.[19] Birkin also hosts Barrie's official website on behalf of the Great Ormond Street Hospital, to whom he donated his Barrie/Llewelyn Davies/Peter Pan archive in 2004.[20]

In 1980, Birkin won a BAFTA award and an Academy Award nomination for his short film _Sredni Vashtar_, based on the short story by Saki, which he wrote, produced and directed for 20th Century Fox. In 1984 he wrote the shooting script for _The Name of the Rose_ (in which he also had a small acting role), and in 1988 he wrote and directed _Burning Secret_, based on the novel by Stefan Zweig, which won two awards at the 1989 Venice Film Festival, as well as the Young Jury prize for Best Film at the Brussels Film Festival. In 1993, Birkin wrote and directed _The Cement Garden_, based on the novel by Ian McEwan, for which he won the Silver Bear for Best Director at the Berlin Film Festival,[21] as well as Best Film at several film festivals, including Dinard, Fort Lauderdale, and Birmingham.[22] In 1998 he collaborated with Luc Besson on the script of _The Messenger: The Story of Joan of Arc_, and in 2004 co-wrote the screenplay for _Perfume: The Story of a Murderer_.

In 2013, Taschen published a selection of his photographs and an autobiographical essay in _Jane & Serge: A Family Album_. In 2017 he wrote an adaptation of Peter Pan for Radio France.

Private life

Birkin has four sons and a daughter. David Birkin (born 1977), artist and photographer, is his eldest son, followed by Anno Birkin (1980–2001), poet and musician, and Ned Birkin (born 1985), whom Birkin directed in _The Cement Garden_. He is married to artist Karen Birkin, with whom he has a daughter, Emily Jane (born December 2008) and a son, Thomas Bernie (born April 2011). Two of his nieces are actresses: Charlotte Gainsbourg, who also appeared in _The Cement Garden_, and Lou Doillon.

He lives on the Llŷn Peninsula in North Wales.

Birkin is a trustee of the children's arts charity Anno's Africa.

Filmography

-   _The Pied Piper_ (writer)
-   _Slade in Flame_ (writer, Mojo Vision Award winner, 2007)
-   _Peter Pan_ (1976 musical) (co-writer)
-   _ The Thief of Baghdad_ (1978) (writer)
-   _The Lost Boys_ (writer, won Royal Television Society Award for Best Writer, Writers Guild of Great Britain Award)
-   _Omen III: The Final Conflict_ (writer, associate producer)
-   _Sredni Vashtar_ (writer, producer, director, winner of BAFTA Award for Best Short Film, 1981; nominated for an Academy Award for Best Short Film, Live Action)
-   _King David_ (co-writer)
-   _The Name of the Rose_ (co-writer)
-   _Burning Secret_ (writer, director; winner of Young Jury Prize, Brussels Film Festival, 1989)
-   _Salt on Our Skin_ (co-writer with Bridget Gilbert; director)
-   _The Cement Garden_ (writer, director; winner of Silver Berlin Bear for Best Director, 1992; nominated for Golden Berlin Bear; winner of the Golden Hitchcock at the Dinard Festival of British Cinema; nominated for Best Film at Mystfest)
-   _The Messenger: The Story of Joan of Arc_ (co-writer with Luc Besson)
-   _Perfume: The Story of a Murderer_ (co-writer)

Books

-   Author, _J. M. Barrie and the Lost Boys_ (Constable, 1979; Revised Edition: Yale University Press, 2003)
-   Author, _Jane & Serge: A Family Album_ (Taschen, 2013)

[1]

[2] Dan Richter, _Moonwatcher's Memoir: A Diary of 2001: A Space of Odyssey_ (2002)

[3] *

[4] Michel Ciment, _Kubrick_ (1999)

[5] Rolf Thissen, _Stanley Kubrick: Der Regisseur als Architekt_ (1999)

[6] Michael Benson, _Space Odyssey_ (2018)

[7]

[8]

[9] John Baxter, _Stanley Kubrick: A Biography_ (1997)

[10]

[11] John Baxter, _Stanley Kubrick: A Biography_ (1997)

[12] Deutsches Filmmuseum (Ed.): _Stanley Kubrick_ (2004)

[13] Andrew Yule, _Fast Fade: David Puttnam, Columbia Pictures, and the Battle For Hollywood_ (1989)

[14] Mark Kermode (31 August 2012). “Blogs – Kermode Uncut – Film Club – Slade in Flame”

[15]

[16] James Park, _Learning to Dream: The New British Cinema_, 1984

[17] _The Daily Telegraph_, 30 October 1978

[18] _The Guardian_, 6 November 1978

[19] Humphrey Carpenter & Mari Prichard, _The Oxford Companion to Children's Literature_, 1984

[20] Sotheby's Catalogue, _English Literature, including the Archive of J. M. Barrie and The Lost Boys_, 16 December 2004

[21]

[22] _Time Out_, 20–27 October 1993

title: Andrew Birkin

question: What does the text say about Andrew Timothy Birkin's character?

text: Birkin is described as reckless but the text does not support that moved into a silver bus, which is confusing as well as incorrect.

answer: Andrew Timothy Birkin was born to an actress, Judy Campbell, and a Lieutenant-Commander, David Birkin. His older sister is the actress and singer Jane Birkin. Birkin was educated at Elstree School and Harrow School. At the former, he was remembered as one of the naughtiest boys ever to have passed through Elstree. The text states that Birkin is a reckless person who loves to travel.

text: The text doesn't say anything about Birkin's character.

text: The response includes extraneous information not useful for the task.

text: The text doesn't say Birkin loves to travel. It just says he hitch-hiked and freight-jumped across America.

text: It is not stated that Birkin is a reckless person who loves to travel.

text: "His older sister is the actress and singer Jane Birkin." - this is irrelevant and should be removed.

text: It is Birkin's teacher, not his colleagues, who pointed to his mischievous nature.

answer: When he was young, he was described as extremely naughty. As an adult, Birkin is described as reckless before he moved into a silver bus. Many esteem Birkin for his creative capacity. Birkin may be generous, as he is a trustee of a children's arts charity.

text: The response misconstrues certain details of the text.

answer: When he was young, he was described as extremely naughty. As an adult, Birkin is described as reckless. Many esteem Birkin for his creative capacity. Birkin may be generous, as he is a trustee of a children's arts charity.

text: It is not stated that Birkin is reckless as an adult.

text: There is no mention of people esteeming Birkin's creative capacity. This should be omitted.

text: The claim that Birkin was described as reckless is unattested.

text: The answer should mention the awards he's won.

text: "Many esteem Birkin for his creative capacity," is not in reference to Birkin's character. It should be replaced with other evidence of his character.

answer: When he was young, he was described as extremely naughty. As an adult, Birkin is described as reckless. Many esteem Birkin for his creative capacity. Birkin may be generous, as he is a trustee of a children's arts charity.

answer: When he was young, he was described as extremely naughty. As an adult, Birkin is described as reckless before he moved into a silver bus. Many esteem Birkin for his creative capacity. Birkin may be generous, as he is a trustee of a children's arts charity.

text: The answer is not accurate.

text: The answer is made up.

text: The answer should mention that Birkin is also an occasional actor.

text: The text doesn't say anything about Birkin moving into a silver bus.

text: The last sentence is not relevant.

text: The response contains inaccurate information.

text: There is no evidence to suggest that Birkin moved into a silver bus.

text: The text doesn't mention that Birkin owns a silver bus.

text: The last sentence is not relevant.

text: Birkin's creative capacity was not discussed in the text.

answer: Andrew Timothy Birkin was born to an actress, Judy Campbell, and a Lieutenant-Commander, David Birkin. His older sister is the actress and singer Jane Birkin. Birkin was educated at Elstree School and Harrow School. At the former, he was remembered as one of the naughtiest boys ever to have passed through Elstree. The text states that Birkin is a reckless person who loves to travel.

text: The earlier part of the response has nothing to do with the question.


text:
The '''Class 450 ''' was a type of diesel multiple unit (DMU) formerly used by Northern Ireland Railways. They were affectionately nicknamed 'Thumpers' and 'Castles' (also known as the Castle Class) by rail enthusiasts.

History

[451 passing in 1986] [458 at Hilden] In the mid 1980s, Northern Ireland Railways was in the process of upgrading its rolling stock. Having already purchased three new locomotives, it then proceeded to purchase replacements for its Class 70 diesel multiple units. A total of nine three car trains were constructed by British Rail Engineering Limited between 1985 and 1987 intended to supplement the existing Class 80 DMUs then in service. The trains were constructed using underframes of existing Mark 1 coaching stock, altered to and new Mark 3 bodyshells. Because of this, they bore a strong resemblance to the British Rail Class 150, British Rail Class 210, British Rail Class 317, British Rail Class 318 and British Rail Class 455, as they use Mark 3 bodyshells. These were combined with refurbished power units and traction motors from the withdrawn Class 70 units (there were only eight Class 70 units available to be salvaged, so the equipment for the ninth train came from a withdrawn Class 80 train, powercar 88 that was damaged at a collision at Hilden.)

The power cars of the Class 450 units were named after various Northern Irish castles.[1] They entered service in a cream, orange, and red livery.

On Thursday 9 March 1995, a 450 Class train was used to form a royal train when Queen Elizabeth II officially opened the Dargan Bridge, composed of two cars from 455 coupled to two cars from 459.

The Class 450 operated on the same principle as the prototype Class 210 DMUs on the British network, in that they consisted of a single power car containing the traction and generating equipment (numbered 45x), an intermediate trailer car (numbered 79x) and a driving trailer (numbered 78x) as permanently formed 3 car sets. An additional “8” was added to the start of all the cars so that they could be used by Translink's computer system.

In 2005, the entire fleet underwent an extensive refurbishment to bring them up to a similar standard to the newly introduced Class 3000 units, enabling them to remain in service for at least another 5 to 7 years.[2] This took them up to the point where they became “life-expired.”[3]

In 2011, the entire Class 450 fleet, together with the remaining Class 80 units, was listed by NI Railways for disposal.[4]

Current status

The entire Class 450 fleet was withdrawn from service in 2012, following the arrival of enough Class 4000 units to displace the 450 units serving the Larne Line and Portrush branch. Eight out of the nine units have been cut up for scrap. The sole remaining example has been purchased for preservation by the Downpatrick and County Down Railway.

  Key:   bgcolor=lightgrey |Scrapped   bgcolor=lightskyblue |Preserved
  ------ ----------------------------- ---------------------------------

  Number   Power Car Name           Intermediate Number   Driving Trailer Number   Status      Notes
  -------- ------------------------ --------------------- ------------------------ ----------- ----------------------------------------------------------------------------------------------------------------------------------
  451      _Belfast Castle_         791                   781                      Scrapped    Cut up at York Road. Scrapped in Ahoghill, Sunday 29 April 2012.
  452      _Olderfleet Castle_      792                   782                      Scrapped    Cut up at York Road. scrapped in Ahoghill, Sunday 22 April 2012.
  453      _Moiry Castle_           793                   783                      Scrapped    Cut up at Adelaide Depot. Scrapped at Ahoghill, Tuesday 21 May 2013.
  454      _Carrickfergus Castle_   794                   784                      Scrapped    Cut up at Adelaide Depot. Scrapped at Ahoghill, Monday 13 May 2013.
  455      _Galgorm Castle_         795                   785                      Scrapped    Cut at Ballymena and scrapped at Ahoghill, Tuesday 31 Jan - Wednesday 1 February 2017.
  456      _Gosford Castle_         796                   786                      Scrapped    Cut up and scrapped in Ballymena, Wednesday 1 May 2013.
  457      _Bangor Castle_          797                   787                      Scrapped    Cut up at Adelaide Depot. Scrapped at Ahoghill, Monday 20 May 2013.
  458      _Antrim Castle_          798                   788                      Preserved   Moved from York road depot on the 27th and 28th of September 2014 and is now preserved at the Downpatrick & County Down Railway.
  459      _Killyleagh Castle_      799                   789                      Scrapped    Cut up at Adelaide Depot. Scrapped at Ahoghill, Wednesday 15 May 2013.

Withdrawal Timeline

[450's at Adelaide|thumb|453 & 457 At Adelaide prior to scrapping]

  Date                Event
  ------------------- -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------
  September 2011      Units 451 and 452 withdrawn with camshaft failure.
  22 January 2012     Units 453 and 457 withdrawn and moved to Bangor centre siding. Units 454 and 459 withdrawn and moved to parcels siding.
  18 February 2012    Unit 455 worked a MRSI farewell tour for the 450 Class, visiting areas such as and .
  2 March 2012        Unit 458 works the last 450 Class passenger service with the 18:45 service from to .
  30 March 2012       Units 455 and 456 moved to railway yard, Unit 458 moved to parcels siding. All three units remained in stock in case of an emergency requirement, but were not called upon.
  22 April 2012       452 Cut up at York Road and later scrapped at Ahoghill.
  29 April 2012       451 Cut up at York Road and later scrapped at Ahoghill.
  1 July 2012         All Class 450 units officially withdrawn from stock.
  3 February 2013     Unit 458 moved from Belfast Central parcel siding to York Road
  May 2013            Unit 456 Scrapped at Ballymena
  12 May 2013         Units 454 and 459 moved from Belfast Central parcel siding to Adelaide Depot, and scrapped a few days later
  19 May 2013         Units 453 and 457 moved from Bangor to Adelaide Depot, and scrapped a few days later
  27 September 2014   458's Driving Trailer moved by road from York Road depot, Belfast, to the Downpatrick & County Down Railway
  28 September 2014   458's Intermediate and Power Car moved by road from York Road depot, Belfast, to the Downpatrick & County Down Railway
  31 January 2017     455's Driving Trailer and Intermediate scrapped at Ballymena.
  1 February 2017     455's Power Car scrapped at Ballymena.

Operations

[Class 450 unit at in 2009] Originally they operated on suburban services on the Larne and Bangor Lines, occasionally serving the Newry Line as well, with occasional appearances on the Derry line.

With the arrival of the Class 3000 trains in 2003, the 450s still had to be retained, as the 3000s were only a like-for-like replacement of the old Class 80 units. By the year of their withdrawal, the Class 450 units had mostly been relegated to weekday services on the Larne Line and the Portrush Line shuttle, however at weekends there were enough Class 3000 trains to operate these services.

The gradual entry into service of the Class 4000 trains in 2012 saw the Class 450 units each displaced by a new Class 4000 unit as one became available, until they were all finally withdrawn.

Fleet details

  Class       Operator                    No. Built   Year Built   Cars per Set   Unit nos.
  ----------- --------------------------- ----------- ------------ -------------- -----------
  CLASS 450   Northern Ireland Railways   9           1985-1987    3              451 – 459

In Preservation

One example of the class has been preserved, by the Downpatrick & County Down Railway. Unit 458 _Antrim Castle_ was moved by road from York Road Depot, Belfast, over the weekend of 27–28 September 2014. During a two-day operation, the set was split into Driving Trailer, Intermediate and Power Car at Belfast and then, one-by-one, the carriages were taken by lorry to Downpatrick where they were reassembled. The Driving Trailer arrived on 27 September 2014, with the Intermediate and Power Car arriving the following day. The complete 458 successfully ran under its own power on 11 October 2014, and one week later on 18 October 2014, made a surprise appearance at the Irish Traction Group's Diesel Gala—the first time the unit had carried passengers since withdrawal by NIR in 2012.

The DCDR stated that it planned to convert 458 into a standby buffet train.

File:Downpatrick 5.jpg File:458 At Downpatrick.JPG

Gallery

File:A diesel train approaching - geograph.org.uk - 350751.jpg File:Arrival at Larne Town station - geograph.org.uk - 2678520.jpg File:Whitehead station (3) - geograph.org.uk - 1044019.jpg File:Gt Victoria Street station, Belfast (4) - geograph.org.uk - 1177927.jpg File:Dhu Varren station (3) - geograph.org.uk - 785598.jpg File:Whitehead station at twilight (2) - geograph.org.uk - 1037043.jpg

[1] Irish Railway Record Society - Northern Ireland Railways

[2] Translink - New Central Corridor

[3] Northern Ireland Railways Strategic Review - Final Report

[4] Rail Vehicles for Disposal - Translink

title: NIR Class 450

question: Summarize the history behind the manufacturing of the "Class 450" units of the Nothern Ireland Railways.

text: There is no mention of Class 270 in the passage.

answer: The "Class 250" units were an upgrade and replacements for the Class 80 DMU diesel units. A total of nine three-car trains were constructed between 1985 and 1987 using the underframes of the existing Mark 1 stock which was altered to the new Mark 3 bodyshells. Because of these modifications, the Class 450 bore a strong resemblance to the British Rail Class 150, Class 210, Class 317, Class 318, and Class 455 as they all use Mark 3 bodyshells. The Class 450 were then named after various Northern Irish castles.

text: The response inaccurately mentions the Class 250, however the passage mentions the Class 450.

text: The response inaccurately mentions the Class 250 units, however the passage mentions the Class 450 units.

text: The response is missing the part about the refurbishment of the Class 450 units.

text: The answer should mention the refurbishment in 2005.

text: The first sentence is inaccurate. The Class 450 was an upgrade for the Class 70 DMU units.

text: The response incorrectly spells the name of the class as "250" instead of "450".

text: Mention the refurbishment

text: Mention the refurbishment

text: The summary should mention that the 450s were made by Northern Ireland Railways in the 1980s.

answer: The "Class 250" units were an upgrade and replacements for the Class 80 DMU units. A total of nine three-car trains were constructed by the British Rail Engineering Limited between 1985 and 1987 using the underframes of the existing Mark 1 stock which was altered to the new Mark 3 bodyshells. Because of these modifications, Class 450 bore a strong resemblance to the British Rail Class 150, Class 270, Class 317, Class 318, and Class 455 as they all use Mark 3 bodyshells. The Class 450 were then named after various Northern Irish castles.

text: The answer should mention the fact that the units were used for the royal train in 1995

text: The third word of the answer is incorrect and should read 450

text: The answer should include information about the disposal of the units

answer: The Class 450 units were manufactured by British Rail Engineering Limited between 1985 and 1987. They were constructed using underframes of existing Mark 1 coaching stock, altered to and new Mark 3 bodyshells. The power cars of the Class 450 units were named after various Northern Irish castles. They entered service in a cream, orange, and red livery.

text: The last sentence is not relevant to the question.

text: The answer should mention the refurbishment.

text: The answer should mention the refurbishment of the units in 2005.

text: The last sentence is unnecessary.

text: The answer omits the refurbishment of the units in 2005.

text: The last two sentences are not relevant to the question.

text: " altered to and new Mark 3 bodyshells." - bodyshells should be replaced with body shells.

text: Doesn't describe the decision to build them or what they were doing before then.

answer: The Class 450 units were manufactured by British Rail Engineering Limited between 1985 and 1987. They were constructed using underframes of existing Mark 1 coaching stock, altered to and new Mark 3 bodyshells. The power cars of the Class 450 units were named after various Northern Irish castles. They entered service in a cream, orange, and red livery.

answer: The "Class 250" units were an upgrade and replacements for the Class 80 DMU units. A total of nine three-car trains were constructed by the British Rail Engineering Limited between 1985 and 1987 using the underframes of the existing Mark 1 stock which was altered to the new Mark 3 bodyshells. Because of these modifications, Class 450 bore a strong resemblance to the British Rail Class 150, Class 270, Class 317, Class 318, and Class 455 as they all use Mark 3 bodyshells. The Class 450 were then named after various Northern Irish castles.

text: The response contains inaccurate information.

text: The response inaccurately mentions the Class 250, however the text mentions the Class 450.

text: The answer is wrong about the Class 450 being an upgrade for the Class 80 DMU units.

text: The answer misstates the class of the trains the 450s replaced.

text: The first sentence is false and should be revised.

text: The first sentence is inaccurate. The units were intended as replacements for the Class 70 DMU units.

text: The mention of "Class 250" in the first sentence is wrong. It should be "class 450".

text: The resemblance of the Clas 450 trains includes Class 210, not Class 270.

text: The answer should mention that the Class 450 units were removed from service in the early noughts.

answer: The "Class 250" units were an upgrade and replacements for the Class 80 DMU diesel units. A total of nine three-car trains were constructed between 1985 and 1987 using the underframes of the existing Mark 1 stock which was altered to the new Mark 3 bodyshells. Because of these modifications, the Class 450 bore a strong resemblance to the British Rail Class 150, Class 210, Class 317, Class 318, and Class 455 as they all use Mark 3 bodyshells. The Class 450 were then named after various Northern Irish castles.

text: replace 'Class 250' with 'Class 450'

text: It is omitted that in 2005, the entire fleet underwent an extensive refurbishment to bring them up to a similar standard to the newly introduced Class 3000 units, enabling them to remain in service for at least another 5 to 7 years.


text:
Q: WHAT'S THE BIG DEAL WITH _USAGI YOJIMBO_, ANYWAY? - _@cwidtz_

A: If you're not already familiar with _Usagi Yojimbo_, I can see why it might be a hard sell. On paper, it just sounds weird. I mean, it's a long-running samurai story where all the characters are cute furry animals, and that's just the start of things. It's exhaustively researched and set in feudal Japan, frequently using actual historical events as the centerpieces of its stories, but also ghosts and magic are completely real, it's cartoonish and frequently very funny with great buddy comedy bits and a ton of slapstick humor, but it's also very serious and violent, with the highest on-panel body count of any comic I read, and everyone who really loves it won't shut up about how great the word balloons are when people die. Even if you're willing to believe that it's very good, there's a lot there that sounds like it'd be hard to get into.

But since you asked, here's the big deal with _Usagi Yojimbo_: Stan Sakai's been doing this comic for over thirty years, and he hasn't done a bad issue yet.

In a weird way, I think that actually works against it, at least as far as getting the word out goes. The way people talk about comics --- and all media, really --- tends to be based around peaks and valleys. The stuff that gets press is either really bad or really good, and both of those are relative states, especially in comics where there are multiple teams working with the same character and setting. To go back to my favorite example, it's a whole lot easier to say that _this_ Batman story is better than _that_ Batman story and talk about which one works better, because there are always differences that make each one stand out. Even a long run by a single creative team tends to have its ups and downs.

With _Usagi_, there's a consistency that I don't think you'll find in anyone else's work, and that makes it hard to talk about. The first time you read an issue, the level of craftsmanship that's on display and how instantly engaging the characters are, and how accessible it is despite building on _decades_ of intricately plotted continuity is mind-blowing and it's all you want to talk about. Around that fourth issue, though, when it's still on that level, you've kind of run out of things to say. I used to joke that I could write one glowing, 10 out of 10, five-star review praising _Usagi_ and just copy and paste it every time a new issue came out. Saying that something hit a plateau has a negative connotation, but it's really the only way to describe it --- it's just that the plateau _Usagi_'s on is up above everyone else's peaks.

I think that's why so many people always go to _Grasscutter_.

Whenever anyone talks about the series, _Grasscutter_ is the one that gets brought up. It's _the_ Usagi story, the Eisner winner, the if-you-only-read-one comic that's always recommended as a starting point for new readers --- which is pretty weird when you consider that it's volume _twelve --_- and it's easy to see why.

It's everything that makes _Usagi Yojimbo_ great all happening at once: The perfect blend of history and mythology, the balance between action and comedy, political intrigue and the supernatural, and virtually every major character introduced in the series up to that point has a huge part to play. Plus, I'm not gonna lie, the way that it's structured is perfect for appealing to the pretentious side of the Comics Are Serious Literature crowd. I mean, this thing has _four prologues_, going into everything from the Shinto creation story to the establishment of the Shogunate in the 12th century, just to get things in place before the actual story begins. It's an epic in the purest sense of the word, spanning centuries of real history and building on ten years of Sakai's own world-building. And it's _great_.

To start with, we have our characters. In the lead, of course, is Miyamoto Usagi, the _ronin_ (masterless samurai) who became a wanderer after his lord died at the Battle of Adachigahara Plain. He's a character defined by honor and loyalty almost to a fault, and he's marked by kindness to others as much as his skill with a sword. Seriously, that ridiculously high body count I mentioned above? Most of it comes from the fact that Usagi can't walk from one village to another without being set upon by five or six bandits who are very, _very_ bad at picking their targets.

Joining him are two frequent costars: Gen, a hard-drinking rhinocerous bounty hunter inspired by Toshiro Mifune's character from _Yojimbo_, and Tomoe, a friend and occasional love interest of Usagi based loosely on Tomoe Gozen, a real-life female samurai from the 12th century. She serves as the vassal for Lord Noriyuki, a young but wise panda who became lord of a province as a child when his father died. In addition to _them_, there's Sanshobo, a former samurai who became a priest, and Ikeda, a general and rival to Noriyuki's father who became a farmer after a failed coup and was presumed dead.

And then there's Jei.

Jei, the Blade of the Gods, is without question one of the best villains in comics. He's essentially a slasher movie villain dropped into a samurai saga --- if you're being formal, you'd address him as _Jei-san_, a pun that took me actual years to get --- who wanders around killing everyone that he deems to be evil, tearing out their souls with his consecrated black blade. And, as you might have guessed, _everyone_ is evil, with the exception of Keiko, an innocent young girl who travels with him.

Those are the major players, but the story also involves a clan of cat ninja, a deadly swordswoman named Inazuma, a conspiracy of eight lords who want to overthrow the shogun and reinstate the emperor, their leader Kotetsu, the witch that he hired to find the Grasscutter sword, her familiar, and a few other characters besides.

If that sounds like a lot, well, it's like I said: _Grasscutter_ is a story that ties together a decade's worth of characters and plots into a single story that revolves around one of the greatest treasures in Japanese history, full of unrelated threads that intersect, and massive battles for the fate of a country.

And the battles _are_ massive --- one of Sakai's greatest tricks as a storyteller is how deceptive his style is, how it's so intricate but looks so simple and effortless as you're reading. The entire series is built around the visual gag of an anthropomorphic rabbit with his ears tied up to look like a samurai's topknot, and the book's full of little skulls that pop up whenever someone dies, so that even the most dead serious fight scenes have this whimsical, fantastic quality to them. You get used to how cartoonish it is, and then suddenly you're reading about a war between two full-on armies, full of historically accurate detail and dozens of characters fighting each other.

That _Grasscutter_ ties all of that stuff together at all is a pretty monumental achievement, and that it does it as perfectly as it does makes it a great comic, but what really sticks out about it is that it does it in a way that's welcoming and accessible for new readers.

I've written before about creators who play the long game with how they build stories, laying groundwork and setting up long-term payoffs. It's something that a lot of my favorite runs have in common, like Simonson's _Thor_, Ostrander, Yale and McDonnell's _Suicide Squad_, Giffen, DeMatteis and Maguire's _Justice League_, even more recent stuff like Snyder and Capullo's _Batman_ or Waid and Samnee's _Daredevil_. They're arranged so intricately and build on each story, adding complexity and rewarding readers by laying out threads that tie up months or years down the line.

_Grasscutter_ does that on a pretty massive scale, but the trick is that it does it so well that it seems simple and easy to get into even if this is the first time you've encountered these characters. Characters' traits come through so vividly, and everyone's role in the story is so well defined that it's engaging on every level. It fits together like clockwork.

Here's the big trick, though: _Grasscutter_ is not unique. It might be a high point, sure, but it's not the only one, and it's not _that_ much higher than the rest of the run. The _entire series_ is that good.

Just look at _Daisho_, the story that comes a year or two before _Grasscutter_. For my money, it's every bit as good, although it's certainly not as complex. It's actually a very simple premise, a story about the cruel leader of a gang of bandits who steals Usagi's swords and, and how Usagi goes about getting them back in a brutal and deadly display of skill. At its heart, it's a story about how important a samurai's weapons are to his honor, and it plays out almost exactly as you'd expect. It's something that almost feels standard-issue, a by-the-numbers revenge story where the irredeemably evil bandits get what's coming to them.

A lot of _Usagi_ stories have that quality, especially the ones that come between longer arcs. So many of them are based on folktales or fables, short ghost stories or murder mysteries that our hero wanders into on his journey. Sakai has so much skill as a storyteller, though, that they never feel disposable, like he's padding things out until the next "important" story rolls around. The simplicity doesn't make them feel standard, it makes them feel accessible --- they're _always_ engaging, and they always feel like they're building on a foundation of solid character work and a setting that feels alive in a way few other comics ever manage.

There's an issue in _Seasons_, for instance --- the volume of shorter stories that comes directly before _Grasscutter_ --- built around Usagi meeting and dueling a samurai who has a grudge to settle against the man (or lion, in this case) who taught Usagi his unique sword style. In the span of a single issue, they go from allies to rivals, and at the end of it, he beats Usagi in a duel and tells him to pass the challenge onto his old master. Again, it's a standard-issue samurai premise; there's nothing more basic and mandatory than the challenge-to-the-master-of-a-fighting-style plot, right? But not only is it done with an incredibly engaging amount of skill, it's something that hangs in the background of the story for years, through _Grasscutter_, until it finally comes back forty issues later in _Duel at Kitanoji_.

It's a perfect illustration of the balance that Sakai strikes in this comic between accessibility and long-term planning. It's entirely possible to read _Duel at Kitanoji_, or _Grasscutter_, or _Daisho_, or any of the issues in _Seasons,_ without starting at the beginning and working your way straight through them --- the only one that really requires prior knowledge is _Grasscutter II_, and that one warns you what's up right in the title.

Sakai even has a habit of explaining in footnotes that _ronin_ means "masterless samurai" in almost every story, and in addition to being one of the book's most likable quirks, it's also a pretty strong indication of how he expects readers to be able to jump in at any time.

But then, why would you? There's no bad story to skip, no tedious setup to get through when you can jump right to the good stuff. It's _all_ the good stuff, and the only real reason not to just start at the beginning and work your way through it has nothing to do with the comic itself. Instead, it's just a function of the publication history --- the first 8 volumes are published by Fantagraphics and the rest are from Dark Horse, which means that it's rarely all in print at the same time. Still, it's entirely possible to just start at vol. 9, _Daisho,_ and keep going from there.

I don't think I'm exaggerating at all when I say that Stan Sakai is arguably the greatest living comic book creator in the world, and _Usagi Yojimbo_ is a thirty-year masterpiece that has a consistency and craftsmanship that other comics only touch when they're at their peak. It's so good in every way that the people who love it rarely even bother to explain why anymore --- if we're not talking about it _all the time_, it's only because its greatness has been such a permanent part of comics that we're taking it as a given.

And really, that's a pretty big deal.

_Ask Chris art by Erica Henderson. _If you’ve got a question you’d like to see Chris tackle in a future column, just send it to @theisb on Twitter with the hashtag #AskChris.__

question: What anthropomorphic animal is the main character?

text: The main character is clearly a rabbit

answer: The main character is an anthropomorphic rabbit with his ears tied up to look like a samurai's topknot.

text: The answer could be more specific.

text: The answer should be a complete sentence.

text: The answer could be phrased as a complete sentence.

text: The answer should mention the name of the character.

text: The main character is a samurai rabbit named Miyamoto Usagi.

text: Usagi Yojimbo is the name of the main character. The answer should reflect this.

text: Capitalize the main character's name, Usagi.

answer: A rabbit.

answer: A rabbit.

text: Technically, the main character is a rabbit samurai, not just a rabbit.

text: The answer should include the main character's name.

text: Usagi Yojimbo is a rabbit, but Miyamoto Usagi is the main character.

answer: The main character is an anthropomorphic rabbit with his ears tied up to look like a samurai's topknot.

answer: The main character is an anthropomorphic bear

text: The main character is a rabbit.

text: The main character is not an anthropomorphic bear.

text: Usagi is a rabbit

text: The main character is a rabbit

text: Usagi Yojimbo is a samurai rabbit

text: The main character is not a bear.

text: The main character is a rabbit.

answer: The main character is an anthropomorphic bear

text: The text never mentions an anthropomorphic bear.