text:
I came upon a little town a little before sunset.  I don't even remember the name of it now but I guess those names don't really mean much these days anyways. It didn't seem as wasted as most of them are these days so I was hopeful that I might find something worthwhile. But decent looking buildings don't usually stay that way without somebody sticking around to look after them so I was wary of getting in to the search right away. I found a little shack on the outskirts with windows looking out on what looked like the main street. I was still doing pretty good on rifle ammo so I  decided to set up camp in it for the night and stake the place out. It was a quiet night and eventually I figured it was safe enough to catch a few hours of sleep. But right around sunrise I woke up to the sound of a rooster doing it's thing.

Such a fool's move, I thought, letting such an obvious signal to announce their presence. I watched for an hour and still didn't see any movement so I stowed my gear under a pile of rotted furniture, put on my ghillie suit and started crawling with my rifle through the wild grass in the direction of that rooster's call. I learned pretty quickly that patience is what keeps you alive when you don't know what you're facing so I took my time. The summer heat didn't make it easy but an hour of slow creeping brought me in to sight of a two-story house that still had all it's doors shut and windows boarded up. It had a loft that seemed like a good place to keep chickens, so I figured this was probably the spot. Two more hours of lying there and sweating my ass off later I was beginning to question myself when I saw a thin wisp of smoke rise up from the chimney.

Then the question was, how many I was dealing with. The house could have held at least a dozen people and I wasn't fool enough to think I could take that on. I didn't have much hope for a peaceful encounter either. You had a decent chance of it for the first year or so after it went bad, people still had that sense of helping out their fellows stuck in the same trouble as them. But then the canned goods and all the rest of the remnants of the old world started running out and most of 'em realized that they couldn't afford to be gracious anymore, especially once they had a run in or two with the rangers; that is, if they were lucky enough to survive those encounters.

So I waited some more. One of the doors finally cracked open and I saw a man's face searching the yard with a quick eye. He had the all too common look of the chronically malnourished and the sunworn face of a farmer. He could have been twenty or fifty just as easily but his expression showed that he hadn't made it this far by luck. After a few moments he decided it was worth it to step out with a pail and walk over to the pump that stood in the center of the yard. I noticed the line a few yards out of the door that ran perpendicular to the wall. He worked it hard and set back quickly, seeming to struggle just a little to walk steady with his load.

I waited all through the rest of the day. It was hard to resist the idea of going up to the pump and getting my fill but that would be far too much a risk. It got dark and I couldn't see any light through the cracks of the window boards so I decided to take the chance of getting close enough to listen for activity in the house. I stepped carefully over the line, which I saw was strung with several clusters of empty cans and bits of scrap metal. It was at least three feet off the ground, which made it far more visible than a wise man would have wanted for such an alarm.

I heard him, clattering a few pans and eating noisily. Nothing else though. I began to suspect he was alone. I heard the creak of stairs and then no more. Around midnight I made my way back to my shack and rested.

I made my way back to my spot outside the yard before sunrise and waited. Once more the man stepped out for water and I decided to take my chance. A single round dropped him as he stooped to work the pump. I waited a long time to see if he would get up, or if it would ellicit any reaction from inside the house. But, nothing.

examine the body etc*
The door was still ajar, so I went off to the side and crept along the wall, under the windows. I took out a carefully wrapped bag of silver fulminate snappers out of my satchel and threw them through the door. The loud crack of them usually succeeds in startling people into giving their presence away but nothing besides the patter of the little rocks followed. I stepped slowly inside, wary of traps, but found only mostly bare rooms, with a few pieces of ancient wood furniture in the process of falling apart. There was a pantry, pitifully stocked with enough food for maybe a week or two.

The upstairs consisted of three bedrooms. The first two were empty, but in the third I found two small children, no more than five or six, squeezing themselves between a bed and the wall. Their huge eyes showed the terror they felt at my sight. I felt a terrible twinge in my heart, realizing that I had probably just killed their father or brother. But, I thought to myself, if that man let me take his life as easily as I had it was really only a matter of time before someone did the exact same thing that I had. Truly, I thought, there isn't room in this world any more for the weak and the foolish. It was a sad thought, but inescapable.

I spoke to them in a gentle voice, told them that everything was alright and that their daddy would be right back but that him and I needed to do something secret first. I told them to get in their bed and hide their faces in the pillows for a minute so they wouldn't peek. They obviously didn't trust me and it took a minute to convince them to move but eventually they got in. I stared for a moment at the backs of their heads and pitied the cruel life this world had imposed on such innocents. I tried to think of something I could do. I thought for a moment about taking them with me, because I knew they stood no chance by themselves of anything but slowly starving. But I knew that if I could barely find enough to keep myself alive, bringing them along would only lead to a worse fate for us all. So that was it. I might have said I was sorry, or maybe I just thought it and then I fired a round into the back of each of their head, fast enough that I hope neither of them realized what had happened.

I couldn't bear to look at what I'd done so I turned and all but ran downstairs. I took whatever food looked like it would keep on the road, some matches and lighter fluid that I found in a drawer, and left. I averted my eyes from the man on the ground. I couldn't bring myself to stop to fill my canteen, though I knew that was probably a mistake.

I went back to my gear and sat down hard on the ground. I felt numb, detached from my body, and all I could see was the last few moments in the bedroom replaying over and over in my head. It was the right thing to do, right? Are there even any right things to do anymore? Or just choices between the lesser or greater of two evils? I left that night without going back in to the town, setting off down the faint remains of an asphalt road. I walked for a long time, without any thought of actually getting anywhere. I wasn't sure whether I really wanted to get anywhere. So I just kept walking.

title: [MF] Surviving.

question: What is the climax of the story?

answer: The narrator kills two children. This heartless, cruel act is meant to signify that the world has decayed and civilized values have been lost. He orders the children to place the heads on the pillows and dispatches them, because he had just killed their father.

question: What is the irony of the end of the story?

answer: The man kills the people in order to have the chance to gain water from them. He is in an era of intense scarcity. However, after killing them, he is too emotional to retrieve the water he worked so hard to get.

question: What has happened to the world the man lives in.

answer: Some kind of apocalyptic event occurred. Shortages of canned goods have led to food shortages. People are now violent and distrustful of each other.


split: train

text:
[Jollywise]

What can we expect from the kids’ entertainment space in 2017?

The new year is well and truly upon us, and every other tech blog ready to impart their digital predictions for 2017 if they haven’t already. Whilst generally you can expect a lot of the same old – ‘this will be the year for VR’, etc. – we wanted to examine some of the things that we expect to see more specifically in the kids’ entertainment space this year.

Augmented and virtual reality

The underlying issues of accessibility and refinement prevented VR from slipping comfortably into the mainstream in 2016, while the Pokémon Go craze of the summer teased AR potential. While we might not have seen the ‘year for VR’ that we had hoped for, what we did see was a string of brands getting involved with VR just to say they’re in the VR game – regardless of whether they actually have something valuable to offer to the space. Ideally, this year we’ll see more companies offering valuable uses of the technology, rather than the ‘VR for VR’s sake’ that is born out of the fear of being left behind.

Furthermore, we’re hoping to see more defined areas for the use of virtual and augmented reality, be it gaming, education, or even live events – and we’re especially interested in how this will come to fruition in kids’ entertainment and education. However, while developers of VR work towards a tech-accessible, cost-friendly product, it’s likely that we’ll be looking more closely at AR for the time being. The challenge, we suspect, will be creating AR that outlives the initial gimmick, which means content is more important than ever.

There are a few great examples of recent children’s AR that we’d love to see more of. TILT Textiles weave their technology with animated stories in their Enchanted Duvet and Jungle Rug to create an interactive storytelling experience for youngsters, while Curiscope’s Virtuali-Tee (which got a mention in our post on augmented reality last year) is a strong example of the ways in which augmented reality might be integrated into the classroom as a tool for learning.

Web TV

As early as 2010 we’ve seen reports surfacing to indicate the shift from cable/satellite television to online show providers. Over the past few years in particular, web based TV has gained a lot of traction, but this area has been largely dominated by Netflix and Amazon Video, whose online exclusive shows (think Netflix’s recent A Series of Unfortunate Events and Amazon’s The Grand Tour) are able to pull more and more people into subscriptions. Newer or more niche services (Mubi, Twitch, Animax, Hulu) tend to be overshadowed by the bigger names and app versions of existing TV channels.

We’re excited to see what this shift could mean for kids’ TV this year, especially with the recent prototype demonstration of Disney’s own TV product at CES 2017. With tablet sales in decline, we could be looking at a resurgence of television that favours web-based, ‘watch anytime’ content. An expansion of the children’s web TV space is on the horizon.

We’re also anticipating further crossover between television and gaming in 2017. SVOD (Subscription Video On Demand) platforms like Azoomee, Sky, and Hopster currently operate as two separate services: a classic TV service, and then gaming. We’re hoping to see the lines between these two services begin to blur, as more crossover content is created. Interactivity is especially appealing to kids. So there’s no reason this can’t be geared towards younger viewers.

Live Video

As Facebook continued its attempt to undercut YouTube’s dominance in the video space, live video was everywhere in 2016. We’re seeing many kids turning away from traditional television and towards their favourite YouTube stars – the interactivity of the platform means that the viewing experience is more personal, intimate, and therefore valuable.

Web TV is allowing kids to watch what they want to, exactly when and where they want to watch it, but the appeal of the interactivity of YouTube has encouraged a flood of online video creators to start aiming their content at younger audiences. Live videos build on this to create a more ‘immediate’ interactive experience, so kids are especially engaged when consuming content from their favourite YouTubers (MirandaSings is a great example) this way.

As our Facebook and YouTube subscription feeds become more and more infiltrated with live video content, we’re anticipating an emergence of live video in the kids’ entertainment space – and we’re especially interested to see which broadcaster will be the first to truly capitalise on this demand.

AI and chat bots

While we blogged about the rise of the internet bot last year, we’re excited to see how this space will be refined in 2017, and how (if at all) the chatbot will find and secure its space in kids’ entertainment and education.

We saw the beginnings of this exploration in 2016; Unilever, for example, have used a chatbot campaign on Facebook Messenger called ‘Little Brush, Big Brush’ to create an interactive storytelling platform that encourages children to look after their teeth. Then there’s Oyoty, a bot app described as a ‘personal safety assistant’, that’s designed to connect with children’s social accounts, detect potential problems, and help them learn to stay safe online.

The trick, however, will be finding the line between being helpful/educational, and not stepping on parents’ toes.

OUR CEO JON MASON also indicates that we could see an increase in the use of bots outside of the sales and service bots that were everywhere in 2016. We’re looking, he suggests, towards,

  “Bots as entertainment, branching narratives, and stories – low cost ways of providing immersive brand extensions for entertainment companies”.

We’re ready to see interactive children’s storytelling secure a place in the chatbot game.

Fitness and educational tech

Despite the apparent need for “quality research and evidence” to support the claims of the negative impact of “increasingly screen-based lifestyles”, the media continues to be hot to report on the negative physical effects of children’s preoccupation with digital entertainment. To combat the negative association between digital entertainment and childhood obesity, we’ve seen toy companies invest in technical toys that incorporate gamification to encourage tech savvy children to take part in physical activity.

Fisher Price’s Think & Learn Cycle, for example, attempts to entice three to six years olds to exercise whilst playing screen-based games. It’s essentially a children’s exercise bike in disguise, that maintains the brand’s educational focus. This is just one example of how toy companies are shifting focus from toys that function purely as entertainment, to technical toys that provide longer-term value in the form of fitter and smarter kids. These attractive benefits could result in a surge in the production and popularity of fitness based toys this year – even the AR Jungle Rug that we mentioned encourages physical activity in the form of yoga.

We’ll also be seeing kids’ entertainment pay more attention to the development of emotional intelligence. Our upcoming game for The Next Step, for example, focuses on relationships; the player must figure out the best way to communicate with a variety of personalities to successfully navigate the story. We’re interested to see what other projects surface this year in kids’ entertainment to perpetuate values of empathy and good communication.

Overall?

In 2016 we saw a lot of digital trends extensively explored, but very few refined. This year, we’re hoping to see these trends consolidate, establishing their relevance and overall suitability to a young demographic.

OUR GAME FOR THE NEXT STEP, “TAKE IT TO THE TOP” IS NOW AVAILABLE TO PLAY HERE.

[]

Posted January 16th 2017

Steph Rathbone

Steph is Jollywise's Content Executive and resident bookworm.

question: What does the text say about VR's inability to slip into the mainstream on 2016?

answer: Virtual reality struggled to slip into the mainstream in 2016 due to issues of accessibility and refinement. It also seemed that brands got into VR just to say they're in the VR game. They would do this despite producing something valuable in the space.

question: What does the text say about growth in live video?

answer: 2016 saw a lot of growth in live video. This could be seen in Facebook or Youtube, where kids went to turn away from traditional television. Youtube is a more interactive platform, where kids can watch what, where, and when they want. This is what's caused live videos' popularity, particularly with children.

question: What does the text say about Facebook?

answer: Facebook has created gains in several categories for kids' entertainment spaces. They began to undercut Youtube's dominance in the video space with their live video. Their platform became more infiltrated with live video. They also used chatbots in 2016 with a campaign called "Little Brush, Big Brush" on Facebook Messenger to encourage kids to brush their teeth.

question: What does the text say about smartphones?


text:
PUBLIUS RUTILIUS LUPUS was a Roman rhetorician who flourished during the reign of Tiberius. He was the author of a treatise on the figures of speech (_de Figuris sententiarum et elocutionis_), abridged from a similar work by the rhetorician Gorgias of Athens, who was the tutor of Cicero the Younger. (This rhetorician is not, of course, the well-known sophist Gorgias of Leontini, who lived in the time of Socrates.) In its present form the treatise is incomplete, as is clearly shown by the express testimony of Quintilian (_Inst._ ix.2.101–105 _passim_). Lupus also dealt with figures of sense and other rhetorical figures. The work is valuable chiefly as containing a number of examples, well translated into Latin, from the lost works of Greek rhetoricians. The author has been identified with the Lupus mentioned in the Ovidian catalogue of poets (_Ex Ponto_, iv.16), and was perhaps the son of the Publius Rutilius Lupus, who was a strong supporter of Pompey.

Editions

-   D. Ruhnken (1768)
-   F. Jacob (1837)
-   C. Halm in _Rhetores latini minores_ (1863)

See also monographs by G. Dzialas (1860 and 1869), C. Schmidt (1865), J. Draheim (1874), Thilo Krieg (1896).

title: Publius Rutilius Lupus (rhetorician)

question: What is Publius Rutilius Lupus known for?

answer: He was the author of a treatise on the figures of speech (_de Figuris sententiarum et elocutionis_), abridged from a similar work by the rhetorician Gorgias of Athens, who was the tutor of Cicero the Younger. The work is valuable chiefly as containing a number of examples, well translated into Latin, from the lost works of Greek rhetoricians.


text:
SIR DAVID WOLFE KEENE, PC (born 15 April 1941) is retired Lord Justice of Appeal.

Career

David Keene was called to the English Bar in 1964 by the Inner Temple. He was appointed Queen's Counsel in 1980, and appointed a Recorder in 1989. He practised mainly in public law cases and at planning inquiries. In his career as a barrister he obtained planning permission for a number of large developments, including London City Airport, and the second runway at Manchester Airport.[1]

He was chairman of the Planning Bar in 1994, in which year he was also appointed as a High Court judge and assigned to the Queen's Bench Division. In 2000, he was appointed to the Court of Appeal where he served until he retired in 2009.[2]

Sir David Keene was also a bencher and ultimately the Treasurer of the Inner Temple. He also served as Chairman of the Judicial Studies Board, and is an Honorary Fellow of Balliol College, Oxford.[3]

From 2003 to 2007 he was Chairman of the Judicial Studies Board, responsible for the training of all Judges and Magistrates in England and Wales, having previously been chairman of its Equal Treatment Committee for five years. He was a member of the QC Selection Panel from 2010–2012. He is an Honorary Fellow of Balliol College, Oxford and the Society of Advanced Legal Studies, and is a member of the Chartered Institute of Arbitrators. He was Deputy President of the QFC Civil and Commercial Court in Qatar between 2010 – 2013 and since 2013 has been the Chairman of the Qatar Financial Centre Regulatory Tribunal.

From 2011 to 2014 non-executive chairman of Third-party litigation funder Argentum Capital.

Sir David Keene was regarded as being a close friend of former British Prime Minister, Tony Blair and his wife Cherie Blair QC.[4]

[1]

[2]

[3]

[4]

title: David Keene (judge)

question: How many years did Keene serve as Lord Justice of Appeal?

answer: Nine years.

question: In what year did Keene serve as chairman of the Judicial Studies Board.

answer: From 2003-2007.

question: Where is David Keene from?

answer: It is not indicated in the article.

question: How many years was Keene active in law?

answer: It might be implied from the article that Keene had 49 active legal years.

question: Write a ~3 sentence summary.

answer: This article dictates the career of retired Lord Justice of Appeal David Wolfe Keene. His legal career began in 1964 when he was called to the English Bar by the Inner Temple. His life as a litigator spanned 49 years with varying positions, responsibilities, and achievements, and he afterward retired in 2009.


text:
The idea of a basic income for every person has been popping up regularly in recent years.

Economists, think tanks, activists and politicians from different stripes have toyed with the idea of governments giving every citizen or resident a minimum income off which to live. This cash transfer could either replace or supplement existing welfare payments.

Pilot projects and feasibility studies have been run or are under way in the Netherlands, India, Canada, Finland, France and elsewhere.

Even in the U.S., the idea finds support. Alaska, for example, already divides its oil revenues among its residents.

Most arguments in favor or against basic income have focused on its feasibility, simplicity, promotion of personal independence or effectiveness at reaching those who fall through the cracks of the welfare state.

However, the most important advantage of basic income may not be in its practical application but rather in how it could change the way we think and talk about poverty and inequality.

Benefits of a basic income

Giving every resident an unconditional grant, regardless of whether you are a billionaire or destitute, is a significant departure from our existing welfare state. The latter offers only limited and conditional support when working is not an option.

Support for a basic income comes from very disparate political and ideological circles.

Some libertarians like basic income because it promises a leaner state without a large bureaucracy checking people’s eligibility and policing their behavior. Others see it as enabling entrepreneurialism – the poor helping themselves.

On the left, many see basic income as an opportunity to plug numerous holes in the social safety net or even to free people from “wage slavery.” For feminists, basic income is a successor to the old demand for wages for housework.

Pilot projects suggest that simply giving money to the poor could successfully tackle poverty. In Namibia, poverty, crime _and_ unemployment went down, as school attendance went up. In India, basic income recipients were more likely to start small businesses.

Jobs are no longer sole answer to poverty

When discussing inequality, we usually focus on employment and production. Yet, much of the world’s population has no realistic prospects of employment, and we already produce more than what is sustainable.

Basic income, however, separates survival from employment or production.

Our current answers to poverty and inequality stem from Fordism, the New Deal and Social Democracy. They center on wage labor: get more people into jobs, protect them in the workplace, pay better wages and use taxes on wages to fund a limited system of social security and welfare.

It would seem that to get people out of poverty, you have to get them into jobs. Politicians across the spectrum agree. Is there a politician who does not promise more jobs?

In my own research on labor in Africa, however, I have found that wage labor is only a small part of a larger picture.

In most of the Global South, whole generations are growing up without realistic prospects for employment. We cannot develop the world solely by getting people into jobs, encouraging them to start small businesses or teaching them how to farm (as if they didn’t already know). The painful reality is that most people’s labor is no longer needed by increasingly efficient global chains of production.

In economic speak, a large portion of the world’s population is surplus to the needs of capital. They have no land, no resources and no one to whom they can sell their labor.

South Africa and jobless growth

Thus, to believe that jobs or economic growth is going to address this crisis of global poverty seems naive.

The example of South Africa is telling. In a comparatively rich country where youth unemployment runs at more than 60 percent, pensions, childcare and disability grants are for many households the most important source of income. Yet many slip through the cracks of this limited welfare state.

As a healthy adult male, you stand little chance of either receiving a government benefit or finding decent employment, as economic growth has been largely jobless. For an adult without children, disability is the only access to these crucial grants.

In the early 2000s, a movement emerged in support of a very modest Basic Income Grant (BIG) of 100 rand (less than US$12 in 2002) per month. Significantly, this campaign received the support of the government-appointed Taylor Committee. Its report concluded that a BIG was likely fiscally sustainable and would lift as many as six million people out of poverty. It argued that this result could not be achieved by expanding existing welfare programs. However, the proposal was dismissed by the ANC, which continued to see employment as the only solution to poverty and inequality.

Not surprisingly, basic income campaigns have been prominent in countries with high socioeconomic inequality, like South Africa. These countries have both significant resources and a need for redistribution. In neighboring Namibia, another country with extreme inequality, a similar campaign has received growing support.

Furthermore, as the Club of Rome already realized in 1972, the productivist bias of our usual answers to inequality – grow more, produce more and grow the economy so that people can consume more – is ultimately unsustainable. Surely, in a world already characterized by overproduction and overconsumption, producing and consuming more cannot be the answer. Yet, these seem to be the answers with which we are stuck: grow, grow, grow.

Give a man a fish

To move beyond these defunct politics, we may need to think about distribution rather than production, a point powerfully argued by anthropologist James Ferguson. For Ferguson, giving a man a fish might be more useful than teaching him to fish.

The problem of global inequality is not that we do not produce enough to provide for the world’s population. It is about the distribution of resources. This is why the idea of a basic income is so important: it discards the assumption that in order to get the income you need to survive, you should be employed or at least engaged in productive labor. Assumptions of this kind are untenable when for so many there are no realistic prospects for employment.

This does not mean that basic income is a panacea. There are too many potential problems to list here. Yet, to give just a few examples: those countries whose populations would need it most might be least able to afford such schemes. And, basic income grants that are small enough to be politically acceptable may actually further impoverish the poorest if basic income replaces other grants.

Moreover, if people get money merely because they are citizens or residents of a country – shareholders in the wealth of that country – these claims become very susceptible to nationalist and xenophobic exclusion. Indeed, during recurrent episodes of xenophobic violence in South Africa, many explained their dislike of foreigners by accusing them of receiving welfare grants and public housing that should be going to South Africans.

Despite these problems, it is important to start experimenting with alternatives and to start thinking about distribution rather than production. After all, the welfare system that we have now also resulted from longstanding debates, experiments that were once considered unrealistic, ad hoc improvements and partial victories.

[The Conversation]

_By Ralph Callebert, Adjunct Faculty of History, Virginia Tech_

_This article was originally published on The Conversation. Read the original article._

question: Where are pilot projects of basic income being conducted?

answer: Pilot projects for basic income have been conducted in the Netherlands, India, Canada, Finland, France, and elsewhere.

question: Why do some libertarians support a basic income?

answer: Some libertarians support a basic income because it removes the need for a large bureaucracy checking people's eligibility and policing their behavior.

question: What happened to crime rates and unemployment in Namibia after introducing a pilot project?

answer: After introducing a pilot project in Namibia, both crime rate and unemployment went down.

question: What does the acronym BIG stand for?

answer: The acronym BIG stands for Basic Income Grant.

question: Write a ~3 sentence summary.

answer: The author is presenting arguments in support of and against the idea of a basic income. A basic income is supported by a wide variety of people, and has had promising results in some studies, included reduced crime rate and increased school attendance. Arguments against it claim that if it replaced current welfare systems it would not be enough, and if it were only offered to citizens it would foster nationalism and xenophobia.


text:
My Perfect Day xo

We'd be in bed together all snugly, I'd wake up first and start kissing you on her neck slowly wrapping my hands around your waist and maybe go for the cheeky ass grab. I'd start flicking your ear to annoy you and tickle your feet to wake you up. You'll start to tickle me back and I'd scream like a little girl and you would climb on top of me and pin me down to the bed, you would look at me, and I'd look at you then we'd start to make out then and there. We'd lay in bed for another 10 minutes just cuddling then we'd get up and have a shower. We'd put on some music to get ready to, most probably some MJ or Chris Brown so we can dance together whilst brushing our teeth etc. After we were ready we'd leave the house holding hands and we'd go for something to drink, most probably Coffee. We'd sit down on those couches they have in Starbucks and we'd pretend we were at home. We'd cuddle together, talking about cute things, having our own giggles whilst drinking some Starbucks coffee. Then we'd go for a walk along the river, talking about everything and anything, I'd hold your hand of course so you don't fall in ;) . We'd sit down on a bench with a nice view of the river, and we'd admire the view, we'd most probably make out and cuddle up to each other. Then we'd leave the bench and the river to go for some MCDONALDS! We'd eat whatever the fuck we wanted, sitting across from each other on the table so I would be able to hold your hand. Once we'd finished eating, we'd sit there and talk for a bit, maybe the cheeky one or two kisses across the table to show we're a couple and we're happy and we're awesome together etc. It'll most probably be dark now, so we'd head off home and cause we live in Denmark it'll be so so cold so I'd hold you close to me to keep you warm, kissing you on your head as we wait for the bus. Once we get on the bus, I'd still hold you close to me, whispering things in your ear, making you giggle. Then we'd get home, take off our outdoor clothes and I'd jump on the bed and put a movie on. You'll go get changed, putting on one of my jumpers and a clean pair of bright red knickers and you'll then join me on the bed with a bowl of Ben and Jerry's ice cream and some hot chocolate. We'd lay side by side on the bed, I'd have my hands on your body non stop, kissing you on the neck, playing with your hair, running my hands up and down your legs. You'll most probably be tired and you'll fall asleep while the movie's still playing, I then get up, turn the movie off, turn the lights off, crawl back into bed with you, pulling the covers over the two of us giving you a kiss goodnight.

title: My Perfect Day With Josephine

question: How would you describe the narrator's perfect day with Josephine?

answer: The narrator's perfect day with Josephine is quite romantic and intimate.

question: Where would the narrator want to take Josephine to eat?

answer: McDonalds

question: Where do the narrator and Josephine live?

answer: In Denmark

question: How would the narrator want to end the night with Josephine?

answer: In bed with ice cream and chocolate and watching a movie

question: Write a ~3 sentence summary.

answer: The narrator describes his perfect day with Josephine. It is filled with romantic dates like getting coffee at Starbucks, eating food at McDonalds, going for a walk along the river, and coming home to watching a movie in bed with ice cream and hot chocolate. The day is quite romantic and intimate.


text:
God was I optimistic to see him. How long it had been. How long I had missed him and how much I loved him even though I'd never tell him that. I thought about the times when he would teach me about girls and I'd laugh when he would tell me stories about his friends. He was so cool back then through those rose colored glasses.

The drive was long. I remember the cold air as I inhaled, the snow on my windshield that I had lazily barely scraped off, the sputter of a failing engine and radio that was on way to loud to keep me awake while I downed energy drink after energy drink. I couldn't wait to see him. It had been a few months since I left town and we had lost contact. We were never the type to talk all that often. It was hard to ever get close to him because of his attitude for life and the problems he had coping with the fact dad wasn't with us anymore.

When I finally pulled into the driveway I noticed the house looked more run down then usual, never mattered to me much though. None of the lights were on and the door was locked which was unusual but I remembered the key we hid in the garage. It was nice to be back in a familiar place, however broken it was.

As soon as I walked in I saw him passed out on the couch. One arm was hanging off, the ash tray was full, he still had his boots on, everything was dirty and the place smelled like hell. Must've been a long day for him. I didn't bother waking him up. I saw the wrappings on his arm. It ran the length of his forearm until it stopped just below his elbow. Just thought was he had gotten that sleeve he had always talked about, the one to commemorate dad. Then I noticed the wristband from the hospital. I sighed then looked around the house and I noticed a pile of mail on the table, the broken mirror shards leaving the bathroom, the half bottle of Jack Daniels in the kitchen next to the microwave with the door still open and cold Ramen still in there, the bottle of painkillers on its side, the contents scattered across the counter.

I layed back on the recliner. I tried to relax. I figured I'd let him sleep and have a little bit of it myself. When I opened my eyes I realized it was morning and thats when I got a better look at him. I couldn't describe how numb I had felt coupled with how much guilt I felt and that incredible sinking feeling I had in my chest when I noticed that this wasn't just him going down hill like last time. This was the last time.

"Happy birthday big bro." I said as I kissed him on the forehead and sat next to him in silence in that horrid place. Figured I'd spend a little time with him before anybody found out.

title: The last day home.

question: Where does the narrator return after a long time?

answer: They are returning to their childhood home.

question: What does the narrator mean that this is the last time?

answer: It hints at finality. Presumably, the narrator's brother is dead.

question: Explain the narrator's reason for saying their home was broken.

answer: The narrator's father is dead, and he knows his brother had issues coping with that. That is one reason found in the story. Another way could be that the narrator means broken, as in being physically worn down.

question: Why doesn't the narrator understand their brother is gone at first?

answer: Presumably, it's because the room isn't bright (as noted by the narrator having "a good look at him in the morning"). It's also mentioned that the brother has spiraled down before, which would make the scene not as suspicious at first.

question: Write a ~5 sentence summary.

answer: The narrator is hopeful about returning to their childhood home and seeing their big brother again after a long time. They know he had difficulties coping with the death of their father. The scene at home is awful, the brother is on the couch with wrappings on his arm, the ashtray full, half a bottle of whiskey on the kitchen table, contents of a painkiller bottle spread on the counter. The narrator takes a nap for a bit, and in the morning he realizes that their brother didn't just go downhill like the last time. This was the last time.


text:
In April, 1954, President Eisenhower was being pressured to take military action in Vietnam, where the French were losing a symbolically important battle at Dien Bien Phu and were about to be driven out of what was then their colony. At a press conference that month, Eisenhower acknowledged the “falling domino” principle—the idea that if one land were to fall to Communism others would follow. John Foster Dulles, his Secretary of State, declared that a Communist political system imposed on Southeast Asia by means of the Marxist and nationalist guerrilla forces fighting the French “would be a grave threat to the whole free community,” and Vice-President Richard Nixon, in a talk to newspaper editors that April, dropped hints about dispatching American troops. Eisenhower never used a phrase like “red line,” as President Obama did when he warned the Syrian regime that the use of chemical weapons would be punished, but he did say that the defense of the Southeast Asia region was of “transcendent importance.” He sounded determined to act.

Yet Eisenhower, much like Obama, sometimes appeared to be acting in ways that ran counter to his words. Historic parallels are risky, but the conflict in Korea had ended the previous summer, with an armistice that gave victory to no one. That divisive war, fought at a cost of nearly thirty thousand American lives and more than eighty thousand wounded, left Ike and most Americans with no appetite for a return engagement. The divisive Iraq war and its murderous aftermath still shadow every mention of involvement in the Middle East. When Eisenhower in 1954 said that his Administration would need to consult legislators, he was pretty sure that the 83rd Congress had no wish to endorse intervention, and it is not unreasonable to think that Obama, despite his strong words and his mini-summit with Senator John McCain, suspects that the 113th Congress may be no more inclined. Eisenhower stressed the importance of working with American allies, particularly Great Britain, and he sent a cable to Prime Minister Winston Churchill saying that a “new, ad hoc grouping or coalition of nations” was needed to help the French: “We face the hard situation of contemplating a disaster brought on by French weakness and the necessity of dealing with it before it develops.”

Eisenhower supposed—and was soon informed by Admiral Arthur Radford, the chairman of the Joint Chiefs of Staff—that Churchill had no desire to help the French, possibly because of a fear, as Ike’s press secretary, James Hagerty, noted in his diary, “that if they move in Indochina the Chinese Reds will move against Hong Kong and could take it easily.” Eisenhower, in any case, did not have much respect for the French: “They are very volatile. They think they are a great power one day and they feel sorry for themselves the next day.”

Like those in the current White House, Ike and his advisers discussed at length what form intervention might take, and to what degree it should be carried out. The hardest line came from Admiral Radford, about whom the _Times_’_s_ C. L. Sulzberger wrote, “He scares the hell out of me,” and who favored using three tactical atomic weapons to effectively end the fighting at Dien Bien Phu. (This plan was called Operation Vulture.) Dulles and Nixon favored non-nuclear air strikes, sort of a “shot across the bow,” to borrow Obama’s language, to, at the very least, let the Communists know that Vietnam wasn’t going to be easy pickings. Nixon was troubled by Eisenhower’s ambivalence and, sounding not unlike the recent McCain, wrote in his diary that “it was quite apparent that the President had backed down considerably from the strong position he had taken”:

  He seemed resigned to doing nothing at all unless we could get the allies and the country to go along with whatever was suggested and he did not seem inclined to put much pressure on to get them to come along.

All of this succeeded in keeping the United States out of the French colonial war, though Eisenhower eventually favored giving financial support and military advice to South Vietnam, a relatively small commitment that, under three successors—Presidents Kennedy, Johnson, and Nixon—turned into a seemingly unending national tragedy.

Eisenhower’s calculated indecisiveness—what looked like spinelessness to those who wanted unequivocal action—in fact offers an excellent precedent for Obama. Like any President, Obama must know that a military strike against another country, whether a major attack or a shot across the bow—whether undertaken by one nation or by a coalition—is an act of war, just as if another country had fired on Washington. Ike’s hesitations went to the very heart of any military engagement. As Hagerty recorded in his diary, “The President said that if we were to put one combat soldier into Indochina, then our entire prestige would be at stake, not only in that area but throughout the world.”

Eisenhower understood, as Obama surely does, how America’s role can change indelibly in a moment: that sending a single air strike, or soldier or, as happened with later Administrations, thousands of soldiers, binds us to the outcome. The Eisenhower-era military did not have the capacity to launch a cruise missile from a Navy ship, but Eisenhower, a retired five-star general who could brush off political bullying, understood the consequences and purposes of war, the fragility of national prestige, and that, in the midst of emotions that can lead to ill-considered actions, indecisiveness may sometimes be the best first response.

_Jeffrey Frank was a senior editor at The New Yorker and is the author of “Ike and Dick: Portrait of a Strange Political Marriage.”_

_Photograph by Ralph Morse/Time Life Pictures/Getty._

[#image: /photos/590951e82179605b11ad325e]

_Read more of our coverage of the war in Syria._

question: Why was President Eisenhower pressured to take military action in Vietnam?

answer: The French were losing a symbolically important battle and were being driven out of their colony. Eisenhower felt that the falling domino principle applied, if one land were to fall to communism, more would follow.

question: Did President Eisenhower commit himself to military action in Vietnam?

answer: President Eisenhower said that the defense of the Southeast Asia region was of transcendent importance. He sounded determined to act.

question: Why did President Eisenhower not take military action in Vietnam?

answer: President Eisenhower resigned to doing nothing at all unless he could get allies and the country behind him. Eisenhower understood that sending a single air strike, or soldier, binds America to the outcome.

question: What did President Eisenhower do for Vietnam?

answer: He offered financial support and military advice to South Vietnam, a relatively small commitment.

question: What parallels can be drawn between the Eisenhower and Obama administrations?

answer: Obama was faced with a similar situation regarding engaging in war in Iraq. He handled it the same way as Eisenhower - Indecisiveness may sometimes be the best first response.

question: Write a ~4 sentence summary.

answer: Eisenhower was being pressured to join the war in Vietnam. He hesitated and supplied financial support to South Vietnam. He knew that engagement will tie America to the result. The same can be said of Obama's hesitation to enter into war with Iraq.


text:
The Norwegian DJ Alan Walker has released one studio album, three extended play, 19 singles, 20 remixes and 21 music videos.

Studio albums

+-----------------------+-----------------------+-----------------------+
| Title                 | Details               | Peak chart positions  |
+=======================+=======================+=======================+
| NOR                   | AUT                   | CAN                   |
| [1]                   | [2]                   | [3]                   |
+-----------------------+-----------------------+-----------------------+
| _Different World_     | -   Released: 14      | 1                     |
|                       |     December 2018     |                       |
|                       | -   Label: MER, Sony  |                       |
|                       | -   Formats: CD,      |                       |
|                       |     digital download  |                       |
+-----------------------+-----------------------+-----------------------+

Extended plays

  -------------------------------------------------------------------------------
  Title                               Details
  ----------------------------------- -------------------------------------------
  _Alan Walker Hits_[10]              -   Released: 8 December 2017
                                      -   Label: Sony, MER
                                      -   Formats: Digital download

  _Faded Japan_[11]                   -   Released: 25 April 2018
                                      -   Label: Sony Music Japan International
                                      -   Formats: CD, digital download

  _Live Fast (Japan Exclusive)_[12]   -   Released 9 August 2019
                                      -   Label: Sony, MER
                                      -   Formats: CD, Digital Download
  -------------------------------------------------------------------------------

Singles

As lead artist

+-------------+-------------+-------------+-------------+-------------+
| Title       | Year        | Peak chart  | Certificati | Album       |
|             |             | positions   | ons         |             |
+=============+=============+=============+=============+=============+
| NOR         | AUS         | AUT         | FRA         | GER         |
| [13]        | Peaks in    | [14]        | [15]        | [16]        |
|             | Australia:  |             |             |             |
|             |             |             |             |             |
|             | -   All     |             |             |             |
|             |     except  |             |             |             |
|             |     noted:  |             |             |             |
|             | -   “Tired” |             |             |             |
|             | :           |             |             |             |
|             | -   For     |             |             |             |
|             |     “All    |             |             |             |
|             |     Falls   |             |             |             |
|             |     Down”:  |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Fade”[22]  | 2014        | —           | —           | —           |
+-------------+-------------+-------------+-------------+-------------+
| “Spectre”[2 | 2015        | —           | —           | —           |
| 3]          |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Force”[24] | —           | —           | —           | —           |
+-------------+-------------+-------------+-------------+-------------+
| “Faded”     | 1           | 2           | 1           | 1           |
+-------------+-------------+-------------+-------------+-------------+
| “Sing Me to | 2016        | 1           | —           | 4           |
| Sleep”      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Routine”   | —           | —           | —           | —           |
| (with David |             |             |             |             |
| Whistle)    |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Alone”     | 1           | —           | 1           | 89          |
+-------------+-------------+-------------+-------------+-------------+
| “Tired”     | 2017        | 5           | 68          | 35          |
| (featuring  |             |             |             |             |
| Gavin       |             |             |             |             |
| James)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “The        | 5           | —           | 14          | —           |
| Spectre”    |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “All Falls  | 1           | 95          | 29          | 139         |
| Down”       |             |             |             |             |
| (featuring  |             |             |             |             |
| Noah Cyrus  |             |             |             |             |
| and Digital |             |             |             |             |
| Farm        |             |             |             |             |
| Animals)    |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Darkside”  | 2018        | 1           | —           | 63          |
| (featuring  |             |             |             |             |
| Au/Ra and   |             |             |             |             |
| Tomine      |             |             |             |             |
| Harket)     |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Diamond    | 1           | —           | 56          | —           |
| Heart”      |             |             |             |             |
| (featuring  |             |             |             |             |
| Sophia      |             |             |             |             |
| Somajo)     |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Different  | 31          | —           | —           | —           |
| World”      | [49]        |             |             |             |
| (featuring  |             |             |             |             |
| Sofia       |             |             |             |             |
| Carson,     |             |             |             |             |
| K-391 and   |             |             |             |             |
| Corsak)     |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
|  |
+-------------+-------------+-------------+-------------+-------------+
| “Are You    | 2019        | 19          | —           | —           |
| Lonely”     |             | [51]        |             |             |
| (with Steve |             |             |             |             |
| Aoki        |             |             |             |             |
| featuring   |             |             |             |             |
| Isák)[50]   |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “On My Way” | 3           | —           | —           | —           |
| (featuring  | [52]        |             |             |             |
| Sabrina     |             |             |             |             |
| Carpenter   |             |             |             |             |
| and         |             |             |             |             |
| Farruko)    |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Live Fast” | 24          | —           | —           | —           |
| (with ASAP  | [55]        |             |             |             |
| Rocky)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Play”      | 2           | —           | 44          | —           |
| (with       | [56]        |             |             |             |
| K-391,      |             |             |             |             |
| Tungevaag   |             |             |             |             |
| and Mangoo) |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Ghost”     | date=17     | —           | —           | —           |
| (with       | October     |             |             |             |
| Au/Ra){{Cit | 2019|websit |             |             |             |
| e           | e=Billboard |             |             |             |
| web         | |accessdate |             |             |             |
| |url=https: | =18         |             |             |             |
| //www.billb | October     |             |             |             |
| oard.com/ar | 2019}}      |             |             |             |
| ticles/news |             |             |             |             |
| /dance/8533 |             |             |             |             |
| 360/aura-al |             |             |             |             |
| an-walker-g |             |             |             |             |
| host-death- |             |             |             |             |
| stranding-s |             |             |             |             |
| oundtrack%7 |             |             |             |             |
| Ctitle=Au/R |             |             |             |             |
| a           |             |             |             |             |
| & Alan      |             |             |             |             |
| Walker      |             |             |             |             |
| Share New   |             |             |             |             |
| Track       |             |             |             |             |
| 'Ghost'     |             |             |             |             |
| From 'Death |             |             |             |             |
| Stranding'  |             |             |             |             |
| Soundtrack| |             |             |             |             |
| first=Kryst |             |             |             |             |
| al|last=Rod |             |             |             |             |
| riguez      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Avem (The  | —           | —           | —           | —           |
| Aviation    |             |             |             |             |
| Theme)”[58] |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Alone, Pt. | 4           | —           | 45          | 68          |
| II”         | [59]        |             |             | [60]        |
| (with Ava   |             |             |             |             |
| Max)        |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “End of     | 2020        | 4           | —           | —           |
| Time”       |             | [65]        |             |             |
| (with K-391 |             |             |             |             |
| and         |             |             |             |             |
| Ahrix)[64]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Heading    | 15          | —           | —           | —           |
| Home”       | [68]        |             |             |             |
| (with       |             |             |             |             |
| Ruben)[67]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “—” denotes |
| a recording |
| that did    |
| not chart   |
| or was not  |
| released in |
| that        |
| territory.  |
+-------------+-------------+-------------+-------------+-------------+

: List of singles as lead artist, with selected chart positions and certifications, showing year released and album name

As featured artist

+-----------------+-----------------+-----------------+-----------------+
| Title           | Year            | Peak chart      | Album           |
|                 |                 | positions       |                 |
+=================+=================+=================+=================+
| NOR             | FIN             | POL             | SWE             |
| [70]            | [71]            | Peak chart      | [72]            |
|                 |                 | positions for   |                 |
|                 |                 | singles in      |                 |
|                 |                 | Poland:         |                 |
|                 |                 |                 |                 |
|                 |                 | -   “Ignite”:   |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Back to        | 2017            | —               | —               |
| Beautiful”      |                 |                 |                 |
| (Sofia Carson   |                 |                 |                 |
| featuring Alan  |                 |                 |                 |
| Walker)         |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Ignite”[73]    | 2018            | 1               | 5               |
| (K-391          |                 |                 |                 |
| featuring Alan  |                 |                 |                 |
| Walker, Julie   |                 |                 |                 |
| Bergan and      |                 |                 |                 |
| Seungri)        |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “—” denotes a   |
| recording that  |
| did not chart   |
| or was not      |
| released in     |
| that territory. |
+-----------------+-----------------+-----------------+-----------------+

: List of singles as featured artist, with selected chart positions, showing year released and album name

Other songs

+-----------------+-----------------+-----------------+-----------------+
| Title           | Year            | Peak chart      | Album           |
|                 |                 | positions       |                 |
+=================+=================+=================+=================+
| NOR             | SWE             | SWI             | US              |
| [74]            | Heat.           | [76]            | Elec.           |
|                 | [75]            |                 | [77]            |
+-----------------+-----------------+-----------------+-----------------+
| “Sky”[78]       | 2017            | —               | —               |
| (with Alex      |                 |                 |                 |
| Skrindo)        |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Lost Control”  | 2018            | 14              | 1               |
| (featuring      |                 | [79]            |                 |
| Sorana)         |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Lily”          | —               | —               | —               |
| (with K-391 and |                 |                 |                 |
| Emelie Hollow)  |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Lonely”        | 31              | —               | —               |
| (with Steve     | [80]            |                 |                 |
| Aoki featuring  |                 |                 |                 |
| Isák and Omar   |                 |                 |                 |
| Noir)           |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Unity”         | 2019            | —               | —               |
| (as Alan X      |                 |                 |                 |
| Walkers)        |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Sad Sometimes” | —               | —               | —               |
| (with Corsak    |                 |                 |                 |
| featuring Huang |                 |                 |                 |
| Xiaoyun)        |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+

: List of non-single songs, with selected chart positions, showing year released and album name

Remixes

Record label release

+-------------+-------------+-------------+-------------+-------------+
| Title       | Original    | Year        | Peak chart  | Album       |
|             | artists     |             | positions   |             |
+=============+=============+=============+=============+=============+
| NOR         | FRA         | SWE         |
| [81]        | [82]        | [83]        |
+-------------+-------------+-------------+-------------+-------------+
| “Air” (Alan | LarsM       | 2014        | —           | —           |
| Walker      | (featuring  |             |             |             |
| Remix)[84][ | Mona Moua)  |             |             |             |
| 85]         |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Millionair | Cash Cash   | 2016        | 19          | —           |
| e”          | and Digital |             |             |             |
| (Alan       | Farm        |             |             |             |
| Walker      | Animals     |             |             |             |
| Remix)      | (featuring  |             |             |             |
|             | Nelly)      |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Move Your  | Sia         | 3           | 154         | 68          |
| Body” (Alan |             |             | [86]        | [87]        |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “After the  | Charli XCX  | 2017        | —           | —           |
| Afterparty” | (featuring  |             |             |             |
| (Alan       | Lil Yachty) |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Back to    | Sofia       | —           | —           | —           |
| Beautiful”  | Carson      |             |             |             |
| (Alan       |             |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “That's     | Bruno Mars  | —           | —           | —           |
| What I      |             |             |             |             |
| Like” (Alan |             |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Issues”    | Julia       | —           | —           | —           |
| (Alan       | Michaels    |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Malibu”    | Miley Cyrus | —           | —           | —           |
| (Alan       |             |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Tired”     | Alan Walker | —           | —           | —           |
| (Alan       | (featuring  |             |             |             |
| Walker      | Gavin       |             |             |             |
| Remix)      | James)      |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Legends    | League of   | —           | —           | —           |
| Never Die”  | Legends     |             |             |             |
| (Alan       | (featuring  |             |             |             |
| Walker      | Against the |             |             |             |
| Remix)[88]  | Current and |             |             |             |
|             | Mako)       |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Lonely     | Avicii      | —           | —           | —           |
| Together”   | (featuring  |             |             |             |
| (Alan       | Rita Ora)   |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Strongest” | Ina         | ―           | ―           | ―           |
| (Alan       | Wroldsen    |             |             |             |
| Walker      |             |             |             |             |
| Remix)      |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Again”     | Noah Cyrus  | ―           | ―           | ―           |
| (Alan       | (featuring  |             |             |             |
| Walker      | XXXTentacio |             |             |             |
| Remix)[89]  | n)          |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Stranger   | Kygo        | 2018        | ―           | ―           |
| Things”     | (featuring  |             |             |             |
| (Alan       | OneRepublic |             |             |             |
| Walker      | )           |             |             |             |
| Remix)[90]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “All Night” | Steve Aoki  | ―           | ―           | ―           |
| (Alan       | and Lauren  |             |             |             |
| Walker      | Jauregui    |             |             |             |
| Remix)[91]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “This Is    | Keala       | ―           | ―           | ―           |
| Me” (Alan   | Settle and  |             |             |             |
| Walker      | The         |             |             |             |
| Relift)[92] | Greatest    |             |             |             |
|             | Showman     |             |             |             |
|             | Ensemble    |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Sheep”     | Lay         | ―           | ―           | ―           |
| (Alan       |             |             |             |             |
| Walker      |             |             |             |             |
| Relift)[93] |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Calma”     | Pedro Capó  | 2019        | ―           | ―           |
| (Alan       | and Farruko |             |             |             |
| Walker      |             |             |             |             |
| Remix)[94]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Me vs. Us” | Tayla Parx  | ―           | ―           | ―           |
| (Alan       |             |             |             |             |
| Walker      |             |             |             |             |
| Remix)[95]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Choir”     | Guy         | —           | —           | —           |
| (Remix)[96] | Sebastian   |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Play”      | K-391, Alan | —           | —           | —           |
| (Niya &     | Walker, and |             |             |             |
| Alan Walker | Tungevaag   |             |             |             |
| Remix)[97]  | (featuring  |             |             |             |
|             | Mangoo)     |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Always”    | Gavin James | 2020        | —           | —           |
| (Alan       |             |             |             |             |
| Walker      |             |             |             |             |
| Remix)[98]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “In Your    | Illenium    | —           | —           | —           |
| Arms” (Alan | and X       |             |             |             |
| Walker      | Ambassadors |             |             |             |
| Remix)[99]  |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Time”      | Hans Zimmer | —           | —           | —           |
| (Alan       |             |             |             |             |
| Walker      |             |             |             |             |
| Remix)[100] |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “Selfish”   | Madison     | —           | —           | —           |
| (Alan       | Beer        |             |             |             |
| Walker      |             |             |             |             |
| Remix)[101] |             |             |             |             |
+-------------+-------------+-------------+-------------+-------------+
| “—” denotes |
| a recording |
| that did    |
| not chart   |
| or was not  |
| released.   |
+-------------+-------------+-------------+-------------+-------------+

: List of remixes, showing original artists, year released, with selected chart positions and album name

Published remixes

+-----------------+-----------------+-----------------+-----------------+
| Title           | Original        | Year            | Platform        |
|                 | artists         |                 |                 |
+=================+=================+=================+=================+
|                 |
+-----------------+-----------------+-----------------+-----------------+
|                 |
+-----------------+-----------------+-----------------+-----------------+
| “Glimpse of     | DJ Harmonics    | 2012            | YouTube         |
| Heaven” (DJ     |                 |                 |                 |
| Walkzz          |                 |                 |                 |
| Remix)[102]     |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “New Hunter”    | DJ Ness         |
| (DJ Walkzz      |                 |
| Remix)[103]     |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Dota” (DJ      | Basshunter      |
| Walkzz          |                 |
| Remix)[104]     |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Level One” (DJ | Boosterz Inc    |
| Walkzz          |                 |
| Remix)[105]     |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Perry 2013”    | Baby T          | 2013            |
| (DJ Walkzz      |                 |                 |
| Remake)[106]    |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “The Final      | Europe          |
| Countdown” (DJ  |                 |
| Walkzz          |                 |
| Remix)[107]     |                 |
+-----------------+-----------------+-----------------+-----------------+
|                 |
+-----------------+-----------------+-----------------+-----------------+
|                 |
+-----------------+-----------------+-----------------+-----------------+
| “A World of     | Jacoo           | 2014            | SoundCloud      |
| Peace” (Alan    |                 |                 |                 |
| Walker          |                 |                 |                 |
| Remix)[108]     |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Rays of Light” | Broiler         | 2015            |                 |
| (Alan Walker    |                 |                 |                 |
| Remix)[109][110 |                 |                 |                 |
| ][111]          |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Shelter” (Alan | Dash Berlin     | SoundCloud      |
| Walker          | (featuring      |                 |
| Remix)[112]     | Roxanne Emery)  |                 |
+-----------------+-----------------+-----------------+-----------------+
| “Hymn for the   | Coldplay        | 2016            | YouTube         |
| Weekend” (Alan  |                 |                 |                 |
| Walker          |                 |                 |                 |
| Remix)[113][114 |                 |                 |                 |
| ][115][116]     |                 |                 |                 |
+-----------------+-----------------+-----------------+-----------------+

: List of remixes, showing original artist, year released and streaming platform

Production credits

+-----------------------+-----------------------+-----------------------+
| Title                 | Customer              | Year                  |
+=======================+=======================+=======================+
|                       |
+-----------------------+-----------------------+-----------------------+
|                       |
+-----------------------+-----------------------+-----------------------+
| “The Young Geralds    | Bergensrussen         | 2015                  |
| 2016”[117]            |                       |                       |
+-----------------------+-----------------------+-----------------------+
| “24 Karat 2016”[118]  | Røykenrussen          | 2016                  |
+-----------------------+-----------------------+-----------------------+
|                       |
+-----------------------+-----------------------+-----------------------+
|                       |
+-----------------------+-----------------------+-----------------------+
| “Kjuagutt 2016”[119]  | Bergensrussen         | 2016                  |
| (with DJ Ness)        |                       |                       |
+-----------------------+-----------------------+-----------------------+
|                       |
+-----------------------+-----------------------+-----------------------+
|                       |
+-----------------------+-----------------------+-----------------------+
| “Golden Gate          | Larviksrussen         | 2015                  |
| 2016”[120]            |                       | 2017                  |
| (Marvin Divine) with  |                       |                       |
| uncredited Alan       |                       |                       |
| Walker                |                       |                       |
| “Golden Gate”[121]    |                       |                       |
| (Russ Collective      |                       |                       |
| featuring Alan Walker |                       |                       |
| and Marvin Divine)    |                       |                       |
+-----------------------+-----------------------+-----------------------+

: List of production singles, showing customer and year released

Music videos

+-----------------------+-----------------------+-----------------------+
| Title                 | Year                  | Director(s)           |
+=======================+=======================+=======================+
| “Faded”[122]          | 2015                  |                       |
+-----------------------+-----------------------+-----------------------+
| “Faded”               | 2016                  |
| (Restrung)[123]       |                       |
+-----------------------+-----------------------+-----------------------+
| “Sing Me to           |
| Sleep”[124]           |
+-----------------------+-----------------------+-----------------------+
| “Alone”[125]          |
+-----------------------+-----------------------+-----------------------+
| “Ignite”              | 2017                  | Alexander Gustavson   |
| (Instrumental)[126]   |                       |                       |
+-----------------------+-----------------------+-----------------------+
| “Tired”[127]          | Alexander Halvorsen   |
+-----------------------+-----------------------+-----------------------+
| “The Spectre”[128]    |                       |
+-----------------------+-----------------------+-----------------------+
| “All Falls Down”[129] |                       |
+-----------------------+-----------------------+-----------------------+
| “Ignite”[130]         | 2018                  | Alexander Zarate Frez |
+-----------------------+-----------------------+-----------------------+
| “Darkside”[131]       | Kristian Berg         |
+-----------------------+-----------------------+-----------------------+
| “Diamond Heart”[132]  |
+-----------------------+-----------------------+-----------------------+
| “On My Way”[133]      | 2019                  |
+-----------------------+-----------------------+-----------------------+
| “Are You Lonely”[134] |                       |
+-----------------------+-----------------------+-----------------------+
| “On My Way”           |                       |
| (Alternate M/V)[135]  |                       |
+-----------------------+-----------------------+-----------------------+
| “PLAY” (Alan Walker's |                       |
| Video)[136]           |                       |
| “PLAY” (K-391's       |                       |
| Video)[137]           |                       |
| “PLAY” (Tungevaag's   |                       |
| Video)[138]           |                       |
+-----------------------+-----------------------+-----------------------+
| “Alone, Pt. II”[139]  |                       |
+-----------------------+-----------------------+-----------------------+
| "Alone, Pt. II (Live  | 2020                  |
| at Château de         |                       |
| Fontainebleau)        |                       |
+-----------------------+-----------------------+-----------------------+
| “Heading Home”[140]   |
+-----------------------+-----------------------+-----------------------+
| “Heading Home (Live   |
| at Château de         |
| Fontainebleau)”       |
+-----------------------+-----------------------+-----------------------+
| "Hans Zimmer & Alan   |
| Walker - Time         |
| (Official Remix)      |
+-----------------------+-----------------------+-----------------------+

: List of music videos, showing year released and directors

  Title             Year   Artist
  ----------------- ------ ------------
  “Momentum”[141]   2017   Don Diablo

  : Guest appearances

Notes

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[132]

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[137]

[138]

[139]

[140]

[141]

title: Alan Walker discography

question: What year did Walker release the most singles?

answer: 2019

question: What EP was only released in Japan?

answer: Live Fast

question: What is Alan Walker's nationality?

answer: Norwegian

question: Which single features Farruko?

answer: On My Way

question: Write a ~2 sentence summary.

answer: This article discusses the discography of Norwegian  DJ Alan Walker. It lists his albums, EPs, singles, and chart ratings.


text:
STOCKFISH FILM FESTIVAL is an international film festival in Reykjavík, Iceland. The festival takes place in the only art house cinema in Iceland, Bíó Paradís, late February every year and lasts for eleven days. The festival aims to create a platform in Reykjavík to encourage collaboration between domestic and international film communities. The festival was founded in 2015, as a reincarnation of the Reykjavík Film Festival (Icelandic: Kvikmyndahátíð í Reykjavík),1 which was established in 1978. It appeals to both people in the film industry and those who are interested in the wellbeing of international filmmaking. The festival is a collaboration between all of the film professional associations in Iceland and the festival's Board of Directors includes members of the major film professional associations in Iceland.2

Films

The festival screens some of the most up-and-coming art-house films in the world. All the feature films are handpicked by the board members and the festival, therefore, does not accept submissions of feature films. Each year the festival screens over 30 international and Icelandic award-winning films, most of which would not be otherwise screened in Iceland.

Events

Every year the festival offers a wide range of lectures, workshops, masterclasses, panels, ceremonies, parties and other events to support its goal of encouraging collaboration between Icelandic and international film professionals and those who are interested in filmmaking in an international scale.

The events can vary based on the focus each year, but there are two special events the festival takes its pride in every year, the SHORTFISH competition and WORKS IN PROGRESS.

Shortfish

The festival aims to support Icelandic future filmmakers with the festival's short film competition SHORTFISH (Icelandic: _SPRETTFISKURINN_). The criteria of the films are that they are not longer than 30 minutes and be less than 1 years old. The festival only accepts Icelandic short films, that is, the films either have to have an Icelandic director and/or producer.[1]

Apart from the prestigious price of gaining the title the Shortfish, the winner of the competition also gets an award that aims to help said filmmaker to make future projects. The winners of the competition after 2017 receive 1 million kr. in equipment rental from Kukl.

The films in the competition are usually screened a few times during the festival, with at least one Q&A screening.

Works in progress

Works in Progress provides international press and film industry professionals a unique chance to see what Icelandic filmmakers are working on during each festival. Icelandic filmmakers are invited to screen a 5–15 minute preview of their work followed by a Q&A with the audience. Usually this event takes place twice each festival so to give each international guest an opportunity to attend.[2][3]

Special guests

The festival invites international filmmakers to discuss the state of filmmaking, industry, and community with the public and Icelandic filmmakers. Both the international and Icelandic filmmakers attending the festival participate in Q&A screenings, panels, lectures, workshops, masterclasses and other events. This creates the platform between different filmmakers to discuss – and even collaborate on future projects.

Some of the past guests of the festival include; Jóhann Jóhannsson, Rachid Bouchareb,3 László Rajk, Sturla Brandt Grövlen, Iram Haq, Harutyun Khachatryan and many more.

Winners of Shortfish

  Year   Film                  Director                    Producer
  ------ --------------------- --------------------------- ----------------------------------------
  2015   FOXES                 Mikel Gurrea                Eva Sigurðardóttir and Askja Films
  2016   LIKE IT’S UP TO YOU   Brynhildur Þórarinsdóttir   Fridhemfilm, Brynhildur Þórarinsdóttir
  2017   TBA                   TBA                         TBA

[1]

[2]

[3]

title: Stockfish Film Festival

question: Where does the festival occur?

answer: Reykjavik, Iceland

question: When was the festival founded?

answer: 2015

question: What requirements are there for films to be entered in the Shortfish competition?

answer: They must be no more than 30 minutes long, less than 1 year old, and have an Icelandic director and/or producer

question: How many films are screened each year?

answer: More than 30

question: Write a ~4 sentence summary.

answer: The Stockfish Film Festival is an international film festival hosted annually in Reykjavik, Iceland. It was founded in 2015 as a reincarnation of the Reykjavik Film Festival which was established in 1978. More than 30 films are screened there each year. It also features the Shortfish competition which aims to support Icelandic future filmmakers.


text:
“Zero Waste” stores have been making a global movement in recent years, growing in popularity in Europe and even making their way across the seas to America and Australia, and now Zagreb joins the movement with the opening of Špeceraj.

It has been estimated that we use 5 trillion plastic bags worldwide per year and that the average person uses around 700 plastic bags – the majority of these are single-use bags we use in the Supermarket! The idea of a zero-waste store is simple – selling items in bulk, without packaging and encouraging customers to bring their own containers and reusable packaging, which of course has a positive impact on the environment.

When asked about the idea in an interview with Buro 247 on April 14 2017, owner Snjezana Zrnić said she gained her inspiration from the zero-waste stores already making their presence felt around Europe, believing that Zagreb has a market and need for such a store.

The store is aptly named ‘Špeceraj', which in english translates to 'groceries', and in it you can find such groceries as – dairy products, eggs, fruits, dried goods, honey, vegetables, olive oil, dressings, gluten-free products even natural cosmetics. Customers are given the option to bring their own packaging and are even given a discount incentive for doing so, or they have the option to purchase glass jars or recycled paper bags to use.

As well as encouraging customers to reduce packaging, the idea behind zero-waste stores also encourages us to think about what and how we buy – i.e. so we learn to only buy as much as we need to reduce food wastage. As we have spoken about before, the most predominant and dangerous waste in landfills is bio-waste, so the more we change our shopping habits, the less environmental damage we each contribute.

The store and décor itself, has even been designed thoughtfully by designer Kristina Inkret, ‘breathing new life into furniture’ through upcycling.

It is a small step, in the right direction, bravo Špeceraj, we hope this is just the beginning of a zero-waste mentality in Croatia!

[dried goods]

question: What is the idea of a zero-waste store?

answer: The idea of a zero-waste store is selling items without packaging and encouraging customers to use their own containers and reusable packaging; only buying as much as we need to reduce food wastage.

question: Is there a zero-waste store in Zagreb?

answer: Yes, the store named ‘Špeceraj' gives the customers a discount for bringing their own packaging and offers them to purchase glass jars or recycled paper bags.

question: What is the most dangerous waste in landfills?

answer: Bio-waste is the most dangerous waste.

question: How can we reduce the amount of bio-waste in landfills?

answer: We should change our shopping habits to reduce food wastage.

question: Write a ~3 sentence summary.

answer: The idea of a zero-waste store is selling items without packaging and encouraging customers to use their own containers and reusable packaging; only buying as much as we need to reduce food wastage. Zagreb joins the “Zero Waste” store movement. Snjezana Zrnić opened the store that gives the customers a discount for bringing their own packaging and offers glass jars or recycled paper bags.


text:
PLEASANCE BASKETBALL CLUB are a basketball club based in Edinburgh, Scotland .

History

The club was the founded in 1947, one of the first basketball clubs formed in Scotland. Led by club stalwart Jock Kerr Hunter, and along with Heriot's, Polonia and Redford, they formed the East of Scotland Basketball Association, and the Amateur Basketball Association of Scotland.

Five Pleasance players (Ray Campbell, Jimmy Carter, Jock Fisher, George Hill and Grant Hutchison) were in the first Scotland international squad in face England in 1947, and seven players would represent Scotland at the European Championships in Paris in 1951.

Pleasance would win the first two Scottish Cups, defeating Aberdeen University at the Kelvin Hall in Glasgow in 1947, and defeating Jordanhill at Princes Street Gardens in Edinburgh in 1948.

During the 1970s the club competed regularly in the second division of the Lothian League. The club took the step up to the first division when the league matches moved to a central venue in Edinburgh. Gradually better players were attracted to join the club, and this culminated in the winning of the Lothian Cup in 1990, defeating the fancied Edinburgh University side.

In the intervening years Pleasance have been a strong Lothian League side, regularly finishing in the top 3 positions. After a few seasons of struggling by their own standards, the team bounced back by winning the Lothian League in the 2015–16 season.

Current teams

Pleasance compete in Division 2 of the Scottish Basketball Championship. The club will have 4 teams playing in the 2019–20 season: [1]

-   Pleasance - National League 1
-   Pleasance B - Lothian League Division 1
-   Pleasance Pace - Lothian League Division 2
-   Pleasance 47s - Lothian League Division 3

Season-by-season records

  Season           League          Tier   Pos.   Pld.   W    L    Pts.   Playoffs          Scottish Cup
  ---------------- --------------- ------ ------ ------ ---- ---- ------ ----------------- -------------------
  PLEASANCE B.C.
  |2011–12         LOTHIAN DIV 1   4      7th    18     7    11   32     -
  |2012–13         LOTHIAN DIV 1   4      8th    20     7    13   34     -
  |2013–14         LOTHIAN DIV 1   4      5th    20     11   9    42     -
  |2014–15         LOTHIAN DIV 1   4      5th    20     11   9    42     -
  |2015–16         LOTHIAN DIV 1   4      1st    10     8    2    26     -                 Preliminary Round
  2016–17          SBC D2          3      1st    14     12   2    26     Winners           Quarter Finals
  2017–18          SBC D1          2      10th   18     3    15   21     Relegated to D2   Semi Finals
  2018–19          SBC D2          3      6th    16     8    8    24     Did Not Qualify   1st Round
  2019–20          SBC D2          3      6th    18     6    12   24     Did Not Qualify   1st Round

[1] https://lothian.leaguerepublic.com/l/fg/1_634368717.html

title: Pleasance B.C.

question: Where is the club based?

answer: Edinburgh, Scotland

question: When was the club founded?

answer: 1947

question: What did the club win in 1990?

answer: The Lothian Cup

question: Who initially led the club?

answer: Jock Kerr Hunter

question: Write a ~2 sentence summary.

answer: Pleasance Basketball Club is a basketball club based in Edinburgh, Scotland which was founded in 1947. In 1990, they won the Lothian Cup, and in the 2015-16 season they won the Lothian League.


text:
_TELL ME TONIGHT_ or _BE MINE TONIGHT_ is a 1932 British musical comedy film directed by Anatole Litvak and starring Jan Kiepura, Sonnie Hale and Magda Schneider.[1] It was shot in Berlin at the Babelsberg Studios as part of a co-production between Gainsborough Pictures and the German firm Cine-Allianz.[2] A separate German-language version _The Song of Night_ was also released.

Cast

-   Jan Kiepura as Enrico Ferraro
-   Sonnie Hale as Alexander Koretsky
-   Magda Schneider as Mathilde Pategg
-   Edmund Gwenn as Mayor Pategg
-   Athene Seyler as Mrs. Pategg
-   Betty Chester as Miss Barker
-   Aubrey Mather as Balthasar

[1] Creekmur & Mokdad p.21

[2] Wood p.76

title: Tell Me Tonight

question: What are the two titles of a 1932 British musical comedy film directed by Anatole Litvak?

answer: The titles are "Tell Me Tonight" and "Be Mine Tonight"

question: What is special about the film's production?

answer: The film was shot at Babelsberg Studios in Berlin as a co-production between Gainsborough Picture and Cine-Allianz.

question: Did the film have a German language version?

answer: Yes, it also had a different title, "The Song of Night".

question: List some of the actors and actresses in the film.

answer:
Jan Kiepura
Sonnie Hale
Magda Schneider
Edmund Gwenn
Athene Seyler
Betty Chester
Aubrey Mather

question: Write a ~3 sentence summary.

answer: Tell Me Tonight is a 1932 British musical comedy directed by Anatole Litvak. It was filmed in Berlin and had a German language release as well. The film Jan Kiepura, Sonnie Hale, and others.


text:
Polished Nickel-Plated Body, Blue Ti Clip

This sleek variation of the Prometheus Writes Alpha Pen features a striking blue anodized titanium pocket clip. Originally designed by California-based strategist, custom fabricator, and product designer Jason Hui, the Alpha Pen is precision-crafted for one of the best writing experiences around. Weighing in at 1.1 ounces, it feels great in the hand and writes with very little pressure applied to the tip. Its three-piece design ensures the tip is protected when not in use, while machined grooves make for a secure grip. The cap is fitted with a removable blue anodized pocket clip made from certified 6/4 titanium and a brass screw head that is laser-engraved with the Prometheus Writes logo—a symbol of the designer’s attention to detail and in-house manufacturing.

[]__

[]__

[]__

-   Prometheus Writes
-   Material, body: Electroless nickel plated 6061
-   Material, clip: Certified 6/4 titanium, anodized
-   Refill: Monteverde Rollerball refill included
-   Compatible with Rollerball and Fineliner MontBlanc refill
-   Custom machined , laser engraved clip screw
-   Screw-on cap
-   Length, capped: 5 in (12.7 cm)
-   Length, uncapped: 4.6 in (11.7 cm)
-   Length, posted: 5.7 in (14.5 cm)
-   Diameter: 0.4 in (1 cm)
-   Weight: 1.1 oz (31.2 g)
-   Made in USA

-   3 mm allen key

All orders will be shipped by Drop.

Estimated ship date is AUG 2, 2019 PT.

After this product run ends, payment will be collected and orders will be submitted to the vendor up front, making all orders final. Check the discussion for updates on your order.

question: Who designed the Alpha Pen?

answer: It was originally designed by Jason Hui.

question: Summarize all the information relating to the different parts of the Alpha Pen.

answer: It is designed with three pieces. The tip is protected when not in use. It has machined grooves that make for a secure grip. The pen weighs 1.1 ounces.

question: What is Drop?

answer: The pen will be shipped by Drop when bought.

question: What is a Blue Ti Clip?

answer: The cap is fitted with a removable blue anodized pocket clip made from certified 6/4 titanium and a brass screw head that is laser engraved.

question: Write a ~1 sentence summary.

answer: The features of the Prometheus Writes Alpha Pen is described as well as shipping information.