text:
ISHAQ WILLIAMS (born February 22, 1993) is a former American football defensive end.[1] He played college football at the University of Notre Dame.

College career

As a freshman, Williams played 11 games and recorded 6 tackles. The following season, he recorded 22 tackles (3.5 for a loss) in 13 games, and forced a fumble which was returned for a 77-yard touchdown. The next season was largely void of notable achievements, with the exception of making his first career start against Air Force on October 26. He was not enrolled in college during his senior year of 2014, and while Williams was enrolled in 2015, he was not eligible to play in NCAA games.[2][3]

Professional career

Williams was signed by the New York Giants as an undrafted free agent on May 9, 2016.[4] He was waived by the Giants on September 3, 2016 during final roster cuts and was signed to the practice squad the next day.[5][6] He was promoted to the active roster on December 20, 2016.[7]

Williams was waived/injured by the Giants on May 25, 2017 and was placed on injured reserve.[8]

On February 15, 2018, Williams was waived by the Giants with a failed physical.[9]

[1] http://www.giants.com/team/roster/Ishaq-Williams/cc4f80d0-7ea8-461a-822d-f1f6798bf28b

[2] http://www.und.com/sports/m-footbl/mtt/ishaq_williams_749587.html

[3] http://www.cbssports.com/college-football/news/notre-dame-de-ishaq-williams-denied-appeal-by-ncaa-wont-play-in-2015/

[4]

[5]

[6]

[7]

[8]

[9]

title: Ishaq Williams

question: When was Ishaq Williams born?

answer: February 22, 1993.

question: Where did he go to college?

answer: Notre Dame.

question: What is he known for?

answer: Playing American football.

question: What was his position on the field?

answer: Defensive end.

question: Write a ~2 sentence summary.

answer: Ishaq Williams (born February 22, 1993) is a former American football defensive end. He played college football for Notre Dame before being signed by the New York Giants before being waived twice due to cuts, an injury, and a failed physical.


split: train

text:
[]

A partial map of the Internet in 2005
 http://en.wikipedia.org/wiki/File:Internet_map_1024.jpg
A recent decision by a US Appeals court ended the regulation of the internet as we know it. The Federal Communications Commission (FCC) was deemed to have created a framework for ensuring the concept of "net neutrality" out-with the remit for the organisation it created itself. Now, a former FCC chairman has called for a "nuclear option" to reclassify Internet Service Providers (ISPs) as common carriers.

Doing so would force ISPs to be treated more like public utilities and subject them to FCC regulations over issues such as rate setting and universal service obligations. There has already been a lot of commentary and speculation about what the ruling means for the average user, and I don't want to add to the hyperbole all ready out there, but I think it is important to clarify a few things.

Net neutrality, or the end of it, has the potential to bring about the end of the internet as we know it. In a practical sense, it opens the doors for companies to manage the traffic across the network as they see most profitable, which means these companies can take measures that not only affect content creators, but end users. The ruling overturns the 20 years of treating the internet as a 'dumb' network that processed packets of information without prioritising them.

The ruling, in effect, means that two publicly traded corporations (and many smaller ones) can reconfigure their traffic-shaping programs to their benefit – not yours. The packets of information travel across the network in a "non-neutral" way. The consequence of the non-neutral treatment of information packets is that ISPs like Verizon and Comcast would be empowered to pick and choose what internet services become successful and which internet services flop.

As a result, the end of net neutrality is not just about a faster Facebook. It is much more than that. As the LA Times said in the aftermath of the US Appeals court decision that the Federal Communications Commission (FCC) could not establish rules promoting net neutrality: bow down to your new internet overlords, Comcast and Verizon.

The traffic management regimes that Comcast and Verizon can deploy can tag the tiny bits of information that travel across the internet based on either what they contain or what application sent them. By installing deep packet inspection, an ISP can both monitor and theoretically monetise by charging the content provider a fee to deliver the content at speed. This not only affects the speed in which content is delivered, but the rights of the end-user to receive content. The ruling effectively gives ISPs the right to manipulate these bits on the internet for their own benefit. This is because there is little economic benefit for owners to allow low value, high volume traffic to travel over their networks.

Current business models place little emphasis on charging users for the content on the internet as there is little market for charging for access. Most content under the current form of the internet, Web 2.0, is user-generated content and it simply wouldn’t be feasible to charge consumers for the content they share and comment on. This is going to create numerous issues for ISPs and consumers. Firstly, there is the issue of transparency. There are very few regulations that require a network owner to tell you when they have blocked or throttled a service. This is really an issue for consumers who are using services not provided by the network provider. For example, Skype and other VOIP services have been degraded and blocked by mobile providers.

Telecommunications lawyer Marvin Ammori made the following chilling observation before the ruling came down: "AT&T, Verizon, and Comcast will be able to deliver some sites and services more quickly and reliably than others for any reason. Whim. Envy. Ignorance. Competition. Vengeance. Whatever. Or, no reason at all."

The next major issue is blocking or throttling “non-partner” services. Take, for example, multi-person gaming. Comcast may partner up with a premium gaming service based in the US. The ruling allows them to discriminate against a gaming service based in Thailand that isn’t a partner by throttling the gaming service, but the aforementioned issues of transparency mean that the end-user doesn’t know what is causing the problem. This could create an anti-competitive market for all sorts of internet industries that rely on the dumb network that allows for a fair and best-effort method of prioritising data across networks.

Because ISPs have what is known as a termination monopoly over the end-user, they can use the same model as found in the Cable TV industry. Smaller content providers have to pay to secure access to the end-user. This is because of the last-mile rule for carriers. The last-mile, or the edge of the network, is where the network has most of its expense because of infrastructure costs and accordingly makes its money, by charging the user for access.

This throws the end-to-end principle into question. It may even signify its death. The early internet went by the idea that the web worked best when data packets were routed with the same priority. Engineers have tinkered with this a bit over the years, but the principle largely remains. The ruling that ISPs are not common carriers (former FCC Chairman Michael Powell, George W Bush appointee) made this much to the chagrin of, well, everyone who wasn’t a telecommunications carrier. The decision, made in 2002 under Powell, reclassified cable modem services as "information services" rather than "telecommunications services", eliminating its own authority to regulate them broadly. It is no surprise then that Michael Powell, General Powell’s son, is now the chief lobbyist for the cable television industry in Washington.

The ruling empowers the cable industry to censor content. It will be a massive threat to internet freedoms. The large multinationals like AT&T, Comcast, and Verizon have just been empowered by the courts to turn the internet into, if they want to, a massive controlled medium like TV and radio. As Professor Christopher Marsdenstates in his book, _Net Neutrality_: “ISPs are now allowed a broad measure of independence as to process to achieve the results the government sets out. This is controversial in that it passes powers to control freedom of expression into private hands, often without constitutional protections that govern public authority intervention and censorship.”

_Mark Leiser is a PhD Candidate in Cyber Law at the University of Strathclyde in Glasgow._

__
Read the original article on The Drum. Copyright 2014. Follow The Drum on Twitter.

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[]

question: Does the recent US Appeals court decision support or denigrate net neutrality?

answer: Not entirely clear as the article goes back and forth describing the effects, ultimately it implies that it harms net neutrality.

question: What is the effect of not classifying ISPs as "telecommunications services?"

answer: ISPs have more control over what services they in effect support or denigrate.

question: What two ISPs are notable?

answer: Comcast and Verizon

question: How can ISPs manipulate the success or failure of internet services?

answer: They can monitor and monetize content charging content providers a fee to deliver content at speed.

question: Write a ~3 sentence summary.

answer: A recent decision by a US Appeals court ends net neutrality as we know it. By not classifying ISPs as "telecommunications services," they allow ISPs like Comcast and Verizon power to manipulate content providers prominence on the internet. They can now monetize services charging a fee to deliver content at speed.


text:
INTERNATIONAL LUTERAY (Punjabi Urdu: ) is a 1994 Pakistani action film, directed by Iqbal Kashmiri and produced by Farooq Mirza. Editor: Mohammed Ashiq Ali[1] The film stars actors Neeli, Sultan Rahi, Nadeem, Ghulam Mohiuddin, Humayun Qureshi.

Cast

-   Sultan Rahi
-   Nadeem
-   Saima (double role)
-   Ghulam Mohiuddin
-   Madiha Shah
-   Afzal Khan
-   Nargis
-   Deeba
-   Qavi
-   Humayun Qureshi
-   Asim Bukhari
-   Albela

Soundtrack

Track listing

[1] http://www.mpaop.org/mpaop/pak-film-database/chronological-of-films/1994-2/international-luteray/#top, Film crew of 'International Luteray (1994) on mpaop.org website, Retrieved 22 Dec 2016

title: International Luteray

question: When did International Luteray come out?

answer: 1994

question: Who directed International Luteray?

answer: Iqbal Kashmiri

question: Who produced International Luteray?

answer: Farooq Mirza

question: Who stars in International Luteray?

answer: Neeli, Sultan Rahi, Nadeem, Ghulam Mohiuddin, Humayun Qureshi

question: Write a ~1 sentence summary.

answer: International Luteray is a 1994 Pakistani action film.


text:
The pianist leaned back, extending his arms and fingers in unison with the final note, his muscles popping and relieving the tension of 10 minutes of furious playing. The room still silent, the stretch stopped sharp as he remembered his audience.

"Wow, I actually forgot you were there for a minute."

"I'm not surprised, that was incredible!" His patron, as always, sat front and centre. His only company in a forgotten auditorium deep in the bowels of the great University of the Arts. Her legs crossed, a makeshift desk for the notebook she had been scribbling in since the intro. Never seeming to stop. "Every one is better than the last. Can I ask what was your inspiration?"

"It's kind of about loneliness." He shrugged and stacked the pages before him, tapping them lightly against the rack, setting them in order. "You know, like sometimes I go for walks in the early morning and it feels like I'm the only person alive. The campus can be so peaceful, especially by the lake. The smaller one? Even the birds don't seem to know about it."

"Mmhm?" She nodded. He noticed she never took any notes after the music had stopped. In fact her pen had vanished, her book clasped shut. "I want to know more about your process, though. How do you put those images to music?"

"Oh, a true artist should never reveal his secrets." She gave a curt laugh, clipped and professional, and dropped it. Her expression told him she was deciding whether to push the question.

"May I see the notation? Maybe I could glean some insight." With the others, he would always decline. The way they tore through the sheets with a covetous gleam in their eye had always unsettled him. Afterward they would lose interest in him, forsaking the artist for the art. She, his newest patron, had always taken the time to get to know his work on a deeper level. She always asked to see the music eventually, but these little gestures were enough to soften him.

She took the folder he offered and began laboriously scanning each page. The light shone through so the ink could faintly be seen on the other side, eclipsed by her tapered nails, examining each one with a brief but pointed stare.

And elsewhere, on a level of the college far beneath the deepest known to the young student, two tall specular figures saw what she saw, projected on a wall-filling screen. Though they made more sense than they had in the early days, the true meaning of the music -- its underlying form -- still eluded even the greatest minds among the drones.

"Have we not gathered enough samples, now?" Pleaded the junior. "It is cruel to deceive him so. We agreed to release him soon, so he may live out his days with his own kind."

"And what then?" Scoffed the other, leaning in and tracing the shape of a complex arpeggio, slender pearlescent finger dancing around the notes. "What if we decide later that what we have is not enough? The humans did as many things right as wrong, and if we truly aspire to be their betters, then we must learn as much as we can from them. I don't see this as cruel, I see this for what it is. Their swan song."

In the auditorium, the patron gave a droll smile and set the papers aside. "I'd like to commission another."

title: The Piano Teacher [Criticism Welcome]

question: Describe the pianist.

answer: He is an incredible pianist. His song represents his loneliness.

question: Who does the pianist interact with?

answer: He interacts with his patron. She asks about how he creates his music.

question: What are the emotions the characters are feeling?

answer: The pianist is lonely and would like to be finished with his task of playing for his patron.

question: What is the setting of the story?

answer: They are in a University auditorium. Through the patron's eyes, two aliens see everything she sees. They are studying humans.

question: Write a ~7 sentence summary.

answer: He is an incredible pianist. When he finishes playing, he tells his patron that his song represents his loneliness. They are in a University auditorium. Through the patron's eyes, two aliens see everything she sees. They are studying humans. One of the aliens asks that they release the pianist so he could live out his days with his own kind. The other alien says they're not finished learning from him yet.


text:
Directed by

Terry Gilliam
Writing Credits (WGA)

Chris Marker
...
(film La Jetée)

David Webb Peoples
...
(screenplay) (as David Peoples) &
Janet Peoples
...
(screenplay)
Cast (in credits order)  verified as complete

[Joseph Melito]
Joseph Melito
...
Young Cole
[Bruce Willis]
Bruce Willis
...
James Cole
[Jon Seda]
Jon Seda
...
Jose
[Michael Chance]
Michael Chance
...
Scarface
[Vernon Campbell]
Vernon Campbell
...
Tiny
[H. Michael Walls]
H. Michael Walls
...
Botanist
[Bob Adrian]
Bob Adrian
...
Geologist
[Simon Jones]
Simon Jones
...
Zoologist
[Carol Florence]
Carol Florence
...
Astrophysicist / Jones
[Bill Raymond]
Bill Raymond
...
Microbiologist
[Ernest Abuba]
Ernest Abuba
...
Engineer
[Irma St. Paule]
Irma St. Paule
...
Poet
[Madeleine Stowe]
Madeleine Stowe
...
Kathryn Railly
[Joey Perillo]
Joey Perillo
...
Detective Franki
[Bruce Kirkpatrick]
Bruce Kirkpatrick
...
Policeman No. 1
[Wilfred Williams]
Wilfred Williams
...
Policeman No. 2
[Rozwill Young]
Rozwill Young
...
Billings
[Brad Pitt]
Brad Pitt
...
Jeffrey Goines
[Nell Johnson]
Nell Johnson
...
Ward Nurse
[Frederick Strother]
Frederick Strother
...
L.J. Washington (as Fred Strother)
[Rick Warner]
Rick Warner
...
Dr. Casey
[Frank Gorshin]
Frank Gorshin
...
Dr. Fletcher
[Anthony 'Chip' Brienza]
Anthony 'Chip' Brienza
...
Dr. Goodin
[Joilet Harris]
Joilet Harris
...
Harassed Mother
[Drucie McDaniel]
Drucie McDaniel
...
Waltzing Woman Patient
[John Blaisse]
John Blaisse
...
Old Man Patient
[Louis Lippa]
Louis Lippa
...
Patient at Gate
[Stan Kang]
Stan Kang
...
X-Ray Doctor
[Pat Dias]
Pat Dias
...
WWI Captain
[Aaron Michael Lacey]
Aaron Michael Lacey
...
WWI Sergeant
[David Morse]
David Morse
...
Dr. Peters
[Charles Techman]
Charles Techman
...
Professor
[Jann Ellis]
Jann Ellis
...
Marilou
[Johnnie Hobbs Jr.]
Johnnie Hobbs Jr.
...
Officer No. 1
[Janet Zappala]
Janet Zappala
...
Anchorwoman (as Janet L. Zappala)
[Thomas Roy]
Thomas Roy
...
Evangelist
[Harry O'Toole]
Harry O'Toole
...
Louie / Raspy Voice
[Korchenko]
Korchenko
...
Thug No. 1
[Chuck Jeffreys]
Chuck Jeffreys
...
Thug No. 2
[LisaGay Hamilton]
LisaGay Hamilton
...
Teddy (as Lisa Gay Hamilton)
[Felix Pire]
Felix Pire
...
Fale (as Felix A. Pire)
[Matt Ross]
Matt Ross
...
Bee (as Matthew Ross)
[Barry Price]
Barry Price
...
Agent No. 1
[John Panzarella]
John Panzarella
...
Agent No. 2
[Christopher Plummer]
Christopher Plummer
...
Dr. Goines
[Larry Daly]
Larry Daly
...
Agent No. 3
[Arthur Fennell]
Arthur Fennell
...
Anchorman
[Karl Warren]
Karl Warren
...
Pompous Man
[Christopher Meloni]
Christopher Meloni
...
Lt. Halperin
[Paul Meshejian]
Paul Meshejian
...
Detective Dalva
[Robert O'Neill]
Robert O'Neill
...
Wayne
[Kevin Thigpen]
Kevin Thigpen
...
Kweskin
[Lee Golden]
Lee Golden
...
Hotel Clerk
[Joseph McKenna]
Joseph McKenna
...
Wallace
[Jeff Tanner]
Jeff Tanner
...
Plain Clothes Cop
[Faith Potts]
Faith Potts
...
Store Clerk
[Michael Ryan Segal]
Michael Ryan Segal
...
Weller
[Annie Golden]
Annie Golden
...
Woman Cabbie
[Lisa Talerico]
Lisa Talerico
...
Ticket Agent
[Stephen Bridgewater]
Stephen Bridgewater
...
Airport Detective
[Ray Huffman]
Ray Huffman
...
Plump Businessman (as Franklin Huffman)
[Jodi Dawson]
Jodi Dawson
...
Gift Store Clerk (as JoAnn S. Dawson)
[Jack Dougherty]
Jack Dougherty
...
Airport Security No. 1
[Lenny Daniels]
Lenny Daniels
...
Airport Security No. 2
[Herbert C. Hauls Jr.]
Herbert C. Hauls Jr.
...
Airport Security No. 3
[Charley Scalies]
Charley Scalies
...
Impatient Traveler
[Carolyn Walker]
Carolyn Walker
...
Terrified Traveler
Rest of cast listed alphabetically:
[Tiffany Baldwin]
Tiffany Baldwin
...
Student in Airport (uncredited)
[Bart the Bear]
Bart the Bear
...
Bear (uncredited)
[C.J. Byrnes]
C.J. Byrnes
...
Psychiatric Patient (uncredited)
[Phillip V. Caruso]
Phillip V. Caruso
...
French War Photographer (uncredited)
[Tom Detrik]
Tom Detrik
...
FBI Agent (uncredited)
[Donald Faison]
Donald Faison
...
Psyciatric Prisoner (uncredited)
[Kelly Farnan]
Kelly Farnan
...
Kissing Couple (uncredited)
[Joe Gerety]
Joe Gerety
...
Sprayer (uncredited)
[Laura Glas]
Laura Glas
...
Terrified Traveler #2 (uncredited)
[Robert Gleason]
Robert Gleason
...
1st Man at book signing (uncredited)
[John Hagy]
John Hagy
...
Bus Passenger (uncredited)
[Adam Hatley]
Adam Hatley
...
Drug Addict (uncredited)
[Bonnie Loev]
Bonnie Loev
...
Time Portal Nurse (uncredited)
[Julie Mabry]
Julie Mabry
...
Prostitute (uncredited)
[Raymond Mamrak]
Raymond Mamrak
...
Travler (uncredited)
[Sal Mazzotta]
Sal Mazzotta
...
Prisoner Joey (uncredited)
[Roger Pratt]
Roger Pratt
...
Man Tying Shoe in Hotel (uncredited)
[Allelon Ruggiero]
Allelon Ruggiero
...
Inpatient (uncredited)
[Renee Spei]
Renee Spei
...
Demon (uncredited)
[Richard Stanley]
Richard Stanley
...
Man in Transit Lounge (uncredited)
[Thang]
Thang
...
Monkey Member (uncredited)
[Susan Wool-Rush]
Susan Wool-Rush
...
Avid Fan (uncredited)
Produced by

  ------------------- ----- --------------------
  Robert Cavallo      ...   executive producer
  Mark Egerton        ...   associate producer
  Robert Kosberg      ...   executive producer
  Gary Levinsohn      ...   executive producer
  Lloyd Phillips      ...   co-producer
  Charles Roven       ...   producer
  Kelley Smith-Wait   ...   associate producer
  ------------------- ----- --------------------

Music by

Paul Buckmaster
Cinematography by

  ------------- ----- -------------------------
  Roger Pratt   ...   director of photography
  ------------- ----- -------------------------

Film Editing by

Mick Audsley
Casting By

Margery Simkin
Production Design by

Jeffrey Beecroft
Art Direction by

  ---------------------- ----- ----------------------
  William Ladd Skinner   ...   (as Wm Ladd Skinner)
  ---------------------- ----- ----------------------

Set Decoration by

Crispian Sallis
Costume Design by

Julie Weiss
Makeup Department

  ---------------------- ----- -----------------------------------
  Christina Bartolucci   ...   hair & makeup: Bruce Willis
  Christine Beveridge    ...   hair designer / makeup designer
  William A. Kohout      ...   hair stylist (as William Kohout)
  Peggy Nicholson        ...   key hair stylist
  Allen Weisinger        ...   makeup artist (as Alan Weisinger)
  ---------------------- ----- -----------------------------------

Production Management

  ---------------- ----- ------------------------------
  Charles Miller   ...   assistant production manager
  Lloyd Phillips   ...   unit production manager
  ---------------- ----- ------------------------------

Second Unit Director or Assistant Director

  --------------------- ----- -----------------------------------------------------
  Andrew Bernstein      ...   second second assistant director
  Mark Egerton          ...   first assistant director
  Philip A. Patterson   ...   second assistant director (as Phillip A. Patterson)
  John Rusk             ...   first assistant director: second unit
  --------------------- ----- -----------------------------------------------------

Art Department

  ------------------------- ----- -------------------------------------------------------------------------------------
  Ron Ashmore               ...   paint foreman
  Kate Bartouldus           ...   set dresser (as Kate Bartoldus)
  David Beach               ...   set dresser: Baltimore
  Elizabeth Bell            ...   set dresser: Baltimore
  Sally Boccella            ...   set dressing coordinator: Baltimore
  Carl Catanese             ...   leadman: Baltimore
  Matt Codd                 ...   production illustrator
  Christopher L. Conner     ...   foreman (as Chris Connor)
  Joseph Timothy Conway     ...   on-set dresser: Philadelphia (as Joseph T. Conway)
  F. Dale Davis             ...   set dresser: Baltimore (as Dale Davis)
  Norman Dodge              ...   leadman: Philadelphia (as Norm Dodge)
  Chad Doherty              ...   foreman
  Steven Lane Ewing         ...   construction coordinator (as Steve Ewing)
  Glen Foster               ...   carpenter
  Tim Galvin                ...   assistant art director
  Rick Gamez                ...   prop builder
  Benjamin Goldberg         ...   set dressing coordinator: Philadelphia (as Ben Goldberg)
  Wesley Goodwin            ...   carpenter (as Wes Goodwin)
  Kevin Greene              ...   construction accountant
  Doug Harlocker            ...   property master (as Douglas Harlocker)
  Damien Harrer             ...   labor foreman: Philadelphia
  William Hennessy          ...   set dresser
  Robert Holtzman           ...   set buyer (as Robert 'Ratface' Holtzman)
  Kevin Ishioka             ...   assistant art director
  James Kelley              ...   set dresser: Baltimore (as Jim Kelley)
  Lara Kelly                ...   art department coordinator
  Mark Kendig               ...   carpenter
  Peggy Khoury              ...   set buyer
  Yvonne King               ...   set dresser: Philadelphia
  Jay Klein                 ...   set dresser: Baltimore
  John D. Kretschmer        ...   leadman (as John Kretschmer)
  Robert LaPrell            ...   assistant art director (as Bob LaPrell) / construction coordinator (as Bob LaPrell)
  Hoang Le                  ...   carpenter / gang boss
  Ted Lubonovich II         ...   carpenter (as Ted Lubonvich)
  Scott Maginnis            ...   assistant property master
  Paul Maiello              ...   carpenter
  Matt McAnany              ...   set dresser: Philadelphia
  John Mills                ...   set dresser: Philadelphia
  Paul A. Minitello         ...   painter (as Paul Minitello)
  Larry Misselhorn          ...   greensman
  Scott T. Pina             ...   carpenter (as Scott Pina) / gang boss (as Scott Pina)
  Gary Pugh                 ...   carpenter
  Scott Purcell             ...   graphic artist (as R. Scott Purcell)
  Greg Rocco                ...   on-set dresser: Baltimore
  Michael Sabo              ...   set dresser: Baltimore (as Mike Sabo)
  John Martin Schmidt       ...   set dresser
  Thomas H.E. Scruggs       ...   set dresser (as Thomas Scruggs)
  Wayne Smith               ...   stand-by painter
  Meg Hyatt Snow            ...   property assistant
  Jeff Stacy                ...   set dresser
  Tom Watkins               ...   set dresser: Philadelphia
  Jim S. Williams           ...   set dresser: Philadelphia (as Jim Williams)
  Paul Williams             ...   gang boss
  William F. Wirth          ...   foreman (as Bill Wirth)
  Chris Wolf                ...   foreman
  Thomas Ashley             ...   art production assistant (uncredited)
  Jeremy Caniglia           ...   art production assistant (uncredited)
  Steve Cotroneo            ...   prop fabricator (uncredited)
  Drew H. Fash              ...   property assistant (uncredited)
  Lilly Frank               ...   graphics assistant (uncredited)
  Jon E. Graf               ...   shop craftsman (uncredited)
  Randy G. Herbert          ...   construction gang boss (uncredited)
  Edward J. Johnson         ...   carpenter (uncredited)
  Warren Manser             ...   illustrator (uncredited)
  Christopher G. Markunas   ...   carpenter (uncredited)
  Silvija L. Moess          ...   scenic artist (uncredited)
  Mitchell Scherr           ...   art department intern (uncredited)
  Charles J. Scott          ...   set decorating welder (uncredited)
  Nell Stifel               ...   scenic artist (uncredited)
  Christine Sysko           ...   set dresser (uncredited)
  Thomas Turnbull           ...   construction foreman (uncredited)
  Tom West                  ...   set dresser (uncredited)
  ------------------------- ----- -------------------------------------------------------------------------------------

Sound Department

  --------------------- ----- --------------------------------------
  Mick Boggis           ...   re-recording mixer
  Nick Church           ...   digital sound advisor
  Simon Cozens          ...   assistant sound editor
  Jennie Evans          ...   digital sound editor
  Diane Greaves         ...   foley artist
  Peter Joly            ...   supervising sound editor
  Danny Longhurst       ...   dialogue editor
  Peter Maxwell         ...   re-recording mixer
  Jay Meagher           ...   sound mixer
  Thomas J. O'Connell   ...   adr mixer
  Clive Pendry          ...   re-recording mixer
  Imogen Pollard        ...   sound editor
  Tasha Pym             ...   apprentice sound editor
  Dave Robinson         ...   utility
  Randy Smith           ...   boom operator
  Jack Stew             ...   foley artist
  Jason Swanscott       ...   foley artist
  Ted Swanscott         ...   foley recordist
  Dominick Tavella      ...   adr mixer
  Budge Tremlett        ...   adr editor
  Ian Wilson            ...   foley editor
  Steve Hancock         ...   studio sound technician (uncredited)
  --------------------- ----- --------------------------------------

Special Effects by

  -------------------- ----- ------------------------------------------------------------
  David Acord          ...   on set special effects technician
  Russell Hardee       ...   on set special effects technician
  James Healy          ...   on set special effects technician
  Russell Hurlburt     ...   on set special effects technician
  Paul Kocar           ...   on set special effects technician
  Thomas Lockey        ...   on set special effects technician
  Joseph P. Mercurio   ...   on set special effects technician (as Joe Mercurio)
  Shirley Montefusco   ...   special effects project manager
  Vincent Montefusco   ...   pyrotechnic engineer / special effects mechanical engineer
  Anthony Simonaitis   ...   special effects on set supervisor
  Keith Suzuki         ...   special effects shop foreman
  Beecher Tomlinson    ...   on set special effects technician (as Beacher Tomlinson)
  Steve Cotroneo       ...   special effects prop fabricator (uncredited)
  Gary Pilkinton       ...   special effects technician (uncredited)
  -------------------- ----- ------------------------------------------------------------

Visual Effects by

  ------------------- ----- -----------------------------------------------------------------------
  Richard Bain        ...   digital compositor: Peerless Camera
  Martin Body         ...   digital compositor: Peerless Camera
  Steve Cutmore       ...   digital compositor: Peerless Camera
  Ditch Doy           ...   computer graphics animator: Peerless Camera (as Richard Doy)
  Doug Forrest        ...   digital compositor: Peerless Camera
  Emily Goodman       ...   digital snow effects: Peerless Camera
  Jim Goodman         ...   digital snow effects: Peerless Camera
  Kent Houston        ...   visual effects supervisor: Peerless Camera
  Tim Ollive          ...   computer graphics animator: Peerless Camera
  Chris Panton        ...   digital compositor: Peerless Camera
  Joshua Pines        ...   digital snow effects: Peerless Camera (as Josh Pines)
  Susi Roper          ...   visual effects coordinator: Peerless Camera
  David Smith         ...   optical effects: Peerless Camera
  Dean Yurke          ...   computer graphics supervisor: Peerless Camera (as Manfred-Dean Yurke)
  Andrea Adams        ...   computer graphics animator (uncredited)
  Jim Davey           ...   scanning and recording (uncredited)
  Sean Hedges-Quinn   ...   model maker (uncredited)
  Sarah Marchant      ...   flame compositor (uncredited)
  Paul Round          ...   digital compositor (uncredited)
  John Swinnerton     ...   compositor (uncredited)
  ------------------- ----- -----------------------------------------------------------------------

Stunts

  ------------------------- ----- -------------------------------
  G.A. Aguilar              ...   stunts (as George Aguilar)
  Sandy Alexander           ...   stunts
  Bill Anagnos              ...   stunts (as Billy Anagnos)
  John Copeman              ...   stunt agent
  Paul Couch                ...   stunts
  Douglas Crosby            ...   stunts (as Doug Crosby)
  E.J. Evans                ...   stunts
  Herbert C. Hauls Jr.      ...   stunt actor (Uncredited)
  Terry Jackson             ...   stunt double: Bruce Willis
  Ronald Jaynes             ...   stunts
  Chuck Jeffreys            ...   stunts
  Sean Kelly                ...   stunt waiter
  David S. Lomax            ...   stunts (as David Lomax)
  Steve Martin              ...   stunts (as Steve Earl Martin)
  Cynthia Neilson           ...   stunt guest
  Phil Neilson              ...   stunt coordinator / stunts
  Elliot Santiago           ...   stunts
  Steve Santosusso          ...   stunts
  Brian Smyj                ...   stunts
  Michael Sinclair Walter   ...   stunts (as Michael Walter)
  Aaron Michael Lacey       ...   stunts (uncredited)
  ------------------------- ----- -------------------------------

Camera and Electrical Department

  --------------------------- ----- -------------------------------------------------------
  Alex Applefeld              ...   video assist: Baltimore
  Rhett Bloomquist            ...   grip (as Rhett Bloomquiet)
  Phillip V. Caruso           ...   still photographer (as Phil Caruso)
  David Cecil                 ...   electrician
  Andrew Reed Conner          ...   electrician
  Bill Fiedler                ...   electrician (as Bill Fielder)
  Chuck Finch                 ...   chief lighting technician (as Robert 'Chuck' Finch)
  Mike Finnegan               ...   rigging grip: Baltimore
  Rodney French               ...   best boy rigging grip
  Bill Gerardo                ...   second assistant camera (as William Gerardo)
  Vinnie Gerardo              ...   first assistant camera (as Vincent Gerardo)
  Thomas Greco                ...   loader (as Thomas Grecco)
  Craig Haagensen             ...   camera operator
  Thomas Jirgal               ...   best boy grip (as Casey Jirgal)
  William Jones               ...   grip (as Bill Jones)
  Ian Kelly                   ...   video assist operator
  Thomas Lappin               ...   second assistant camera: "b" camera (as Tom Lappin)
  Craig Ligget                ...   rigging gaffer
  Steven Litecky              ...   assistant chief lighting technician
  Patrick McGrath             ...   dolly grip (as Pat McGrath)
  Matt Miller                 ...   rigging grip
  Mike Miller                 ...   key grip (as Michael Miller)
  Peter Norman                ...   camera operator: "b" camera
  Lance E. Phox               ...   rigging electric best boy (as Lance Phox)
  Kyle Rudolph                ...   camera operator: "b" camera
  Keith Salkowski             ...   electrician
  John Martin Schmidt         ...   video engineer
  Lee Shapira                 ...   grip
  Blackford 'Boots' Shelton   ...   first assistant camera: "b" camera (as Boots Sheldon)
  Brian Snell                 ...   grip: Baltimore
  Jeffrey Baxter              ...   grip (uncredited)
  Rob Coughlin                ...   grip (uncredited)
  William P. Fiedler          ...   electrician (uncredited)
  Michael Goldman             ...   electrician (uncredited)
  Toshiaki Ozawa              ...   electrician (uncredited)
  David Renken                ...   daily electrician (uncredited)
  George Roach                ...   grip (uncredited)
  Ed Slater                   ...   grip (uncredited)
  Jarvis B. Wilsher           ...   electrician (uncredited)
  --------------------------- ----- -------------------------------------------------------

Casting Department

  ----------------- ----- ---------------------------------------
  Susan Gish        ...   extras casting
  Marissa Giunta    ...   casting assistant
  Mikie Heilbrun    ...   casting associate (as Mikie Heilbrum)
  Mike Lemon        ...   casting: Philadelphia
  Cathy Pritchard   ...   extras casting
  Amanda Stern      ...   casting assistant
  Eric Zuckerman    ...   casting assistant
  ----------------- ----- ---------------------------------------

Costume and Wardrobe Department

  -------------------- ----- -----------------------------------------
  Dodson Elliott       ...   costume production assistant
  Anne Gorman          ...   costume shop supervisor: Philadelphia
  Marina Marit         ...   costumer
  B.J. Rogers          ...   costumer
  Eric H. Sandberg     ...   costume supervisor (as Eric Sandberg)
  Shana Schoepke       ...   costume production assistant
  Melissa Stanton      ...   wardrobe supervisor
  Christopher Gilman   ...   specialty wardrobe (uncredited)
  B.J. Rogers          ...   assistant costume designer (uncredited)
  -------------------- ----- -----------------------------------------

Editorial Department

  ------------------ ----- -------------------------------------------------
  Monica Anderson    ...   second assistant editor: Baltimore
  Victoria Boydell   ...   second assistant editor
  Hermione Byrt      ...   second assistant editor
  Trevor Collins     ...   negative cutter
  Lucy Darwin        ...   post-production coordinator
  Dan Gane           ...   first assistant editor
  Celia Haining      ...   apprentice editor
  Pam Hall           ...   post production assistant
  Erin Miller        ...   apprentice editor
  Amanda Pollack     ...   second assistant editor
  Brian Ufberg       ...   first assistant editor
  Joe Violante       ...   dailies advisor (as Joey Violante)
  Eddie Wilder       ...   color timer
  Glyn Williams      ...   post production assistant (as J. Glyn Williams)
  Eric McClain       ...   colorist: dailies (uncredited)
  ------------------ ----- -------------------------------------------------

Location Management

  ------------------- ----- ------------------------------------------------
  Kathi Ash           ...   assistant location manager: Baltimore
  Tim Downs           ...   location production assistant
  Anna M. Elias       ...   assistant location manager (as Anna Mewbourne)
  Scott Elias         ...   location manager
  Suzanne Koneful     ...   location production assistant
  Charley Armstrong   ...   location scout (uncredited)
  Michael Lehman      ...   location scout (uncredited)
  ------------------- ----- ------------------------------------------------

Music Department

  ------------------- ----- -----------------------------------------
  Paul Buckmaster     ...   conductor / orchestrator
  Nicholas Bucknall   ...   musician: clarinet
  Hugh Burns          ...   musician: guitar
  Robin Clarke        ...   music editor
  Graham Farrow       ...   assistant music editor
  Charles Olins       ...   re-recorded music producer
  Jonathan Snowden    ...   musician: flute
  Eric Tomlinson      ...   scoring engineer
  Gavyn Wright        ...   orchestra leader
  Mark Berrow         ...   musician: violin (uncredited)
  Mike Bradford       ...   assistant: composer (uncredited)
  Peter Davies        ...   musician (uncredited)
  Erik Jordan         ...   assistant scoring engineer (uncredited)
  ------------------- ----- -----------------------------------------

Script and Continuity Department

  ---------------- ----- -------------------
  Marilyn Bailey   ...   script supervisor
  ---------------- ----- -------------------

Transportation Department

  -------------------------- ----- --------------------------------------------------
  Richard Curry              ...   driver (as Richie Curry)
  Joseph Hawkins             ...   driver
  Ted Robison                ...   driver
  Bob Rocco                  ...   driver
  James Patrick Whalen Jr.   ...   transportation coordinator (as James Whelan Jr.)
  Charles E. Bauer           ...   driver (uncredited)
  Michael Luckeroth          ...   driver (uncredited)
  Gerald Titus               ...   driver (uncredited)
  Douglas A. Walk            ...   driver (uncredited)
  -------------------------- ----- --------------------------------------------------

Additional Crew

  ----------------------- ----- ---------------------------------------------------------------------------------
  Howard Baral            ...   post-production accountant: R.C. Baral & Co.
  Valerie Bartlett        ...   production secretary: Baltimore
  Thomas 'Doc' Boguski    ...   assistant production office coordinator: Philadelphia
  Stephen Bridgewater     ...   radio programmes performer
  Alex Brown              ...   production assistant
  Jan Carroll             ...   dailies projectionist: Philadelphia
  Penny Causer            ...   title designer
  Jim Clubb               ...   animal coordinator: London
  Melissa Stanley Cohen   ...   assistant production office coordinator: Baltimore (as Melissa 'Stanley' Cohen)
  John 'JR' Craigmile     ...   payroll accountant (as John 'J.R.' Craigmile)
  Ted Criswell            ...   set medic
  Deborah Dasher          ...   post-production accountant: R.C. Baral & Co.
  Dennis Davidson         ...   public relations
  Ed Deane                ...   telephone coordinator
  Marc Diener             ...   legal services
  Liz Dykhouse            ...   assistant production accountant
  Stephen J. Eads         ...   assistant: Mr. Willis (as Stephen Eads)
  George Figgs            ...   projectionist: Baltimore
  Lisbeth Fouse           ...   assistant: Mr. Gilliam
  Carole French           ...   craft service assistant: Philadelphia
  Alan Glazer             ...   assistant: Mr. Roven
  Reva Grantham           ...   craft service
  Chad Graves             ...   assistant: Mr. Pitt
  Solita Hanna            ...   production assistant
  Ellen M. Hillers        ...   second unit coordinator (as Ellen Hillers)
  Warren Holcomb          ...   legal services
  Pino Insegno            ...   voice dubbing: Brad Pitt
  Ernie Karpeles          ...   animal coordinator
  Walter Kiesling         ...   production assistant (as Walter Scott)
  Avi Korein              ...   security: Bruce Willis and Brad Pitt
  Stuart Levy             ...   head of facilities
  Ernie Malik             ...   unit publicist
  Theresa Marsh           ...   assistant production accountant
  Emily McGovern          ...   production assistant
  Joy Moody               ...   assistant: Mr. Phillips
  Terry Morse Jr.         ...   bond representative (as Terry Morse)
  Elena Moscatt           ...   craft service: Baltimore
  Norm Nelson             ...   production secretary: Philadelphia
  Elizabeth J. Nevin      ...   production coordinator
  Terry Ostrow            ...   assistant: Ms. Stowe
  Mark Quigg              ...   caterer
  Andrea Rapke            ...   production assistant (as Andrea Scheinberg-Rapke)
  Deborah Ricketts        ...   video research
  Timothy Shannon         ...   set captain (as Tim Shannon)
  Richard Suckle          ...   production executive: Atlas
  Ken Tarallo             ...   pyrotechnic foreman
  Matilde Valera          ...   production accountant
  Robbin Van Pelt         ...   set security
  Foard J. Wilgis         ...   co-captain: Baltimore (as Foard Wilgis)
  Jomo Kenyatta Wilson    ...   production assistant (as Jomo Wilson)
  Lebbeus Woods           ...   interrogation room set inspired by
  Denise A. Beale         ...   production assistant: Baltimore (uncredited)
  Stephen Bridgewater     ...   drama coach: Brad Pitt (uncredited)
  Jamie Nicholette Frey   ...   production assistant (uncredited)
  Adam Hatley             ...   stand-in: Brad Pitt (uncredited)
  Melissa Holt            ...   production assistant (uncredited)
  Fred King               ...   production assistant (uncredited)
  Michael LaCorte         ...   production assistant (uncredited)
  Kurt Leitner            ...   production assistant (uncredited)
  Derrick Loris           ...   production office intern (uncredited)
  Len Murach              ...   film runner (uncredited)
  Brian Ransom            ...   video project coordinator (uncredited)
  Michael Smith           ...   production assistant (uncredited)
  Kirsten Turner          ...   production assistant (uncredited)
  Rick Walls              ...   production assistant: second unit (uncredited)
  Robert Zorella          ...   accounting intern (uncredited)
  ----------------------- ----- ---------------------------------------------------------------------------------

Thanks

  -------------------- ----- --------------------------------------------------------------------------------
  Shelly Brett         ...   the producers and director wish to thank
  Paul Carr            ...   the producers and director wish to thank
  Ray Cooper           ...   the producers and director wish to thank
  Catherine Councill   ...   the producers and director wish to thank: Maryland Film Commission
  Burr S. Eichelman    ...   the producers and director wish to thank (as Burr S. Eichelman M.D.)
  Robert Farr          ...   the producers and director wish to thank
  Keith Fulton         ...   the producers and director wish to thank
  Jack Gerbes          ...   the producers and director wish to thank: Maryland Film Commission
  Laszlo Gyulai        ...   the producers and director wish to thank (as Laszlo Gyulai M.D.)
  Reg Larkman          ...   the producers and director wish to thank: Planet Hollywood London
  Hans Orff            ...   the producers and director wish to thank (as Prof. Hans Orff)
  Louis Pepe           ...   the producers and director wish to thank
  Sharon Pinkenson     ...   the producers and director wish to thank: Greater Philadelphia Film Commission
  Michael Styer        ...   the producers and director wish to thank: Maryland Film Commission
  A.C. Ula             ...   the producers and director wish to thank (as Dr. A.C. Ula)
  Eric Whikehart       ...   the producers and director wish to thank (as Eric Whikehart M.D.)
  -------------------- ----- --------------------------------------------------------------------------------

 Crew believed to be complete

question: Which film is being discussed?

answer: La Jetee

question: Who is the film directed by?

answer: Terry Gilliam.

question: What is the film about?

answer: This information can't be found.

question: Who is the story written by?

answer: Chris Marker

question: Write a ~1 sentence summary.

answer: A list of credits for the film "La Jetee."


text:
*Are you really happy?*

The advertisement’s subtitles scrolled across the screen in time with the voice, Demetri could imagine a little ball bouncing across them in time with the speaker. His voice was like warm velvet, full of all the intonations and expression to imbue it with a feeling of altruistic concern, as if it were some great fatherly deity looking down upon its children and asking them if they were all right, did they want anything from the store? Was school going okay for them?

It was a question Demetri could imagine coming from a doctor too, the voice wasn’t simply prone to philosophical musings, no this was a question about a symptom.

Are you hot?

Are you cold?
Where does it hurt?

Can you feel this?

*Are you really happy?*

The symptom was unhappiness, not merely limited to true melancholic depression, nor the more colloquial ‘blues,’ no, the advertisement called out to everyone who simply wasn’t happy all of the time.

The advertisement called out to the entirety of the human race.

Unhappiness was a symptom of the sickness that was the human condition, and Elysia was the cure. Elysia,a serum that was cheap, efficient, and ultimately accessible by all. It cornered a market that had existed for eternity, a market that in itself contained all others; vacations, travelling, dining out, film, entertainment, all of them fell in comparison. If the generally accepted goal of life was to be happy, and one could be happy simply by buying, and charging, an eRing™, eBracelet™, or for the truly opulent, the eNecklace™, then what was the point of anything else?

What was the point of anything at all?

The eccessories™ were just the tools for the medication, a mixture of needless and electrical pulses that influenced the body’s blood flow in conjunction with the added Elysia substance to create, inspire, evoke, engineer, happiness.

*Are you really happy?*

It came in varying degrees, depending on the eccessory™ you used as well as the potency, or ‘mix,’ of Elysia that you bought. Demetri liked all of the mixes (as did everyone of course, how could they not, it was happiness), but his recent favourites included Warm Summer Picnic™, First Kiss™, and Hugs on a Cold Day™ . He had saved up enough recently to purchase his own eNecklace™ but had not yet accumulated enough money to try the recently released Happily Married™. But that didn’t matter, because he was happy, fulfilled even, whatever that meant. Work didn’t tire or stress him, he was happy to do it so he did. He wasn’t a particularly attractive man, but he wasn’t unattractive either, so as long as he was wearing his eNecklace™ women knew they would be happy with him.

‘The most attractive quality to have is a truly happy smile,’ the advertisement proclaimed, and it was true, all people wanted was to be happy, what else mattered? And a smile meant you were happy, right?

In the last few years there had been very few technological advances outside of anything directly related to Elysia, Demetri wondered if there was any point. Wasn’t this the pinnacle of human civilisation, being happy? He imagined the Elysia-Deity staring at a computer screen with the words “GAME OVER: YOU WIN” scrolling across it in the same way the words “Everything is easier when you’re happy, try new ‘Won the Lottery™’ today!” scrolled across the electronic billboard above him, Demetri smiled happily, that mix had been a good one.

*Are you really happy?*

If Demetri wasn’t so happy he’d be frustrated hearing that question so often. Of course he was happy, he’d just taken a 6 hour dosage of First Kiss™ and was strolling happily, hands in his pockets, towards a pretty woman he’d made quite inviting  eye contact with.

It occurred to him that he couldn’t actually remember his first kiss.

Why was he thinking that? What did it matter? He shrugged off the thought, letting it fall from his mind like a damp and heavy coat. Yet still it lay, clumped and crumpled there, on the floor of his consciousness. Come on, it couldn’t be so hard to remember something like that. A feeling he was so used to these days…

Lost in his mind, Demetri stumbled on the sidewalk, his idle hands too slow to catch himself and protect his smiling face.

He heard a series of cracks as his jaw crashed against the footpath and left a lovely half-skid of blood as he lifted himself up.

*Are you really happy?*

He pulled himself up and tried to wipe the red spittle from his face, but instead it just smeared across his cheek, he got the odd feeling that it must look like a long crimson smile.

It hurt.

Their first fight had been in a park, they’d yelled and she’d tried to walk away and he’d caught her and held her. Their first kiss had been there too, it had been raining and she’d been cold. And there, nestled against him, she’d looked up and kissed him.. It had been a year or so before she’d gotten cancer. Cancer was hardly an issue now though, the suffering were given free Elysia, what more could they want, they died happily?

Demetri’s stomach tightened, his chest heaved slightly.

He didn’t want to think about her, the long hours he’d spent by her side in the hospital. The moments and feelings they had shared. No, that wasn’t happy.

No.
No.
No.

*Are you really happy?*

In his head, the deity-doctor seemed to sound concerned, almost frustrated, with Demetri’s lack of answer. What did it matter that she had died? He was happy, everyone in the whole world was so fucking happy all the time, what did it matter.

No.

No.

He just wanted to be happy, and then he felt it hit him.
A dark wave of nostalgia, fear, anger, pain, frustration, boredom, cold, weakness.

And love.

A wave from an ocean so deep, and thick with restrained thoughts and memories. Feelings from the time his mother had told him his hamster had ‘run away,’ feelings from the time his friend Derrick had joined the ‘cool’ kids, feelings like his mother crying when she only had to make one cup of tea in the morning.
Feelings like a soft kiss in the rain.

Like the rain they washed over him, feelings that affected him, feelings that were different. Feelings that made and unmade him, created him and destroyed him, defined and erased him.

Feelings that were real.

*Are you really happy?*

And like rain they fell to the ground in front of him, like rain they slid and dripped and stayed.

And then they were gone.

His consciousness writhed in frustration for but a moment, stretching, reaching for any vestiges of the pain.
But it was gone.

Demetri blinked.
He stared at the smooth concrete in front of him.
The scrape of blood was slowly coalescing with a few soft, small drops around it.

*Are you really happy?*

Of course he was.

title: [Real]

question: What does the text say about the symptom of unhappiness?

answer: Unhappiness is not limited to melancholic depression. It is a symptom of the sickness of the human condition. The advertisement page offers a product called Elysia which claims to be the cure. The serum substance provides a cheap and efficient way to inspire, evoke or engineer happiness.


text:
Questing

They quested.

All throughout their childhood Sam and Tyler would run around with make believe swords, using their hands as pretend gums. The duo journeyed all over the universe in seconds wearing their super-fast sneakers. They overcame adversity to hit buzzer beating, game winning, basketball shots. Threw for last second touchdowns, and hit ninth inning homeruns in the World Series when the crowd was deafening.

They grew up, but they still didn’t stop. In high school Tyler made it his personal quest to vanquish each and every evil teacher, while Sam searched the dances for his hidden princess. They climbed every obstacle, had each other’s backs every step of the way. Sam was there when Tyler was sentenced to detention, and Tyler was there when Sam had to pull his heart back from cackling witches. They both wore the cap and gown of victors when they graduated from the training grounds to the rest of the world.

Still the two grew, still they quested. Looking for the perfect job that would allow them to simply saddle up and travel, where they could get assigned to tour the world and accomplish task after task. In the end Sam settled for this office, while Tyler settled for that desk, yet neither were upset that they quested in smaller realms than they had dreamed of. “Your task, should you choose to accept it, is to get this copied, stapled and on everybody’s desk before they leave today.” Proudly they accomplished each and every mission.

Finally their quests took them to a home for many other retired adventures. Yet they were not done. It was in that realm that Sam finally met his princess. He was her knight in shining armor and he took her to the magical lands from his childhood, lands he had never left. Sam saved her from him and Tyler’s ultimate nemesis, boredom, and brought her all the wondrous items that had escaped less experienced eyes.

Finally though, Sam and Tyler’s quest ended. In the end Sam succumbed to the unseen hands of the evil called old age. His heart and his mind were never pinned down though. Throughout his life he accomplished more than anyone of this world could have dreamed, except for himself. He is survived only by his questing mate. The one who was by his side when he slayed the mythical Dragon of Legore. The one who threw the game winning touchdown pass to him as time expired in the Super Bowl. Tyler was his partner in the scheme that vanquished the evil Miss Betts, and the one who was by his side to break the spell of the beautiful succubus Jessica Barns. He was his mate up to the end, when he brought his prized stories to his love Rosemary. He is the one who will always outlive him and will travel to all the places Sam could only have dreamed of, his imaginary friend, his only true friend, Tyler.

title: Questing

question: Is Tyler real?

answer: The ending indicates Tyler was an imaginary friend.

question: Where do they work as grown-ups?

answer: An office and a desk.

question: WHy doesn't Tyler date anyone?

answer: This could be because Tyler is imaginary.

question: Why does this distinctly mention the women who were bad?

answer: Perhaps to demonstrate the stronger bond between Sam and Tyler, which outlasted all woman save for Rosemary.

question: Write a ~3 sentence summary.

answer: Sam and Tyler have been friends throughout their lives, "questing"-going through the trials and tribulations of growing up-together. One day, finally, Sam meets his princess, whom he saves from his and Tyler's eternal nemesis, boredom. Sam and Tyler continue to grow old until Tyler survives Sam, who succumbs to old age.


text:
Somewhere near Jeff another dying man was moaning.

“Will you shut up and let me die in peace?” he shouted.

The battle had ended a few hours before, with one of the armies retreating and the other giving chase. Jeff wasn’t sure which side had been the winning one, and he didn’t care anymore. He had taken a bullet to the gut and was slowly dying in the encroaching evening darkness.

“I’ll do as I please. We’re all the same now, jus’ men dying in a field,” a pained response came, but the moaning quieted down a bit.

The deep, rich voice of the responder prompted Jeff to wonder who it belonged to. With a grimace he sat up slightly and looked in the direction of the voice. Lying about ten feet away, next to some rose bushes bordering the field, was a black man whose uniform betrayed him as a Union soldier. He was clutching a bleeding wound on the left side of his chest, and from the man’s wheezing voice it sounded like the lung had been punctured slightly, but not so much that the man couldn’t talk or breathe.

“You. It’s your kind’s fault that this whole war started in the first place,” Jeff said angrily. The work of dying had made him weary though, and he could only muster a halfhearted hate.

“I didn’t start no war, but I’m glad to be dying here a free man,” the man responded promptly.

That shocked Jeff a bit. He’d never thought blacks cared anything about freedom. He had always thought that slaves didn’t care either way, and were better off as slaves.

“You sound like you’re from down here, how did you end up fighting for the Yanks?” he asked, surprised by the man’s bluntness into a genuine interest.

“I escaped when I heard them Yanks was offering freedom for any blacks who wanted to join and made my way up north. Didn’t have to go far before I ran into a Union army and joined ‘em.” The man looked proud reflecting on how he’d attained his freedom.

“You betrayed your people, the people that fed you and housed you your entire life! Damned Yanks, whole world’s gone to hell when they make coons soldiers.” Jeff’s anger was building up again, but he still had a wary respect for the honesty of the man.

“My people? To you white folk we’re like a cow or an ass. We work all day and at the end of the day all we get is some food and a barn to sleep in. Maybe a man a bit mo’ expensive than an ass, but it’s the same thing.”

Jeff didn’t have a retort for that. He mulled it around for a bit. A sudden sharp pain hit him in the stomach and he groaned involuntarily. Taking his hands off of his wound, he glanced down and was sickened to see his innards poking out of a gaping hole in his belly. He quickly covered the wound again with his hands.

“Do you have any family?” Jeff asked, trying to take his mind both off of his wound and change the subject with the man to a less uneasy one.

“I had a wife and a son, but they were sold years ago,” the man said, his bitterness coming through over his pain. He coughed and winced, clutching his side harder. Jeff could see a trickle of blood coming out of the corner of the man’s mouth.

Jeff thought of his own wife Annie. He realized that he was never going to see his wife again either, and that pain was worse than his wound could ever be. But he had chosen this for himself; this man had had his wife and child taken away from him without any say in the matter. He had always taken the South’s “peculiar institution” of slavery as a matter-of-fact. He’d never had slaves; most people he knew didn’t, but everyone took it for granted that one day they’d be rich and prosperous and own slaves themselves. The negro was being helped by the white man to become civilized, to have a better life than he ever would have had free. Surely it was the right way to do things? This conversation was taking him down an uncomfortable line of thinking.

Looking around for a distraction, Jeff noticed a man not too far away leaning over the body of a union soldier. Dressed in rags and absolutely filthy, Jeff knew instantly he must be a scavenger. The man quickly rifled through three bodies for valuables and Jeff noted that the man was only looting Union bodies. That made sense, he supposed. He’d forgotten that they were in southern territory when the battle happened, and the man must have been loyal to the south.

The man turned and looked at the black man Jeff had been talking to. A visible look of shock appeared on the scavanger's face to see a black Union soldier, but the look quickly turned to one of pure hatred. The scavenger started walking menacingly toward the Union soldier, pulling out a long knife as he did. The Union soldier noticed, moaned and then closed his eyes looking resigned. When he was nearly to him Jeff spoke:

“Get away from that man, or you’ll die here with the rest of us today.” He had taken one hand off of his wound and was now pointing his officer’s revolver at the dirty man.

The scavenger stopped and stared at Jeff. He glanced back and forth between Jeff and the Union soldier, seemed to think better of it, and turned to walk off.

“Whatever, you’ll be both dead soon enough,” the scavenger said as he walked off toward some other bodies.

“I thank you kindly brother. Even though I know I’m going to die here, when I saw him coming at me all I wanted was these last few minutes I have.”

“It was nothing. I’d have done it for any fellow soldier,” Jeff said dismissively as he lowered the revolver, but then realized that he’d acknowledged the man as a soldier.  *So what?* he thought, *of course he’s a soldier, he’s in a uniform dying right here next to me, what more proof do I need?*

“Still, thank you.” The man smiled proudly, noticing Jeff’s acknowledgement.

“Do you believe in heaven?” Jeff asked, suddenly earnestly wondering what the next world held.

“Yes I do.”

“Do you think God will let me in after all of the terrible things I’ve done?” He had never been much of a believer himself, and still didn’t know what he thought but he desperately wanted to believe there was something else now.

“I think he forgives all of us who truly repent.”

*

Jeff awoke suddenly some time later. It was completely dark and from the position of the fat full moon around midnight. The front of his uniform was now completely soaked in blood from his chest to his crotch and he was even weaker than before. He realized he didn’t have much time left. He thought back and realized he must have passed out while the black soldier was describing to Jeff what he thought heaven was like.

“I am sorry, I must have fallen asleep while you were talking, I meant no offense,” Jeff called, his southern manners taking precedence even near death. He realized suddenly that he had never asked the man his name.

He heard no response from his friend. With all of the effort he had left in his body he sat up again and looked over to the man.

In the bright light of the moon he could see that his new friend had died. His eyes were staring blankly, but he had a look of serene calmness on his face.

“I’ll see you soon brother.”

Jeff collapsed back down and began to weep. He wept for the man. He wept for Annie and how he’d never see her again. He wept for himself. Most of all he wept for his ignorance and all of the stupid reasons he and his people had gone to war for.

title: Rose Blossoms at Midnight

question: Where is the story set?

answer: In the middle of a battlefield.

question: Who is Jeff talking to?

answer: A man who used to be a slave.

question: What did Jeff mean by "your kind"?

answer: He was referring to black people.

question: Why did Jeff weep during his last breath?

answer: He wept for the man next to him, for his wife who he will never see again, for his ignorance about slaves, and for the stupid reasons they went to war.

question: What did Jeff learn about slaves?

answer: He learned that they were people too, and learned that he has been ignorant to their situation.

question: Write a ~5 sentence summary.

answer: Jeff yells after being injured on the battlefield. Laying next to him is a soldier who was once a slave. He learns about the man's life and builds a connection with him. He acknowledges that the man is a soldier minutes before they eventually pass away. Jeff weeps for the very last time.


text:
[HM] **My Place Among The Nerds**
Nerd: an intelligent but single-minded person obsessed with a nonsocial hobby or pursuit
	My place among the nerds was and has never really been defined; I’ve just always felt that I was one. It probably stemmed from the weird person I was in middle school who nobody really knew because I was shy, awkward, and didn’t have anyone who understood me. Now I realize that that was all of us, but of course no one told me until now. I never knew where my place was just that my attributes were smart, shy, funny, temperamental at times, loved everything comic books, and, most importantly, has a strong love for music. Music has always been a way for me to realize that I’m never alone because if I can relate my life to a song then someone else has been where I am. It only made sense to learn how to play an instrument and to make my own music.
Place #1: Band Geeks
	I’ve always loved that term. Band Geek. It just rolls off the tongue right? It was also a title and a group of people who felt like I did and wanted to belong somewhere. What most people don’t know is that even though band is a clique of it’s own, there are different sections within a band which you choose to join from day one. It begins with three words: Woodwind, Brass, or Percussion? This loosely translates into: Would you like to play an instrument that you have to constantly sink money into for reeds and repairs, one where you feel like your lips will fall off after playing, or do you have anger management problems/ADD and want to hit stuff? I first chose Brass, realized I couldn’t really play the trumpet AT ALL, and went back to choose Woodwinds. The next choice was: Which one? Clarinet was the definite answer because it was small, looked easy to play and fun. It’s one of the best choices I’ve ever made in my entire life because the clarinet section consisted of the coolest people I had ever met. We were the talented, smart, funny, socially awkward people that eventually become the awesomest people in high school. That was my home until I came out of my shell and met the greatest influence on my middle school carrier, Mrs. Gilchrist.
Place #2: Thespians
	Mrs. Gilchrist was the reason I joined the fall play. She was the new Drama/Choir teacher that year and she made middle school bearable for me. She also pushed me to do things that she knew I would love, but hadn’t had the guts to do yet because I was shy, like acting and singing in front of a crowd. I had the smallest part in the whole play, an old woman who ran a hotel with her two sisters, but she hadn’t prepared me for the shocker I found in the script.
	That’s right. Not only was I going to make my acting debut, I had to sing a song and make up the tune for it too. I was terrified! I had NEVER sung or acted for anyone, especially the whole school and their families. How did we know if I even COULD sing?
	Opening night finally came, my nerves were all over the place and my singing scene was coming up. I walked across the stage, sat down and right on cue sang the lullaby of my own creation. It was perfect and the crowd clapped and cheered for me, a new rush I had never experienced before that filled me up with adrenaline and happiness. I had caught the Thespian bug and could never go back. I had become an acting junkie who’s inner nerd desperately wanted people to see her for the loud, funny person she was. After that, everything was a whirl of acting, memorizing, changing lines, rehearsing, singing and getting that ultimate prize of the thrill of applause, the high of being complimented, and the feeling of being noticed. Finally noticed.
Place #3: Choir Freak
Mrs. Gilchrist was convinced that now that I had sung in front of everyone, I had to keep doing it because I was actually really good at it. This led to my enrollment into choir. I was singing songs that I loved and had fun singing. All of my clarinet friends came along with me and had a great time discovering new places for their personal nerd needs. Our choir sang everything and everywhere that would take us because we wanted nothing more than to just sing, sing and sing some more. It fulfilled the musical nerd in me who had loved to sing since I was a little girl busting out Britney Spears at the grocery store. It was everything I had ever wanted, but there were a couple more parts of me that still weren’t being expressed.
To Be Continued.....

title: My Place Among The Nerds

question: Summarize the first community the narrator joins.

answer: The first community the narrator joins is the "Band Geek" community. The narrator gets to choose between Woodwind, Brass or Percussion. The  narrator settles on the clarinet, and that is where they meet their friends.

question: What role does Mrs. Gilchrist have in the main character's life?

answer: Mrs. Gilchrist is the teacher who encourages the main character to come out of their shell. They are the teacher who gets the narrator to act in the school play a life-changing experience for them. Then they get the narrator to participate in the choir as well.

question: Summarize everything related to Choir.

answer: The main character had a singing role in the school play. Thus Mrs. Gilchrist enrolled them in choir. The main character loved being a musical nerd and expressing themself.

question: What did the main character love most about being a Thespian?

answer: The main character had never felt noticed before. The narrator's inner nerd wanted to be seen for the loud, funny person they actually were. They loved the high of being complimented.


text:
INFO: I'm writing this as a school assignment for my english literature class. I'm wondering what you guys think about it. Please come with feedback about how I can improve it, grammar mistakes etc, as english is not my first language. It's based around the poem "Haul away" by Mark Knopfler. It's probably bad, but I did my best!

The Captain’s Wife

We all knew what happened, but no-one spoke a word about it. Women on board a ship brought bad luck people used to say. I don’t know if that was true for the captain’s wife but she certainly did not lift the spirits. They had been fighting non-stop for a month before she left, the captain and the captain’s wife. He tried his best to brush it off, but we could all see the anger and the sadness in his eyes.  She preferred to avoid the curious glares of the crew, staying locked up in her chambers after they had clashed.  What they were fighting about was hard to tell, it seemed to change every night. I guess, when two people who should not have been married in the first place is stuck together everything becomes something to fight over. When she left, no-one spoke a word about her.

The captain was an old man. He had become a rich man as well. He had been steering his trusty ship safely across the seas for four decades now. «A smooth sea never made a skillful sailor» he always said to the young boys. And he had been through many a stormful night over the years. But his wife was sadly a storm he could not handle. When she left, no-one spoke a word about her.

Before we left port he had been full of life. Freshly wed, a big cargo loaded up with promise of a fine payment for safe transportation.  He loved his crew like they were his own sons, and everyone aboard threated him with the utmost respect and kindness. Therefore, when she left, no-one spoke a word about her.

One could hardly blame her for fighting with the man though. The captain was not suited for a social life, at least off the ship. A man who had been so long at sea as the captain had not much to talk about other than, well, seafaring. The captain’s wife cared little for seafaring. One could hardly blame her though. She wanted to settle down somewhere, build a house and have children. The captain wanted the same as well, it seemed, but deep down we all knew he wanted to remain at sea.

It was a windless night when she left. The captain and the captain’s wife were fighting again. Over what was hard to tell, but everyone could hear the shouting. The crew had grown accustomed to it, so it was no wonder everyone let out a sigh of relief when the fighting came to a halt and it became quiet. Suddenly a loud splash was heard, and the captain appeared before the crew soon after. You could see in his eyes that he was upset, but made no effort to speak. He looked at his crew, at his ship, at the sea, before retreating to his chambers. No-one spoke a word about her.

No-one would say a word that day. Not before the day after quiet talking could be heard around the ship, but no-one dared make mention of the captain’s wife. The rest of the journey went on as normal, and when they arrived in port they unloaded the cargo, restocked and started on the journey back. All but the captain, who chose to only send his golden wedding ring back home.

Thanks you for reading :)

title: The captain's wife (Need feedback)

question: What does the story say about the captain's wife?

answer: She married a captain, an old and rich man. She wanted to settle and have kids, and it seemed that the captain wanted the same too. However, they couldn't get along well and argued intensely every day. Eventually, the captain got so angry that he threw her off the ship to the sea.

question: What does the story say about what the couple fought about?


text:
 together in a goalless draw against West Brom in August. No goals might make you think they didn't play well. But that wasn't the case. There is a telepathy between the two - his cushioned header for Ighalo's winner against Swansea was technically perfect.

Troy Deeney (right) has impressed this term for Watford despite having not found the target in six matches

Deeney has linked up well with Odion Ighalo (left), laying on a goal for his strike-partner against Newcaslte

Deeney played a part in both of Ighalo's goals at Newcastle: a deft touch in the build up to the first; and a great piece of hold up play, a confident turn, and a perfectly weighted clever pass through to his partner to fire home the second.

And if you want a player with character, Deeney is that man. Brought up by a single mum at the top of a high-rise in the Midlands, Deeney was wayward when he was younger. He missed the first three days of a trial at Aston Villa and was told to go home when he turned up on the fourth and final day.

His time in jail after a conviction following a drunken brawl was the turning point: it gave him a massive wake up call, and he took note. He did something terrible, but he learned a lesson from it and became a much better man.

He spent a year after being released going round local young offender groups speaking to them about turning their lives around. He's always last to leave community events.

Deeney was wayward when he was younger but he is now well and truly back on the straight and narrow

Deeney was named Players' Player of the Year two seasons running at Watford and is an inspiration to others

As captain of Watford he has been a major reason why the turnover of managers and players has not disrupted progress at Vicarage Road. His rallying call to the squad early last season kept unity in the squad and made sure they didn't use managerial changes (they had four different bosses last season) as any excuse for failure.

A club insider told me he is 'the leader of the pack' at Vicarage Road. He's been Players' Player of the Year two seasons running at Watford, with the foreign contingent voting for him because of 'how he brings the squad together'.

He also had the chance to play for Jamaica, but chose to turn that down, and he is very much open for an England call should that ever happen. You might think it's unlikely, but four years ago Jamie Vardy was playing non-league football, next summer he's got a great chance of heading to the European Championships with England.

Everyone who knows Deeney is willing the goals to come. Everyone who knows him well knows Deeney is vital to Watford on and off the pitch.

Jamie Vardy was playing non-league football four years ago but has made a blistering start this season

question: Who is Jamie Vardy?

answer: A football player

question: What is the main focus of this article?

answer: Football players (with a particular focus on Troy Deeney, captain of the Watford team)

question: Why did Deeney spend time in jail?

answer: He was convicted after a drunken brawl.

question: When was this article written?

answer: That information can't be found.

question: In which country do the subjects of this article live?

answer: England

question: Who is implied to be pictured in the photograph accompanying the article?

answer: Troy Deeney and Odion Ighalo

question: Write a ~3 sentence summary.

answer: The article concerns Troy Deeney, a footballer and captain of Watford. When he was younger, he went to jail after a drunken brawl but has since turned his life around. He was named Players Player of the Year two seasons in a row and is responsible for keeping Watford united.


text:
_KONAN VIÐ 1000°: HERBJÖRG MARÍA BJÖRNSSON SEGIR FRÁ_ ('The Woman at 1000°: As Told by Herbjörg María Björnsson') is a historical novel by Hallgrímur Helgason, published in Reykjavík in 2011 by JPV.

Summary

Helgason's main character, Herra, is an eighty-year-old bedridden woman, living alone in a garage along with her laptop and an old German hand grenade from World War Two. She has decided to die before Christmas, and has opted for a cremation (thus the thousand degrees). She even makes an appointment for herself at the local crematorium, and while she awaits her death, she recounts her turbulent life, that took her from her remote Icelandic childhood fjord over to Copenhagen before the war, then on to Germany of the war, back to Iceland, then to Argentina, and around the world.

Though based on a real life, the book is a clear work of fiction. Helgason uses fictional freedom to tell an incredible story, but builds his work around historical facts and uses the presidential figure of the grandfather to write about Iceland's destiny in the twentieth century. As the author did not change the name of the president, it was evident that he was writing about the Björnsson's family. This caused a stir in Iceland when the book was published. Some family members threatened to stop publication and tried to interfere when the book was nominated for the Nordic Council Literature Prize in 2013.

Historical basis

_The Thousand Degree Woman_ (in some countries titled The Woman at 1000°) is based on the real life of Brynhildur Georgía Björnsson, an Icelandic woman whom Helgason accidentally met over the telephone in 2006, when he was aiding his ex-wife during an election campaign, getting people to vote for the Social Democratic Party. Ms. Björnsson died in 2007 but had published her biography in 1983. Her father had also published his biography in 1988. He was one of a handful of Icelanders who fought with the Nazis in World War Two. Brynhildur's grandfather was the first president of Iceland, Mr. Sveinn Björnsson.

Translations

The novel was simultaneously published in German and has been translated to Danish, Norwegian, Polish, Lithuanian, Russian, German, Italian, French, Catalan and English. In France the young translator Jean-Christophe Salaün was awarded the Prix de traduc-tion Pierre-François Caillé, for the best translated book of 2014. In Spain the website todolitera-tura.es picked the “La mujer a 1000º” as the best book of 2014.

-   _Kvinden ved 1000°: Herbjørg Maria Bjørnsson fortæller_, trans. by Kim Lembek (Reykjavík: JPV útgáfa, 2012; København : Lindhardt og Ringhof, 2013) [Danish]
-   _La femme à 1000°_, trans. by Jean-Christophe Salaun (s.l.: Presses de la cité, 2013) [French]
-   _Kobieta w 1000°C: na podstawie wspomnień Herbjorg Maríi Bjornsson_, trans. by Alicja Rosenau (Kraków: Znak, 2013) [Polish]
-   _La mujer a 1000°_, trans. by Enrique Bernárdez (Barcelona: Lumen, 2013) [Spanish]
-   _A nö 1000 fokon: Herbjörg María Björnsson története_, trans. by Veronika Egyed (Budapest: Scolar, 2013) [Hungarian]
-   _La nonna a 1000°: Herbjörg María Björnsson racconta_, trans. by Silvia Cosimini (Milano: Mondadori, 2014) [Italian]
-   _Een vrouw op 1000°: uit de memoires van Herbjörg Maria Björnsson_, trans. by Marcel Otten (Utrecht: Uitgeverij De Arbeiderspers, 2014) [Dutch]
-   _Zhenstsjína prí 1000°C_, trans. by Olgi Markelovoj (Moscow: Ast, 2015) [Russian]
-   _Gruaja në 1000°_, trans. by Agim Doksani (Tiranë: Ombra, 2016)
-   _Kvinnen ved 1000°: Herbjörg María Björnsson forteller_, trans. by Silje Beite Løken ([s.l.]: Cappelen Damm, 2016) [Swedish]
-   _Woman at 1000 degrees_, trans. by Brian FizGibbon (Chapel Hill: Algonquin books, 2018) [English]
-   _Eine Frau bei 1000°: aus den Memoiren der Herbjörg Maria Björnsson_, trans. by Karl Ludwig Wetzig (Stuttgart: Klett-Cotta, no date) [German]

Adaptations

A stage-version written by the author (along with Una Thorleifsdottir and Simon Birgisson) ran at the National Theatre of Iceland, in Reykjavik, in the winter of 2014–15, winning the Icelandic Theatre Prize for “Best Play of the Year 2015”. In Denmark, the actress Solbjørg Højfeldt created a one-woman monologue that was premiered in the spring of 2016 to critical acclaim.

Reviews

-   Soffía Auður Birgisdóttir, ' “[...] mörg eru sjálf þín, kona” ', _Tímarit Máls og menningar_, 73 (2) (2012), 137-143.
-   Alda Björk Valdimarsdóttir, 'Hann lagði okkur í ræsið á hverri síðu: Ellefu líf og Konan við 1000°', _Skírnir_, 186 (spring 2012), 147-165
-   -

title: Konan við 1000°

question: What is The Woman at 1000°: As Told by Herbjörg María Björnsson (Konan við 1000°: HERBJÖRG MARÍA BJÖRNSSON SEGIR FRÁ)?

answer: The Woman at 1000°: As Told by Herbjörg María Björnsson is a historical novel by Hallgrímur Helgason, published in Reykjavík in 2011 by JPV.

question: Describe the main character, Herra.

answer: Herra is an 80-year-old bedridden woman who lives alone in a garage with only her laptop and an old WWII German hand grenade for company. She has decided to die before Christmas and wants to be cremated. While waiting for her death, she recalls her turbulent life - from Iceland to Germany and around the world.

question: Why did Helgason's book cause a stir in Iceland?

answer: The book was a clear work of fiction but based on historical facts. Helgason didn't change the name of the president (Björnsson), which caused his family members to threaten the book's publication because he was clearly writing about their family.

question: Who is Brynhildur Georgía Björnsson?

answer: She is an Icelandic woman whom Helgason based his book on. Ms. Björnsson died in 2007 but had published her biography in 1983. Her father had also published his biography in 1988. He was one of a handful of Icelanders who fought with the Nazis in World War Two. Brynhildur's grandfather was the first president of Iceland, Mr. Sveinn Björnsson.

question: Write a ~6 sentence summary.

answer: The Woman at 1000°: As Told by Herbjörg María Björnsson is a historical novel written by Hallgrímur Helgason, about an 80-year-old bedridden woman who lives alone in a garage with only her laptop and an old WWII German hand grenade for company. She wants to die before Christmas and opts for cremation. The book is based on the life of Brynhildur Georgía Björnsson, who Helgason met over the phone by mistake. She is the daughter of one of a handful of Icelanders who fought with the Nazis in WWII. Her grandfather was the first president of Iceland, Mr. Sveinn Björnsson, who was mentioned in the book as himself. This caused an uproar from the Björnsson family, who wanted to stop the publication of the book.


text:
The GAJENDRA NARAYAN SINGH SAGARMATHA ZONAL HOSPITAL is a zonal hospital in saptari district of southern Nepal.[1] It has more than hundred beds and the service of X-ray and CT Scan. Here more than 500 patients got treatment from the hospital.

[1] [Tiwari continues fast for reforms in Sagarmatha Zonal hospital]

title: Gajendra Narayan Singh Sagarmatha Zonal Hospital

question: What is a zonal hospital?

answer: the article does not answer this question

question: what is an X-ray?

answer: the article does not answer this question

question: what is a CT Scan?

answer: the article does not answer this question

question: Where is Nepal?

answer: The article does not answer this question

question: Write a ~1 sentence summary.

answer: Gajendra Narayan Singh Sagarmatha Zonal Hospital is a zonal hospital in saptari district of southern Nepal.


text:
HIOS (), is an Android-based operating system developed by Hong Kong mobile phone manufacturer Tecno Mobile exclusively for their smartphones.[1][2]

HiOS allows for a wide range of user customization without requiring rooting the mobile device.[3] The operating system is also bundled with utility applications that allow users to free up memory, freeze applications, limit data accessibility to applications among others.[4] HiOS comes with features like; Launcher, Private Safe, Split Screen and Lockscreen Notification.[5]

History

[HiOS 6.0] In April 2016, Tecno Mobile released HiOS 1.0, based on Android 6.0 “Marshmallow”, featuring a launcher and micro-intelligence.[6][7][8] The HiOS was first launched on Tecno Boom J8. [9][10][11] In March 2017, HiOS 2.0 was released based on Android 7.0 “Nougat”, launching on Camon CX and L9 Plus.[12][13] It also came with launcher, consisting of Hi Search, Hi Theme, Hi Manager and split screen.[14]

In October 2017, HiOS 3.0 was also released based on Android 7.0 as seen in HiOS 2.0, but with improved user interfaces, launching on Phantom 8 and Camon CM.[15][16][17] HiOS 3.0 also came with Boomplay Music and Phoenix Browser as primary browsers, it also came with T-Point, Micro Intelligence and Eye Care.[18][19]

In November 2018, HiOS 4.1 was released based on Android 8.1 “Oreo”, launching on Camon 11 and Camon 11 Pro, featuring ZeroScreen, one-hand mode and dual apps.[20][21][22] The HiOS 4.1 also came with Gesture Navigation and Face ID.[23][24]

In April 2019, HiOS 5.0 was released based on Android 9.0 “Pie”, launching on Spark 3 and Phantom 9, featuring Smart Panel, AI Read Mode and Intelligent Voice Broadcast.[25][26] In September 2019, HiOS 5.5 was also released based on Android 9.0 “Pie”, launching on Camon 12 and Spark 4, featuring AR Virtual Canvas, Closed Eye Detection, Gesture Call Picker and Fingerprint Reset Password.[27][28]

In February 2020, HiOS 6.0 was released based on Android 10, launching on Camon 15.[29][30] The beta version of HiOS 6.0 was released to Tecno Spark 3 Pro on 1 December 2019, featuring system-wide Dark Theme, Social Turbo and Game mode.[31]

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[31]

title: HiOS

question: What is HIOS?

answer: An operating system.

question: What system is HIOS based on?

answer: Android.

question: Where is HIOS developed?

answer: Hong Kong.

question: What kind of device does HIOS run on?

answer: Smartphones.

question: Write a ~1 sentence summary.

answer: This article is about HIOS, an android based operating system created in Hong Kong.


text:
[Keith T. Poole (left) and Howard Rosenthal (right), 1984.] HOWARD L. ROSENTHAL (born 1939) is a professor of politics at New York University.[1][2] He has also taught at Carnegie-Mellon University and Princeton University, where he was the Roger Williams Straus professor of social sciences.

Rosenthal is known for developing the multidimensional scaling application NOMINATE along with Keith T. Poole, a tool used by political scientists to compare the relative ideologies of current and past members of Congress. He has authored numerous books and journal articles, including _Partisan Politics, Divided Government, and the Economy_ with Alberto Alesina and _Polarized America: The Dance of Ideology and Unequal Riches_ with Nolan McCarty and Keith T. Poole.

His main areas of interest include the study of political economy, American politics, political methodology, and comparative politics.[3]

Education

After receiving his B.S. in Economics, Politics and Science in 1960 from Massachusetts Institute of Technology, Rosenthal went on to complete his Ph.D. in Political Science at MIT in 1964.[4]

Career

Rosenthal has taught at Carnegie Mellon University, Princeton University, and New York University.

Work

As previously stated, Rosenthal has written numerous influential books in the field of political science. These include:

-   Hildebrand, David K.; James D. Laing and Howard Rosenthal. Prediction Analysis of Cross Classifications. Wiley Series in Probability and Mathematical Statistics. New York: Wiley, 1977.
-   Meltzer, Allan, Romer, Thomas; and Rosenthal, Howard, eds. Carnegie Papers on Political Economy, Vol. 4, Public Choice, 44, 1, 1984.
-   Alesina, Alberto, and Howard Rosenthal. Partisan Politics, Divided Government, and the Economy. New York: Cambridge University Press, 1995.
-   Poole, Keith T., and Howard Rosenthal. Congress: A Political-Economic History of Roll Call Voting. New York: Oxford University Press, 1997.
-   Bolton, Patrick and Howard Rosenthal, eds., Credit Markets for the Poor, New York: Russell Sage Foundation, 2005.
-   McCarty, Nolan, Keith T. Poole and Howard Rosenthal. Polarized America: The Dance of Ideology and Unequal Riches, 2006. Cambridge, MA., MIT Press (Walras-Pareto lecture volume).
-   Poole, Keith T., and Howard Rosenthal. Ideology in Congress. New Brunswick, Transaction Press, 2007, 2nd Rev. Edition.
-   Rosenthal, Howard and David Rothman, eds. What Do We Owe Each Other?, New Brunswick, Transaction Press, 2008.

Rosenthal has also been published in scholarly journals such as the _American Political Science Review_, the _American Journal of Political Science_, the _American Economic Review_, and the ''Journal of Politics.[5]

Awards

Rosenthal is a Fellow with the American Academy of Arts and a Sciences Fellow with the Society for Political Methodology. He also received the Duncan Black Award (with Thomas Romer) from the Public Choice Society in 1980 and the C.Q. Press Award (with Keith T. Poole) from the American Political Science Association in 1985, along with many other awards over the years.[6]

[1]

[2]

[3] “Howard Rosenthal.” New York University. http://politics.as.nyu.edu/object/HowardRosenthal

[4] “Howard Rosenthal.” LinkedIn. https://www.linkedin.com/in/howard-rosenthal-4880a71b

[5] “Howard Rosenthal Vita.” http://politics.as.nyu.edu/docs/IO/2803/rosenthal_cv.pdf. Retrieved 22 December 2016.

[6] “Howard Rosenthal Vita.” http://politics.as.nyu.edu/docs/IO/2803/rosenthal_cv.pdf. Retrieved 22 December 2016.

title: Howard Rosenthal (political scientist)

question: Where is Howard L. Rosenthal teaching?

answer: He currently teaches politics at New York University.

question: What is Howard L. Rosenthal famously known for?

answer: He is known for developing the multidimensional scaling tool used by political scientists to compare relative ideologies of current and past members of Congress.

question: What is Howard L. Rosenthal's specialization?

answer: He specializes in political economy, political methodology, and comparative politics.

question: Name one of Howard L. Rosenthal's most notable awards?

answer: Rosenthal received the Duncan Black Award from the Public Choice Society in 1980.

question: Write a ~4 sentence summary.

answer:
Howard L. Rosenthal is a professor of politics at New York University. He is known for developing a scaling tool used by political scientists to compare relative ideologies of current and past members of Congress.

Rosenthal's main areas of interests are American politics, political methodology, and the study of political economy. Rosenthal was awarded the Duncan Black Award from the Public Choice Society in 1980.


text:
LUIS FERNANDO OCHOA (born August 16, 1968) is an American musician, composer, record producer, art producer, sound engineer, arranger and backing vocalist known for his works with artists such as Shakira, Chayanne, and Ricky Martin.[1]

Biography

Luis Fernando Ochoa was born in New Orleans, Louisiana, United States on August 16, 1968. He lived in Chicago and at age 17 arrived in Medellin. From an early age, he became used to spending whole hours stuck to the sound system in which his parents heard songs from Elvis Presley, Engelbert Humperdinck and cumbias that they received from Colombia. Although not from a family with a great musical vein, his great-grandmother did play the piano very well and it was through that instrument that he began to discover the first notes.[2]

Career

In the 70s he became a fan of rock and bands such as the Rolling Stones, Pink Floyd, and in Medellín he was part of the group Nash. Later in Bogotá he joined Compañía Ilimitada, which he was linked until 1990. Back in Medellín, he was part of Dloop and Lakesis, he started making music for advertising. His career as a producer started when a BMG label executive asked him what he was doing at Lakesis and, without knowing why, he replied: “I am the producer”. Since then he started working as a producer, not only with Shakira but also with other Colombian artists like Jose Gaviria. Between 1996 and 1998 his life was between Mexico City and Los Angeles, and since 1998, when he worked with Shakira in the production of _Dónde Están los Ladrones?_ he established in Miami. “It has not been easy, in Miami it is difficult to break that outline of noises, partying”. For him, artists such as Bacilos, Polo Montañés, Juanes and Shakira have been very important because they have exposed the music made in Miami to the world and have shown that in variety is the pleasure of learning, making and listening to music.[3] Ochoa received a nomination for Producer of the Year at the 4th Annual Latin Grammy Awards.[4]

Discography

-   1990: Nash – _Nash_
-   1993: Compañía – _Mascaras_
-   1995: Aura Christina – Calor''
-   1995: Jose Gaviria – _Camaleón_
-   1996: Shakira – _Pies Descalzos_
-   1996: Shakira – _The Remixes_
-   1996: Terry Christian – _Broken Hearts_
-   1996: Jose Gaviria – _Mundo Nuevo_
-   1997: Federico Vega – _Cápsulas de Amor_
-   1998: Shakira – _Dónde Están los Ladrones?_
-   1999: Juan David – _Juan David_
-   1999: El Círculo – _Murió El Silencio_
-   2000: Niurka – _Quiero Vivir_
-   2000: Shakira – _MTV Unplugged_
-   2001: Shakira – _Laundry Service_
-   2002: Anasol – _Astros_
-   2002: Bacilos – _Caraluna_
-   2003: Julio Iglesias Jr. _Tercera Dimensión_
-   2003: Ricky Martin – _Almas del Silencio_
-   2005: Shakira – _Fijación Oral Vol. 1_
-   2005: Shakira – _Oral Fixation Vol. 2_
-   2010: Shakira – _Sale el Sol_
-   2017: Shakira – _El Dorado_

[1] eltiempo.com: Luis Fernando Ochoa en las ligas mayores

[2] semana.com: Luis Fernando Ochoa Detrás de la consola

[3]

[4]

title: Luis Fernando Ochoa

question: What is Luis Fernando Ochoa known for?

answer: Luis Fernando Ochoa is known for his works with Shakira, Chayanne, and Ricky Martin.

question: Why does Luis Fernando Ochoa think that Bacilos, Polo Montañés, Juanes, and Shakira are important?

answer: Because they have exposed the music made in Miami to the world.

question: List three recent CD's that Ochoa's worked on.

answer: 'Oral Fixation Vol. 2', 'Sale el Sol', and 'El Dorado'.

question: Where was Ochoa born?

answer: Ochoa was born in New Orleans, Louisiana, United States.

question: Write a ~3 sentence summary.

answer: Luis Fernando Ochoa is an American musician, composer, record producer, art producer, sound engineer, arranger, and backing vocalist. He is known for his works with Shakira, Chayanne, and Ricky Martin. Ochoa received a nomination for Producer of the Year at the 4th Annual Latin Grammy Awards.


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The Roshe Run may be one of Nike‘s simplest silhouettes, but the popular lifestyle sneaker has released this year in a head-spinning variety of colors and forms. The latest in a flurry of Roshe drops comes in the form of the Nike Roshe Run Metric – a fragmented, geometric version of the minimalist shoe. With blacked-out uppers in a cracked, mosaic tile-like makeup, the Metric turns the Roshe Run’s simple lines into a finely detailed, almost futuristic pair of kicks. The rest of the silhouette is a little more familiar — a standard black sole complete with Nike’s much-loved Solarsoft cushioning, a setup that should provide the all-day comfort. Look for the Nike Roshe Run Metric at NSW accounts including atmos.

question: What is the Roshe Run?

answer: Roshe Run is a class of sneakers.

question: Which brand's part is the Roshe Run?

answer: The Roshe Run is a part of Nike.

question: What colors are they offered in?

answer: The sneakers are mainly offered in standard black.

question: When did the brand introduce Roshe Run?

answer: This information can't be found.

question: Write a ~4 sentence summary.

answer: Nike introduces its new class of sneakers - Roshe Run Metric. This class of sneakers mainly comes in black. But the latest Roshe Run Metric is a fragmented, geometric version of the minimalistic shoe. It turns the Roshe Run's simple lines into a finely detailed pair of kicks.