text:
The angry man rolls into town with a bag and a grimace and a frown.  He takes the bus to 808 and throws money on the table.  Give me two for what for please, he whispers sarcastically and with the subtlety of a goose.

Whatnow? Asked the operator nice, her tears staining her underwear with optimism.

TWO FOR WHATFOR AND ONE EXTRA FOR ME MA.

The man turned huffing towards the mirror and inspected his dream.  How many do you need?  Asked he of himself. Take me back home, to the grounds of the point.   Intense discussion, would be pleasant, but doesn't need more of it.  I wondered to use the bathroom, no time, no place.   If there's anything, talk to David-o.  There isn't.

The bus is here now, time to stop.

Abruptly sitting up, he looked out of the window, the hotel window, the hotel.   He pictured Gideon's bible sitting in the drawer next to him and the phone, used by so many.   He threw back the covers and switched on the TV.  Morning news droned as shower water sprinkled him fresh.  Opened suitcase, underpants, shirt and tie, trousers last as the towel hit the floor, a present for the cleaning lady.

Cologne and elevator, brief glances and hollow smiles at breakfast.  Croissant and jam, coffee with no sugar, taxi, street, smiles again and again elevator.  Morning business, the start of a new continuation. The meeting was boring, but he liked the look of the girl taking notes, she was young, hopeful.   He put downsizing on the table.  The men and women nodded, too much waste, not enough profit.   Too many people for the company, time to change, time for a fresh start.  It was his fault.   Meeting over, de-elevation.

A brisk walk through Manhattan, 5 minutes max.  Lunch was sandwich, more salad than bread, orange juice to help.   Staring out of the window, always windows, always outside.  The people were okay.    Check phone, free wifi, great invention.   Good times.  He thrashed at a whiteboard in his mind.  Downsize, economize, automate.   The world was an engine being ever refined, like the sugar in the packet he didn't use.

Next meeting was convincing, at least he was. His speech: Good change, positive change, even pocket change helps.  50th floor, great view, but no one was distracted.  Time to sell ideas, this workspace is the fucking bomb, wondering what the fuck he is talking about.
Sally was 18 when she dumped him, he was 21.  He couldn't figure it out.  They were both attending the same college and the last 3 months had been fantastic.   He wondered if it was his hair, his height, his face.  Sometimes he jokingly asked her to marry him, and she would jokingly reply 'of course'.   They lay in the sports fields, smoked weed, talked about the changes in the world, and what they really wanted.  They went on the demonstration against the Iraq war, because their friends did, and they really enjoyed the music and the energy of the crowd.

It was easy to speculate, to be gods in the making.  They would make things right.  They would start the world over.  No more sadness.    If only everyone  got high and danced and stayed up late talking about love.

His speech was over.  Small round of applause, unusual but important to him.  He enjoyed the view.

Taxi, hotel, hotel bar.   He tried networking but it was the wrong crowd.  2 or 3 beers, elevator, hotel room, hotel window.  CNN.

Pillow.

The angry man rolls into town and dispenses his advice to a tramp.  Take it out, or you'll lose it.  It was late, dogs barking.  Trees everywhere, how beautiful.  Sally strokes and the blood stained him falls over.  Downsizing love, big time.   Three cards, three clues, first clue, left.

Mother is crying, she burnt her hand on the soup.  He can't eat it anymore.  He goes upstairs to the funeral and falls into the coffin.  Stupid me, always falling.  They look over at him, the baby in the box, tears sprinkling him clean, cologne, taxi, meeting,  Sally says he's the best businessman in the world, and they toast the man so violently he is pushed back, out through the window, the view comes closer, the trees grow pretty.

He lands.

Alarm clock, CNN talks.  Nothing happened.

Last day in NY. Wishing to be home, hop in a taxi.  Little input required today.  Traffic is snarled.  Who gives a fuck?  It's hot, open the window.  The trees in Central Park.  Joggers.  A guy plays guitar and he nods his head in approval.  No stress today.

Taxi arrives, elevator, shake hands, shake smiles.  Yesterday's approval lingers as it fades,  Others talk, good ideas, we are all good.  Tomorrow he's home, tomorrow family, tomorrow dog. He is helping.

Takes notes, it's boring to hear others speak.   Meeting drags, mind wanders.

Sally was a musician, of sorts.  She loved Pink Floyd and The Who, and insisted on his silence as she performed her stilted covers.   They fucked often, although not as much as he would have liked, although she gave excellent head.  Better than the wife.

He was sceptical when she offered him the mushrooms, but he couldn't turn down her hope.  His stomach churned, as did his mind, and he hated it.  She was dancing in his apartment, singing louder than anyone would have liked, as he lay on the floor holding his face tightly.  After hours had passed, she was stroking his hair, humming a tune, and he cried.

Meeting over, handshakes, smiles, bar full of suits.   They looked  good, he looked good, we were all good.  Etiquette is structure, you know.  Stay in the zone, business is him. Fuck it, cocktail bar.   He's making them laugh.  Everyone is laughing.   Huge tip, why not?  Taxi, then hotel.

Elevator, fumbling with hotel key. Ha! Door opens.  CNN.  Lay down.  Room is spinning.

It's world war one.  The first one.  He's dressed in combat gear, tin helmet, old rifle with a rusty bayonet.  It's nighttime and the sky is constantly lit by mortars landing relatively close by.   Wounded men and women lay slumped in the mud as he steps over them, his dog is also wounded.  His wife.  He does not talk to her.  Ever more mud sticks to his feet as he meanders through the narrow canal.    He shakes hands and smiles politely to his boss, his colleagues, especially the boring ones.

He is bleeding.   Sally looks down from above, holding her guitar and a raw expression.   The sun is shining and people are dancing in a field.

Ringing.  7:00am.  Pick up.

"Good morning Sir, you requested a wake up call for this time."

"Thanks"

It didn't work.

title: "Two for whatfor" - An asleep and awake story

question:
Answer the following question based on the above passage:

Where is the bus going?

answer: To the hotel.

text: It might be heading to the hotel, but it is definitely deaded to the 808.

answer: The bus is going to 808.

answer: It is heading out into the hills, to a grave.

text: Nowhere in the passage does it say the word grave. It is going to the 808. I'm not sure if there are graves or hills there and I don't think this is common knowlege.

answer: This information can't be found.

text: The text says it goes to the 808.

answer: The bus is going from the angry man's hometown to New York City.

text: It is going to the 808, but this is a very reasonable answer.

refinement: The bus might be going from the angry man's hometown to New York City. It's definitely going to the 808.

question:
Answer the following question based on the above passage:

Why is the man angry?

answer: The man is angry because he is unhappy with the state of the world and is taking his frustration out on others. He is frustrated with everything, from his lack of a relationship with Sally to the state of the military during WW1.

text: The final sentence is a bit nebulous. I think he's more confused and having flashbacks to situations that might or might not have happened. I am incredulous about the WWI thing because it seems unlikely someone alive in what seems to be contemporary times would remember having served in WWI.

refinement: The man is angry because he is unhappy with the state of the world and is taking his frustration out on others. He is frustrated with everything, and seems to have frustrating flashbacks to his lack of a relationship with someone named Sally to the state of the military during WW1-in which he possibly served.

answer: It is not explained.

text: I think it seems there are reasons he could be angry-such as things' not working out with Sally-but they're not explained.

refinement: It is not explained fully, but perhaps he's angry at what could have been with Sally, the monotony of everyday life, or that fact that he wakes up when he hadn't wanted to wake up.

answer: The man is angry because he has been hired to downsize and cut costs at organizations and he disapproves of this task. He is angry because he feels his ideas are not listened to and he feels ineffective in his work.

text: These are good ideas, and I also think that he might be angry at everything that hasn't worked out in life.

refinement: The man is angry because he has been hired to downsize and cut costs at organizations and he disapproves of this task. He is angry because he feels his ideas are not listened to and he feels ineffective in his work. In sum, he seems to be angry at how things have worked out or not worked out in life.

answer: It's not clear. He seems unhappy about his girlfriend un dump him.

text: This sentence requires some retooling to make sense.

refinement: It's not clear. He seems unhappy about his girlfriend who dumped him.

text: He also seems discontent with the way his life has unfolded.

refinement: It's not clear. He seems unhappy about his girlfriend who dumped him, and expresses an overall disdain for the monotony of everyday life, and how it has turned out for him.

answer: It may be assumed that the man is angry with his life. He does not like the way his life has become mundane.

question:
Answer the following question based on the above passage:

Which town is the man in?

answer: The man is in New York City.

answer: This information can't be found.

text: He's in New York City.

answer: That information can't be found.

text: He's in NYC.

answer: The angry man is in New York.

answer: That information can't be found.

text: He's in NYC.

question:
Answer the following question based on the above passage:

Does the angry man do much damage?

answer: The angry man does some damage, but mostly makes changes.

answer: He has made many hasty decisions and purchases while the man easily forgets about them all by morning.

answer: Yes, his ideas are destructive to the economy.

answer: Based on the passage, the angry man does not seem to do much damage. He has meetings, gives speeches, tries networking, and enjoys nice views. This character spends most of his time in Manhattan and does not take part in  war or combat like his wartime counterpart.

answer: No, he does not.

question: Write a ~8 sentence summary.

answer: The angry man arrives in town, sneering at anyone and anything. He takes the bus and throws some money at a hotel operator. He takes a shower, gets dressed, attends his boring meeting, drinks a cocktail, and falls asleep and dreams about war. Back in reality, he gets a wake up call and is disappointed to find that he can't shake the headache he had at the previous night's party.

text: He went to NYC.

refinement: The angry man arrives in NYC, sneering at anyone and anything. He takes the bus and throws some money at a hotel operator. He takes a shower, gets dressed, attends his boring meeting, drinks a cocktail, and falls asleep and dreams about war. Back in reality, he gets a wake up call and is disappointed to find that he can't shake the headache he had at the previous night's party.

answer: The angry man comes into town with a bag, a grimace, and a frown. He asks for two for what for and one extra for him ma. Upon waking from a dream, he jumps out of bed and wakes up to a work day. He feels distanced from the people around him, and his speeches are peppered with sentiments like "downsize" and "we are all good." In the evening, he goes to a cocktail bar where he makes people laugh and tips extravagantly, before returning to his room. Halfway through the night, in the middle of a nightmare, he starts bleeding. Upon waking, he hears a wake-up call, but it does little to pull him out of his dreamstate.

text: He arrives in NYC.

refinement: The angry man comes into NYC with a bag, a grimace, and a frown. He asks for two for what for and one extra for him ma. Upon waking from a dream, he jumps out of bed and wakes up to a work day. He feels distanced from the people around him, and his speeches are peppered with sentiments like "downsize" and "we are all good." In the evening, he goes to a cocktail bar where he makes people laugh and tips extravagantly, before returning to his room. Halfway through the night, in the middle of a nightmare, he starts bleeding. Upon waking, he hears a wake-up call, but it does little to pull him out of his dreamstate.

answer:
The angry man rolls into town with a bag and a grimace. He takes the bus to 808 and inquires about two for what for please. The male operator kindly gives him two for what for and one extra for him mom.

The man stared at his dream. How many do you need, he asked himself? If there's anything, talk to David-o. There isn't.
He went from the bus back home to the grounds of the point, he threw down the covers and switched on the TV. Morning news droned as shower water sprinkled him fresh.

text: He's in NYC.

refinement:
The angry man rolls into NYC with a bag and a grimace. He takes the bus to 808 and inquires about two for what for please. The male operator kindly gives him two for what for and one extra for him mom.

The man stared at his dream. How many do you need, he asked himself? If there's anything, talk to David-o. There isn't.
He went from the bus back home to the grounds of the point, he threw down the covers and switched on the TV. Morning news droned as shower water sprinkled him fresh.

answer:
He hands Sally a joint of his homegrown cannabis. She takes a big inhale and then kisses him. He gives her a figurative high and she becomes the bright hope for the world. They smoke weed and she insists he try the mushrooms. His stomach churns and mind race but she assures him its alright. He is crying.

He wakes in his bedroom in Manhattan, from a dream of war and country fields. His phone receives an overnight 500-point plunge in the market. He chooses to stay and be productive at work. He used to walk with Sally and marvel at the change on humankind.

text: This needs to start with where the story starts and physically, presently takes place: New York City.

refinement:
The man arrives in NYC via bus.

He hands Sally a joint of his homegrown cannabis, and she takes a big inhale and then kisses him.They smoke weed and she insists he try the mushrooms. His stomach churns and mind race but she assures him its alright. He is crying.

He wakes in his bedroom in Manhattan, from a dream of war and country fields. His phone receives an overnight 500-point plunge in the market. He chooses to stay and be productive at work. He used to walk with Sally and marvel at the change on humankind.

text: I removed some of the extraneous information, and also, he's in a hotel, not his bedroom.

refinement:
The man arrives in NYC via bus.

He hands Sally a joint of his homegrown cannabis, and she takes a big inhale and then kisses him.They smoke weed and she insists he try the mushrooms. His stomach churns and mind race but she assures him its alright. He is crying.

He wakes to a wake-up call in his hotel room in Manhattan, from a dream of war and country fields. His phone receives an overnight 500-point plunge in the market. He chooses to stay and be productive at work. He used to walk with Sally and marvel at the change on humankind.

answer:
An angry man is in town for a meeting. He finds the meeting boring besides looking at the girl taking down notes. Later, he walks through Manhattan for lunch and reaches back to his hotel.

His next meeting is convincing, along with Sally there, his ex-lover. He wonders why she dumped him. The meeting ends and the man reaches his room. He dreams that he is in World War 1 wearing combat gear. Suddenly, the phone rings, it's the hotel staff saying he requested a wake-up call.


split: train

text:
The shadows of the hanging puppets spread like ink across the wooden floor. As the sun rose lazily into the pink sky, its newborn beams slunk their way through the windowpanes and splashed across the man’s workshop. The puppets on the ceiling remained unfinished; he was too eager to complete one at a time, choosing instead to leave half-clothed and unpainted wooden men dripping from the ceiling like flies caught in a spiderweb, waiting to be devoured.

Not all met such a fateful end. He had completed hundreds, if not thousands of puppets over the course of his lifetime. Naturally he favored some over others, their eyes twinkling brighter and their limbs moving more fluidly as they danced between their strings. He had grown careless with a few of them, though, and this pained him still today when his eyes found them in the crowds of the wooden men. Beautiful, but crippled with missing limbs or cracked bodies that the man felt were not worth repairing.

But today he focused his attention on one specific puppet - a small boy whose arms hung too long for his body. He cradled the plain wood in his hand, his fingers gently cupping the boy and surrounding him with the warmth of his skin. Marveling at the sturdiness of the torso and the gentle curve of the joints in the arms, the man allowed himself a few moments of wonder, running the pad of his finger along the pale moon face. Moments like these still caught him by surprise even after years upon years of perfecting his craft. It was this rush of appreciation, bringing a leap to his old heart, that dragged him from his sunken bed with the dawn each morning. After composing himself, the man reached for his worn paintbrush and the bottle of paint at his elbow. Dipping the bristles into the deep black pool, he began the arduous process of bringing the boy into being.

He chose to create the eyes first, believing that their brightness would inspire him to create every aspect of the doll with as much shocking beauty. Two black dots broke apart the paleness of the face, and from those dots blossomed streaks of blues and yellows edged with white. The eyes seemed to glisten as the light from the morning sun danced across their glossy surface. The rest of the face was constructed with as much care and attention, from the downy eyebrows to the splashes of pink that stained the puppet’s rounded cheeks. A light brown tunic adorned the sloping shoulders, hanging loosely around the wooden body and fluttering slightly with each sigh from the old man’s open lips. He covered the smooth head of the puppet with a mop of brown hair; it curled slightly under the weight of the sun’s warmth, framing the face in a halo. The old man leaned back into his chair, the low creaking serving as the bell to signal that his work was done. Or nearly done. Now came the crucial moment, the one that the man anticipated the most throughout the construction of the men.

He brought the painted face to his lips. The fumes drifted into his nose and mixed with the earthy smell of the wooden body. The smell was like an old friend, familiar and welcome in the stillness of the shop. Inspired by this calmness, the man closed his eyes and slowly breathed in the musty air and sunbeams that hovered between the boy’s face and his own. With this breath, he drew in every ounce of happiness, beauty, sorrow, peace, wonder, and passion that he could muster. At last, the breath of life flowed from his lips and wrapped around the unfeeling face of the puppet boy in his hand.

The eyes no longer glistened - they burned. The flush of color in the cheeks became more than paint, blood blossoming beneath the surface of the rounded cheeks. The limbs bent, the chest throbbed with life, the chin raised itself so the eyes could meet their maker. As the puppet began to explore the movement of his small body, the man threaded firm knots of string through the arms and shoulders, anchoring the boy to a wooden beam. The man allowed himself a few precious moments of that fleeting sense of wonder. His own eyes soaked in the blueness of the puppet’s. The corners of his mouth curled as he gazed upon his creation, and in turn, the puppet gazed upon the withered face of the man, grey with age and exhaustion. Dreading what must come next, the man lifted the boy from the table and carried him gently into the back of the shop until they reached a door. The door itself was nothing remarkable - simple oak, a brass handle in need of polishing. Pushing open the door, the man guided the puppet into the candlelight that illuminated the vast space.

Hundreds, perhaps thousands of puppets spread across the room, each moving on strings of their own accord. Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back.

He knew to expect this. They never looked back. Their tender eyes, once seeing only him, grew drunk on the sights and sounds of their own kind. He thought by now that letting them go might become easier, but a small whisper in his mind always hoped for recognition in their eyes; a sense of validation. He wanted to know that they remembered him and his rough hands, cradling them as they woke from their slumber into this world. But if they did, they never showed him, growing so accustomed to the opening and closing of the doors that they never even noticed his presence in the room.

Just like every night before this, he allowed the smile to fall from his face before he closed the oak door. Any sounds from their world were quieted, and he was once again alone, though each night felt lonelier than the one before. He returned to his table and closed his paints, rinsed his brush, and blew out the dying flame of his candle. Suddenly overtaken by a quiet so heavy that it hung on his very shoulders, he locked the door to the shop and climbed into his sunken bed, waiting for the dawn to seek him out from the darkness.

title: Breath of Life

question:
Answer the following question based on the above passage:

Is this puppet unique?

answer: Yes, the puppet is unique. It awakened with the breath of life and is one of many living, moving puppets in its creator's workshop.

text: Not only the answer is wrong, but it also contradicts itself.

text: There's no answer.

refinement: No, the puppet is one of the hundreds the man breathed life into.

answer: Unclear

text: The answer is wrong since there are hundreds of puppets.

answer: Not really, although the puppet maker feels each puppet he makes is special.

text: Not unique: "Hundreds, perhaps thousands of puppets spread across the room, each moving on strings of their own accord."

text: The puppets are each unique to their creator: "each one unique in a testament to the man’s dedication to his craft."

answer: Looks like it is.

text: The answer is wrong since there are hundreds of puppets.

answer: Yes, the creature is unique due to its awakening within the craftsman's work. All other puppets in the room are moving on their own accord, while this particular puppet was premeditated and given purpose by the craftsman.

text: The answer is absolutely wrong. All the previous puppets are also awakened with the breath of life, and this one is no exception.

question:
Answer the following question based on the above passage:

Does the puppet maker sell the puppets or have other purpose for them?

answer: The puppet maker constructs and breathes life into the puppets for their own existence. He does not sell them.

text: "Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back."

answer: The puppet maker creates the puppets as an expression of his art but does not sell them. Instead, he places them in his back room so that they can interact with other puppets.

text: "Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back."

answer: This information can't be found.

text: The information exists within the story. The puppet maker collects the puppets in his backroom so that they can interact with other puppets.

refinement: The puppet maker collects the puppets in his backroom so that they can interact with other puppets.

answer: Unclear, but there is a sense of valuing created life for the puppets.

text: The answer isn't unclear. The puppet maker collects the puppets in his backroom so that they can interact with other puppets.

refinement: There is a sense of valuing created life for the puppets. The puppet maker collects them in his backroom so that they can interact with other puppets.

text: Valuing the puppets: "He wanted to know that they remembered him and his rough hands, cradling them as they woke from their slumber into this world."

answer: It seems that he doesn't sell them, rather he lets them "live" in a back room with all of the other puppets he created.

text: "Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back."

question:
Answer the following question based on the above passage:

Who is the puppet maker?

answer: Presumably contemporary to the current time-line, the author at least.

text: The answer makes up an interpretation that isn't supported by the story.

text: There's no answer.

refinement: We don't know anything other than that he's an old man who can breathe life into his creations.

answer: The puppet maker is an elderly man who crafts wooden puppets in his workshop.

text: The most critical aspect of the man is his ability to breathe life into the puppets he makes. This must be a part of the answer.

refinement: The puppet maker is an elderly man who crafts wooden puppets in his workshop. He can breathe life into his creations.

text: Elderly: "A light brown tunic adorned the sloping shoulders, hanging loosely around the wooden body and fluttering slightly with each sigh from the old man’s open lips."

answer: The puppet maker is an old man who creates puppets that come alive with his breath. He carefully constructs their faces and then breathes life into them so they can join the crowds of other puppets in the back room of his shop.

text: The second sentence is irrelevant to the question.

refinement: The puppet maker is an old man who creates puppets that come alive with his breath.

text: Old man: "A light brown tunic adorned the sloping shoulders, hanging loosely around the wooden body and fluttering slightly with each sigh from the old man’s open lips."

text: Breathing life: "At last, the breath of life flowed from his lips and wrapped around the unfeeling face of the puppet boy in his hand."

answer: A deranged old man.

text: There's no sense in calling the man deranged.

text: The answer is too vague. It should detail the characteristics of the puppet master.

refinement: An old man who creates puppets that come alive with his breath.

text: Old man: "A light brown tunic adorned the sloping shoulders, hanging loosely around the wooden body and fluttering slightly with each sigh from the old man’s open lips."

answer: The story doesn't indicate.

text: The answer is wrong.

text: There's no answer.

refinement: He is an old man who creates puppets that come alive with his breath.

question:
Answer the following question based on the above passage:

Is the phrase,"bring the boy into being" literal or figurative?

answer: There is no basis to determine one way or the other.

text: The answer is wrong. The story literally says the old man breathes life into the puppets, bringing them into being.

refinement: It's literal. The old man breathes life into his creations.

answer: The phrase is figurative. The old man breathes life into the wooden puppet by bringing the painted face of the boy to his lips and physically breathing in the surrounding air in the room.

text: The answer is both self-contradictory and wrong.

text: There's no answer.

refinement: It's literal. The old man breathes life into his creations.

answer: The phrase is literal. He actually breathes into the face the of the puppet and it comes to "life".

text: "At last, the breath of life flowed from his lips and wrapped around the unfeeling face of the puppet boy in his hand."

answer: The figurative is intended, as he paints the boy and breathes life into him.

text: The answer is self-contradictory and nonsensical.

text: There's no answer.

refinement: It's literal. He breathes life into his creations.

answer: The phrase is figurative. The puppet boy is not literally brought into being by the breath of the man. Rather, the man breaths life into the puppet through his creation of him.

text: The answer is wrong.

text: There's no answer.

refinement: It's literal. The old man breathes life into the puppets.

question: Write a ~7 sentence summary.

answer: The man creates beautiful wooden puppets, which he infuses with life by breathing into them. He places one on a shelf in the back room of his workshop, where many other moving puppets are dancing and living. Though the man loves the end result of his work, letting the newly alive puppets go is difficult. He misses their attention and validation, though they never show him that they recognize him. His lonely bed awaits him now that the dusk has fallen.

text: Saying the old man misses the puppets' validation is misleading. He desires it.

refinement: The man creates beautiful wooden puppets, which he infuses with life by breathing into them. He places one on a shelf in the back room of his workshop, where many other moving puppets are dancing and living. Though the man loves the end result of his work, letting the newly alive puppets go is difficult. He desires their attention and validation, though they never show him that they recognize him. His lonely bed awaits him now that the dusk has fallen.

text: The answer can be broken into shorter sentences.

refinement: The man creates beautiful wooden puppets, which he infuses with life by breathing into them. He places one on a shelf in the back room of his workshop, where many other moving puppets are dancing and living. The man loves the end result of his work. However, letting the newly alive puppets go is difficult. He desires their attention and validation, though they never show him that they recognize him. His lonely bed awaits him now that the dusk has fallen.

text: Breathe life into puppets: "At last, the breath of life flowed from his lips and wrapped around the unfeeling face of the puppet boy in his hand."

text: Puppets in the backroom: "Hundreds, perhaps thousands of puppets spread across the room, each moving on strings of their own accord. Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back."

text: Desires validation, no recognition: "He knew to expect this. They never looked back. Their tender eyes, once seeing only him, grew drunk on the sights and sounds of their own kind. He thought by now that letting them go might become easier, but a small whisper in his mind always hoped for recognition in their eyes; a sense of validation. He wanted to know that they remembered him and his rough hands, cradling them as they woke from their slumber into this world. But if they did, they never showed him, growing so accustomed to the opening and closing of the doors that they never even noticed his presence in the room."

answer: The old man spends his mornings creating beautiful handmade puppets. One particular puppet, a small boy, captures his attention. He breathes life into the boy and has him join the rest of the puppets in the back room. The old man experiences loneliness at having parted with the boy, even when he knows he must do so every night.

text: The man makes puppets, but not necessarily on mornings.

refinement: The old man spends his days creating beautiful handmade puppets. One particular puppet, a small boy, captures his attention. He breathes life into the boy and has him join the rest of the puppets in the back room. The old man experiences loneliness at having parted with the boy, even when he knows he must do so every night.

text: The latest puppet doesn't capture his attention. It's just that the day is for creating that particular puppet.

refinement: The old man spends his days creating beautiful handmade puppets. His attention that day is on a particular puppet, a boy. He breathes life into the boy and has him join the rest of the puppets in the back room. The old man experiences loneliness at having parted with the boy, even when he knows he must do so every night.

text: The summary can use more sentences. It should mention the puppets in the backroom.

refinement: The old man spends his days creating beautiful handmade puppets. His attention that day is on a particular puppet, a boy. He breathes life into the boy and has him join the rest of the puppets in the back room. There are hundreds, maybe thousands of puppets in the room, dancing, playing, walking, and talking on their own accord. The old man experiences loneliness at having parted with the boy, even when he knows he must do so every night.

text: The summary can use another sentence to mention the old man's desire for recognition and never getting it.

refinement: The old man spends his days creating beautiful handmade puppets. His attention that day is on a particular puppet, a boy. He breathes life into the boy and has him join the rest of the puppets in the back room. There are hundreds, maybe thousands of puppets in the room, dancing, playing, walking, and talking on their own accord. He wishes for recognition and validation from the boy, but they never look back to give him what he wants. The old man experiences loneliness at having parted with the boy, even when he knows he must do so every night.

text: The story doesn't say the old man parts with a puppet every day or night.

refinement: The old man spends his days creating beautiful handmade puppets. His attention that day is on a particular puppet, a boy. He breathes life into the boy and has him join the rest of the puppets in the back room. There are hundreds, maybe thousands of puppets in the room, dancing, playing, walking, and talking on their own accord. He wishes for recognition and validation from the boy, but they never look back to give him what he wants. The old man experiences loneliness at having parted with the boy.

text: The summary can use another sentence to mention the old man's growing sense of loneliness.

refinement: The old man spends his days creating beautiful handmade puppets. His attention that day is on a particular puppet, a boy. He breathes life into the boy and has him join the rest of the puppets in the back room. There are hundreds, maybe thousands of puppets in the room, dancing, playing, walking, and talking on their own accord. He wishes for recognition and validation from the boy, but they never look back to give him what he wants. The old man experiences loneliness at having parted with the boy. The man goes to sleep, feeling lonelier than ever.

text: Breathe life into puppets: "At last, the breath of life flowed from his lips and wrapped around the unfeeling face of the puppet boy in his hand."

text: Puppets in the backroom: "Hundreds, perhaps thousands of puppets spread across the room, each moving on strings of their own accord. Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back."

text: Lonely: "Any sounds from their world were quieted, and he was once again alone, though each night felt lonelier than the one before."

answer:
The man works on his puppets, which are unique in the sense that he breathes life into them. One puppet he works on ressemble a boy whose arms hang limply. The man is tired but exults at his creation when he dons a pity color and brings it to life, breath by breath.
His work is done and to him, he has made no mistakes. He threads the strings through the arms and carries the puppet out of the shop.
He places the puppet on one of the shelves closely followed by hundreds of other puppets.
He returns to his bed.

text: The sense of uniqueness is represented wrong.

refinement:
The man works on his puppets, which are each unique to him, and he breathes life into them. One puppet he works on ressemble a boy whose arms hang limply. The man is tired but exults at his creation when he dons a pity color and brings it to life, breath by breath.
His work is done and to him, he has made no mistakes. He threads the strings through the arms and carries the puppet out of the shop.
He places the puppet on one of the shelves closely followed by hundreds of other puppets.
He returns to his bed.

text: The puppet the man is working on doesn't specifically resemble a boy with limp arms. That's just a phrase to mean that the old man didn't yet breathe life into him.

refinement:
The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation when he dons a pity color and brings it to life, breath by breath.
His work is done and to him, he has made no mistakes. He threads the strings through the arms and carries the puppet out of the shop.
He places the puppet on one of the shelves closely followed by hundreds of other puppets.
He returns to his bed.

text: "Dons a pity color" is nonsensical.

refinement:
The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life.
His work is done and to him, he has made no mistakes. He threads the strings through the arms and carries the puppet out of the shop.
He places the puppet on one of the shelves closely followed by hundreds of other puppets.
He returns to his bed.

text: The man doesn't think he didn't make any mistakes.

refinement:
The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life.
He threads the strings through the arms and carries the puppet out of the shop.
He places the puppet on one of the shelves closely followed by hundreds of other puppets.
He returns to his bed.

text: There's no sense in having so many paragraphs.

refinement: The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life. He threads the strings through the arms and carries the puppet out of the shop. He places the puppet on one of the shelves closely followed by hundreds of other puppets. He returns to his bed.

text: He takes the puppet to the room in the back.

refinement: The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life. He threads the strings through the arms and carries the puppet out of the shop to the backroom. He places the puppet on one of the shelves closely followed by hundreds of other puppets. He returns to his bed.

text: There aren't hundreds of puppets that come after the one he creates that day. Others are already inside.

refinement: The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life. He threads the strings through the arms and carries the puppet out of the shop to the backroom. There are hundreds, maybe thousands of puppets already in the room, and he places his latest creation on a shelf. He returns to his bed.

text: The answer should mention the agency of the puppets.

refinement: The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life. He threads the strings through the arms and carries the puppet out of the shop to the backroom. There are hundreds, maybe thousands of puppets already in the room, and he places his latest creation on a shelf. They all dance, talk, walk and live on their own accords. He returns to his bed.

text: The answer should mention the old man's loneliness.

refinement: The man works on his puppets, which are each unique to him, and he breathes life into them. He works on a puppet, its arms hanging limply. The man is tired but exults at his creation before bringing it to life. He threads the strings through the arms and carries the puppet out of the shop to the backroom. There are hundreds, maybe thousands of puppets already in the room, and he places his latest creation on a shelf. They all dance, talk, walk and live on their own accords. He returns to his bed, feeling lonely.

text: Breathe life into puppets: "At last, the breath of life flowed from his lips and wrapped around the unfeeling face of the puppet boy in his hand."

text: Puppets in the backroom: "Hundreds, perhaps thousands of puppets spread across the room, each moving on strings of their own accord. Dancing, walking, talking, playing, living were the puppets, each one unique in a testament to the man’s dedication to his craft. With only the slightest amount of hesitation, the man placed the boy upon the closest shelf, nudging him towards the bustling in the center of the room. Slowly, wobbling on his wooden feet like a newborn doe, he gave the man a single glance before he disappeared into the crowds, never stopping to look back."

answer: The puppet maker takes notice of the unfinished puppets hanging from the rafters of his shop. He has completed thousands of puppets in his life, and has spent years perfecting his craft. Today he is finishing a small boy puppet; he finishes painting the boy's face and then breathes life into the puppet. The puppet maker dreads the next step which is taking the puppet to a back room. The room is filled with hundreds of puppets playing, dancing, and talking. The boy eagerly joins the others and doesn't look back at his maker. Although this is expected, it brings sadness to the maker.

text: Hanging puppets: "The shadows of the hanging puppets spread like ink across the wooden floor."

text: Many puppets: "He had completed hundreds, if not thousands of puppets over the course of his lifetime."

text: The day's puppet: "But today he focused his attention on one specific puppet - a small boy whose arms hung too long for his body."

text: Dread: "Dreading what must come next, the man lifted the boy from the table and carried him gently into the back of the shop until they reached a door."

text: Living puppets: "Hundreds, perhaps thousands of puppets spread across the room, each moving on strings of their own accord."

text: Lonely: "Just like every night before this, he allowed the smile to fall from his face before he closed the oak door. Any sounds from their world were quieted, and he was once again alone, though each night felt lonelier than the one before."

answer: The old man had built and released many puppets in his lifetime. He hung them from strings on the ceiling of his shop. He builds one puppet, spends the morning committing it to canvas, entrancing it by imagining it moving, helping his old fingers guide the paintbrush, and finishing with a lush, loving kiss. He breathes life into it with each great breath. He moves the puppet to a central gathering area of the shop and released it there. A part of him wants it to turn and wave or some other sign of acknowledgement, but it's not forthcoming. The old man retires to his bed alone.

text: There are lots of wrong or nonsensical details in the summary. It'd be better if it was rewritten.

refinement: The puppet maker takes notice of the unfinished puppets hanging from the rafters of his shop. He has completed thousands of puppets in his life, and has spent years perfecting his craft. Today he is finishing a small boy puppet; he finishes painting the boy's face and then breathes life into the puppet. The puppet maker dreads the next step which is taking the puppet to a back room. The room is filled with hundreds of puppets playing, dancing, and talking. The boy eagerly joins the others and doesn't look back at his maker. Although this is expected, it brings sadness to the maker.


text:
-   5 years ago
-   Read Time:2minutes

[Shhhhh...]I laughed so hard I leaked a little.
I am sure that if we are honest this has happened to many of us.

1 in 3 woman suffer from a weak bladder, and it really should be nothing to be ashamed about, but somehow it is.

In preparing to write this blog post I told a few people what I would be writing about.  I realised that this is a problem that affects many of us, especially after pregnancy.  But more importantly I realised that it is good to talk about it, and to know that it doesn’t have to stop you being fabulous and getting on with your life.

Getting old is not about becoming frumpy and giving up on life, getting older should be about embracing change and feeling fabulous at every age.  The truth is that AI (Adult Incontinence) can seriously affect a woman’s confidence, and yet nobody talks about it.

Today, 28 October 2015, Always Discreet are talking about it, and after some time thinking about it I decided to talk about it too.

Woman deserve to feel fabulous no matter what.  We deserve to walk tall and feel sexy whatever our age or circumstances.  Our age and little issues should not define us.

This is a problem that affects woman from as young as 18, but has become associated with being older, and quite often is lumped into the same category as grey hair and wrinkles.  I dye my hair and look after my skin, and I also do what I can to minimize the impact of AI on my life.

I suffered with AI after having my child and really realise how weak my bladder is when I am struggling with bronchitis and chest infections (coughing is really not a great idea if you have AI).  My strategy has been simple, and is very similar to the advice from Dr Sarah Jarvis, practising GP and Always Discreet campaign ambassador.  I plan my life.  I drink plenty of water, but monitor my intake.  I do kegal exercises (which I tell myself are good for all parts of my life).  I also try to exercise regularly, however beware of squats – they are not necessarily my friend.    I also limit my coffee intake, although I do admit to being a tea addict.

Always Discreet for sensitive bladder believes that every woman should be able to live the age they feel inside with nothing holding them back.   The brand has worked with GP Dr Sarah Jarvis and fabulous woman and _That’s Not My Age_ founder, Alyson Walsh to break this taboo.

Dr Sarah Jarvis, practicing GP and Always Discreet campaign ambassador comments: “Not being able to dress, travel, exercise or live the way you want can be an everyday experience for so many women. Not only that, but even though 1 in 3 women in the UK over the age of 18 experience the condition, it is still wrongly associated with old age and this misperception can leave women feeling embarrassed, alone and much older than they really are.  However, there is help at hand, such as Always Discreet, that provides women with bladder leaks with the protection and discretion they really need”

My blog has always been about being fabulous despite the curveballs that life throws at you.  Today, I am standing tall and joining the hundreds of woman who say that they can and will be fabulous despite the leaks.

Thank you for reading my post, which supports the Always Discreet campaign.

Kerry xx

[]

Kerry

There was a huge part of me fighting against turning anything like fifty. It happens though and there is nothing we can do to fight it. Well we can’t fight the chronology of years and minutes ticking by but we can stay fabulous. I try to be fabulous, despite having a few things I am fighting against like RA, Diabetes and Pernicious Anaemia. This blog is simply about me embracing life. Food, make-up, fashion and more. My trials and tribulations. I hope you enjoy!

question:
Answer the following question based on the above passage:

How does the writer of this blog hope to assist women?

answer: She hopes to help women by talking about this issue, and by sharing her own experiences. She also hopes to help by offering advice.

text: The answer should also mention Always Discreet.

refinement: She hopes to help women by talking about this issue, and by sharing her own experiences. She also hopes to help by offering advice. She is also promoting Always Discreet, a brand that provides women with protection from bladder leaks.

answer: They believe that talking about the problem will help women to feel less embarrassed.

answer: They believe that talking about the problem will help women to feel less embarrassed. They also believe that Always Discreet is a brand that helps women with the problem.

answer: She hopes to be an inspiration to women who may be dealing with this issue.

question:
Answer the following question based on the above passage:

How does the writer manage her own leaky problem?

answer: By telling people about it, staying hydrated, doing kegal exercises, exercising regularly, limiting coffee intake, and by planning her day, trying to exercise but being careful about doing the bench squats, and understanding the condition.

text: The list includes unattested elements (telling people aboit it, calling squats "bench squats").

refinement: By staying hydrated, doing kegal exercises, exercising regularly, limiting coffee intake, and by planning her day, trying to exercise but being careful about doing the squats, and understanding the condition.

text: The answer should mention monitoring her water intake.

refinement: By staying hydrated but monitoring her water intake, doing kegal exercises, exercising regularly, limiting coffee intake, and by planning her day, trying to exercise but being careful about doing the squats, and understanding the condition.

answer: By telling people about it, staying hydrated, doing kegal exercises, exercising regularly, limiting coffee intake, and by planning her day, visiting doctors, and understanding the condition.

answer: Drinking lots of water, exercising occasionally, and being careful about which activities and routines would aggravate her weak bladder.

answer: She exercises regularly but avoids weak muscle groups like squats. In the end, she suggests that women think carefully about their routines and find the best ways they can manage leaking over time.

answer: She drinks lots of water, drinks less coffee, exercises regularly but avoids weak muscle groups like squats. In the end, she suggests that women think carefully about their routines and find the best ways they can manage leaking over time.

question:
Answer the following question based on the above passage:

How did Doctor Sarah Jarvis become involved in Always Discreet?

answer: She is a practicing GP and the Always Discreet campaign ambassador.

text: That is not stated.

answer: Doctor Sarah Jarvis is a practicing GP and Always Discreet campaign ambassador. She is a big supporter of the Always Discreet campaign and believes that every woman should be able to live the age they feel inside with nothing holding them back.

answer: She is the campaign ambassador.


text:
_THE AIRBORNE SYMPHONY_ (also known as _SYMPHONY: THE AIRBORNE_) is a work by American composer Marc Blitzstein for narrator, vocal soloists, male chorus, and large orchestra that premiered April 1–2, 1946. A history of human flight, the symphony uses music that the United States Army Air Forces, in which Blitzstein served during the World War II, originally commissioned for use in film.

History

Marc Blitzstein began the war as a member of the U.S. Eighth Army Air Force's film division in London, England, working as a composer, scriptwriter, and translator. He was chosen to score a film on the history of aviation through his promotion to corporal in January 1943. Blitzstein also began work on the orchestral poem _Freedom Morning_ that summer for eventual performance in the Royal Albert Hall.

Work on the _Airborne_ score continued into 1944, with Blitzstein providing other services to the U.S. Army. By mid-1944, he had been promoted to sergeant and became music director of the American Broadcasting Service. The original film project did not come to fruition and Blitzstein, who composed his score for a large orchestra and male chorus, did not have the needed manpower for a wartime concert.

Blitzstein returned to the United States in May 1945. His score of _The Airborne_ had been lost en route from England, but he was able to play sections of the work on piano for conductor Leonard Bernstein. Bernstein enthusiastically arranged its premiere for April 1946 and Blitzstein rewrote the score from memory. The original score was recovered, but Blitzstein preferred the newer version.

Structure

_The Airborne Symphony,_ while having symphonic elements, models itself largely after the choral cantata. The symphony is divided into three parts, with each part divided into subtitled sections. _The Airborne_ is a highly dramatic work that connects the birth of flight with the role of airplanes in modern warfare:

-   PART ONE
    -   The Theory of Flight
    -   Ballad of History and Mythology
    -   Kittyhawk
    -   The Airborne
-   PART TWO
    -   The Enemy
    -   Threat and Approach
    -   Ballad of the Cities
    -   Morning Poem
-   PART THREE
    -   Air Force: Ballad of Hurry-Up
    -   Night Music: Ballad of the Bombardier
    -   Recitative: Chorus of the Rendezvous
    -   The Open Sky (Finale)

As expected, the narrator holds a primary role in advancing the symphony's plot. The soloists and chorus provide commentary on the action. The symphony is comparable to works by Dmitri Shostakovich, American counterpart Samuel Barber, and the earlier works of Igor Stravinsky. Blitzstein, who subscribed to the artistic principles of socialist realism, wrote in a conservative style that was understandable on first hearing.

Premiere

Presenting the history of human flight, _The Airborne Symphony_ was first performed April 1–2, 1946, at New York City Center by the New York City Symphony Orchestra under the direction of Leonard Bernstein. Orson Welles was narrator; Charles Holland was tenor soloist and Walter Scheff was baritone soloist, with the male section of the Collegiate Chorale led by Robert Shaw. The work was officially dedicated to the Eighth Air Force.[1][2]

Reception

_The New York Times_ reported that the audience received _The Airborne Symphony_ with enthusiasm at its world premiere, and called the performance “remarkably sure, brilliant and dramatically eloquent.”[3] Since then, the work has been rarely performed, owing to its massive orchestral forces, topicality, and lack of standing with musicologists. _The Airborne Symphony_ has passages of stunning musicality, but is also judged as a work of brazen propaganda with limited performing value in modern times.

Leonard Bernstein has been the symphony's best-known disciple, performing and recording the work in 1946 and 1966.

Recordings

_The Airborne Symphony_ was recorded in 1946, with Bernstein conducting the New York City Symphony Orchestra and Robert Shaw as narrator. Its releases include Pearl's 1998 CD _Marc Blitzstein: Musical Theatre Premières_ (GEMS 1009).[4]

Bernstein recorded the work with the New York Philharmonic in 1966, with Welles as narrator, tenor Andrea Velis as soloist, and William Jonson conducting the Choral Art Society. It was released as an LP in 1976 by Columbia Masterworks,[5] and on CD in 2000 by Sony Classical.[6]

[1]

[2]

[3]

[4]

[5]

[6]

title: The Airborne Symphony

question:
Answer the following question based on the above passage:

Summarize the structure of the symphony.

answer: _The Airborne Symphony_ is divided into three parts with each part divided into subtitled sections. The narrative of the work connects the history of flight with modern warfare. The symphony advances through narration by the narrator, soloists, and chorus.

answer: _The Airborne Symphony_, modeled mostly after the choral cantata, is divided into three parts, each with titled sections. The first part is concerned with the theory of flight and the history of aviation, the second part focuses on the enemy and threat and approach, and the third part is about the air force and the bombadier.

answer: The Airborne Symphony is divided into three parts with each part further divided into subtitled sections. Part one consists of the theory of flight, ballad of history and mythology, Kittyhawk, and the airborne. The second part includes the enemy, threat and approach, ballad of the cities, and morning poem. The last part consists of the air force, night music, recitative, and the open sky (finale).

answer: The symphony is divided into three parts. Each part is divided into subsections. The second part contains the Enemy and Threat and Approach. The third part consists of Air Force: Ballad of Hurry-Up, Night Music: Ballad of the Bombardier, and Recitative: Chorus of the Rendezvous. The Open Sky is the finale.

text: Skips over the first part entirely

refinement: The symphony is divided into three parts. Each part is divided into subsections. The first part contains The Theory of Flight, Ballad of History and Mythology, Kittyhawk, and The Airborne. The second part contains the Enemy and Threat and Approach. The third part consists of Air Force: Ballad of Hurry-Up, Night Music: Ballad of the Bombardier, and Recitative: Chorus of the Rendezvous. The Open Sky is the finale.

answer: The symphony is divided into three parts, each divided into subtitled sections: Part One - The Theory of Flight, Part Two - The Enemy - Threat and Approach, and Part Three - The Air Force - Ballad of Hurry-Up, Night Music: Ballad of the Bombardier, and Recitative: Chorus of Rifters.

text: Clarify that the titles are things contained in each part, as opposed to subtitles

refinement: The symphony is divided into three parts, each divided into subtitled sections: Part One, which contains The Theory of Flight, Part Two, which contains The Enemy and Threat and Approach, and Part Three, which contains The Air Force, Ballad of Hurry-Up, Night Music: Ballad of the Bombardier, and Recitative: Chorus of Rifters.

question:
Answer the following question based on the above passage:

Summarize Blitzstein's time in the U.S. Air Force.

answer: During World War II, Marc Blitzstein served in the U.S. Army Air Forces, composing and scoring a work for narrator, vocal soloists, male chorus and large orchestra. The score was originally commissioned for use in a film, but the film project never materialized. Blitzstein returned to the United States in May 1945 and rewrote the score from memory. The symphony premiered in 1946 and has been rarely performed since.

answer: Blitzstein served as a composer, scriptwriter, and translator in the U.S. Eighth Army Air Force in London. He was a member of the Eighth Army Air Force in 1943 and provided musical accompaniment to films. He was promoted to corporal the same year and became music director of the American Broadcasting Service by mid-1944. Two years later, he met Leonard Bernstein in New York, who had arranged for the premiere of his Symphony.

answer: Blitzstein began the war as a member of the U.S. Eighth Army Air Force's film division in England, working as a composer, scriptwriter, and translator. He was chosen to score a film on the history of aviation through his promotion to corporal in January 1943. In 1944 he was promoted to sergeant and became music director of the American Broadcasting Service.

answer: Blitzstein was a member of the U.S. Eighth Army Air Force's film division in London. He worked as a composer, scriptwriter, and translator. Through his promotion to corporal, he was chosen to score a film on the history of aviation. By 1944, Blitzstein was promoted to sergeant and became a music director of the American Broadcasting Service. He returned to the United States in May 1945.

answer: During World War II, Marc Blitzstein served with the U.S. Army Air Forces and was commissioned to write music for a film project on the history of aviation. However, the project never got off the ground, so Blitzstein wrote a symphony for narrator, vocal soloists, male chorus, and large orchestra, based on the film score. The symphony premiered April 1-2, 1946, with enthusiastic reception from the audience. It has rarely been performed, owing to its massive orchestral forces, topicality, and lack of standing with musicologists.

question:
Answer the following question based on the above passage:

Summarize the feedback The Airborne Symphony received.

answer: The New York Times reported that the audience received it with enthusiasm at its debut.

answer: The Airborne Symphony premiered to a mostly positive audience response.

answer: The Airborne Symphony received enthusiastic response at its premiere and was praised for its dramatic eloquence. However, it is rarely performed due to its massive orchestral forces, topicality, and lack of standing among musicologists.

answer: The Airborne Symphony received praise when it premiered in 1946. Critics called it brilliantly eloquent and highly dramatic, demonstrating excellent use of instrumental forces. However, the symphony has received little performance over time because of its size, topicality, and limited popularity with musicologists.

answer: According to The New York Times, the audience received The Airborne Symphony with enthusiasm. They called the performance "remarkably sure, brilliant and dramatically eloquent." The symphony has rarely been performed since its premiere owing to its orchestral forces, topicality, and lack of standing with musicologists.


text:
A draft of the federal Liberal government's proposed Indigenous child welfare bill recently received negative reviews from First Nations representatives involved in co-development talks with Ottawa, according to a grand chief.

[]

Indigenous Services Seamus O'Regan said First Nations concerns will be incorporated in final version of Indigenous child welfare bill. (Sean Kilpatrick/Canadian Press)

A draft of the federal Liberal government's proposed Indigenous child welfare bill recently received negative reviews from First Nations representatives involved in co-development talks with Ottawa, according to a grand chief.

Ottawa announced last November it would table the bill that would break from more than 100 years of destructive federal policies aimed at Indigenous children that began with residential schools and led to tens of thousands of Indigenous children in care today.

The promised legislation is an outgrowth of the 2016 Canadian Human Rights Tribunal ruling that found Ottawa discriminated against First Nations children by underfunding child welfare services on reserve.

Cindy Blackstock, who heads the First Nations Child and Family Caring Society and led the human rights complaint, has been in the loop on the draft legislation as a result of the tribunal ruling.

[]

Cindy Blackstock, executive director of the First Nations Child and Family Caring Society, said the Indigenous child welfare bill must not be a 'paper tiger.' (Sean Kilpatrick/Canadian Press)

Blackstock said legislation must include an equitable and statutory funding base, affirm First Nations jurisdiction, focus on structural flaws that put children at risk, family and community health and acknowledge the "sacredness of children."

"Absent these critical ingredients, the law risks being a paper tiger and a disappointment to another generation of children," said Blackstock in an emailed statement.

Federal officials presented the draft version of the bill late last month to First Nations representatives from an Assembly of First Nations working group created to lead co-development work.

Concerns over funding and jurisdiction

"There were some good things and some things we had concerns about," said Association of Iroquois and Allied Indians (AIAI) Grand Chief Joel Abram, the Ontario First Nations political representative on the working group.

Abram said his organization would oppose the proposed legislation if problems aren't fixed in the final product.

-

    Video

    Ottawa could be facing human rights tribunal hearing to settle First Nations child welfare compensation

-   Cabinet shuffle shows reconciliation dropping in priority for Trudeau, say Indigenous advocates

AIAI previously opposed the now-shelved Indigenous rights and recognition framework which aimed to enshrine the Constitution's section 35 Aboriginal rights in federal legislation on grounds it threatened First Nations rights.

"We were one of the main opponents pushing against the framework and if this bill isn't right, we will do the same thing," said Abram, who saw the draft but couldn't discuss details due to a confidentiality undertaking.

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Association of Iroquois and Allied Indians Grand Chief Joel Abram. (Derek Spalding/CBC)

Abram said his organization's main concerns going into discussions on the bill — that it recognize First Nations jurisdiction over child welfare and enshrine equitable and statutory funding — remained following his review of the draft bill.

He said federal officials were told which parts of the draft remain problematic and how they could be fixed.

"The best we could do at that time was to raise concerns in specific areas and suggest what would work," he said.

'A work in progress'

Prime Minister Justin Trudeau told the AFN chiefs in December the bill would be tabled by the last week of January, but federal officials are still working to finalize it.

Indigenous Services Seamus O'Regan said in an emailed statement that the concerns raised by First Nations representatives did not fall on deaf ears.

"We must ensure that critical feedback from our partners is incorporated," said O'Regan in the statement.

"We have heard clearly from First Nations, Inuit and Métis through engagement and the co-development process that essential elements must be addressed."

O'Regan said in the statement that the legislation would be tabled "shortly" and that it was "important ... we get it right."

AFN Manitoba regional Chief Kevin Hart, who chairs the legislative working group, said discussions continue with federal officials on improving the proposed legislation.

"We are going back and forth," said Hart. "It is still a work in progress."

[]

Assembly of First Nations Manitoba regional chief Kevin Hart says the draft bill is 'still a work in progress.' (CBC)

Time is running out on the Liberal government which faces 13 sitting weeks in the House of Commons calendar before dissolution and the beginning of the next federal election period.

The Indigenous child welfare bill is one of three major pieces of legislation promised by the Trudeau government to Indigenous Peoples, including a bill on Indigenous languages and the rights framework.

Only the Indigenous Languages Acthas made the House of Commons order paper.

Jane Philpott, the former minister of Indigenous Services, announced the government's intention to table Indigenous child welfare legislation last November.

-   Philpott says child services bill can be a 'turning point' in Crown-Indigenous relationship

-   Promised Indigenous rights recognition legislation won't be in place before next election

Philpott, who is now Treasury Board President, said at the time the legislation would "enable" First Nations jurisdiction over child welfare which has been the domain of the provinces.

The Indian Act, which governs the majority of First Nations, makes no mention of child welfare.

Philpott said the legislation would mark a "turning point" in addressing a "humanitarian crisis" created by the disproportionate number of Indigenous children in foster care.

Hope remains bill will hit the mark

AFN National Chief Perry Bellegarde has said there are an estimated 40,000 First Nations children in care.

Mary Teegee, a technical advisor on the AFN legislative working group, also saw the draft bill and said it contained flaws.

[]

Mary Teegee, executive director of Carrier Sekani Family Services in B.C., said Indigenous child welfare legislation must affirm First Nations jurisdiction. (Chris Corday/CBC)

"It definitely wasn't what we had expected," said Teegee.

"I think there is a lot of work to be done. There was an opportunity for people to provide their input as to what should be included, what should be changed and what should be strengthened."

Teegee, executive director of Carrier Sekani Family Services in B.C., said the legislation must reflect what First Nations demand: jurisdiction.

She said it should also guarantee the statutory and equitable funding required under the Human Rights Tribunal ruling.

"We have done so much work. Our blood, sweat and tears are in it," said Mary Teegee, who was a board member of the First Nations Child and Family Caring Society when it launched the human rights complaint in 2007.

"Hopefully, something good will come out of it and we will develop our laws in our communities," she said.

question:
Answer the following question based on the above passage:

Summarize the reasons opponents give for being critical of the bill.

answer: There are three main concerns raised by First Nations representatives involved in the co-development talks: 1) lack of First Nations jurisdiction, 2) an equitable and statutory funding base, and 3) acknowledgement of the "sacredness of children." They also have worries about whether the proposed legislation would address the systemic problems that put Indigenous children at risk.

answer: They want it to include many explicitly-stated provisions about the rights of children and of the community-with an emphasis on First Nations communities' right to jurisdiction over healthcare and educational matters. It would need to guarantee continual funding into programs to right the forced and segregated measures that have disenfranchised so many children in historical and contemporaneous contexts.Most critics believe the bill needs some work but do not dismiss it wholly as being meaningless, pointless, or maleficent.

answer: Opponents of the proposed legislation see two main issues as problematic: First Nations jurisdiction and equitable and statutory funding. They believe the bill must affirm First Nations jurisdiction over child welfare and guarantee necessary funding to match the Canadian Human Rights Tribunal ruling on underfunding.

text: there are more than two problems pointed out

refinement: The concerns raised by First Nations representatives are the lack of First Nations jurisdiction, not having an equitable and statutory funding base, the need for acknowledgement of the "sacredness of children", and if the proposed legislation would address the systemic problems that put indigenous children at risk.

answer: Opponents of the bill don't think it adequately remedies policies of the past, its jurisdiction over the issues at hand is unclear, it doesn't explicitly state its commitment to funding, and there were other unresolved issues included in the draft such as regulating administrators and establishing a definition of "family" and "public guardianship".

answer: Many of the reasons for being critical of the bill are due to questions of jurisdiction. The jurisdiction of the provinces come into direct conflict with the jurisdiction of First Nations, and many believe that First Nation jurisdiction over Indigenous child welfare is not sufficiently addressed. A potential solution that is advocated for is to ensure that the bill properly details that jurisdiction over Indigenous child welfare is held by the provinces, but also allows for First Nation control over this. Additional concerns over agreement to detail that funding for Indigenous child welfare should be equitable and statutory. This would help prevent the unequal and unfair treatment of Indigenous children in child welfare that has been identified in the Canadian Human Rights Tribunal ruling cited by the authors after beginning with the residential schools.

text: discussion of jurisdiction is too long, needs to address other concerns.

refinement: The concerns raised by First Nations representatives are the lack of First Nations jurisdiction, not having an equitable and statutory funding base, the need for acknowledgement of the "sacredness of children", and if the proposed legislation would address the systemic problems that put indigenous children at risk.


text:
ANGEL DE MALDONADO, O. CIST. (1660–1728) was a Roman Catholic prelate who served as Bishop of Antequera (1700–1728).[1]

Biography

Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order.[2] On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera.[3] On 2 January 1701, he was consecrated bishop by Francesco Acquaviva d'Aragona, Titular Archbishop of _Larissa in Thessalia_, with Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of _Dara_, serving as co-consecrators.[4] He served as Bishop of Antequera until his death on 17 April 1728.[5]

While bishop, he was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714).[6]

[1]

[2]

[3]

[4]

[5]

[6]

title: Ángel de Maldonado

question: Who was Ángel de Maldonado?

answer: Ángel de Maldonado was a Roman Catholic bishop who served as Bishop of Antequera from 1700 until his death in 1728.

text: "ANGEL DE MALDONADO, O. CIST. (1660–1728) was a Roman Catholic prelate who served as Bishop of Antequera (1700–1728)."

answer: He was a Roman Catholic prelate who served as Bishop of Antequera from 1700–1728.

text: "ANGEL DE MALDONADO, O. CIST. (1660–1728) was a Roman Catholic prelate who served as Bishop of Antequera (1700–1728)."

answer: He was a Roman Catholic prelate who served as Bishop of Antequera from 1700 to 1728.

text: "ANGEL DE MALDONADO, O. CIST. (1660–1728) was a Roman Catholic prelate who served as Bishop of Antequera (1700–1728)."

answer: Ángel de Maldonado was a Roman Catholic prelate who served as Bishop of Antequera (1700–1728).

text: "ANGEL DE MALDONADO, O. CIST. (1660–1728) was a Roman Catholic prelate who served as Bishop of Antequera (1700–1728)."

question: What was Maldonado doing before he was appointed as Bishop of Antequera?

answer: Before he was appointed as Bishop of Antequera, Maldonado was a priest in the Cistercian Order.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order.[2] On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

answer: He was an ordained priest in the Cistercian Order.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order.[2] On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

answer: He was a priest in the Cistercian Order.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order.[2] On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

answer: He was a priest in the Cistercian Order.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order.[2] On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

question: Who served as Bishop Maldonado's principal consecrator and co-consecrators?

answer: Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)

text: The answer omits the co-consecrators of Bishop Maldonado.

refinement: His co-consecrators were Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara. Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)

text: The answer should clarify that Bishop Maldonado was the principal consecrator of Juan Benito and José Perez.

refinement: His co-consecrators were Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara. He was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)

text: "While bishop, he was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)."

answer: Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)

text: The answer omits the co-consecrators of Bishop Maldonado.

refinement: His co-consecrators were Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara. Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)

text: The answer should clarify that Bishop Maldonado was the principal consecrator of Juan Benito and José Perez.

refinement: His co-consecrators were Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara. He was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)

text: "While bishop, he was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)."

answer: Bishop Maldonado's principal consecrator and co-consecrators were Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714).

text: Bishop Maldonado was the principal consecrator himself.

refinement: Bishop Maldonado was principal consecrator to Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714).

text: The answer should mention Maldonado's co-consecrators.

refinement: Bishop Maldonado was principal consecrator to Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714). His co-consecrators were Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara.

text: "While bishop, he was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)."

answer: He was consecrated bishop by Francesco Acquaviva d'Aragona, Titular Archbishop of Larissa in Thessalia, with Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara serving as co-consecrators.

text: The origin of Maldonado's appointment and the associated details are irrelevant.

refinement: Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara served as co-consecrators. Bishop Maldonado was principal consecrator to Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714).

text: The answer should include who Maldonado was the principal consecrator of.

refinement: Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of Dara served as co-consecrators.

text: "...he was consecrated bishop by Francesco Acquaviva d'Aragona, Titular Archbishop of _Larissa in Thessalia_, with Gregorio Solórzano Castillo, Bishop of Ávila, and Francisco Zapata Vera y Morales, Titular Bishop of _Dara_, serving as co-consecrators."

question: Where and when was Bishop Maldonado born?

answer: Ocaña, Spain in 1660

text: "Angel de Maldonado was born in Ocaña, Spain in 1660"

answer: Ocaña, Spain in 1660.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660"

answer: He was born in Ocaña, Spain in 1660.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660"

answer: Bishop Maldonado was born in Ocaña, Spain in 1660.

text: "Angel de Maldonado was born in Ocaña, Spain in 1660"

question: Write a ~2 sentence summary.

answer: Angel de Maldonado was a Roman Catholic prelate who served as Bishop of Antequera from 1700 to 1728. He was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order.

text: Birth and occupation: "Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order."

text: Appointment: "On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

text: End of service: "He served as Bishop of Antequera until his death on 17 April 1728."

answer: Ángel de Maldonado was a Roman Catholic prelate who served as Bishop of Antequera from 1700 until his death in 1728. He was consecrated bishop by Francesco Acquaviva d'Aragona, Titular Archbishop of Larissa in Thessalia.

text: Appointment: "On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

text: End of service: "He served as Bishop of Antequera until his death on 17 April 1728."

text: Consecration: "he was consecrated bishop by Francesco Acquaviva d'Aragona, Titular Archbishop of _Larissa in Thessalia_"

answer: Angel de Maldonado was a Roman Catholic prelate who served as Bishop of Antequera from 1700 to 1728. He was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714).

text: Appointment: "On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

text: End of service: "He served as Bishop of Antequera until his death on 17 April 1728."

text: Principal consecrator: "While bishop, he was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)."

answer: Angel de Maldonado was a Spanish Cistercian bishop who served as Bishop of Antequera from 1700 until his death in 1728. He was the principal consecrator of two other bishops during his tenure.

text: The answer should note the people Maldonado was the principal consecrator of.

refinement: Angel de Maldonado was a Spanish Cistercian bishop who served as Bishop of Antequera from 1700 until his death in 1728. He was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714).

text: Country and Order: "Angel de Maldonado was born in Ocaña, Spain in 1660 and ordained a priest in the Cistercian Order."

text: Appointment: "On 21 June 1700, he was appointed during the papacy of Pope Innocent XII as Bishop of Antequera."

text: End of service: "He served as Bishop of Antequera until his death on 17 April 1728."

text: Principal consecrator: "While bishop, he was the principal consecrator of Juan Benito Garret y Arlovi, Bishop of Nicaragua (1710); and José Pérez de Lanciego Eguiluz y Mirafuentes, Archbishop of México (1714)."