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Photo by Tanya Walter of www.visionartphotography.com

Maya DeLeina is a multi-published Erotic Vampire Romance Author  with Siren,  Evernight, Ellora's Cave and Mystic Lotus Publishing.
 Her current series includes Ambrose Heights Vampires, My Naughty Vampire, Vampire Architects and Seasons of the Vampire.

Born and raised on the Hawaiian island of Oahu, Maya could be seen at her favorite beach, Lanikai, performing with an all-girl band where she played keyboards, guitar and provided vocals, working as editor in her high school's yearbook  and volunteering her time at a humane society through UH of Manoa civic groups.
 In 2006, Maya relocated to Colorado. Her crystal blue oceans, waterfalls and eighty degree year-round weather were traded for four season weather, enchanting forests and majestic mountains that led to her rekindled love for vampires.
In winter of 2010, she penned her first manuscript and by 2011, Flesh Fantasy was under contract and released by Siren Publishing. To date, Maya has published  _Flesh Fantasy, Veil of Seduction, Blood of Luna, Dark Companion_, Fire and Ice and Crimson Snow.
In 2014, she banded with other Colorado romance authors to form the group, Mile High Muses, in which Maya serves as "The Vamp". Catch her Forbidden Fruit Friday blog and guests she hosts on Sultry Saturdays.
Not only does Maya have theatrical book trailers that bring her vampires to life, all of her vampires were featured in Singer/Songwriter Jill Cohn'smusic video "Blessing Moon".

Maya's books can be found at Amazon, Barnes and Noble, iTunes, All Romance eBooks, Bookstrand, Smashwords, Createspace and more.

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What the critics are saying...

"...I absolutely loved Ms. DeLeina's new universe. I finished reading, craving more. My mind reeled and my body yearned for the tantalizing pleasures in Flesh Fantasy. My only negative comment about the story is that there wasn't another book...yet. Read Flesh Fantasy and be transported into a fantasy world of erotic sex, deceiving plots and laugh out loud humor. This book does not disappoint!" -- MOONFLOWER, _WHIPPED CREAM REVIEWS_

"...I must say that Ms. Maya DeLeina knows how to hold your attention and I will gladly wait for her next release… and the next book from this series. It deserves 4.5 stars." -- DOLCE AMOUR, _BOOKED UP REVIEWS_

"...This is my first book by Ms. DeLeina but it won’t be my last. The well written storyline and romance in the love story made me want more... I would recommend this book to anyone who likes a paranormal novel with a little twist. If you like action, love, and lots of hot action, this is the book for you." -- TINA, _TWO LIPS REVIEW_

"...All in all, Maya DeLeina deftly weaves humour, hot loving with some hidden horrors all wrapped up in one erotic, lusty bite. The stage is set. The game begins. And the stakes are higher than ever at Ambrose Heights. A book to get your teeth into before the sun comes up." -- SASSY BRIT, _ALTERNATIVE READS_

"I found that the characters were simply marvelous; the story was intricate and complex; and the world building was exceptional and inventive. I found myself lost in the tale. I was up until 5 am and had to force myself to go to bed, but lay awake just thinking about the story." --Molly, CBLS

"Readers get ready for a delicious, super sexy and dramatic read. Ms. Deleina does a great job blending the preternatural with the everyday human world we’re used to." -- T.S. Peters, JERR

"This author is a woman who knows how to write a creative steamy-hot love scene, I mean whoa!" -- Jet, BD Reviews

Maya's Vampires featured in Jill Cohn's Music Video

Maya's "The Vamp" at Mile High Muses

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Catch her weekly Forbidden Fruit Friday blog

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Find Maya at

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Romance Novel Center

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Vampire Romance Books

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Evernight Publishing

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Heartfelt Promotions

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Mile High Muses

question: What does the text say about Maya DeLeina's upbringing?

answer: She was born and raised on the Hawaiian island of Oahu. She attended high school. She is an accomplished singer, songwriter, and author. Now she performs with an all-girl band and has published over seven books.

critique: The response is incorrect and does not reflect Maya DeLeina's upbringing.

critique: Remove confusing sentence beginning "now" from the list because it doesn't help answer the question of what Maya's sideline careers are.

critique: The question is not asking about her career, but about her upbringing.

text: While her performing with an all-girl band does seem to be relevant to her upbringing, her publications are related to her current career and should not be included.


split: train

text:
I don’t know if I want to write to my mother or about my mother.

I don’t know if I want to visit her for the last time while she is in coma or stay here thousands of miles away and write.

I don’t know if I feel sick to my stomach knowing that the person who gave life to me is at the end of her life or rather, I feel nothing.

I don’t know if I will regret for the rest of my life my decision not to see her before she dies or if this decision will fade away into the thick fabric of my life.

I don’t know if I love my mother or not, if I forgave her or not, if now, as she is laying in a hospital bed for the last four months, she is stubbornly waiting for me, her only daughter, to come and tell her that I forgave her.  Or rather, she is fighting the inevitable like she always does; bitter, alone, and fueled by anger.

The name my mother gave me is Revital Siach-bar. I shed bits of my name while discarding parts of myself.

For a long time I didn't know who I was and who I was becoming. What I’m dropping and what I’m keeping.

I am able to write these words because they are not thought and written in my mother’s tongue.
That tongue nourished in mother’s milk now spoiled, and reluctant to yield a thought.
My mother is a package of qualities and sensibilities I don't want to have. I fear that by being close to her, like a contagious disease, I will contract it.

If now I was with her at Herzog hospital in Jerusalem on the last floor before the basement, known as minus four floor, I would look outside the window and watch the heavy rain fall on the city I barely recognize.

It’s a city I left behind with seductive sunsets reflecting on shiny gold and silver domes as the muezzins’ voices are woven in with church bells and the prayers of Arvit raising up from synagogues.  Now, heavy and gray she is dressed in layers of concrete, security checkpoints blocking the flow of life, special lanes are dedicated to police and ambulances speeding with full sirens on.  A city that rigidly divides good from bad, us from them, the sacred from the profane.
If I was in the hospital with my mom I would call her Ima and touch her white hair, comb it back away from her eyes. I would do it gently — very gently.  Smiling to a fading memory of how harshly she braided my hair till silent tears would emerge from the corners of my eyes — smiling as if I let go, as if this two dimensional memory, this black and white image can be cast away in a dusty cigar box of old photos.

Perhaps, if I was with my mother now, I would go to the top floor of the hospital, plus four where the cafeteria and take a break.

I will watch the traffic coming up at the entrance to Jerusalem from above. I would try to guess how angry or fearful people are from the way they drive and honk their horns, gauge how many police and army vehicles are on the road taking the temperature of the coming intifada. Evaluate the situation for myself rather than listen to the news  — they way you do when you live there.
I might go back to her room look at her, hold her hand, pretend I am fearless.  What can she do to me now? I will ask over and over — she is in a coma, I would say over and over.
If I was there at the hospital I would wait for the nurses and doctors to clear, hold her veiny frail hand and I would talk to her, aloud and in hebrew.

I don’t know what I would tell her.  I might say I love you ima, I know you did the best you could, I can let go now and you can too.

Or maybe, I would tell her for the first time how hard it was to walk with her day after day after school to my dad’s grave. To hear her talking to him, whispering, crying, sometimes blaming him for leaving her behind with three kids, sometimes telling him she is going to kill herself also just like he did.

I would tell her how I wished she would look at me, touch me, smile, thank me for cleaning once again the head stone, ask me what do I do day after day for hours there at the grave site.  I wanted to tell her how I memorized the names of all the dead soldiers, their age and their place of death.  How I liked some more then others. How I decided who was handsome and who was not by the sound of their names and who I would have liked to marry if they came back.
How I wished to tell her about the election in my class, for the first time in fourth grade when I was elected to be the president.  How I was worried they chose me because they felt pity for me. They voted for me because of what I didn't have not because of who I was. I would tell her that I can go on for days if she was interested, that I kept all these memories, recounting them for her to know.

Perhaps I would just leave her room abruptly, despondent and gloomy like a teenager who realizes for the first time the smallness of their parents and go to Har Herzel, walking distance from Herzog hospital and visit my dad. Maybe wash the head stone once again and leave another stone on the edge of the grave, wishing I had asked someone years ago why adults do that.
I might go to see the house where I was born and grew up with the poor immigrants from Morocco, Iraq and Egypt. The house she sold one day without telling me.  I would tell her how bitter and disorienting it was to come back from a school trip to a new house never able to say goodbye to him and to the house. I would have to evaluate taking the bus, risking a suicide bomber or drive on unfamiliar new roads navigating through angry traffic. I would go knowing I wouldn't be able to find the little house with the unpaved trail and the lemon tree we planted right after he died.

Maybe I will come back to the hospital and tell her how the house disappeared among big high houses, that Madam Ades is no longer there, that Mr. Cohen and his family disappeared and that my grandmother’s house adjacent to our house is now a villa for the well off new generation of Israelis who park their shiny cars in a garage where we used to hang the laundry.
I will go back there to minus four floor again to check on her, I would try one more time, like I always do.

Or, not go at all, stay here and write.

title: [RF] My Mother

question: Summarize the narrator's internal conflict.

answer: The narrator is conflicted over whether they should visit their mother while she is in a coma or stay thousands of miles away and write. They are conflicted over whether they love their mother or not. They are conflicted over whether they should visit their mother's grave.

critique: The narrator is not conflicted over whether they should visit their mother's grave.

critique: This is less about the conflict of the narrator for a tangible object than their own mother.

critique: The narrator is conflicted over whether they should visit their mother while she is in a coma or stay thousands of miles away and write. They are conflicted over whether they love their mother or not. They are conflicted over whether they should visit their mother's grave. They are conflicted over whether they should visit their mother's grave.

critique: The narrator isn't conflicted over whether they should visit their mother's grave.

question: Summarize Revital's relationship with their mother.

answer: Revital's mother is in a coma. She is bitter, alone, and fueled by anger. Revital doesn't know if she loves her mother or not. She fears that by being close to her, she will contract her mother's qualities and sensibilities. Revital's mother is a package of qualities and sensibilities she doesn't want to have.

critique: The answer omits the narrator's conflicting emotions about visiting their mother.

critique: The answer should mention Revital's relationship with her mother.

critique: She remembers her words at her dad's grave and the fact that her mom left her the house, but they were assisted by a co-mother. The mother Revital is talking about seems to be abusive and uncaring. Include this in the summary.

critique: "She is bitter, alone, and fueled by anger." - this is inaccurate. Her mother is bitter, but she is not alone and is not fueled by anger.

critique: The answer should mention her father's suicide.

critique: The answer should mention that Revital's mother is dead.

text: "Revital's mother is in a coma. She is bitter, alone, and fueled by anger." - this part is irrelevant without the proper context.

category: coherence

question: Explain why the narrator's father committed suicide.

answer: No answer

critique: The passage doesn't mention why the narrator's father committed suicide.

critique: The text offers this explanation: "I would tell her how bitter and disorienting it was to come back from a school trip to a new house never able to say goodbye to him and to the house. I would have to evaluate taking the bus, risking a suicide bomber or drive on unfamiliar new roads navigating through angry traffic. I would go knowing I wouldn't be able to find the little house with the unpaved trail and the lemon tree we planted right after he died."

critique: The narrator's father committed suicide because he was depressed.

critique: The narrator mentions that her father committed suicide, but there is no answer as to why.

question: Summarize what the story has to say about family bonds.

answer: The narrator's mother is in a coma. She is the only daughter, and the narrator is conflicted about whether to visit her in the hospital. The narrator's family is Jewish, and her father is dead. The narrator has a brother and a sister, but it seems that she is the only one who still has a relationship with their mother. The narrator thinks about how their mother was always bitter and angry, and how she used to berate their father for leaving her behind with three kids. The narrator ends up not visiting her mother in the hospital, which may or may not be the right decision.

critique: The narrator does not have a brother or a sister.

critique: The narrator's mother is not in a coma. She is in a coma.

critique: "The narrator's family is Jewish, and her father is dead." - are there corresponding details in the story to back this up? The narrator doesn't seem that religious.

critique: The narrator's father is dead, but the narrator has a brother and a sister.

critique: The narrator has a brother and a sister, but it seems that she is the only one who still has a relationship with their mother. The narrator thinks about how their mother was always bitter and angry, and how she used to berate their father for leaving her behind with three kids. The narrator ends up not visiting her mother in the hospital, which may or may not be the right decision.

critique: The narrator's father is dead, not her mother.


text:
The grief of war

My palms are sweating like there was no tomorrow but that was it, there could be no tomorrow for me, this could be the end, my love back home, gone. My family mourning me and the fact everything and everyone I’ve ever loved, gone. My heart starts to beat a thousand times per minute and my thoughts run left to right confusing me at every turn. My mind running wild. The gun fire becomes a shallow hum in the midst of my thoughts then a loud shout breaks them “grab your rifle son, you’re gonna need it!” it was the sergeant major screaming at me. Then the once shallow hum of gun fire became a loud roar of endlessness and screams from those injured.
I reach out to grab my rifle, quivering as I do. Then a firm hand rests on my shoulder I turn my head it is John. I had met John during training, he was a “lost soul” before the army, he used to tell me of how he used to steal cars and redo them and sell them on and how he wasn’t afraid of being shot,  see he’d been shot twice before, once in the left leg and once in the chest and when I asked him how he said “ Well jerry, when you steal from the American mafia you leave with battle scars,” I always wondered how someone could be so careless of anything. He pulls me to my feet and says” Come on jerry, we’re about to charge the Japs,” I just laughed at how casual he was about this but I grabbed my rifle by the stock and held it tight.
Me, john and the rest of the platoon turn to face the sergeant, Alright boys, I’ve just had confirmation that we will be the platoon leading the charge against the Japanese,” My heart sinks beneath my feet and my breath becomes quick gasps for air, my face runs pale then I look across at john and his face lights up with glee along with the others in the platoon. I’m stunned, stunned beyond belief. I shouldn’t be here, and I’m not ready for this, these men they want war, want it more than me, they crave war where as I hid from it all. I can’t do this. I lean over to grab my helmet, trembling with fear as I do. I put it on my head and tighten the strap and think to myself “this is the end.”
“Before you head out you might want to write a note and keep it on your person, this could be it!” the sergeant shouts over the gun fire of the Japs spraying at our temporary trench line. I grab a pen and paper from my front pocket and start writing. To my dearest…. I  shake with fear but I’m determined to finish. “Jerry, we’re heading over!” yells the sergeant. I knew deep down that we wouldn’t be coming home and this was a last ditch attempt for us to take over the island. “But I was going to fight till my last breath,” I told myself.
I raise my head above the trench to scout out what lay ahead, fifty or more japs all committed to their cause “ protect our land, serve our emperor” and they were not about to let us walk right over them. I grip my rifle tight along with the others and we shout in unison “charge!” I leap over the trench screaming at the top of my lungs, I fire at will, forgetting to aim accurately and shooting wildly then something happened, it wasn’t pain nor fear but a euphoric feeling, like nothing mattered anymore, the sound of gun fire became a distant hum. I look across to john running across in the distance then suddenly he falls to his knees and places his hand to his heart and falls flat on the cold hard ground, the sergeant and the others lie lifeless on the ground or are screaming in pain from their injuries. A lone tear runs down my cheek and falls to the ground dragging my vision to my stomach, my uniform is stained bright red then my knees buckle and I drop down to the ground, I grip my stomach tight but I knew this was the end. I reach into my front pocket of my vest and grab my letter griping it ever so tightly but it made me feel safe just knowing that even though I’m gone my family and my wife would be safe. My eyes close then nothing.

Two weeks following the events:
“Mails here!” the mail man yells out “I’m coming, I’m coming Mary yells back. She opens the door and the he hands her a letter “must be important, it’s got an army stamp,” she closes the door and reads the front of the letter “to Mary – Anne jones, U.S army, “ her eyes fill with tears and she begins to tremble with what she knows is inside, the letter revealing the death of her husband. Whilst shaking, she tears open the letter and begins to read.
“We regret to inform you of your loss, first class private Jeromy jones has been killed in battle, he fought valiantly and died for his country,” three tears roll softly from her cheek and her head dips in sadness but the letter goes on say “He was found with a letter addressed to a Mrs Mary – Anne jones,” she reached in to the letter and grabbed a piece of parchment which had been tattered and ripped along the edges but the words were still readable. They wrote,
“To my dearest love,
This will be the last letter I write to you it’s not long because soon after I write this my battalion will be leading the charge against the Japanese. I’ve got low hope I’ll survive but this doesn’t matter now, the fact that does is that you will be safe. I will miss you and our love will be forever, whether I’m there or not.
Love jerry,”
In a brief moment of realisation she then drops the letter and breaks down on her knees and as she began to scream no sound came out, not a hint of noise nor break in the wind she just knelt there mouth wide open, screaming in silence, consumed, in the grief of war.

title: the grief of war

question: What does the story say about why Jerry is scared?

answer: Jerry is scared because he is not ready for war. He is not ready to die. He is not ready to leave his family behind. He is not ready to leave his wife behind. He is not ready to leave his love behind. He is not ready to leave his life behind. He is not ready to leave his future behind. He is not ready to leave his dreams behind. He is not ready to leave his hopes behind. He is not ready to leave his happiness behind. He is not ready to leave his everything behind.

critique: The answer is too long and repetitive. It should be edited.

critique: The image links should direct to a YouTube video instead of folders.

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

critique: This is redundant, as the question is about why Jerry is scared.

question: What does the story say about John?

answer: Jerry met John during training. John used to steal cars and sell them on. He's been shot twice before. He's casual about the war and doesn't seem afraid of being shot. Jerry is stunned by this.

critique: The answer should mention that John dies in the story.

critique: The answer omits that John is killed in the battle.

critique: The answer should mention that John dies in the battle.

question: What does the story say about who wins the war?

answer: No answer

critique: The answer should mention that the story does not mention who wins the war.

critique: The story does not provide information relating to the outcome of the war.


text:
Hey guys, first story I'm posting on here - Let me know what you think!

________________
Written: 4:45pm

Occurred: 12:40pm

I hear the doorbell ring and realize I've changed. The way I watch myself bound down the stairs tells me I don't understand what I feel as well as I thought. Part of this realization isn't surprising - recently I've come to grasp that only in reflection do I truly find myself.

We greet and it's not awkward, but I don't remember who to be, so I put on as best a casual, semi-joking tone as I'm able.

I still don't understand your disposition fully, but it's changed. That trademark reservation still overcomes the newer, incompletely disguised cheer that implies some sort of excitement my presence now seems to elicit.

We walk up the stairs, and I lose track of what I'd first like to ask, so generic pleasantries come first as we sit on my couch. The weekend-long text conversation was enjoyable, but leaves me blank as to what I'm specifically interested in talking about. The persona I've engaged you with tragically disallows any sort of emotional connection; but we've only got a few minutes anyway. Can I manage to display a shift in mentality? No, I'm not even conscious of the mistake I've already made.

That facebook message was enough for you to disregard the fact that my walls won't come down today; your response of "words cannot express my gratitude for what you've written here". Are you even conscious of it?
You look through my photos and I continue pushing the flirtatious vibes as if I'd met you last week. My roommate asks if we're ready, and as we head down the stairs behind him you ask: "ladies first?"

I treat it as a joke, as if you're implying I should go first. Now I realize it's just a subconscious plea: where's the gentleman I'm starting to understand?

You get in the back seat and as I sit next to you, you don't make an effort to move over too far; we're sitting close. I ask about the new pinky ring with a studded cross, we joke and you ignore a direct answer. Socialization is now required as my roommate's driving in the front. Cordial discussion of Thanksgiving break ensues.

We get to your apartment and your roommates join us. The car's full and we hold hands as we drive off. A few minutes later, we're briefly outcast from the discussion going on in the front of the car. Quiet flirtation between us, subtle enough to be unknown to other passengers, makes me conscious of something - my raw, physical attraction to you. Something I guess I didn't really come to terms with. You're not letting me in at all now, expertly avoiding allowing me to even make a guess at what you're thinking. Aside from what can't be denied - that we're flirting. Everything else is a mystery. Oh, you're good at this.

I fight to avoid the blatant, physical display of arousal any man is anatomically capable of.

We walk to the restaurant and you mention that facebook post your father wrote. I make light of it, identifying the obvious humor on the surface - the type of response you knew was a possibility and probably expected. But there's more to what he said of course; when will I be sensitive enough to let you try to communicate that?

We order food and I wait alone near the counter behind the condiment stand after filling my drink. You walk by to do the same, but after a minute alone I wonder where everyone is. I look over to see you and your roommates sitting there while the other two guys are standing nearby, unconcerned about engaging in the girl-talk.

We get our meals and head outside. You shoot me a fairly casual glance as we walk out the door, not quite directly at me in the sense that it demands a reaction, but acknowledging something more than my mere existence.

Throughout lunch you're distant. Despite the required group conversation, one-on-one discussions are still possible but you never explicitly try to engage me. Only in reflection do I deem this my fault.
Jokes, parking meter, holding hands, better vibes than lunch. We walk down the street. We both act a little differently around each other, a bit more connected on a level we haven't yet talked about.

After ordering Irish coffees, I make a few jokes our friends find hilarious. Your roommates find me funny as always, and even you laugh a little. We discuss the pictures we both took over the weekend, and you're willing to engage. You're enjoying it, but there's a sense of obligation. If I didn't bring it up, would you have?
You're cautious, it seems. I've never been through a bad relationship; you've been recently hurt. How much of your reservation relates to this?

We talk about the holidays. After finishing my drink and you offering yours, I'm moreso in the joking mood than I usually let myself indulge in anymore - I know I can be a dick. I make a joke in bad taste about thanksgiving, stemming from the fact that your parents never thoroughly celebrated Christmas. A sensitive topic.

The car ride back we hold hands, but you're engaging your roommate to the left. I crack a few jokes to be part of the various conversations in the car, all in good taste this time. It seems like you've given up on who I am today: our physical contact rightly identifying your acceptance of my entirety, but a psychological distance coming from your subconscious disapproval of my state of mind.

As your roommates get out of the car and I whisper for you to come back and hang out with me, you good-heartedly let me know you need to study. This is genuine in every respect: you know who I can be when you get me alone, but have an academic discipline that goes unquestioned. We leave, but the bad taste in my mouth only subsides as I finish this reflection.

title: The personality and the identity

question: Summarize the primary source of tension in the story.

answer: The tension in the story seems to be about the narrator and the woman he's with. The narrator seems to be nervous and uncertain about what to say or do in their time together. He feels as though he has romantic and sexual feelings for the woman, but he doesn't know how to express them. The woman is also probably aware of what the narrator is feeling but is also nervous about how to behave.

critique: The narrator is the one with romantic and sexual feelings for the woman, not the other way around.

critique: The narrator is not the woman's romantic interest.

critique: The narrator and the woman are not the same person.

critique: There is no evidence in the passage that the woman is also nervous.

critique: The narrator and the woman are not in a romantic relationship.

question: What does the text say about the narrator's date?

answer: The narrator's date is cheerful and flirty, however, she is not letting the narrator in, even though the narrator is trying hard to charm her. He notices that the date is holding him at arm's length and wonder if it was his fault. He thinks her cautious nature might be due to a recent bad relationship, and he wonders if that is the reason she is holding back.

critique: Much of this is redundant due to the many previous sentences mentioning the same detail. The narrator realizes that the date keeps him at a distance, they definitely are not charmed by each other and their socialization is criticized. These are all made clear. Only mention that she is holding him at arm's length as it comes up often and is a detail that stands out uniquely from the already mentioned concerns.

critique: It's omitted that the narrator's date is a girl.

question: What is the story trying to emphasize?

answer: The story is trying to emphasize the fact that everyone can be different personas depending on the situation.

critique: The story is trying to emphasize the fact that everyone can be different personas depending on the situation, and that the narrator is not sure of who he is.

critique: The answer is confusing and doesn't make sense. It also doesn't answer the question.

critique: In the context of this story, the answer could more accurately communicate that the story emphasizes that the central male character is trying to make the best of an awkward situation with a girl he is attracted to.

critique: The answer is not related to the question.

critique: The story is not trying to emphasize that everyone can be different personas depending on the situation.

critique: The story emphasizes that the narrator has no idea who the girl is.

critique: The story is not trying to emphasize the fact that everyone can be different personas depending on the situation.


text:
**The Theater**

While I was sitting outside the coffee shop across from the theater, I overheard a woman’s conversation with what appeared to be her boyfriend. I was waiting for my ride home, so I decided to people watch to pass the time. This woman’s conversation kept catching my ear, however, and I decided to listen for a bit.

The woman spoke to her boyfriend about her children, telling him how one of them is just so funny when you get him talking about something he’s interested in, and how smart her daughter is. She told him about how her children were doing in school, how she loved them so much, and how they were growing up so fast. The man laughed along and nodded in all the right places, and they seemed to be having a nice time together.

Having heard enough of their conversation to satisfy my curiosity, I looked over at the theater. I admired all the arches and pillars and lights that made up the face of the building, and warmly remembered the theater’s opening week. People crowded the stairs, cars filled the parking lot and the outer walls were immaculate white, red letters shining from above the crystal clear glass of the windows that lined the massive, shining glass doors. Now, looking at the theater, I notices streaks of gray stained down the tops of the walls and dull spots on the windows, dimmed lights where the theater’s name used to shine so brightly.

Although it was a warm June day, the sky was filled with clouds and there was a strong wind. Gulls stood on the light fixtures above the flapping movie banners that hung on the theater’s wall, watching the occasional car meander through the parking lot. Other birds flew through the sky, catching the wind when they could and diving down to the ground before rising back into the sky. I watched them flying and felt happy that birds could be so happily excited by something that they were given by nature. In our own way, humans aren’t so different from the birds. Birds were naturally given flight, and humans were naturally given the tools to create.

I saw a group of children playing on a horizontal column of basalt, playing chicken and pretending the ground was lava. They laughed and smiled, having fun in the warm wind as I observed from a distance. The children were supervised by one of their fathers, and although there was so much fun being had around him, he looked bored as he sat watching on the bench carved from basalt across from them.

I looked back at the chatting couple sitting near me and found them kissing. In the moment before I shifted my gaze back to the theater, I caught a flash of gold from the woman’s hand. The ring on her hand had no gem, and was dulled with age. Despite the fact that I didn’t have all of the background on their story, my heart sank at this small detail. I had felt joy at watching a woman who was, to the extent of my knowledge, having an affair with this man.

I glanced back to the theater, gloomily looking at the grayed stairs, disenchanted from the realization that the happy couple was really just a display of infidelity. I saw that the escalators I had once ridden to the gleaming glass doors of the theater were now blocked by yellow tape and perfectly still. The glass roof over the escalators was dulled by rain and sun over the years, making its slow journey to opaqueness. The walls were spotted with brightness in places that were once covered by light fixtures that had long fallen off of it. My eyes slowly rose to the top of the building, where two metal spires reached into the sky, holding in place a great metal circle through which the spot of sun in the clouds shone.

I realized at that moment that I was seeing the building exactly how its imaginer had intended it to be seen, with the sun shining through the centerpiece of his wall. I widened my view to see the whole face of the building as one, rather than as individual, flawed pieces. I was amazed to see how beautiful the building I had been looking at was, and how all of the flaws disappeared when you looked at it all together.

Momentarily in awe, I looked around at all of the people around me.
I caught a glimpse of the couple holding hands, and noticed that the man had a ring to match the woman’s. Along with that, I heard the woman say with a shaky voice how sad she would be when he had to return to serve in the military.

When I looked over to the group of children, I saw the man supervising them smiling and laughing with the children while rounding them up and taking them to his vehicle. I saw the van pull away, carrying the group of children to their little league game.

Then, I heard a tapping sound to my right and saw that a gull had landed on the table next to mine. He pecked up the crumbs left over from the coffee shop’s earlier customers, and flew off again, dipping and rising in the wind.

My ride pulled up in front of the theater and I began walking toward it. I then caught another glimpse of the theater, and was happy to see that it was still as beautiful as it had been during its opening week. My eyes drifted higher and I saw that the sun had slipped from its socket atop the theater, and I smiled, feeling like I had shared a secret with the person who had envisioned the theater.

Although I only rarely see the theater now, I always remember how I felt when I stepped back and saw it for what it really was. I now realize that everything is worth looking at more than once, and that the way you first see things isn’t always how they truly are.

title: My cheesy first short story

question: Summarize all of the animal life that the narrator observes over the course of the story.

answer: The narrator watches gulls stand on light fixtures above movie banners, watching cars in the parking lot. Other birds fly through the sky, catching the wind when they can and diving down to the ground before rising back into the sky. The narrator sees a group of children playing on a horizontal column of basalt, playing chicken and pretending the ground was lava. The children were supervised by one of their fathers, and the father looked bored as he sat watching them. A gull lands on the table next to the narrator's table, pecking up the crumbs left behind by the coffee shop's earlier customers.

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

critique: The response contains extraneous information not useful for the task.

question: Summarize the narrator's observations of the couple.

answer: The narrator overhears a woman speaking to her boyfriend. She tells him how her children are growing up so fast and how she loves them so much. The narrator sees the couple kissing and the woman shows the man a ring on her hand; the ring has no gem and is dulled with age. Later, the narrator sees the couple holding hands, and the man has a ring to match the woman's.

critique: It is omitted that the narrator realizes that the couple is having an affair.

critique: The answer omits the narrator's realization that the couple is having an affair.

critique: The answer should mention the narrator's realization that the couple is having an affair.

question: What does the story say about the narrator's family?

answer: No answer

critique: The narrator's family is not mentioned in the story.

question: Summarize the negative emotions the characters feel in this story.

answer: The woman feels sad when her husband has to go back to the military. The narrator feels sad when they realize the couple they were watching was having an affair. The children feel sad when their father has to take them to their little league game.

critique: Adult a Married Man Not Husband and Secret romantic Infidelity and Multiple Characters

critique: The narrator is not sad. It is the woman who is having an affair who feels sad.

text: It is incorrect that the children feel sad about the father taking them to the league game.

category: accuracy


text:
_THE NEW BACKWARDS_ is an album by Coil released on 18 April 2008. The album is reworked from the _Backwards_ demo, which was originally created for Nothing Records.

Background

_The New Backwards_ was produced by Peter Christopherson and Danny Hyde, and is reworked from the _Backwards_ demo, which was submitted to Torso Records in 1993 and then further recorded at Trent Reznor's Nothing Studios in New Orleans, Louisiana, in the mid-1990s for a planned release on Reznor's Nothing Records imprint on major label Interscope Records. The record was made in Bangkok in 2007.[1]

The album was originally released on 12" vinyl as part of a box set reissue of the album _The Ape of Naples_.[2] It is currently available on 12" vinyl, compact disc, and downloads in FLAC, aac, and mp3 formats.

Track listing

CD, FLAC, aac, mp3

1.  “Careful What You Wish For” - 9:06
2.  “AYOR” - 7:40
3.  “Nature Is a Language” - 8:00
4.  “Fire of the Green Dragon” - 7:54
5.  “Algerian Basses” - 5:02
6.  “Copacaballa” - 6:50
7.  “Paint Me as a Dead Soul” - 6:31
8.  “Backwards” - 5:22
9.  “Princess Margaret's Man in the D'jamalfna” - 8:45

12" vinyl

-   This is the fourth LP in the four record _The Ape of Naples_ box set.

SIDE G

1.  “Careful What You Wish For” - 9:07
2.  “Nature Is a Language” - 8:00
3.  “Algerian Basses” - 5:02

SIDE H

1.  “Copacabbala” - 6:49
2.  “Paint Me as a Dead Soul” - 6:29
3.  “Princess Margaret's Man in the D'Jamalfna” - 8:46

Backwards demo

_Backwards_ was a studio bootleg recording by Coil. The origin of the source of “Backwards” is believed to have been a leak of the studio demo, in the form of a cassette.[3] However, the entire demo was broadcast when Dutch Radio4, a radio station in Amsterdam, had Coil as in-studio guests to coincide with a live performance on 1 June 2001. The program was broadcast on 18 June 2001 and a four-disc CD-R set of the entire broadcast, made by the radio station, was released in an unknown quantity as _Dutch Radio4 Supplement_. Although part of the proposed album was eventually released as _The Ape of Naples_, the material is so augmented that there are very few recognizable samples.

The proposed release on Nothing Records was continuously put off. _The Ape of Naples_ is considered to be the reincarnation of a demo,[4] as it featured completely reworked versions of “Heaven's Blade”, “AYOR” and other songs that are believed to have been originally created around the time of _Backwards_.

“Bee Has Photos” and “Egyptian Basses” are not considered to be officially part of this bootleg as they were released as part of the _Songs of the Week_ download series and not on the supposed original demo.[5] However, the version from _Songs of the Week_ is an alternate version, much shorter in length.

On the live Coil album _Live Three_, a song called “Backwards” is performed. This song is an incarnation of the songs “Simenon” and “Bee Has Photos”.

This bootleg comprises the material for an album with several proposed titles, such as _International Dark Skies_,[6] _God Please Fuck My Mind for Good_, _Fire of the Mind_,[7] _The World Ended a Long Time Ago_[8] and _Backwards_.[9] Other proposed titles are also possibly referenced by this material.

Track listing

1.  “Heaven's Blade” – 7:23
2.  “Wir-Click-Wir” – 6:21
3.  “Elves” – 3:10
4.  “Simenon” – 3:49
5.  “In My Blood” – 3:52
6.  “Spastiche” – 3:09
7.  “Crumb Time” – 4:33
8.  “March of Time” – 6:03

Three extra tracks, “Bee Has the Photos”, “Egyptian Basses” and a different version of “Spastiche”, have been circulated with the demos.

[1]

[2]

[3]

[4] 1

[5]

[6]

[7]

[8]

[9]

title: The New Backwards

question: What does the text say about the production of The New Backwards album?

answer: The album was produced by Peter Christopherson and Danny Hyde. It was reworked from the Backwards demo, which was originally created for Nothing Records. The album was made in Bangkok in 2007.

critique: The album was submitted in 1993, not made in 2007.

critique: The album was made in Bangkok in 2007, but it was reworked from the Backwards demo, which was originally created for Nothing Records.

critique: It is omitted that the demo was originally recorded at Trent Reznor's Nothing Studios in New Orleans, Louisiana, in the mid-1990s.

critique: The album was originally recorded at Trent Reznor's Nothing Studios in New Orleans, Louisiana, in the mid-1990s.

critique: The album was originally recorded in the mid-1990s.

critique: Does not mention Trent Reznor's Nothing Studios.

text: The demo was originally submitted to Torso Records in 1993


text:
I wrote this in eighth grade, and I didn't put context around it.

Hank and Justin hurried out of the SUV and began making their way across the icy road when a misty figure, about six feet tall, materialized in the distance. It began striding towards them, hunched over, with a long, loping gait. Hank, slipping on the slick ground, turned around and retrieved his rifle from the back of the vehicle, running back to join Justin.

The figure continued to lope steadily towards them. Whenever it left the illumination of a streetlight, it was nearly invisible against the backdrop of the cold, dark night.

“What good will a rifle do against him?” asked Justin.

“Do you have a better idea?” Hank replied. He unchecked the safety on the gun and bolted into the familiar winery, with Justin following hastily, covering the large cube under his traveling cloak. They hurried down the trapdoor behind the dusty counter, slamming it shut behind them. They ran down to the maintenance elevator, hearing the trap open again above them, the misty figure starting to descend down the creaking staircase.

“Quick, what’s the passcode?” asked Justin hurriedly, fumbling to get his glove off.

“Six, five, two, nine, pound,” said Hank.

Justin typed in the passcode and hastily slipped his glove back on. “Come on, come on,” he muttered, hopping slightly from his left to right foot in anxiety as they waited. The elevator came up at a painfully slow pace, the misty figure drawing ever nearer.

Hank spun around and fired once into the figure’s chest. The round passed right through its body, momentarily dispersing a small area in its chest, particles floating back to repair the hole in its torso.

“It’s no good,” Justin trembled. “Look away and close your eyes. Don’t open them until I say so!”

Hank averted his eyes.

Justin quickly took the cube out from under his cloak and unzipped the case. Holding it by the case, he looked away and held it out towards the figure. Blinding light shone out of the cube, brighter than the sun, and engulfed the misty creature, dissolving it and sending a thousand tiny particles zooming away in a thousand different directions. A smell of ammonia lingered in the air where the figure had once stood.

Zipping up the case again, Justin breathed a sigh of relief. They were safe! “Okay, you can open your eyes now,” he said to Hank. Hank turned around. “You used the artifact? That was incredibly dangerous, do you have any idea what could have happened?”

*Ding.*

“No time,” said Justin, pointing at the small green light above the elevator. “Our ride’s here.”
The two hurried onto the platform that creaked and groaned ominously to accept their weight and immediately grabbed two safety suits from the rack as they headed down. They slipped on the suits that covered everything except their eyes, then put on the filmy red glasses that would protect them from the blinding light.

*Ding.*

They stepped out into the cavernous room, staring in awe at the massive shining pyramid that stood before them. They rushed to the side and scrambled up to the top, careful not to knock any cubes over.
Justin reverently took the case off the cube and placed it on top, the final addition to the thousand-year puzzle. The cubes began to blaze even brighter than before, turning a scorching shade of red. The whole structure began to tremble slightly.

“At last,” he whispered. “It is complete.”

title: The Game

question: Describe everything that happens to the artifact Justin uses.

answer: Justin uses the artifact to stop the monster. It is incredibly bright and shines a massive amount of light. The artifact also emits a scent of ammonia. The artifact is later being used to complete the puzzle.

critique: The answer should mention that the artifact is used to dissolve the monster.

critique: It is omitted that Justin uses the artifact to destroy the monster.

critique: "The artifact is later being used to complete the puzzle." - is irrelevant and should be removed.

critique: "The artifact is later..." is not part of the story and doesn't directly apply in this response.

question: What is the nature of the thing that follows Hank and Justin?

answer: It is a misty figure that is invisible against the backdrop of the cold, dark night.

critique: It is omitted that the figure is six feet tall.


text:
Adrian sat down on the ledge.

How had it come to this? Less than a year ago, he had been a happy, ordinary man. He’d had a wife, kids, a stable job, a life. And then, suddenly, it came. So fast it wasn’t even given a name. It was simply ‘the virus’. A brutal disease, which would infect a victim in the morning and leave them a pale corpse by the evening of the next day. There was no human resistance to it. People fell in their thousands, every day. No-one was spared.

Except, somehow, for Adrian.

At first it had seemed a blessing. While he and his family lived, he was glad that he was managing to avoid the infection, and to stay healthy and strong. But gradually that attitude changed. As his family were picked off, one by one, the joys of survival began to turn sour in his mouth. And then his miraculous immunity finally revealed its true colours as a curse. He, an ordinary man, was left living as governments collapsed, cities crumbled, and civilisation fell. He stood, alone in the wreckage, with nobody except his shadow and his tortured soul.

But, to his credit, he had kept going. After all, statistically, he couldn’t be the last one really. There were over 7 billion people in the world, before the virus struck. The chances of him, Adrian Lucas, being the only one left were astronomically low. So he searched. He took a massive supply of canned food, got in his car, fuelled it with the remnants from the abandoned petrol stations, and drove. For months, he looked for any sign of life. Another car, a pillar of smoke, anything to show that he wasn’t alone. Because he couldn’t be alone. It was impossible. At least, that’s what he kept telling himself.
But here he was, at the top of the Empire State building, thousands of miles from home, definitively alone. It seemed an appropriate place to end it all. Adrian felt there was a certain irony in the last human falling from one of mankind’s most iconic landmarks. Maybe it was for the best anyway. God knows, humans had tortured their planet. Surely a quick and relatively painless death was all they deserved, and it would allow the world to return to its former state, where no creature was overly dominant. A world without humans, Adrian decided, would be a better world for almost every other animal. That made him feel a little better.

Still, that didn’t do much to make him feel better about what he was about to do. His race had dominated this world for millennia. Sure, the world, in places, had suffered. There was no arguing that. But wasn’t the cost worth the reward? Humans had done miraculous things. They had seen that natural materials couldn’t fulfil their every want, and rather than choosing to believe they could not achieve what they wanted, contrived to make things that had simply never existed before. He was sitting directly on a prime example of that. Steel does not, and had never, naturally formed. And yet here Adrian was, being supported by it, because man had decided they needed something more structurally sound than what they had already. No other animal could do that. And that wasn’t all. Humans had sunk to the bottom of the ocean. They had looked up at the sky, and flown to the moon. They had constructed the perfect habitat for themselves, lived in it, and perfected it. They were incredible. And here Adrian sat, preparing to snuff it all out in an instance.

Oh sure, the virus had done most of the work (another irony there; a being so simple capable of annihilating arguably the most complicated race in existence), but it was Adrian delivering the final blow. He would be the one who pushed off and snuffed out the human race. That argument was almost strong enough for him to get up and carry mankind’s torch just a little further.

Almost. But not quite.

At the end of the day, a life alone was no true life. Adrian sighed, and pushed his weight over the open air. His arms held him up for a brief second. Just enough time for him to close his eyes. Then he fell.
But he felt no rushing air, and heard no sickening thud. Instead, he felt a tight grip around his wrist.

‘You ain’t getting away from us that easily, buddy’

Adrian smiled. He didn’t recognise the voice, he didn’t know where the voice would take him now. But none of that mattered. For he was no longer alone.

title: Survivor [RF]

question: What does the story say about Adrian?

answer: Adrian is the last man on earth. He's immune to the virus that wiped out humanity. He's been on a search for other survivors for months, but he's the only one. He's about to kill himself when someone grabs him.

critique: The answer omits that Adrian is glad to have found someone.

question: What does the story say about Adrian and the disease?

answer: Adrian was immune to the virus. He was one of a few people who lived. It killed all the people except for him. When the humans started dying, Adrian's family members died. He became lonely and decided to kill himself.

critique: It's omitted that Adrian's family members died because they couldn't find a cure for the virus.

critique: The answer should mention that Adrian's family members died because of the virus.

critique: The answer should mention that Adrian's family members died one by one.

critique: The response misses to mention that Adrian's family members were killed by the virus.

critique: The answer omits that Adrian was the last man on Earth.

critique: The answer should mention that Adrian is the last man alive.

critique: The reason that Adrian became alone is not mentioned.

question: What does the story say about its setting?

answer: Humans have been infected with a brutal disease and are dying off. Adrian is the only one to have survived it. He's been traveling for months to find any human life, but realizes he's the last one. He will kill himself by jumping off the Empire State Building.

critique: The answer should mention that Adrian is the last human.

critique: The answer should mention that the Empire State Building is one of the most iconic landmarks in the world.

critique: It is not stated that Adrian is the only one to have survived the virus.

critique: The story does not mention when the virus struck.

critique: The answer should mention that the virus has wiped out most of humanity and destroyed civilization.

critique: Adrian commits suicide due to thinking he's the last one. The theme of his life being without others and not meaning in the face of millions of deaths is relevant in this description of the setting and what happens in the story.

critique: The answer should mention that the Empire State Building is the last place Adrian has seen any sign of life.

question: What does the story say about the "curse"?

answer: As the protagonist, Adrian, had managed to avoid the virus without getting infected, he felt like he was the only one left to carry on the human race. However, as the virus wiped out the rest of his family, he realized that he was not the last one left. After this revelation, he felt that the virus was a curse instead of a blessing.

critique: The answer omits the reason Adrian felt it was a curse.

critique: The answer omits that Adrian felt that the virus was a curse because it left him alone and without his family.

critique: Actor's prior beliefs about the virus aren't relevant for the question.

critique: The answer should mention that the curse is that Adrian is the only one left.

critique: The answer should mention that Adrian feels the curse is that he is the last human.

critique: The answer should mention that Adrian's immunity to the virus is a curse because it means he is alone.

critique: The answer should mention that Adrian feels the curse because he is the only one left.


text:
Oh... You're up late. Feel free to toggle nightmode if you need.

G'day, my name is Devin. Devin Mancuso.I'm an Aussie living in San Francisco., California. Occasionally, when my corporate overlords aren't watching, I post things on the internet. You can find me on Twitter and IG. or sign up for my newsletter. (I don't post to a schedule, just whenever I have something I want to say, usually some snarky commentary about the intersection of technology and society).

You can email me at devin@radelaide.net, feel free to say hi.

I am a Designer. I’m passionate about working on projects that challenge existing power structures. and create a more equitable tech landscape for everyday people.

Lately I’ve been researching and working in the following areas:

Immersive computing (XR/MR/VR/AR) and media.

The decentralized web and dApps. For example I also publish this site as a peer-to-peer website on dat://. Dat, built by Code for Science & Society, is a protocol to serve files and works on a distributed network unlike most centralized cloud services. This means Dat transfers files peer-to-peer, skipping centralized servers.

Peer-to-peer websites are just like any other websites, except instead of files being transported by HTTP, they are transported with a peer-to-peer protocol. The website files aren’t hosted on a centralized server, they can be hosted from any computer., even your own.

You can view this site using Beaker Browser, a peer-to-peer web browser developed by Tara Vancil and Paul Frazee, via Dat at dat://dev.in., or dat://26e495b9283e95df506b5cf2c5ba1020e9f2e782bc85c7ac52deecadfcf2bb68 if you’re into that sort of thing.

Rethinking Operating Systems.

For the past 4.75 years I've been working, as a Senior Interaction Designer,Senior Interaction Designer Senior Design Strategist, at Google.

Before that I worked as a PM, a UX Lead, and a Design & Digital Strategy Consultant.

I've been lucky enough to work with some inspiring humans (_you know who you are_) on a whole heap of amazing projects.

Design Strategy, Platforms & Ecosystems

I currently work as a Senior Design Strategist for Google's Platforms & Ecosystems group. My team is focused on ambitious new opportunities that could ship in the next 2-3 years and bring cohesion, innovation, and long-term strategy to products that serve over 2 billion active users across the world. We work with various teams across Google including: Android Auto, Android TV, Android Phones, Android Tablets, Pixel, Wear+Fit, Google Education, Chrome, ChromeOS, Play, and Photos.

YouTube VR/AR

I worked as a Senior Interation Designer and UX Lead for YouTube's VR/AR/MR/XR/?R team.

YouTubeVR is one of the most popular VR apps globally across all major VR platforms. My role as UX Lead involved a mix of both tactical design work on our products, future-focused media strategies and exploratory research projects. Lately I've been focusing on a of areas that fascinate me.

Such as designing feature enhancements for our YouTubeVR app, and ensuring UX consistency as we migrated the app across the various mainstream VR headsets. It's available on Daydream View, Gear VR, Lenovo Mirage, Oculus Rift, HTC Vive and Oculus Go and Quest.

Or leading projects that seek to improve how immersive media formats (360° & VR180) are integrated into YouTube's iOS and Android mobile platforms.

Most recently I've have been exploring the emergence of virtual-human creators on the YouTube platform, or VTubers as they are often referred to. In 2019 I conducted interviews across Japan, the UK and the US, meeting with some of the top VTubers in the world to better understand what they required from our video platform.

Android Oreo & Pie

I was fortunate enough to be able to contribute to Android for both the Oreo and Pie releases. I led product design projects for the Android Launcher for AOSP (_Android Operating System Platform_) and also contributed to design strategy projects. focused on shaping the future of Android.

 [Pixel Image]

Pixel 2

I worked on Pixel, the Google phone, during 2016-2017. As the Interaction Designer for the Pixel Launcher I led the product design of two core features of the Pixel 2., _At-A-Glance widget_ and _Pixel Launcher search integration_.

 [Pixel Image] [Pixel Image]

AdWords Next

In 2015 I worked on the AdWords platform., a complex tool through which much of Google's multi billion dollar advertising revenue is generated., and easily one of the most challenging products at Google to design for.

Every design decision and concept is painstakingly reviewed. and questioned., often multiple times by senior stakeholders from across the company. Discipline and a willingness to commit to developing a deep level of product knowledge are essential to ensuring design has the opportunity to shine.

During my time in AdWords UX, I focused on data visualization and intelligent reporting., helping advertisers make better sense of their data., and leveraging machine intelligence to assist them in making smarter decisions about how they are using AdWords.

question: What does the text say about the author's current profession?

answer: The author is a Senior Design Strategist for Google's Platforms & Ecosystems group. His team is focused on ambitious new opportunities that could ship in the next 2-3 years and bring cohesion, innovation, and long-term strategy to products that serve over 2 billion active users across the world. They work with various teams across Google including: Android Auto, Android TV, Android Phones, Android Tablets, Pixel, Wear+Fit, Google Education, Chrome, ChromeOS, Play, and Photos.

critique: The answer should mention that the author works for Google.

critique: The answer should mention that the author is a Senior Design Strategist for Google's Platforms & Ecosystems group.

critique: The answer should mention the author's specific role.

question: What does the text say about Dat?

answer: Dat is a protocol to serve files and works on a distributed network unlike most centralized cloud services. It transfers files peer-to-peer, skipping centralized servers. Dat can be used to host a peer-to-peer website.

critique: The answer insufficiently describes Peer-to-peer websites and misses half of what the new protocol allows, which is hosting your own site.

critique: The answer should mention that Dat can be used to view a peer-to-peer website.

question: What does the text say about VTubers?

answer: VTubers are virtual-human creators on YouTube. The author met with some of the top VTubers in the world in 2019 to better understand what they required from the video platform. VTubers are typically personae in a virtual reality environment.

critique: The answer is inaccurate. The text doesn't say VTubers are virtual-human creators.

critique: The answer should mention that VTubers are virtual-human creators on the YouTube platform.

question: What does the text say about the author's life outside work?

answer: No answer

critique: The answer should mention that the author is an Australian living in California.

critique: The answer should mention that the author is an Aussie living in San Francisco.

critique: The answer should mention that the author lives in San Francisco, California.

critique: The answer should mention that the author lives in San Francisco.

critique: The text doesn't say anything about the author's life outside of work.

critique: The article mentions that Devin lives in California and is an Aussie.

critique: The answer is incorrect. The text does have information about the author's life outside work.


text:
BOSUTINIB (rINN/USAN; codenamed SKI-606, marketed under the trade name BOSULIF) is a small molecule BCR-ABL and src tyrosine kinase inhibitor used for the treatment of chronic myelogenous leukemia.

Originally synthesized by Wyeth, it is being developed by Pfizer.

Mechanism

It is an ATP-competitive Bcr-Abl tyrosine-kinase inhibitor with an additional inhibitory effect on SRc family kinases (including Src, Lyn and Hck).[1][2] It has also shown activity against the receptors for platelet derived growth factor and vascular endothelial growth factor.[3] Bosutinib inhibited 16 of 18 imatinib-resistant forms of Bcr-Abl expressed in murine myeloid cell lines, but did not inhibit T315I and V299L mutant cells.[4]

Bosutinib is metabolized through CYP3A4.

Medical uses

Bosutinib received US FDA and EU European Medicines Agency approval on September 4, 2012 and 27 March 2013 respectively for the treatment of adult patients with Philadelphia chromosome-positive (Ph+) chronic myelogenous leukemia (CML) with resistance, or intolerance to prior therapy.[5][6][7][8]

Adverse effects

VERY COMMON (>10% FREQUENCY): [9]

-   Diarrhoea (~82%)
-   Arterial occlusive events such as stroke or heart attack (44% in patients with chronic myeloid leukemia).[10]
-   Nausea
-   Myelosuppression[11]
-   Vomiting (~37%)
-   Abdominal pain
-   Raised ALT
-   Raised AST
-   Rash
-   Arthralgia (joint pain)
-   Fever
-   Oedema
-   Fatigue
-   Cough
-   Headache
-   Reduced appetite
-   Respiratory tract infection[12]

COMMON (1-10% FREQUENCY):

-   Drug hypersensitivity
-   Dehydration
-   Hyperkalaemia (high blood potassium)
-   Hypophosphataemia (low blood phosphate)
-   Dizziness
-   Dysgeusia (distorted sense of taste)
-   Pericardial effusion
-   Pleural effusion
-   QT interval prolongation
-   Shortness of breath
-   Gastritis (stomach swelling)
-   Hepatotoxicity (liver dysfunction/damage)
-   Abnormal LFTs
-   Elevated blood bilirubin levels
-   GGT increased
-   Acne
-   Itchiness
-   Hives
-   Myalgia (muscle aches)
-   Back pain
-   Kidney failure
-   Chest pain
-   Pain
-   Muscle weakness
-   Increased lipase
-   Increased blood creatinine
-   Increased blood amylase level
-   Elevated blood creatine phosphokinase

UNCOMMON (0.1-1% FREQUENCY):

-   Agranulocytosis
-   Anaphylactic reactions
-   Tinnitus (ringing in the ears)
-   Pericarditis
-   Respiratory failure
-   Acute pulmonary oedema
-   Pulmonary hypertension
-   Acute pancreatitis
-   Gastrointestinal haemorrhage
-   Liver injury
-   Erythema multiforme
-   Erythroderma
-   Drug eruption
-   Acute kidney failure
-   Renal impairment

Contraindications

Bosutinib has two known absolute contraindications, which are: known hypersensitivity to bosutinib and liver impairment.[13][14]

Interactions

Bosutinib is both a substrate and an inhibitor of P-glycoprotein (P-gp) and CYP3A4.[15] Hence P-gp and CYP3A4 inhibitors may increase plasma levels of bosutinib.[16] Likewise CYP3A4 inducers may reduce plasma concentrations of bosutinib.[17] It may also alter the metabolism and uptake (into the GIT by means of its P-gp inhibitory effects) of other drugs that are substrates for P-gp and CYP3A4.[18]

[WEE1 kinase domain in complex with bosutinib.]

Carcinogenicity and mutagenicity

Animal studies using up to three-times the clinical exposure (in terms of AUC) to bosutinib have failed to demonstrate any carcinogenic effects.[19] Mutagenic and clastogenic effects were not detected _in vitro_.[20]

Quality issues

Some commercial stocks of bosutinib (from sources other than the Pfizer material used for clinical trials) have recently been found to have the incorrect chemical structure, calling the biological results obtained with them into doubt.[21]

Notes

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11] Including thrombocytopaenia, anaemia, neutropaenia and leucopaenia.

[12] Including: pneumonia, bronchitis and influenza

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21] Derek Lowe, In The Pipeline (blog), “Bosutinib: Don't Believe the Label!”

title: Bosutinib

question: What does the text say about the medical uses of the drug?

answer: Bosutinib was approved by the FDA and the EU European Medicines Agency in 2012 and 2013 respectively for the treatment of adult patients with Philadelphia chromosome-positive (Ph+) chronic myelogenous leukemia (CML) with resistance, or intolerance to prior therapy.

critique: The drug was also sold in the Cayman Islands. Include that added detail to the answer.

critique: The answer should mention that the drug is used for the treatment of chronic myelogenous leukemia.

critique: The response is missing the word "adult" in the second sentence.

question: What does the text say about the history of the drug's discovery?

answer: Bosutinib was initially synthesized by Wyeth, but it is currently being developed by Pfizer. It was approved by the US FDA and EU European Medicines Agency on September 4, 2012 and March 27, 2013, respectively, for the treatment of adult patients with Philadelphia chromosome-positive chronic myelogenous leukemia.

critique: The answer should mention that the drug was approved for the treatment of adult patients with Philadelphia chromosome-positive chronic myelogenous leukemia with resistance or intolerance to prior therapy.

critique: The answer could mention that it was approved for the treatment of Philadelphia chromosome-positive chronic myelogenous leukemia with resistance or intolerance to prior therapy.

critique: The answer does not address to whom the drug's development is being done but rather the date in which the drug has was approved by the FDA.

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

critique: The answer should mention that the drug was approved for the treatment of chronic myelogenous leukemia.


text:
STACEY MARINKOVICH (born 25 February 1981), previously known as STACEY ROSMAN, is an Australian netball coach and former player. During the Commonwealth Bank Trophy era she played for Queensland Firebirds and Perth Orioles. In the ANZ Championship era she played for West Coast Fever. She captained both Orioles and Fever. After retiring as a player, Rosman became a coach. In 2014 she was appointed head coach of West Coast Fever. In 2018 she guided Fever to their first ever grand final. She was subsequently named Coach of the Year. In 2020 Rosman, now Marinkovich, was appointed head coach of the Australia national netball team.

Early life and family

Rosman is originally from Queensland and was raised in South Brisbane. She is the oldest of four siblings and has two sisters and a brother. She is married to Lindsay Marinkovich and has one son, Matthew, born in December 2019.[1][2][3]

Playing career

AIS

During the 1999 season, Rosman played for the Australian Institute of Sport. She was coached by Norma Plummer and her team mates included Demelza Fellowes and Cynna Neele.[4]

Queensland Firebirds

Between 2000 and 2001, Rosman made 18 appearances for Queensland Firebirds in the Commonwealth Bank Trophy.[5][6]

Perth Orioles

Between 2002 and 2007, Rosman made 71 appearances for Perth Orioles in the Commonwealth Bank Trophy. She captained Orioles during the 2006 and 2007 seasons. Her Orioles team mates included Caitlin Bassett, Kate Beveridge, Susan Fuhrmann, Jessica Shynn and Larrissa Willcox.[7][8][9][10]

West Coast Fever

During the 2008 and 2009 ANZ Championship seasons, Rosman played for West Coast Fever. Rosman captained Fever during the 2008 season. During the 2008 season she also made her 100th Commonwealth Bank Trophy/ANZ Championship appearance. She retired as a player at the end of the 2009 season.[11][12][13][14]

Coaching career

Western Sting

During the 2013 and 2014 seasons, Rosman served as head coach of Western Sting in the Australian Netball League. During the 2014 season she guided them to third place in the league.[15][16][17]

West Coast Fever

During the 2012 and 2013 ANZ Championship seasons, Rosman served an assistant coach to Norma Plummer at West Coast Fever. In 2014 she succeeded Plummer as the Fever head coach.[18][19][20][21] In 2015 Rosman guided Fever to third place in the Australian Conference. She was subsequently named as the head coach in the 2015 ANZ Championship All-Star Team.[22][23][24][25] In August 2016 she signed a new four-year deal to remain as Fever coach.[26] During the 2018 Suncorp Super Netball season Rosman, now Marinkovich, guided Fever to their first ever grand final.[27][28][29] She was subsequently named Coach of the Year.[30][31][32]

Australia

In August 2020 Marinkovich was appointed head coach of the Australia national netball team, succeeding Lisa Alexander.[33][34][35][36][37] Marinkovich has previously worked as a coach with the national team in various capacities, including coaching the Australian Fast5 Flyers team at the 2017 Fast5 Netball World Series.[38][39]

  Tournaments                                Place
  ------------------------------------------ -------
  2017 Fast5 Netball World Series [40][41]

Honours

Head coach

Individual Awards

-   COACH OF THE YEAR
    -   2018

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21]

[22]

[23]

[24]

[25]

[26]

[27]

[28]

[29]

[30]

[31]

[32]

[33]

[34]

[35]

[36]

[37]

[38]

[39]

[40]

[41]

title: Stacey Marinkovich

question: Summarize everything relating to Rosman's team mates.

answer: Rosman was on the team from 2001 to 2005, she captained three different times. She spent a large amount of time playing. Her team mates included Demelza Fellowes and Cynna Neele. Her Orioles team mates included Caitlin Bassett, Kate Beverage, Susan Fuhrmann, Jessica Shynn, and Larrissa Willcox. She co-coached West Coast Fever with Norma Plummer in 2012 and 2013.

critique: "She co-coached West Coast Fever with Norma Plummer in 2012 and 2013." - this is irrelevant to the question and should be deleted.

critique: "Rosman was on the team from 2001 to 2005, she captained three different times. She spent a large amount of time playing. Her team mates included Demelza Fellowes and Cynna Neele. Her Orioles team mates included Caitlin Bassett, Kate Beverage, Susan Fuhrmann, Jessica Shynn, and Larrissa Willcox. She co-coached West Coast Fever with Norma Plummer in 2012 and 2013." - this is irrelevant to the question and should be deleted.

critique: "Rosman was on the team from 2001 to 2005, she captained three different times." - this is incorrect. She was on the team from 2000 to 2007.

critique: "Wayne Buckland was also Rosman's coach for six weeks" - this detail about her team is not relevant as it does not pertain to her previous team mates.

critique: This answer is overly detailed and a little misleading. Rosman was actually on the team from 2000 to 2007. She captained the team in 2006 and 2007. In terms of playing for different teams the answer is correct, however, the mention of media-coaching shouldn't be in the response. Although she did tour for the Fever as a player, it was announced in August 2016 that she signed a deal to remain as Fever coach.

critique: The answer should mention that Rosman was a player.

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

critique: Remove the first sentence as it is already in the article.

critique: "Rosman was on the team from 2001 to 2005, she captained three different times. She spent a large amount of time playing." - this is incorrect. Rosman was on the team from 2000 to 2007 and captained in 2006 and 2007. She co-coached West Coast Fever from 2012 to 2013.

critique: "Rosman was on the team from 2001 to 2005" - this is incorrect. She was on the team from 2000 to 2007.

critique: "Rosman was on the team from 2001 to 2005, she captained three different times. She spent a large amount of time playing. Her team mates included Demelza Fellowes and Cynna Neele. Her Orioles team mates included Caitlin Bassett, Kate Beverage, Susan Fuhrmann, Jessica Shynn, and Larrissa Willcox. She co-coached West Coast Fever with Norma Plummer in 2012 and 2013." - this list is complete information for this question, so it should be removed.

critique: "She co-coached West Coast Fever with Norma Plummer in 2012 and 2013." - this is irrelevant to the question.

critique: "Rosman was on the team from 2001 to 2005, she captained three different times." - this is incorrect. She played for Queensland Firebirds in 2000 and 2001, and Perth Orioles in 2002 and 2007.

question: Summarize Rosman's coaching career.

answer: Rosman served as head coach of Western Sting in the Australian Netball League during the 2013 and 2014 seasons. She guided them to third place in the league in 2014. She served as an assistant coach in the 2012 and 2013 ANZ Championship seasons. After she succeeded Plummer as head coach of Fever in 2014. During her tenure as Fever coach, she would lead them to a third place finish in the Australian Conference. She signed a new four-year deal in 2016. In 2020, she was appointed head coach of the Australia national netboard team.

critique: The third place in the league is not relevant to her career as a coach.

critique: Missing a few details from Rosman's coaching career that occurred after 2015

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

critique: The response includes more information than it needs too.

critique: "Rosman served as head coach of Western Sting in the Australian Netball League during the 2013 and 2014 seasons. She guided them to third place in the league in 2014." - this is unattested. The source only states that she served as head coach in the 2013 and 2014 seasons.

critique: "She signed a new four-year deal in 2016." - this is inaccurate. She signed a new four-year deal in August 2016.

critique: The answer should mention that Rosman was awarded coach of the year in 2018.

critique: Marinkovich succeeded Plummer, not the other way round.

critique: Doesn't mention her appointment as head coach of the Australia national netball team.

critique: It is more accurate to say that "Rosman served as head coach of Western Sting in the Australian Netball League" rather than "Rosman served as head coach of Western Sting in the Australian Netball League during the 2013 and 2014 seasons."

critique: The answer should mention that she was named Coach of the Year in 2018.

question: What does the article say about Rosman's career outside of sports?

answer: No answer

critique: There is no answer because it is unknown

critique: No answer is given, but it is implied that Rosman has a career outside of sports.

critique: No answer, but there is an answer. Rosman is "now Marinkovich," and there is a date for when she married.

critique: It's omitted that the article doesn't say much about her career outside of sports.

critique: There is a mention of Rosman being a coach at the Australian Institute of Sport.

critique: There is no answer because the article does not discuss Rosman's career outside of sports.

critique: There is no answer because the article does not mention anything about Rosman's career outside of sports.


text:
[Centennial marker at ʻIolani Palace. Kawānanakoa is listed as founder of the Friends of ʻIolani Palace.] HELEN LYDIA KAMAKAʻEHA LILIʻUOKALANI KAWĀNANAKOA (July 22, 1905 – May 19, 1969) was a Hawaiian royal who was a member of the House of Kawānanakoa and the second daughter of Prince David Kawānanakoa and Princess Abigail Campbell Kawānanakoa.

Early life

Born July 22, 1905,[1][2] Liliʻuokalani Kawānanakoa was named after Queen Liliʻuokalani, the last monarch of Hawaii.[3] Having been born after the abolition of the monarchy, she had no official royal title; however, she was still known by many in the Hawaiian community as Princess Liliuokalani.[4][5]

She attended a convent school in San Francisco.[6] During her youth, she was known as the “flapper” princess and sported the then-fashionable bobbed hair.[7][8] Her siblings were David Kalākaua Kawānanakoa and Abigail Kapiʻolani Kawānanakoa.[9]

Marriages and family

Liliʻuokalani married five times. Her first marriage was to Dr. William Jeremiah Ellerbrock on January 17, 1925 at Honolulu.[10] The couple had one daughter before divorcing in 1927:

-   Abigail Kinoiki Kekaulike Kawānanakoa (born 1926).[11][12]

Following the divorce, Abigail was adopted by Liliʻuokalani's mother.[13] Her second marriage was to Charles James Brenham at Niu, August 11, 1928; they also divorced.[14] Her third husband was newspaperman Clark Lee, whom she married in 1938; Lee died of a heart attack in 1953.[15] Her fourth husband, whom she married in 1954, was Charles E. Morris Jr; the couple divorced in 1959, and remarried in 1968.[16]

Legacy and death

She was the founder of the Kona Hawaiian Civic Club in 1952 and was the founder and First President of Friends of ʻIolani Palace from 1966 to 1969.[17][18][19]

She died of cancer at her home in Waialae, Honolulu, on May 19, 1969. At her request, her funeral was a private ceremony with none of the pomp or displays of former Hawaiian royal funerals. She is buried at Nuʻuanu Memorial Park.[20]

[1]

[2]

[3] Moniek (February 26, 2020). “Lydia Liliuokalani Kawānanakoa - Regal grace and dignity”. History of Royal Women. Retrieved June 22, 2020.

[4]

[5]

[6]

[7]

[8]

[9]

[10] Moniek (February 26, 2020). “Lydia Liliuokalani Kawānanakoa - Regal grace and dignity”. History of Royal Women. Retrieved June 22, 2020.

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19] 1

[20]

title: Lydia Liliuokalani Kawānanakoa

question: What does the text say about Liliʻuokalani's marriages?

answer: She married five times: Dr. William Jeremiah Ellerbrock in 1925 and Charles James Brenham in 1930, separated from both in 1927. Her third husband was her newspaperman Clark Lee, whom she married in 1938. They divorced in 1959. Liliʻuokalani's fourth husband was Charles E. Morris, whom she married in 1954 and divorced in 1959. They remarried in 1968.

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

critique: The answer should mention the number of marriages.

critique: The answer is missing the names of her first and second husbands.

critique: The text says that she married five times, though this is not necessarily the correct order.

critique: It's not correct that she divorced from both men in 1927.

critique: The answer leaves out the part about her first marriage, which was to Dr William Jeremiah Ellerbrock in 1925. It doesn't clean up the grammar, either.

critique: The answer should mention that she had one daughter with Ellerbrock.

critique: Liliʻuokalani's first marriage was to Dr. William Jeremiah Ellerbrock in 1925.

critique: The answer is unclear about what happened with her daughter.

critique: "Her third husband was her newspaperman Clark Lee, whom she married in 1938." - is misleading because it is not stated in the text that her and Clark were married at all. In fact, it is stated they were not married. Replace all mentions of "her" with "Charles Lee" to fix the inaccuracy.

critique: "Her third husband was her newspaperman Clark Lee, whom she married in 1938." - this is incorrect. It was her third husband, not her third marriage. It should be deleted.

critique: Really Liliʻuokalani's 4th husband and her 5th marriage is not mentioned

critique: The answer should mention that she was married to Charles E. Morris Jr.

critique: The answer omits the marriage to Clark Lee.

text: The response inaccurately mentions that Liliʻuokalani divoreced Clark Lee in 1959. However this is untrue as Lee died of a heart attack in 1953.

refinement: She married five times: Dr. William Jeremiah Ellerbrock in 1925 and Charles James Brenham in 1930, separated from both in 1927. Her third husband was her newspaperman Clark Lee, whom she married in 1938. They divorced in 1959. Liliʻuokalani's fourth husband was Charles E. Morris, whom she married in 1954 and divorced in 1959. They remarried in 1968.

question: What does the text say about island kings?

answer: No answer

critique: There is no information in the text relating to island kings.

critique: There is no mention of island kings in the text.

question: What does the text say about the Hawaiian monarchy?

answer: The Hawaiian monarchy ceased to exist after the abolition of monarchy in 1864. Liliuokalani was born in 1905 and was named after Queen Liliuokalani, the last monarch of Hawaii.

critique: The answer should mention the monarchy's abolition.

critique: The answer should mention Liliuokalani's royal status.

critique: The answer could include more detail about the monarchy.

critique: The answer should mention that Liliuokalani was born after the monarchy was abolished.

critique: The answer should mention the monarchy's end.

critique: It is omitted that she was considered a princess in the Hawaiian community.

critique: The response fails to answer the question.

critique: The answer should include the fact that Liliuokalani was born after the abolition of the monarchy.

critique: The answer should mention the monarchy's abolishment.

critique: The answer should mention that Liliuokalani was born after the abolition of the monarchy.

critique: The reason for the abolition is erroneously stated.

critique: Add information about the monarchy's embodiment in Liliuokalani

critique: The response contains inaccurate information.

critique: The text says nothing about the year of abolition of the monarchy.

text: The response inaccurately mentions that the Hawaiian monarchy was abolished in 1864, however the passage does not mention it. Although it does mention that Liliuokalani was born after it was abolished.

refinement: The Hawaiian monarchy ceased to exist after the abolition of monarchy in 1864. Liliuokalani was born in 1905 and was named after Queen Liliuokalani, the last monarch of Hawaii.

question: What does the text say about Liliʻuokalani's wedding dresses?

answer: No answer

critique: It is omitted that she had five marriages, but no wedding dress information is provided.

critique: There is no answer because the question is not answered in the text.

critique: There are no quotes about wedding dresses.

critique: This is not a relevant response to the question.

critique: "No answer" is misleading and inaccurate as it fails to mention that the content does not say anything about her wedding dress.

critique: No answer is given, but there is information about her wedding dresses.

critique: There is no answer because there is no information about her wedding dresses in the text.

critique: There is no mention of wedding dresses in the article. The question is not relevant.


text:
MAHAAKSHAY CHAKRABORTY (born 30 July 1984), also known by the nickname “Mimoh”, is an Indian actor[1] working in the Hindi film industry. He is the son of Bollywood superstar Mithun Chakraborty and actress Yogeeta Bali.[2]

Film career

He debuted as “Mimoh” with a lead role in the 2008 film _Jimmy_, playing a DJ, who is falsely accused of murder, which leads him into the crime world. He was nominated for a Filmfare Award for Best Male Debut. He then starred in the action film, _The Murderer_, which is still unreleased.

In 2011, his first release was _Haunted - 3D_ which was the first Indian stereo-scopic 3D horror film. The film went on to become a critical as well as commercial success. In his next release, _Loot_, he plays a boy-next-door, who has been taken to Pattaya to rob a house, although him and his crime-partners (Govinda, Suniel Shetty and Jaaved Jaffrey) end up looting the wrong house. _Loot_ received mixed to negative reviews from most critics, and was a box office flop.

Filmography

  Year             Film                         Role                               Language   Notes
  ---------------- ---------------------------- ---------------------------------- ---------- -----------------------------------------------
  2008             _Jimmy_                      Jasminder Kumar Pushp (DJ Jimmy)   Hindi      NOMINATED, Filmfare Award for Best Male Debut
  2011             _The Murderer_               Rocky                              Hindi      Unreleased
  _Haunted – 3D_   Rehan                        Hindi
  _Loot_           Wilson                       Hindi
  2013             _Rocky_                      Rocky                              Bengali    Debut in Bengali film
  _Enemmy_         Madhav Sinha                 Hindi
  2015             _Ishqedarriyaan_             Agam Diwan                         Hindi
  2020             _Main Mulayam Singh Yadav_   Shiv Pal Yadav                     Hindi

[1]

[2]

title: Mahaakshay Chakraborty

question: What does the text say about Mimoh?

answer: Mimoh is an Indian actor working in the Hindi film industry. He is the son of Bollywood superstar Mithun Chakraborty and actress Yogeeta Bali. He debuted as Mimoh with a lead role in the 2008 film Jimmy, playing a DJ who is falsely accused of murder. He was nominated for a Filmfare Award for Best Male Debut.

critique: The answer could mention his other films.

critique: The answer should mention his other films.

critique: The answer should mention his next film.

question: What does the text say about Mimoh's film career?

answer: Mimoh started his film career with a lead role in the 2008 film, Jimmy, playing a DJ who was falsely accused of murder, which led him into the crime world. He was nominated for a Filmfare Award for Best Male Debut for the role. Mimoh's first release was Haunted - 3D in 2011, which was India's first stereoscopic 3D horror film. The film went on to become a critical as well as commercial success. His next release was Loot, which was the first Indian film to be released with the 4DX treatment. The film received mixed to negative reviews from most critics, and was a box office flop.

critique: The 4DX treatment is not mentioned in the text.

critique: The response inaccurately mentions that Mimoh's next film was Loot, which was released with 4DX treatment. However, the article does not mention anything about 4DX.

critique: The 4DX treatment was not mentioned in the text.

text: The answer omits that Mimoh then starred in the action film 'The Murderer,' which is still unreleased. It should state this.

category: coverage

question: What does the text say about Mimoh's first movie release in 2011?

answer: Mimoh's first movie release in 2011 was Haunted 3D. The film was a critical and commercial success. Mimoh's role in the film was Rehan.

critique: Haunted 3D was not his first movie release in 2011.

question: What does the text say about Mimoh's family?

answer: Mimoh is the son of Bollywood superstar Mithun Chakraborty and actress Yogeeta Bali.

critique: The answer does not mention his parents' occupations.


text:
THOMAS ALLSTON BROWN (January 16, 1836 – April 2, 1918) was an American theater critic, newspaper editor, talent agent and manager, and theater historian, best known for his books, _History of the American Stage_ (Dick & Fitzgerald: New York, 1870) and _A History of the New York Stage from the First Performance in 1732 to 1901_ (Dodd Mead: New York, 1902).

Life and career

Brown was born in Newburyport, Massachusetts, to Thomas James Brown (1800–1867) and Lucretia Hamsly Brown _(née_ Lucretia Hamsly Milton; 1810–1872).[1] He began his career as the Philadelphia correspondent and theater critic for the top entertainment journal of the time, the _New York Clipper_. He freelanced for other show-business publications and published his own paper, called _The Tattler_.[2][3]

In 1860, Brown entered show business as the advance man for the Cooper English Opera Company, managed by virtuoso violinist Henry Charles Cooper (1819–1881). He later worked for Gardner & Madigan's Circus (re: the Gardner and Madigan families, including Dan Gardner and John Madigan) as treasurer and manager of the box office.[4] During one circus performance, the assistant to the ropewalker Blondine went missing. Blondine's opening stunt was to walk a tightrope from the stage to the balcony with a person on his back. T. Allston Brown filled in for the missing helper, and the _Baltimore Press_ dubbed him “Colonel” for the deed. Brown adopted the honorary title and used it for the remainder of his career.[5]

In 1863, Brown was named editor of the _New York Clipper_. He kept the post until 1872, when he retired from journalism. He next pursued a career as an agent and manager for entertainers. His clients included the famous female impersonator Ernest Byne (1848–1904), the Hanlon Brothers, and Mlle. Marie Aimée (sv) (1852–1857). On May 7, 1879, Brown became partner with Morris Simmonds (1839–1896) in Simmonds & Brown, Dramatic Agents, and continued to run the company after Simmonds died.[6]

As early as 1858, Brown had begun compiling stories and biographies of theatrical performers in the United States.[7] Much of his material came from players in the field, who supplied biographical sketches.[8] He began to write a book on the subject, and in 1870 he published the exhaustive _History of the American Stage_.[9][10] In 1906, he retired from show business to devote more time to history and writing.[11] Brown died in Philadelphia in 1918. _The New York Times_ wrote in Brown's obituary that _A History of the New York Stage_, published in 1903, “was said to be one of the most complete accounts of the development of the stage in America that has been written”.[12][13]

Notes

[1] Thomas Allston Brown, Massachusetts, Town Records, 1620-1988, Ancestry.com

[2] Cullen 147.

[3] Sentilles 122.

[4]

[5] Cullen 148.

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13] “Col. T. Allston Brown”, _The New York Times_, 1918-04-04, p. 13.

title: T. Allston Brown

question: Describe Hamsley Brown's career trajectory from critic to historian and author.

answer: Brown began his career as a Philadelphia correspondent and theater critic for the New York Clipper. He later freelanced for other show-business publications. He published his own paper, called The Tattler. In 1860, Brown entered show business as the advance man for the Cooper English Opera Company. He then worked for Gardner & Madigan's Circus as treasurer and manager of the box office. In 1863, Brown was named editor of the New York Clipper. He kept the post until 1872, when he retired from journalism. He then pursued a career as an agent and manager for entertainers. In 1906, he retired from show business to devote more time to history and writing.

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

critique: "He then worked for Gardner & Madigan's Circus as treasurer and manager of the box office." - this is inaccurate. Brown was never the treasurer or manager of the box office. He was the advance man.

critique: The answer omits that he published his first book, History of the American Stage, in 1870.

critique: The response misses to mention that Brown began compiling stories and biographies of theatrical performers in the United States as early as 1858.

critique: It is omitted that he published a book on the subject, and in 1870 he published the exhaustive History of the American Stage.