text:
Money had been tight for weeks now, and there wasn't a light at the end of the tunnel. I decided that I would find some cash, one way or another, and that my wife had to never find out.

I considered robbing a bank. After going to a few different banks, and realizing many of them had security, I thought better. I wasn't ready to risk my life or my freedom for some cash. Plus, banks had countermeasures. GPS tracking devices in the stacks, exploding ink packets, just to name a few. It wasn't worth it.

There were a few local cheque cashing places nearby. I didn't like this idea either. You never know when some cowboy with a gun will be behind the counter, ready to die for the insured cash.

I knew I didn't want to have to deal with guns. I didn't have one, and I wasn't ready to go get one either. This was going to have to be clean, and, at least mostly, non violent.

Coming home one night from staking out a bank, the opportunity presented itself. I saw a young lady, carrying a bright red deposit bag to the night drop, to the bank I was checking out. She must have worked close by, maybe even in the plaza the bank was in. She wasn't driving, and she was by herself. This would probably be the easiest robbery I could achieve.

The next few weeks I spent back tracking. Moving my car to where I saw her coming from, and then finding a new point of reference, I was able to track her down to a local bar. This was even better than I'd imagined. Bars are cash businesses. That deposit bag was not going to be full of just credit receipts.

There was a sign in the window, advertising the next fight that would air on pay-per-view, and be shown at the bar. That was going to be my night. Bars are packed on fight nights, and that would also mean she would be a bit later getting the deposit all counted. The later at night, the less chance of any witnesses.

I decided I wouldn't be able to have my car close by the night of the crime. I didn't want it made. I didn't want her to see it, and be able to identify it. I needed to make sure this never got back to me. The planning process was the most important, and something I took great pride in.

I intentionally would let her see me put the money, deposit bag and all, into a bright yellow grocery bag. I would have nothing else identifiable on me. I'd wear a mask. I would wear all black. I would approach her from behind on a bike. I made sure to get new bearings on the bike, it was almost silent. I painted the bike black, with no logos.

It went exactly as I had hoped. As she turned into the parking lot the bank was in, there was a tall shrub, that obstructed the view of the cameras. I came up behind her and threw myself off the bike, and tackled her to the ground. By the time she knew what was happening I had my hand over her mouth. As she looked at my masked face, into my eyes, she knew. She knew exactly what was happening. I told her calmly not to scream, or I would hurt her. She believed me, and I felt her stop struggling, and almost go limp. I told her I only wanted the money, and if she didn't fight me, she would be fine. She nodded. I grabbed the deposit bag out of her hand, and placed it in the bright yellow bag. I knew she would remember this bag and when she called the police they would be looking for it. I took her cell phone, and pulled the battery out and tossed it into the bushes and gave her the phone back. I told her I didn't want to cost her money, that she should be able to find the battery. She nodded, tears in her eyes.

I told her I wasn't going to tie her up, but if I saw her following me, or if I saw her run, I would find her and kill her. I pulled her license out of her purse and looked at her address. She knew I wasn't messing around. I told her if she screamed when I let go of her mouth, she wouldn't ever be heard from again. And I let her go. She held back a scream, a weep. I picked up the bike, and with the yellow bag on the handle bars, I took off.

When I looked back, she wasn't following, but I could see her in the bush, looking for her battery.

I figured it would take at least forty seconds to reboot the phone, at least three minutes, probably longer, for the police to respond. I made my way to my first stop. An ally. I had planted a bright white bike, with lots of distinct markings. I lost the mask, and took off my outer layer of black clothing, exposing my bright blue shirt, and my green warm up pants. I looked like the 90s. I took the deposit bag out of the yellow shopping bag, and placed it under my shirt, where I very quickly taped it to my chest.

I was on my way out of the ally, back towards the crime scene, when I heard sirens in the distance. My timing was spot on.

I peddled back towards the bar my victim worked at, where there was still a group of rowdy drunks outside. I went past them about three blocks, to my car. I left the bike outside a local shelter, and walked across the street, got into my car, and went home.

When I got home, I went upstairs and kissed my wife on the forehead, and told her everything was going to be alright.

"I know, I've been trying to get a hold of you all night. I bought a ticket, we won!"

We had won the lottery.

title: [RF] The Crime

question: What was the narrator scared to let his wife know what he was doing?

answer: He was scared to let her know that he was robbing a bank.

critique: He was scared to let her know that he was robbing a bank because he didn't want her to find out.

critique: The narrator is not scared to let his wife know that he was robbing a bank.

critique: "He was scared to let her know that he was robbing a bank." - this is incorrect. The narrator was actually scared to let his wife know that he was robbing a bank.

critique: He was scared to let her know that he was getting cash any way, so he stole it.

critique: The narrator was not scared to let his wife know that he was robbing a bank.

critique: "He was scared to let her know that he was robbing a bank." - this is incorrect. The narrator was scared to let his wife know that he was robbing a bank.


split: train

text:
_GIRLICIOUS_ is the self-titled debut studio album by American girl group Girlicious, released on 12 August 2008 through Geffen Records. It infuses hip hop and R&B with pop music. Its production began in 2007, after the filming of _Pussycat Dolls Present: Girlicious_. After debuting at #2 on the Canadian Hot 100, it sold 80,000 copies and was certified Platinum. A Deluxe Edition was released on December 16, 2008, including two new songs and three remixes of the original singles.

Release and reception

Released as a CD and music download in Canada on August 12, 2008,[1] the album generated positive reviews from critics upon its release. The album topped the charts debuting at number 2 on the Canadian Album Charts and has since been certified Platinum.[2]

To date the album sparked three singles. The first single, “Like Me” managed to debut at number 4 in Canada and at number two on the Bubbling Under Hot 100 Singles in the United States and was listed for 19 weeks.[3] The second single, “Stupid Shit” managed to debut at number 20 in Canada, where it was listed for 10 weeks.[4] The third and final single, “Baby Doll” only managed to peak at 55 and was only listed for a total of three weeks making it the groups least successful single to date.[5]

The album itself received positive reviews from critics. Allmusic's Matthew Chisling gave it a positive review, stating: “On their debut release, the four girls involved, Natalie Mejia, Nichole Cordova, Chrystina Sayers, and Tiffanie Anderson, deliver a well-balanced set of sexually charged, urban-friendly pop and dance numbers which satisfy the listener.” [6]

Promotion

Main promotion for the group was their own show, Pussycat Dolls Present: Girlicious. Girlicious made their debut performance at the MuchMusic Video Awards on June 15, 2008 with their hit single “Like Me”. On August 6, 2008, Girlicious performed 6 songs from the album at their first _Live @ Much_: “Stupid Shit”, “Baby Doll”, “Still In Love”, “Here I Am”, “Liar, Liar” and “Like Me”.

Tour

Girlicious took part in a North American tour as the opening act of the “Unbreakable Tour” with the Backstreet Boys that began July 30, 2008 and ended September 6, 2008.

Girlicious returned to Canada to tour for the second time in 2008 with The Girlicious Tour, which featured special guest Danny Fernandes. The first set date was scheduled in the beginning of October and ended in November.

During the first week of February 2009 Girlicious made 3 appearances at night clubs throughout Canada. They performed at the Playboy Mansion Gameday Party, and returned to their tour (second leg) with Danny Fernandes in early March. The second leg of The Girlicious Tour finished in late March.

Singles

“Like Me” is the first and debut single from Girlicious. It was released on April 22, 2008 one day prior to The CW's airing of the finale of the show. Without a proper physical or radio release, the single managed to debut at number two on the Bubbling Under Hot 100 Singles and number seventy on the Pop 100 solely based on digital sales. in addition, during the week of May 1, 2008, “Like Me” mada a “_Hot Shot Debut_” at number four on the Canadian Hot 100[7] becoming an instant hit in Canada. The music video was premiered the day of the finale.

“Stupid Shit” (or _Stupid S***_) was the second single from the album. It was released on iTunes on April 23, 2008, a day after the finale of the show aired. In the week of May 1, 2008, “Stupid Shit” debuted at #20 on the Canadian Hot 100.[8] The music video for “Stupid Shit” was directed by Robin Antin and Mikey Mind, premiered on Yahoo.com on April 23, 2008. The video debuted on the MuchMusic Countdown at #29 and peaked at #1 which it stayed for one week.

“Baby Doll” was the third and final single from the album. The whole song was performed for the first time by Girlicious on television, when they were on Live @ Much on August 6, 2008. It first entered the Canadian Hot 100 at #75 due to digital downloads during the week the album was released. It re-entered at its current peak of #55 after approximately 4 months due to its single release.[9] The music video premiered on the show _OnSet_ on popular Canadian music station, Much Music, which takes viewers behind the scenes on the set of “Baby Doll”. It was directed by Matt Mcdermitt.

Other notable songs

-   “Liar Liar” became a fan-favourite song from the album. Featuring rapper Flo Rida, It charted on the Canadian Hot 100 a peak at position 43, higher than “Baby Doll”, even though it hasn't been officially released as a single, on the week of the album's release.
-   “Still in Love” charted on the Canadian Hot 100 after the album's release, and peaked at position 99. It features Sean Kingston.

Track listing

Charts

+-----------------------------------+-----------------------------------+
| Chart (2008)                      | Peak                              |
|                                   | position                          |
+===================================+===================================+
| Canadian Albums Chart             | 2                                 |
+-----------------------------------+-----------------------------------+

Release history

  Region   Date              Label
  -------- ----------------- -----------------
  Canada   August 12, 2008   Universal Music

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

title: Girlicious (album)

question: Summarize the genre to which the album "Girlicious" belongs.

answer: The album infuses hip hop and R&B with pop music.

critique: The answer is so short that it should be more specific about the genres.

critique: This response does not describe the genre of the album.

critique: The answer should mention that the album is a pop album.

critique: The answer should mention the Canadian Hot 100.

critique: The answer could be more specific about the genre.

question: Summarize how the album has supported the careers of the group members since it came out.

answer: No answer

critique: The question is asking for a summary of how the album has supported the careers of the group members.

critique: The question is asking for a summary, not an answer.

critique: The passage can be summarized to include what the group has done after their debut release.

critique: The passage does not mention anything about the album's impact on the group's careers.


text:
Along the roadside in a dusty, barren countryside, there lived an old woman who never spoke to anyone.  In fact, nobody even knew her name.  She never left her house, and few ever even claimed to have seen her at all, lest knew what she looked like.  She ate only the food she grew in her garden, although no one ever seemed to see her actually gardening.  It would just be barren and then repopulated with fruits, vegetables, and grains.  It is safe to say that many people in the nearby town of Misgave thought the woman to be pretty odd indeed.  The oldest residents of the town of Misgave even tell stories of when they were young, recounting their knowledge of the odd woman who lived in the house by the dusty roadside.  Many thought this to be impossible, as the old townsfolk were very old themselves, and how old would this make the woman?  Most likely it was an old wive's tale passed on generation to generation, but the old townsfolk insisted that their stories were true.  And especially older gentleman by the name of Took Adams even claimed he met with the old woman when he was a boy, about 9 or 10 years old, and that she invited him in for lunch one day since he found himself wandering the old dusty overgrown road by the woman's house by himself, no doubt daydreaming about cowboys, or being a famous gunslinger himself.  Took Adams tells of the woman being cheerful in nature, with an odd mysticism about her, and that her hair smelled faintly of old sage and basil.  Once during their lunch, he asserts, she offered him some sweet candy that she said she made from the ingredients of her garden.  Took claims it was the sweetest and most delicious candy he'd ever tasted, but at some point during their lunch, the old woman became angry with him, and showed a side of herself that he hadn't expected.  He later told of seeing a sort of fire in her eye, and teeth bared, stained a putrid green.  Took said the woman quickly regained her composure, and delightfully sent him on his way and told him that perhaps he shouldn't wander this far down the road again.  This story has no doubt been embellished over the years, most so by old Took himself, perhaps to make himself more exciting or interesting, as he desired the company of people more in their youth, so as to feel younger himself, as older people tend to do.  "She must be close to 110 years old by now!"  Took would exclaim to anyone that would listen.

In the barren countryside, along that dusty roadside, more dust than usual was spitting and clouding up.  A car was zooming past the old woman's house.  "Be careful Aaron!  This road isn't exactly the autobahn as you've probably noticed.  Slow down man!"  Riley Trainer was very protective of his new car, and allowing his younger brother Aaron to drive his new Chevy Volt even a couple miles during their cross country road trip was nerve racking to him.  The fact that Aaron was thoroughly testing the shocks in the Volt on a country road was most displeasing to him.  "Alright alright, sorry, I'll let you get back to your precious driver's seat", but just as he finished his placating to Riley, a loud *SNAP* emitted from under the car, and a *POP* and *SCRAAAAPE* came from under the hood.  The car rolled to a stop about a hundred yards from an old looking house down the road.  "Shit, man!  If you screwed up my car I'm going to kill you!  Get out, let's check it out."  Riley jumped out of the car and began inspecting the damage.  Aaron sheepishly opened the driver side door and put his hands in his pockets, sauntering over to his brother who was on his hands and knees examining the underside of the car.  "I'm sorry Riley, I wasn't going that fast, I was even slowing down when it happened."  "It's alright, it's alright, let's just see if we can get it started again and drive it to the nearest town."  Riley sounded exasperated, or possibly relieved that his younger brother was no longer driving the car, albeit at the expense of his newly acquired vehicle.  "Hey, Riles, why don't we just walk to that house and call a tow truck or something from there?"  Both boys turned their gaze to the distant house on the side of the dusty road.  It puffed out a calming cloud of white smoke from the chimney and the two brothers exchanged satisfied glances.  "At least someone's home", Riley stated simply.  They began walking to the odd looking house when all of a sudden a light burst on from the inside of the dwelling.  A bright, light pink glow seemed to emanate from deep inside the old place…

To be continued…

title: First chapter of a book I'm writing (please give feedback)

question: Describe the style of the writing.

answer: The author creates a story around a myth, making it all the more mystical. They create two distinct, opposite sides of the myth to tell a story with a real-life outcome. The writing holds the reader's attention with a steady pace and cliff hangers to keep the reader reading.

critique: The answer is not related to the question.

critique: The second sentence is not supported by the text.

critique: The answer should include the question of whether this is a fair description of the story.

critique: The answer is a summary of the story and not a description of the style of the writing.

critique: The first and third sentences are unnecessary.

critique: I think you can omit the bit about the author telling a story around a myth.

critique: "The author creates a story around a myth, making it all the more mystical." - the myth isn't that ideal, although the story is about an elderly woman living by herself in a house. There's no mythic quality to her.

critique: There is no evidence to suggest the author creates the myth around something else.

text: The second sentence is a bit confusing. There doesn't seem to be two, opposite sides to the myth. It would be better to omit this.

category: accuracy

refinement: The author creates a story around a myth, making it all the more mystical. They create two distinct, opposite sides of the myth to tell a story with a real-life outcome. The writing holds the reader's attention with a steady pace and cliff hangers to keep the reader reading.

question: Describe the old woman.

answer: The old woman always leaves her house just in time for food to grow, she does not talk and few people have seen her. Her name is unaltered and she can possibly be over 111 years old. She has an odd mysticism about her and the sweetest candy Took Adams ever tasted, hence the candy he would always retell the story of the old woman. They are not all fond of her, having a quarrel with her after her olive candy.

critique: The old woman does not leave her house just in time for food to grow

critique: The woman does not have a quarrel with Took after giving him the candy.

critique: "They are not all fond of her, having a quarrel with her after her olive candy." - this is not in the passage.

critique: The statment that she never talks is false, other townsfolk confirmed she talks, they just have no idea what she said because they have never seen her. the first sentence should instead say she never leaves her house because she eats food out of her garden and no one has seen her garden.

critique: No person in the story has a quarrel with the old woman since Took is mentioned more as a legend who the old folk apparently spoke of.

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

critique: "The old woman always leaves her house just in time for food to grow, she does not talk and few people have seen her." - the old woman is never said to leave her house. She grows food in her garden, but no one has ever seen her gardening. "She has an odd mysticism about her and the sweetest candy Took Adams ever tasted, hence the candy he would always retell the story of the old woman." - this is inaccurate. Took never retells the story of the old woman.

critique: "She has an odd mysticism about her and the sweetest candy Took Adams ever tasted, hence the candy he would always retell the story of the old woman. They are not all fond of her, having a quarrel with her after her olive candy." - this made no sense.

critique: "The old woman always leaves her house just in time for food to grow, she does not talk and few people have seen her. Her name is unaltered and she can possibly be over 111 years old." - this is inaccurate. The old woman never leaves her house, hence, no one knows her name.

critique: "They are not all fond of her, having a quarrel with her after her olive candy." - this is inaccurate. Took Adams did not have a quarrel with the old woman. He just met her and ate lunch with her.

critique: The response is not related to the question.

critique: She doesn't leave her house, she just grows it

question: Describe Riley and Aaron's car and driving.

answer: They are traveling in a new Chevy Volt, and Riley is protective but allowing Aaron to drive a short distance. Aaron is concerned about their new car and responsible, but speeds. A loud noise and pop come from under the hood and the car screeches to a stop about a hundred yards from an old looking house.

critique: The car is Riley's. It's not clear that Aaron can drive.

critique: Aaron is being irresponsible in his driving

critique: "Aaron is concerned about their new car and responsible, but speeds." - this sentence is confusing and doesn't make sense. It's better to omit this and the rest of the sentence.

critique: The question didn't ask for details about Aaron.

critique: The answer should mention that Aaron is the one driving the car.

critique: "Aaron is concerned about their new car and responsible, but speeds." - this is inaccurate. Aaron is not concerned about their new car. He speeds.

critique: The answer should mention that Aaron is speeding.

critique: It's not clear that Aaron is concerned about the car or that he speeds.

critique: The answer omits the fact that Aaron is testing the car's shocks on the road.

critique: The answer omits the fact that the car speeds up suddenly, but then snaps and stops.

critique: "Aaron is concerned about their new car and responsible, but speeds." - this is inaccurate. Aaron is not concerned about the car and is not responsible. He speeds.

critique: "More dust than usual was spitting and clouding up. A car was zooming past the old woman's house. Riley Trainer was very protective of his new car, and allowing his younger brother Aaron to drive his new Chevy Volt even a couple miles during their cross country road trip was nerve racking to him."

question: What is the significance of the name of the town, Misgave?

answer: According to the narrator, Misgave had an old woman who lived on a dusty roadway outside of town and nobody had ever seen her.

critique: The answer should include a possible interpretation of the name.

critique: This is not the significance of the name Misgave

critique: The answer is a copy of the first sentence of the passage.

critique: The narrator says that the old woman is strange, but gives no indication that the town is strange.

critique: The narrator says that Misgave has an old lady, not an old man.

critique: The narrator didn't give this name. It is the name of the town where the old woman lives.

critique: The narrator suggests that the story about the old woman may be a myth, but they believe the woman still lived there.

critique: The answer should mention the name of the town.

critique: The answer should include that the town is named after the woman.

critique: The answer should mention the old woman's name.

critique: The answer says that Misgave had an old woman, but the woman is living two centuries later.

critique: There is no evidence that the narrator thinks the town is named after the old woman.

text: The answer is incorrect, as there really should be no answer. No significance is ascribed to the name.

refinement: According to the narrator, Misgave had an old woman who lived on a dusty roadway outside of town and nobody had ever seen her.


text:
The 1948 CONSTITUTION OF ROMANIA was the first adopted after the establishment of the Communist regime, which it enshrined into law. It was modelled on the 1936 Soviet Constitution and adopted by the Great National Assembly (MAN) on April 13, 1948, being published in _Monitorul Oficial_ the same day. The Romanian People's Republic was defined as a “unitary and sovereign people's state” that “came into being through a struggle led by the people, the working class at their head, against fascism, reaction and imperialism”.[1]

It proclaimed the principle of the sovereignty of the people, who “exercises its power through representative organs, elected by universal, equal, direct and secret vote”. In reality, because a single party, the Romanian Workers' Party, controlled all the levers of power, this principle was never put into practice. In a first for a constitutional act in Romania, provisions were introduced dealing with the socio-economic structure of society, indicating the existence of three categories of property: state-owned (“as goods of the entire citizenry”), cooperative and private. The superior nature of state-owned property was spelled out, as was the duty of each citizen to help expand its scope. In order to provide a constitutional basis for the waves of nationalization that were to come, it was provided that “when the general interest demands it, the means of production, banks and insurance societies, which are the private property of physical or juridical persons, may become State property, that is a public good, under conditions provided by law”. The state was to defend “working people” against “exploitation” and to raise their standard of living. The principle of guiding and planning the national economy was introduced, while domestic and foreign trade was regulated and controlled by the state.[2]

Regarding rights and freedoms, equality before the law was guaranteed for all citizens, who were also assured the right to vote and be elected, and to work and rest. Minorities were allowed to use their languages in education, and freedom of conscience and of religion were provided for within the framework of state-recognised religions, so long as these did not violate “public security and good morals”. Freedom of the press, of speech and of assembly and association were also included, though any association of a “fascist or antidemocratic character” was explicitly forbidden. In reality, all the rights proclaimed by the constitution were systematically and severely violated in the first years of the Communist regime, which saw the start of repression unprecedented in Romanian history. The ban on associations of “fascist or antidemocratic character” was broadly interpreted to suppress nearly all meaningful opposition.

The MAN became the supreme organ of state power, “elected” for a four-year term. Executive power was exercised by a government, answerable for its activities before the MAN and the MAN Presidium. The local organs of state power were the Popular Councils, also elected for four years. As for judicial power, people's associate judges (_asesori populari_) were granted the right to sit in judgment. The subordination of the judicial system to the Communist authorities was provided for, _inter alia_, by granting the prosecutor’s office the role of punishing “crimes against the democratic order and liberty, the economic interests, the national independence and the sovereignty of the Romanian State”. The 1948 Constitution, which contained 105 articles in 10 titles, was amended once, in March 1952, and abrogated on September 24, 1952, when a new constitution came into force.[3]

Notes

[1] Stoica, pp.91-2

[2]

[3]

title: 1948 Constitution of Romania

question: Why was the 1948 Constitution of Romania problematic in its implementation?

answer: The 1948 Constitution of Romania was the first to be adopted after the establishment of the Communist regime, which it enshrined into law. It was modeled on the 1936 Soviet Constitution. The Romanian People's Republic was defined as a “unitary and sovereign people's state” that “came into being through a struggle led by the people, the working class at their head, against fascism, reaction and imperialism”. The constitution proclaimed the principle of the sovereignty of the people, who “exercises its power through representative organs, elected by universal, equal, direct and secret vote”. In reality, because a single party, the Romanian Workers' Party, controlled all the levers of power, this principle was never put into practice. The constitution provided for three categories of property: state-owned, cooperative and private. The superior nature of state-owned property was spelled out, as was the duty of each citizen to help expand its scope. In order to provide a constitutional basis for the waves of nationalization that were to come, it was provided that “when the general interest demands it, the means of production, banks and insurance societies, which are the private property of physical or juridical persons, may become State property, that is a public good, under conditions provided by law”. The state was to defend “working people” against “exploitation” and to raise their standard of living. The principle of guiding and planning the national economy was introduced, while domestic and foreign trade was regulated and controlled by the state.

critique: The answer is a summary of the constitution, not a reason for its implementation problems.

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

critique: The response is a copy and paste of the article and does not answer the question.

critique: The answer is about the constitution, not the implementation of it.

critique: The answer is a copy-and-paste of the article.

critique: The answer is made up of a summary of the constitution, not why it was problematic.

critique: The constitution did not proclaim the right of all citizens to vote and be elected, as discussed in the text. The second line is also irrelevant.

critique: The constitution is not the reason it was problematic.

text: It is omitted that all the rights proclaimed by the constitution were systematically and severely violated in the first years of the Communist regime, which saw the start of repression unprecedented in Romanian history.

category: coverage


text:
[Portrait of Reinhart 1812, by José de Madrazo y Agudo]

JOHANN CHRISTIAN REINHART (24 January 1761 – 9 June 1847) was a German painter and engraver. He was one of the founders, along with Joseph Anton Koch, of German romantic classical landscape painting.

Biography

[ Wasserfälle bei Tivoli (1813)] Reinhart was born in Hof, Bavaria, and attended the gymnasium in Hof where he was encouraged to draw by one of his teachers. His artistic career was divided between his early years in Germany and a career as a professional artist in Italy.

Early years in Germany

Following in his father's footsteps, Johann Christian started to study theology but turned more and more to art. He studied under Adam Friedrich Oeser in Leipzig. In 1783 he moved to Dresden where he furthered his studies under Johann Christian Klengel who taught him chiefly after the Dutch masters. On the death of his mother in 1784, he spent a short time in Hof before returning to Dresden. He struck up a friendship with Friedrich Schiller in 1785.

Professional artist in Italy

[_Blick auf Tivoli_ (1813)] In 1789, supported by the hereditary Prince of Coburg-Gotha, he got a grant from the Margrave of Ansbach-Bayreuth, and, aged 28, he left Dresden and moved to Rome. The grant continued until 1791/92 when the Margravate of Ansbach-Bayreuth became part of Prussia. Reinhart came under the influence of the classicist German painters Asmus Jacob Carstens and Koch and became a conspicuous exponent of the historic landscape. He devoted himself more particularly to landscape painting and to aquatint engraving. His paintings, drawings and etchings, of which he made many prints, brought him artistic recognition and financial success and he was eventually able to support a family. In 1801, he married an Italian Anna Caffo and together they had three children.

In 1829 he was asked by the future King Ludwig I of Bavaria to paint the view of Rome to the north, the south, the east and the west of the royal villa, high up on the Pincio. The paintings that resulted measure roughly 67 by 106 inches apiece and show a remarkable steadiness of hand and eye. These works are now housed in the Neue Pinakothek.

Assessment

Reinhart's originality lay not so much in radical inventions but rather in new combinations of known styles, themes, and patterns. By skillfully merging these with a noble theme, Reinhart revitalised the heroic landscape.[1]

He developed a new, more sensitive approach to landscape. Even though this emotional tendency contains element of the early romantic, Reinhart's way of painting is still immersed in the classical and is meticulous and detailed.

Works

His best known work is represented by the “Eight Historic Landscapes” (1825), in the Palazzo Massimi, Rome, and "Four Views from Villa Malta,” in tempera, painted for King Ludwig I of Bavaria. The New Pinakothek in Munich contains “Four Views Near Rome” (two dated 1836, 1846), the Leipzig Museum a “Wood on Seashore in a Storm” (1824) and “Landscape with Psyche” (1829), the Städel Institute, Frankfurt, a landscape with "Cain and Abel,” and the Cologne Museum a “View from Tivoli.” To a collection of 72 etchings of prospects in Italy, published conjointly with Dies and Mechan under the title _Malerisch radirte Prospecte aus Italien_ (1792–98) Reinhart contributed 24 plates. Besides these he etched many other Italian landscapes, and 38 animal studies, in all 170 plates.

Notes

[1] _Johann Christian Reinhart and the Transformation of Heroic Landscape, 1790-1800_ by Timothy F. Mitchell; _The Art Bulletin_, Vol. 71, No. 4 (Dec., 1989), p. 646-659; Published by: College Art Association

title: Johann Christian Reinhart

question: Why would the future King Ludwing I commission Reinhart to make paintings depicting the views of the Royal Villa in all cardinal directions?

answer: The King may have wanted to have a record of the views of the villa.

critique: "The King may have wanted to have a record of the views of the villa." - this is incorrect. Ludwig I commissioned Reinhart to make the paintings because he was fascinated with the view of Rome and wanted to see it from different angles.

critique: He could have asked someone else to do it, or used photos.

text: The text does not answer the question.


text:
[Christopher Voelker] [Christopher Voelker with Hope Award]

CHRISTOPHER VOELKER (born February 2, 1961 in Los Angeles, California - Died September 11, 2014) was an American photographer.

General information

Voelker was a full-time wheelchair user due to a spinal cord injury (quadriplegia) from a high-speed, motocross accident at 16.[1]

He was predominantly self-taught, freelance studio photographer specializing in capturing counter-points of the human landscape in large-format (Hasselblad and Linhof), black and white. Hand developed prints which are an interpretation of his negatives are characterized by starkly voluptuous contrasts of body and space. The prints are expressions of something that is both personal and available for individual interpretation. With the arrival of digital photography it was a challenge that Voelker embraced. His true love, however, remained the mystery of emulsion; and film is the medium he reserves for his artistic output.

Major studios and TV networks

He became the first photographer with a mobility impairment to work professionally for major studios and TV networks such as Universal, Paramount, Touchstone, NBC, CBS, Lorimar Productions, UPN, WB and CW networks. Voelker has also photographed such artists as Mick Fleetwood, Billy Zane, Carmen Electra, Robert David Hall, Christina Applegate, Bow Wow, Beyoncé, Chris Burke, Brandy, Chingy, Omarion, Ruben Studdard, Fantasia, Angela Simmons and Tony Orlando.[2]

Publications

His work has appeared on national and international covers for magazines along with movie posters including _The Hollywood Reporter_, _V Life Magazine_, _Teen People_, _TV Guide_, _Angeleno Magazine_, _Zink Magazine_, _944 Magazine_, _New Mobility_,[3][4] _Mobilitá Magazine_,[5] _Jewel Magazine_[6] and _RYK Magazine_.

He has developed a penchant for photographing bookjackets and has completed over 20 different covers ranging from Mystery writers to a book by Holly Robinson Peete on a Woman’s guide to watching & understanding NFL football, titled _Get your Own Damn Beer I’m watching The Game_.[7]

His photographs have been exhibited in both Los Angeles and New York City and will be featured in his upcoming book of black-and-white studio nudes due to be published in November 2008 by Dennis McMillan Publications.[8]

Voelker Studio

Voelker worked for network gallery sessions, album covers and intimate portraits. He has spent the last 15 years at VOELKER STUDIO, a synergistic space in Northridge, California. Going through different physical experiences has given Voelker unique empathy and insights into things that other people don't see. He has become a photographer of humans.[9] Voelker was compiling “Portraits of Ability”.[10] The book, set for publication in 2009 celebrates the physicality of power as realized by personal accomplishment of disabled people.

Awards and prizes

-   1984 – _Photographer of the Year_ for his work in the Journalism State of California Magazine
-   2002 – _Annual Anthony Award for Best Cover, Print Magazine Design_ for the quality of his work
-   2013 - Christopher and Dana Reeve Foundation _Hope Award_ for his ongoing support to the disability community[11]

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[5] http://pixelpastahome.blogspot.com/search?q=voelker

[6] » Meagan Good Covers Jewel Magazine // 'Concreteloop.Com' - 'Glowin' In The Dark'

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title: Christopher Voelker

question: What health condition did Voelker have?

answer: Voelker was quadriplegic, meaning he was paralyzed from the neck down.

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

question: What profession did Christopher Voelker practice?

answer: He was a photographer.

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

critique: The answer should be a complete sentence.

critique: Minor detail could be added to enhance this response.


text:
I know I had come across true love once, and I know it because the feeling still burns in my bones. I met him at the age of 4, his name was Elijah. Never in a million years would I have thought that I would see him fade into colorless dust, brushing away to coat the earth and never be found, leaving his family like a shipwreck in a never-ending tide. Elijah, oh how much I could have done for you, how much I could have done to save you. But in my seven year old shoes, I stood paralyzed as menacing arms gripped mine, with a scolding voice that replayed over and over in my head. One day, we were going to stare deep into each-others eyes, telling ourselves it was where we wanted to be for the rest of our lives. We were going to run in our adult shoes, playing tag, until our legs didn't work anymore. That was our true fate, not this. Nothing would have burnt us to the ground. But now I live with a demon always sitting on my shoulder. He likes to laugh at me for what I've done, reminding me of the horrors over again, just as soon as I try to move on. He binds me with chains of silence, he binds me with a closed mind. He draws the man who burnt my clothes, the man who burnt your life. Elijah, I could have saved you.
 Elijah... One day, I hope you will forgive me.

But do you remember our last day together, Elijah? The one where we walked home from school through fields of gold, spinning the earth beneath our feet? Do you remember the sun and how it melted the clouds beneath it, revealing the freckles on our faces? Our hands intertwined unconsciously, as our tiny hearts beat like racing drums. We ran until our laughter knocked us down, and stayed until the sky was coated with marmalade. If only we could have frozen the moment and never moved on. If only we could have both stayed in our seven year old bodies. If only I had never been given the opportunity to grow up alone.

 I wish our hands stayed intertwined the whole way through. I wish we closed our eyes, and imagined the sun was melting us into the fields of gold. I wish my little legs didn't learn to escape. I wish it was me instead of you, so that you could have run home to your family, letting them know everything was okay.
 And in this moment, I wish the fires that covered you could dry my tears.

I searched for you in the eyes of the sun, in the dancing wheat that feathered my eyes, in the butterfly wings that flapped my hair gently behind my ears. I searched for you in the cotton tails of the milk weeds, parting from their buds, to say hello as soon as they said goodbye, soon brushing through familiar cornstalks, to reveal your marble face. Oh Elijah, how I wait for the day your smile will bring the field back to life, but all I see are charcoal dusted, broken stalks, with a demon dancing on top of a mountain of ember lit ashes, acting as if nothing were wrong, as if this place were a sanctuary of good dreams, where kids like us could play all day and all night long and never be taken away.  Elijah, I can't look at those milk weeds anymore, because they always say hello, and I never got to say good-bye.

The heat of Summer always reminded me of the comfort of my mother, but now, it greets me like the trees of Winter. Somehow I still stay horrendously captivated in Summer's reign, climbing through Peter as you once did, with trembling soles that found it hard to grip his bark, hoping to keep balance long enough to pick a peach that matched the colors of the run down sky. Remember when you would take a big bite, back cradled against Peter's torso, trying to caress the crescent moon into the empty space? I guess the real question is, how could you ever forget it? You were my summer, Elijah, and now it's nothing but a bittersweet memory with an ending that left me with a dark, hollow core that can't be sealed with even the purest words of sympathy or remorse. … It's a nightmare that makes it hard to live. A nightmare that I can't seem to forget.

title: [Elijah]...Continued. Criticism welcomed.

question: What happened to Elijah that the narrator mourns?

answer: Elijah died in a fire.

critique: The narrator is not mourning the fact that Elijah died in a fire, but that she survived it.

critique: The narrator does not know what happened to Elijah.

critique: The narrator does not say it was a fire.

critique: The narrator's memories of Elijah are more important than the fact that he died in a fire.

critique: The narrator doesn't know what happened to Elijah.

text: It's omitted that the narrator was there when it happened but couldn't do anything to help.

question: How did the narrator feel about Elijah?

answer: The narrator felt very sad to have lost Elijah.

critique: The answer should mention their love for each other.

critique: The narrator's feelings are more than just sad. They feel guilty, too.

critique: It is omitted that the narrator loved Elijah.


text:
COLLER CAPITAL is one of the largest global investors in the private equity secondary market (“secondaries”).[1][2] It was founded in 1990 by the UK-based investor and philanthropist Jeremy Coller.

History

Coller Capital completed its first notable deal in 1998, when it acquired a $265m portfolio of limited partnership interests from Shell's US Pensions Trust. _Secondaries Investor_ magazine observed that the deal was unusual for its size, being at that point the single biggest secondary transaction on record, with Coller betting his entire $240m eponymous fund.[3]

The firm is now among the world’s biggest secondaries specialists.[4] It has raised $21 billion across seven funds.[5] Some of its transactions are among the largest in the private equity secondary market, including deals of $1 billion without the need for syndication.[6] It has also made single investments as small as $1 million.

Although Jeremy Coller did not create secondary investing, both he and his firm have come to be synonymous with the sector, with _Private Equity News_ referring to Coller as “_The Godfather of Secondaries_”.[7][8][9][10][11]

Operations

The firm provides liquidity to private equity investors, acquiring interests in private equity funds, portfolios of private companies, and other private equity-related assets.

As a secondary investor, Coller Capital acquires original investors’ stakes in private equity funds, such as venture capital, buyout and mezzanine funds, together with portfolios of companies or stakes in companies, from financial institutions, corporates, government bodies, family offices or charitable foundations. It holds interests in over 850 private equity funds and around 8,000 companies on behalf of investors.[12]

Coller Capital operates from offices in London, New York and Hong Kong. It reports 200+ employees and 29 partners. It is currently raising capital for an eighth fund.[13][14]

Funds

  Fund name                           Closed   Commitments
  ----------------------------------- -------- ---------------------------------------------------
  Coller International Partners I     1996     $84 million; now liquidated
  Coller International Partners II    1998     $240 million; now liquidated
  Coller International Partners III   2000     $712 million; now liquidated
  Coller International Partners IV    2002     $2.6 billion; 160 institutional investors[15][16]
  Coller International Partners V     2007     $4.8 billion; 200 institutional investors[17]
  Coller International Partners VI    2012     $5.5 billion; 200 institutional investors[18]
  Coller International Partners VII   2015     $7.15 billion; 170 institutional investors[19]

Publications

The firm publishes financial periodicals, white papers and surveys, including those by _The Coller Institute of Venture at Tel Aviv University_ and the _Coller Research Institute_.

-   _The_ _Coller Capital Global Private Equity Barometer_, a biannual survey of investors_._[20]
-   _Private Equity Findings,_ debating academic research into private equity.
-   _Private Equity Secondary Market,_ a white paper of the secondary market’s theoretical framework.
-   _ESG Report,_ on the policies and practices of Coller Capital general partners.
-   _Coller Venture Review,_ aimed at institutional investors and limited partners, venture capitalists, public policymakers, and scholars in related fields, issued by the Coller Institute of Venture at Tel Aviv University.

Awards

FINANCIAL NEWS

-   _European PE Secondaries Firm of the Year_ x 6
-   _European Secondaries Deal of the Year_

REAL DEAL

-   _Secondaries House of the Year_ x 2

PE INTERNATIONAL

-   _Secondaries Firm of the Year_ x 5
-   _European Secondaries Firm of the Year_ x 2
-   _European Secondaries Deal of the Year_ x 4
-   _Global Secondaries Firm of the Year_
-   _Best Secondaries Firm_

BVCA

-   _Responsible Investment Award_

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[11]  Financial Times|website=www.ft.com|access-date=2020-02-29}}

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[20]

title: Coller Capital

question: What is the key factor behind Coller Capital's securing its first notable deal?

answer: The deal was the single biggest secondary transaction on record.

critique: The answer should mention the size of the deal.

critique: The answer is not complete. It should include the size of the deal.

critique: The deal was the single biggest secondary transaction on record at the time.

text: The 'key factor' (cause) is not mentioned in the answer, nor in the passage.

category: coherence


text:
Jerry Chavez hardly ever said a word. A damn shame because he knew so many good ones. Lascivious, licentious, and lethargic all laid latent. He even invented some new ones that would have been a boon to society:

Escube:  to get ready for the day at work or a night out on the town by  shitting, showering, and shaving

(hygienically speaking the best order to perform them in).

Potanic: any item possessing the potency of Titanic proportions.

Yet, Jerry's laconic manner cursed the air with the language of a mundane nature: shit, fuck, double-fuck, cock, bitch, hell, that 'c' word, Jesus, and sugar. All paltry words and a pantry one too.

Jerry would spend most of his time creating the most wonderful worlds. Staying alive it might seem only to live in his daydreams. That was until the gift bag came.

Jerry, returning to his cheap motel-style apartment complex from an appointment with a doctor, found a lavishly adorned gift bag on his welcome mat. “Is it my birthday,” he thought. Jerry looked at his watch. “No, much too cold to be my birthday.” Truly placing a temperature gauge on a watch is a brilliant idea, you are able to see how cold it is outside which helps you to realize if you have dressed appropriately. Or in this case it helped Jerry realize that this present was too early or much too late for his July birthday. Without a reason for the gift bag coming to mind Jerry still took it into his somnolently decorated apartment. Jerry was never one to look a gift horse in the mouth, mainly because the giving of horses as presents seemed to have fallen out of fashion. At least that is in the circles Jerry ran in. Although the only circles Jerry ran in was down at the high school. But this was not a horse track. And obviously it's not the right track for getting a horse either. But I digress, actually looking back on how long that tangent was it would be more appropriate to say I trigressed or even quadgressed.

Jerry in the meantime had grabbed himself a beer and sat down on his couch with the gift bag. He said something to himself which I intend was “Go for it you pussy.” and then he opened the gift bag. The first thing he found was what seemed to be a normal everyday yellow, Ticonderoga, number 2 pencil. Next was a brown leather bound journal, with which one would assume was to be written in with the pencil. The card followed. Jerry opened it with no haste, and read only this:

What you write with this Pencil into this Journal will come

true in that you will be able to fully participate in it so long

as you pop one of those Purple Pills.

Jerry daunted but determined checked the back of the card. Exactly as he thought, it was not a Hallmark. He now turned his attention to the dilemma of the pills. That is, where are they? The card's removal had emptied the gift bag. But as Jerry went to grab the bag again he heard the distinct sound of pills rattling in a bottle. And there they were. The purple pills were in his left hand.

Jerry removed the magic lid from the magic bottle, and took out the magic cotton swab, and grabbed a magic pill. Jerry said something silently to himself which I intend was “Hell, why not.” and then swallowed the pill with the help of a swig from his beer bottle.

Its taste was not bad. Jerry now felt he had done something wrong. Maybe, he was to have written first. But before he was to become too worried a story came to him and he began to write.

It was a very good story. In the vein of Rip Van Winkle. A young lad, who Jerry would play, fell asleep on top of a hill overlooking a dystopian city. He was very unhappy in this world. He wished he could change it not just for himself, but for all. When the young man awoke he found himself on top of the hill looking down though on an unfamiliar city. He came down from his mount and walked around this new and as he found better city. Being quite confused he rested on a park bench. An old man seeing this unnerved young man sat down beside him hoping he could assuage the youth's pain. Jerry told him about the world he came from and how happy and surprised he was to see this one. Jerry asked how it became such and how it maintained its wonderfulness. The old man, who was quite knowledgeable, told him the story. He told the version that was not too long to allow the listener to become uninterested and not too short as to leave anything of importance out. It was a very good story and at the end of this he asked Jerry a question, “Shouldn't you be on your way?”

“To where?” Jerry replied.

“Home.” said the old man. Jerry paused. He believed senility had finally caught up to the old man.

“I have no home here.”

This made the old man smile making Jerry now certain of the old man's brain being gone. The old man said, “Then maybe here is not the place you should stay. Your home is there. You might want to go back and share with others the story that you have found here.”

Upon hearing this Jerry knew what he must do. He would return to his dystopian world and share this gift, the one he was given, with others.

As great as this would have been you must already know that this is not what happened. Our world has no magic pencil or magic paper. Neither does it have magic pills. Just regular pills which purpose is to help. The kind you might get after an appointment with a psychiatrist. Pencils and journals with which we can write our feelings and thoughts in and one day share with others.

No, Jerry never came back to our world. Damn shame too for he had so many wonderful stories to tell.

title: The Gift Bag

question: What do the purple pills do?

answer: They make the writing in the journal come true.

critique: The answer should clarify that the pills make the writing in the journal come true in the real world.

critique: It is omitted that the pills make the writing in the journal come true in that the reader is able to fully participate in it.

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

critique: There is no direct evidence about a potential side effect of the pills.

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

critique: The answer should mention that the pills make the writing in the journal come true in the context of the story.

critique: The answer should also mention how the pills make the writing come true.

question: Describe Jerry's watch and its significance in the story.

answer: Jerry's watch tells him it is too cold to be his birthday and that the gift is too early or too late. His watch is a temperature gauge.

critique: The answer should mention that the watch helps him to realize that the present is too early or too late for his birthday.

critique: The response did not adequately answer the question about his watch's significance in the story. The watch's actual size and it being able to place a temperature gauge on it is not relevant. However the remainder of the answer should be rewritten to properly respond to the question.

critique: It is omitted that the watch helps Jerry realize that the gift is too early or too late for his July birthday.

critique: The answer should mention that the watch helps Jerry realize that the gift is too early or too late for his birthday.

critique: The answer should mention that the watch helps Jerry realize the gift is too early or late for his birthday.

critique: The watch also helps Jerry realize that the gift is too early or too late for his birthday.

question: What does Jerry find in the bag?

answer: A pencil, a journal, and two purple pills.

critique: The answer should mention that the pills are hidden in the bag.

critique: "two purple pills" - is inaccurate. The bag had a bottle of purple pills.

critique: The answer should include that the journal has instructions.

critique: The answer is incorrect, so that part of the answer should be removed.

critique: The answer should mention that the pills are in a bottle.


text:
[Top human rights award goes to education leader]

The former Secretary General of the Alliance of Concerned Teachers (ACT) in the Philippines has been named as recipient of a top international prize for trade union rights.

France Castro, a top trade union activist in the Philippines, has been named as the recipient of  the Arthur Svensson International Prize for Trade Union Rights 2019. Castro, who is the former Secretary General of the Alliance of Concerned Teachers (ACT), is renowned in the trade union world for her tireless defence of human rights in the Philippines. Indeed, her advocacy for human rights has also led to harassment of her as a consequence.

The prize was announced today by Sharan Burrow, General Secretary of the International Trade Union Confederation (ITUC).

CONTEXT

The Philippines is among the 10 worst countries in the world for workers and trade unionists, according to the ITUC. Basic workers’ rights are not respected, including the right to organise and collectively bargain and to be protected against child labour, discrimination and forced labour. Against a background of state violence and suppression of civil liberties, workers and trade unionists face threats and intimidation from the regime when defending their rights.

Castro and some of her colleagues at the ACT are among active trade unionists, in particular journalists and teachers, who have been targeted, harassed and prosecuted by the Duterte regime. Some activists have been killed or imprisoned and death threats are common. During a recent keynote speech at the Executive Board of Education International (EI), one of Castro’s colleagues highlighted recent illegal profiling and vilification of unionised teachers by the police. This has resulted in significant disruption of union activities and the invasion of teachers’ privacy.

CASTRO’S EXAMPLE

Castro has become a symbol for democracy and workers’ rights in her country. A qualified teacher, she established an education union in Quezon City, just north-east of the capital, Manila. Later, she was elected Secretary General of the ACT, which is a member of EI, and focused on uniting teachers within one trade union.

Under her leadership, the ACT has quickly grown to become one of the largest trade unions in the Philippines. In 2016, it negotiated the first collective agreement for public school teachers, which recognises the right to strike.

As an elected Member of the _Philippine_ House of Representatives, Castro has fought against neoliberal reforms in education and filed bills for the rights and welfare of education workers. She has also fought against lowering the minimum age of criminal responsibility, the mandatory Reserve Officer Training Corps in senior high school and targeting of minors in the regime’s anti-drug war.

She and her union have long been engaged in the defence of indigenous people’s right to education, activism that led to her being attacked by paramilitary forces and detained during a solidarity mission in Lumad schools in Talaingod last November.

_The Arthur Svensson prize is granted to a person or an organisation that has worked predominantly to promote trade union rights and/or to strengthen trade union organising around the world. The prize is an international award established by the Norwegian trade union, Industri Energi. It is awarded annually by the Committee for the Arthur Svensson International Prize for Trade Union Rights._

Source

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question: What does the text say about the ACT?

answer: The Alliance of Concerned Teachers (ACT) is a trade union in the Philippines. It is a member of the EI. Castro, the former Secretary General of the ACT, was named as the recipient of the Arthur Svensson International Prize for Trade Union Rights 2019. The ACT has quickly grown to become one of the largest trade unions in the Philippines.

critique: The prize is not relevant to the question.

critique: The second sentence should be rewritten for clarity.

critique: The response misses to mention that under Castro's leadership, the EI, of which the ACT is a member, has negotiated the first collective agreement for public school teachers.

critique: It is omitted that Castro established an education union in Quezon City.

critique: The ACT is not a trade union in the Philippines. It is an education union.

question: What does the text say about Castro's personal life?

answer: No answer

critique: The information is available in the text.

critique: This text does not contain that information.

critique: The text doesn't say anything about Castro's personal life.

critique: The article has information about Castro's personal life.

critique: The text does not mention anything about Castro's personal life.


text:
[Owen Rubel Interview]

_We are happy to continue bringing the word and experience of the top API experts out there to you. This time, our special guest is Owen Rubel, the creator of API Chaining & IO State, an original Amazon employee, an experienced platform architect, and a ukulele aficionado._

OVER THE YEARS, YOU HAVE GROWN INTO A REMARKABLE EXPERT WITH DEEP EXPERIENCE IN IT MATTERS, AND A ROLE MODEL FOR MANY. COULD YOU IMAGINE YOU WOULD GO THAT FAR AT THE BEGINNING OF YOUR CAREER? WHAT WERE YOUR AMBITIONS THEN? HOW DID YOU FIND YOURSELF INTO TECHNOLOGY?

I was a lucky child in the fact that we had one of the earliest models of home computers giving me early access to basic programming. At our high school in the ’80s, we had a computer lab as well and I was able to learn Pascal and do additional development. Finally, when I went to college, I fell in with a rough crowd of Information Science majors who introduced me to my first UNIX account and the internet. After that, I was hooked.

I started missing all my classes and spending all night in the computer labs connecting with people across the world. We made friends online with a group from Carnegie Mellon who came to visit us in the Midwest. Keep in mind this was before the days of the web, Amazon or anything.

We all saw what the revolution was and we were all enthralled.

I had no plans. I only knew what I saw and the internet was able to connect people around the world instantly and allow a free exchange of information; this was going to change the world!

I started a student group to use it and was nearly kicked out of school for using University resources until I showed the school board how I had a teacher teaching English online via MUD’s, how we had connected with other schools and other countries, how we exchanged info and did searches for information. They were amazed and ended up putting over a million additional dollars into the program.

YOU CAN BOAST ABOUT HAVING BEEN A PART OF DIFFERENT PROJECTS SUCH AS YANA2 AND GRAIL API TOOLKIT, AND WORKED FOR A GREAT DEAL OF COMPANIES INCLUDING AMAZON. ARE THERE ANY FUNNY OR SPECIAL AMAZON EXPERIENCE MEMORIES TO SHARE?

Amazon stories...hmmm. Well, once I was working in electronic ordering when someone from special orders comes by and says they can’t purchase Marvel Comics. They know I am into comics so they ask if I want to deal with the problem.

So I call up Marvel and they say they can’t sell to us and I ask to speak to someone else until I finally get a VP. Apparently he tells me that they recently went bankrupt and under their new terms, they are their own online retailer and no one else can sell their product online.

I explain to him that Amazon is the world’s largest book retailer online and that by limiting his market, he is limiting his sales. We talk for over an hour and he says he will try to get back to me. He calls back the next day and says there is nothing he can do for me.

I get off the phone and tell the buyers that we can’t order from Marvel anymore and to pull all their product. Eventually, The Marvel VP calls back 2 months later. The had gone bankrupt again and want to do business again and is asking if we can put their entire inventory back online.

COULD YOU TELL A BIT ABOUT API CHAINING & IO STATE?

Both of these require the use of the new API pattern; The old API pattern binds communication to business logic but the new API pattern abstracts communication away from business logic. This makes it so communication data and functionality can be shared in distributed architectures… something that the old API pattern cannot do.

Once you have abstracted communications, a whole world of functionality opens up like API monads (AKA API Chaining ™), automated batching/testing, tracing your calls and API metrics reporting/benchmarking.

It also enables you to share the IO state and functionality more easily and synchronize it with all services in your architecture. Without doing this, you create architectural cross cutting concerns when moving ‘edge functionality’ out of your app and to these services to handle early and/or late. Shared IO state enables your architecture to avoid this cross-cutting concern.

WITHIN THE RANGE OF SKILLS YOU POSSESS, ONE CAN FIND GROOVY. YOU HAVE ALSO WRITTEN A COUPLE OF PIECES DEDICATED TO IT. HOW DID YOU DISCOVER THIS PROGRAMMING LANGUAGE? HOW WOULD YOU EXPLAIN ITS BEING COOL?

A friend of mine suggested it to me when I was testing out a few new Java platforms for web development. He knew I was looking for something less verbose that did rapid web application development. He described how Groovy and Grails provided convention over configuration on the Spring platform and that I should give it a shot.

After about 2 weeks I was hooked. I realized this was everything that Java was missing for web development. I started the Seattle Grails Users Group, the first API plugins for Grails (api toolkit and webhook plugins) and have spoken at SpringOne on advanced API concepts.

The great thing about Groovy for people first discovering it is that it integrates 100% with Java while allowing your Java code to be less verbose through convenience methods, convention over config (Grails/Springboot) and functional programming.

For myself, I found myself writing far less code and reducing my development time. And so I love it. Others have a hard time converting to a newer paradigm and would prefer more C-like languages. I feel embracing paradigms like convention over config and functional programming is how Java will eventually have to evolve in order to continue to grow.

WHEN DID YOU WRITE YOUR FIRST API? WHAT KIND OF EXPERIENCE WAS IT? HOW HAVE YOUR APIS CHANGED OVER THE YEARS?

Oddly enough I started with writing webhooks first and THEN moved into API’s. :)

It was exciting because as I was writing the webhook functionality, all documentation was taken offline so I knew that I had to finish this up and do it from memory because this was obviously something important.

The biggest changes in API’s are going to be over the next five years as people begin to embrace devops, distributed architectures, and microservices more. ‘Architecture as Application’ will have the biggest impact on API’s and change the way we develop and how we develop.

DO YOU THINK IT IS POSSIBLE TO WRITE A CLEAN-CODE API? WOULD YOU CALL SUCH AN API PERFECT?

Absolutely. I build so almost everything can be automated and stateless. This makes it so I can autogenerate tests, controllers, models/domains… nearly every aspect once I have my IO State defined.

My business logic is minimal and requires practically no services now as I have abstracted everything away to a separate library. All I do now is include said library, add a couple controllers and models and then set the IO state and I’m done.

APIS HAVE BECOME A PART OF VIRTUALLY EVERY INDUSTRY INCLUDING ONLINE RETAIL. HOW WOULD YOU DEFINE THEIR ROLE HERE? HOW ARE APIS YET TO CHANGE THE WORLD?

API’s will eventually not merely be static, they will handle streams and/or batch data. They will be the communication layer that connects everything and the people who understand and build these backends will be building the way we connect the world.

_We want to thank Owen Rubel for finding time to share his memories, opinion, and insights with our readers! :-)_

question: Why is the interviewer excited to interview their subject, and why do they praise him so much?

answer: The interviewer is excited to interview their subject because the subject is a remarkable expert with deep experience in it matters and a role model for many. The interviewer praises the subject because he has grown into a remarkable expert with deep experience in it matters, and a role model for many.

critique: The interviewer is not excited to interview their subject.

text: The answer repeats itself.

question: What is API chaining and why is it important?

answer: API chaining is a new pattern that abstracts communication away from business logic. It makes it so communication data and functionality can be shared in distributed architectures.

critique: The answer should mention that the old API pattern binds communication to business logic.

critique: The answer should mention the importance of API chaining.

text: API chaining is a result of the new API pattern (the one that abstracts communication away from business logic), it is not the pattern itself.


text:
THE CRITERION COLLECTION and HULU have extended their deal to keep the video platform as the exclusive streaming home of Criterion’s vast library of art house films.  Hulu Plus houses more than 800 movies in Criterion’s singular collection.  Criterion is known for its lavish DVD and Blu-ray packages, many of which feature restorations of older films.

The most recent streaming addition is the Italian film by Paolo Sorrentino ’THE GREAT BEAUTY’ (La Grande Bellezza 2013), synonymous to the works of Federico Fellini, Roberto Rossellini and other Italian classics.  The film won Best Foreign Language Film at the 86th Academy Awards, the Golden Globes and the BAFTA (British Academy of Film and Television Arts).

“For real cinephiles who want to dig in and see lots of different kinds of films, I don’t think there’s ever been a better time.” said Peter Becker, president of the Criterion Collection.  - AP (New York)

THE 50 BEST CRITERION COLLECTION RELEASES

1.  CLOSE UP by Abbas Kiarostami (1990)
2.  MISHIMA: A LIFE IN FOUR CHAPTERS by Paul Schrader (1985)
3.  THE RED SHOES by Michael Powell and Emeric Pressburger (1948)
4.  LA JETEE / SANS SOLEIL by Chris Marker (1963 / 1983)
5.  TOKYO STORY by Yasujiro Ozu (1953)
6.  THE LIFE AND DEATH OF COLONEL BLIMP by Michael Powell and Emeric Pressburger (1943)
7.  THE RULES OF THE GAME by Jean Renoir (1939)
8.  IKIRU by Akira Kurosawa (1952)
9.  MODERN TIMES by Charlie Chaplin (1935)
10. JULES AND JIM by Francois Truffaut (1962)
11. F FOR FAKE by Orson Welles (1975)
12. BREATHLESS by Jean-Luc Godard (1960)
13. PLAYTIME by Jacques Tati (1967)
14. JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES by Chantal Akerman (1975)
15. SEVEN SAMURAI by Akira Kurosawa (1954)
16. FANNY AND ALEXANDER by Ingmar Bergman (1982)
17. JOHN CASSAVETES: FIVE FILMS by John Cassavetes (1959 - 1977)
18. THE ADVENTURES OF ANTOINE DOINEL by Francois Truffaut (1959 - 1979)
19. SALO, OR THE 120 DAYS OF SODOM by Pier Paolo Pasolini (1975)
20. AU HASARD BALTHAZAR by Robert Bresson (1966)
21. YI YI by Edward Yang (2001)
22. ARMY OF SHADOWS by Jean-Pierre Melville (1969)
23. THREE COLORS by Krzysztof Kieslowski (1993 - 1994)
24. IN THE REALM OF THE SENSES by Nagisa Oshima (1976)
25. L'AVVENTURA by Michelangelo Antonioni (1960)
26. Complete list with synopsis via FILM.COM

***FLICKCHART compiled an extensive list of the best 100 Criterion Collection films on streaming Hulu

question: Summarize the deal described in the article.

answer: The Criterion Collection and Hulu have extended their deal to keep the video platform as the exclusive streaming home of Criterion's vast library of art house films. Hulu Plus houses more than 800 movies in Criterion's singular collection. Criterion is known for its lavish DVD and Blu-ray packages, many of which feature restorations of older films. The most recent streaming addition is the Italian film by Paolo Sorrentino 'The Great Beauty' (La Grande Bellezza 2013), synonymous to the works of Federico Fellini, Roberto Rossellini and other Italian classics.

critique: The deal isn't limited to the streaming home of the Criterion Collection.

critique: The deal is not described in the article.

critique: Everything except the deal is irrelevant.

critique: "The most recent streaming addition is the Italian film by Paolo Sorrentino 'The Great Beauty' (La Grande Bellezza 2013), synonymous to the works of Federico Fellini, Roberto Rossellini and other Italian classics." - this is irrelevant to the deal and should be deleted.

question: What does the text say about copyright laws?

answer: No answer

critique: The response misses to mention that the text does not talk about copyright laws.

critique: The text does not mention anything about copyright laws.

question: What does the text say about cinephiles?

answer:
Cinephiles can dig deep into Criterion Collection content, seeing many different kinds of films availed through Hulu .
There is never a better time for cinephiles, than now.

critique: Misses to mention that Peter Becker, president of the Criterion Collection, says that.

critique: The first sentence is not related to the question.

critique: The response misses to mention that the Criterion Collection is known for its lavish DVD and Blu-ray packages, many of which feature restorations of older films.

question: Summarize the plot of Playtime (1967).

answer: No answer


text:
First the explosion. Deafening. Then the pain. Excruciating. Then the blackness. Oblivion. It was all in front of him as he planned the shot. Yet to happen, but predetermined by people who sought this man’s bloody and sudden end.

Will calculated the distance, wind, angle and speed of all the factors and event that would occur before his bullet slammed through the man’s heart. His breathing steadied, he cleared his mind of all doubt he would miss, he squeezed the trigger.

First the explosion as the bullet left the barrel. Sound deafening. The pain as the bullet entered the man’s chest and pierced his heart. Excruciating thoughts entered his mind as he realized his fate. Then blackness as he fell, entering oblivion before his still warm body collapsed to the stage.

Panic. The crowd scattered at the sight of their Leader collapsing from an unknown missile. Shock. His family and guard scramble to his fallen side. Realization. Heads swivel looking for the culprit. Determination. The chase begins as sirens screech and voices are raised. Hope. A rifle sighted in a window, a black clad man fleeing the scene.

Will realized his mistake as he sprinted down the fire escape. He hadn’t thoroughly inspected his escape route, seeing now all too late the 4 metre drop awaiting him where an old rusty ladder had broken off years ago. There was no going back the sirens were getting closer and he knew he didn’t have enough time to find another way out. He jumped. Rolling as he landed to break the fall helped only so much, realizing now the crack he heard had come from his ankle.

He limped down the alley to where his motorbike awaited him on the street, his heart thumping loudly in his chest as the adrenaline spread through his system. The sirens reached the building and surrounded it cutting off all exits from the street as they did so. All except for one. Will forced his helmet on and jumped on his bike, feeling it come alive beneath him he surged away back down the alley. The sirens now turned away from the building towards the man making his getaway. The chase was on.

Will snaked between traffic as he fled down streets and alleys. The sirens still on his tail as he sped dangouresly through another intersection. A helicopter’s blades spun overhead, its massive eye shining a bright light to the ground below as it searched for any sign of the fleeing suspect.

The eye turned, its light striking him as he sped between a pair of sirens attempting to block the road. The way forward was cast almost completely out of view as the light from above blinded him. He turned, hoping to get away from the blinding light and back on to his original escape route. The bridge he needed to cross was only a few more blocks away, he knew once he got there that his escape would be guaranteed.

He sped through another alley and found himself on a familiar street on the opposite side, the eye above had momentarily lost sight of him and now was his chance to make for the bridge. Bike in full rev he sped forwards following the bend in the road. As he rounded the corner the bridge came into view, as did the fact that it was now parted in two and raised far above the water.

Sirens blared loudly behind him, he had no other option they would close in on him soon and the eye would set his sights on him. He couldn’t run forever, he had to make the jump. He shot forward like a bullet out of a gun gaining as much speed as he could before he had to make the distance over the water. 300 metres. 200.100. 50. 25… he saw them too late.

Road spikes lain out just before the bridge. Trying to stop he skid out of control and hit the spikes on an angle. The bike stopped instantly as its tires caught the spikes and he was thrown forward tumbling into the air. Slamming into the ground he skidded and rolled the remaining 10 metres to the foot of the bridge. His helmet and jacket the only thing keeping him alive on the rough tarmac.

He sat up, dazed and confused he took off his helmet to alleviate some of the pain from his brain thrashing around in his skull only seconds before. Amazed he was still alive he began to stand up, wincing at the pain in his ankle and the new pain that he now felt from his broken left arm. The sirens closed in on him, surrounding him. It was all a trap, how they knew he had no clue. He looked up, guns were being drawn level with him. He started to raise his own.

First the explosion. Deafening. Then the pain. Excruciating. Then the blackness. Oblivion.

title: [AA,RF] We Live for Oblivion

question: Summarize the pinnacle of action in the story.

answer: The pinnacle of action, in this story, is towards the end when Will is riding away on his motorbike. He is being chased by all of the sirens and a helicopter. He is trying to get away, doing maneuvers and weaving in and out of traffic. In the end, he tries jumping over a bridge but runs into some road spikes, resulting in injuring himself as well as his bike.

critique: The response misses to include that the climax of the story is when Will is shot and killed after trying to shoot at the police.

critique: The summary doesn't fully address the question of what the pinnacle of action is. The main focus of this was Will shooting the man on stage, which doesn't happen until the end of the story.

critique: The response misses to mention that Will is shot by the police.

critique: The response misses to mention that Will is shot and killed by the police at the end.

question: Summarize why Will is on the lam.

answer: Will shot the man in the chest. He has to evade the police.

critique: The answer should mention that Will is the shooter.

critique: It's omitted that the police are after him for the shooting.

critique: "He has to evade the police." - this is incorrect. Will did not escape the police.

critique: The answer should mention that Will is the man who shot the Leader.


text:
For most writers, the idea of growing beyond a business of one is not a consideration. They know they want to stay solo.

But for a few others, scaling beyond a business of one is a very attractive concept.

They may have creative reasons for doing this. They may enjoy the entrepreneurial challenge. They may be driven to scale their income beyond what they can generate on their own.

While I love the concept of scaling your business, I want to make clear that it’s not for everyone. If you don’t feel the calling to do it, that’s OK.

In our culture, we’re sometimes made to think that if we’re not growing, we’re failing.

And I want to use this episode to dispel that myth.

THE NOTES THAT FOLLOW ARE A VERY BASIC, _UNEDITED_ SUMMARY OF THE SHOW. There’s a lot more detail in the audio version. You can listen to the show using the audio player below. Or you can subscribe in iTunes to get this show delivered straight to the Podcasts app on your smart phone, tablet or iPod.

Many of Us Want a “Lifestyle Business”

Most of us get into freelance writing because we want a “lifestyle business.”

By lifestyle business, I mean a business that’s run by its founder (or founders) with the objective of sustaining a particular level of income. The core value isn’t growth; it’s to enjoy a lifestyle that has freedom and flexibility.

Brian Clark, from the Unemployable podcast, (formerly of Copyblogger) has been promoting the “7-figure small” concept. The idea is to create a high-revenue business that remains still small.

If you’re on the fence over whether you want to scale your business or not, see if any of these factors resonate with you:

-   You value flexibility more than anything else
-   You’re not after a seven-figure income
-   You don’t have the right temperament to run a large business
-   You don’t want the longer hours, more work and more stress
-   You don’t want the added complexity and headaches
-   You don’t have the skill sets you would need.

If these points resonate with you, make sure it’s not just fear talking. If you didn’t have the fear, would you still not want it?

Consider All Your Options

Sometimes you just know yourself. I know that if I were to scale my company well beyond where it is now, I would end up working ridiculous hours. So I have to take that into account.

Also, keep in mind that revenue isn’t the same as profit. As you grow and scale your business, your profit won’t grow proportionally to your revenue because your costs will go up.

Revenue isn’t the same as profit. As you scale your business, your costs will go up — cutting into your profits.

If some of these points resonate with you, scaling might not be the right path for you. But there’s no right or wrong here. YOU get to create your rules!

For example, I’ve had well-meaning relatives and good friends warn me about the dangers of a solo business because you’re only earning when you’re working. But it’s not that simple.

You also have alternative options. You can try “scaling lite”. It’s a way to maximize your revenue without bringing in new people.

You can also use a blend of scaling lite and the traditional agency model. For example, you can bring in other people and resources … but limit them to your best clients.

Another option: You can create additional income streams through information products, consulting or productized consulting.

You might decide to strategically live beneath your means — so you can have a more flexible lifestyle.

Also, you don’t have to scale THIS business. Maybe you’ll decide to scale a future business or a different iteration of what you’re doing today.

You Don’t HAVE to Scale to be a Real Business

You don’t have to scale to have a “real” business. The situation isn’t binary. You have more choices and options than ever before.

You don’t have to scale to have a “real” business.

So get clear on your values. Craft a business that enables you to live well today while doing work you love for people you love working with.

And remember: YOU make the rules. YOU get to decide what’s best for you and your family. Be intentional. And above all, have fun in your journey!

By the way … whenever you’re ready, here are 4 ways I can help you grow your freelance business:

1.  GRAB A FREE COPY OF MY BOOK FOR ESTABLISHED WRITERS/COPYWRITERS.

You’ll discover how to quickly and predictably reawaken dead leads, generate new client opportunities and convert not-yet-ready prospects into freelance writing clients. — Click Here

2.  DOWNLOAD A FREE COPY OF MY NEW BOOK FOR WRITERS WHO ARE NEW TO FREELANCING.

I’ll show you the 3 things you need to do to get your business off the ground safely and land your first paying client faster. _ _— Click Here

3.  JOIN MY IMPLEMENTATION PROGRAM AND BE A CASE STUDY.

I’m putting together a new implementation group this month. If you’d like to work with me to grow your income quickly with better clients (and become one of my new success stories). Just email me at [email protected] and put “Case Study” in the subject line.

4.  GET A 1:1 STRATEGY CALL WITH ME.

Are you a 6-figure writer who’s trying to earn more in less time with less stress? Let’s jump on a quick call and brainstorm some ideas for getting you there. Just email me at [email protected] and put “Brainstorm” in the subject line.

question: What does the text say about lifestyle businesses?

answer: While not to be confused with job positions, a lifestyle business can be confusing as a term. The business may just keep its founders while generating income. This is a business that is meant to sustain a specific level of income. However, it may not scale too well. It is not always driven to increase profits. The core value isn't to make money - it's to enjoy freedom and flexibility.

critique: The answer is a bit confusing. It should be rewritten.

critique: The answer isn't accurate. The business is meant to sustain a certain level of income, not generate income.

critique: The answer is wrong, they are not the same.

critique: The phrase "job positions" is not used in the text.

critique: The answer is confusing and doesn't make sense.

text: The thrid and last sentence would have adequately answered the question without all the confusion


text:
[First Church in 2008]

FIRST CHURCH IN BOSTON is a Unitarian Universalist Church (originally Congregationalist) founded in 1630 by John Winthrop's original Puritan settlement in Boston, Massachusetts. The current building is on 66 Marlborough Street in Boston. The church has long been associated with Harvard University.

History

The church was created in 1630 when the settlers on the _Arbella_ arrived in what is now Charlestown, Massachusetts.[1] John Wilson was the first minister, and the only minister while the church was in Charlestown. Two years later they constructed a meeting house across the Charles River near what is now State Street in Boston, and Wilson was officially installed as minister there. In 1633 John Cotton arrived from England, and was a teaching elder at the church, helping to establish the foundation of the Congregational Church, the official state church of Massachusetts. In 1677 Dorcas Ye Blackmore, a freed slave, was allowed to become the first African American member of the church. [2] In the 18th century, Charles Chauncy was a minister at First Church for sixty years[3] and gained a reputation for opposing what he believed was emotionalism during the Great Awakening of Jonathan Edwards.[4]

A schism developed at the turn of the 19th century, the trinitarian Christian church eventually transformed into a unitarian congregation by the mid-19th century along with many of the other state churches in Massachusetts.[5] Massachusetts' state churches (largely Unitarian and Congregationalist) including First Church were officially disaffiliated with the government in 1833.

In the 19th century, the First Church moved to Back Bay in Boston. The building at 66 Marlborough Street in Boston dated from 1867 and was designed by Boston architects William Robert Ware and Henry Van Brunt. After a fire in 1968, First Church and Second Church merged and built a new building at the same location. This building, by architect Paul Rudolph, incorporates part of the facade of the 1867 building.

Second Church, founded in 1649 when the population spread to the North End legitimated an additional congregation sited closer to those individuals' homes, was also known as the “Church of the Mathers;” its pulpit was home to Increase Mather, Cotton Mather, and Samuel Mather from 1664 to 1741. Both churches were examples of the westward movement of Boston churches from the crowded, older downtown area to the newer, more fashionable Back Bay after it was filled in during the late 19th and early 20th centuries. Second Church's Back Bay location in the Fenway was sold (it is now owned by the Ruggles St. Baptist congregation) just before the merger.[6]

Notable people associated with the church

-   [First Church in 2008]John Wilson (pastor 1632–1667; died 1667)
-   John Cotton (pastor 1633–1652)
-   John Winthrop, founder and governor of Massachusetts Bay Colony
-   John Norton (pastor 1656–1663)
-   John Davenport (pastor 1668–1670)
-   James Allen (pastor 1668–1710; died 1710)
-   John Oxenbridge (pastor 1670–1674)
-   Joshua Moodey (pastor 1684–1692; died 1697)
-   John Bailey (pastor 1693–1697; died 1697)
-   Benjamin Wadsworth (pastor 1696–1737)
-   Thomas Bridge (pastor 1705–1715; died 1715)
-   Thomas Foxcroft (pastor 1717–1769)
-   Charles Chauncy (pastor 1727–1787)
-   John Clarke (pastor 1778–1798)
-   William Emerson (pastor 1799–1811)
-   John Lovejoy Abbot (pastor 1813–1814)
-   Nathaniel Langdon Frothingham (minister 1815–1850)
-   Sophia Henrietta Emma Hewitt (music director 1815–17(?), daughter of James Hewitt
-   Charles Zeuner (music director 1839–?)
-   Lucien H Southard (music director 1848–?)
-   Rufus Ellis (pastor 1853–c. 1885; died 1885)[7]
-   Whitney Eugene Thayer (music director 1869–1875)
-   Arthur Foote (music director 1878–1910)
-   Charles Edwards Park (minister 1906–1946, emeritus 1946–1962)
-   Rhys Williams (minister 1960–2000)
-   Stephen Kendrick (minister 2001–present)
-   Paul Cienniwa (music director 2006–2017)

Image gallery

State St. (1632–1639)

File:1stMeetingHouse KingsBoston1881.png|First meeting house, built 1632 File:JohnWilson 1stChurch Boston.png|John Wilson (pastor 1632–1667) File:JohnCotton.jpg%7CJohn Cotton (pastor 1633–1652)

Washington St. (1639–1808)

File:17thcMap CourtSt SchoolSt Boston Drake1917.png|Location near Old State House, 17th century File:JohnDavenport 1stChurch Boston.png|John Davenport (pastor 1668–1670) File:Old Brick Church, built 1712, demolished 1808 by unknown artist Old State House Museum, Boston, MA - IMG 6790.JPG|Old Brick Church, Washington St., built 1713 File:JohnClarke 1stChurch Boston.png|John Clarke (pastor 1778–1798)

Chauncy Place (1808–1867)

File:WilliamEmerson 1stChurch Boston.png|William Emerson (pastor 1799–1811) File:1808 ChauncyPlace 1stChurch Boston.png|Chauncy Place, 1808–1867 File:1stCong ChauncyPl Boston HomansSketches1851.jpg|Chauncy Place, 1808–1867 File:NathanielFrothingham 1stChurch Boston.png|Nathaniel Langdon Frothingham (pastor 1815–1850)

Marlborough St. (1868–present)

File:Unitarian Church, Marlborough and Berkeley St, from Robert N. Dennis collection of stereoscopic views.jpg|19th century File:RufusEllis 1stChurch Boston.png|Rufus Ellis (pastor 1853 – c. 1885) File:2590347158 BerkeleySt Boston.jpg|Marlborough St. and Berkeley St., 1920

[1]

[2] Deborah Colleen McNally, “To Secure her Freedom: “Dorcas ye blackmore,” Race, Redemption, and the Dorchester First Church” The New England Quarterly, Volume 89 | Issue 4 | December 2016 , p.533-555

[3] Ellis and Ellis (1881), p. 191.

[4] Ellis and Ellis (1881), pp. 202–203.

[5] Paul Erasmus Lauer, _Church and State in New England_ (Johns Hopkins Press, 1892), pp. 105–107. (accessed September 20, 2009)

[6] See Second Church records.

[7]

title: First Church in Boston

question: Discuss the schism in the church.

answer: A schism developed at the turn of the 19th century as the Christian church became a unitarian congregation.

critique: The answer should mention the disaffiliation with the government.

critique: The answer should mention the reasons for the schism.

critique: The answer omits the fact that the schism happened when the state churches in Massachusetts were disaffiliated with the government.

critique: The answer should mention that the schism happened because the church was disaffiliated with the government in 1833.

critique: The answer should mention the state churches.

critique: The answer could go into more detail about the schism.

question: Discuss Second Church.

answer: Second Church was founded 1649 and was another branch of the First Church. It was known as the 'Church of the Mathers' because it's pulpit was home to Increase Mather, Cotton Mather, and Samuel Mather from 1664 to 1741. The church was the beginnings of the westward movement of Boston churches from the downtown area to Back Bay.

critique: The answer fails to mention that the church was located in Back Bay.

critique: The answer makes it sound like the Second Church was founded in 1649.

critique: The pulpit was not home to the Mathers, but the pulpit was in the Mather's church.

critique: It's omitted that the church was founded in 1649.

critique: The answer should mention the location of the church.

critique: "Another branch of the First Church" is anogood description of the relationship between the two.

critique: The answer omits the fact that Second Church was founded in 1649.