text:
_PIRANHA HEIGHTS_ is a one act play by Philip Ridley. It is Ridley's seventh stage play for adults and premiered at the Soho Theatre, London in 2008.[1] The production was the second collaboration between Ridley and Soho Theatre Artistic Director Lisa Goldman whom Ridley dedicated the play to in his preface of the published text. The play also featured Luke Treadaway in one of his earliest professional stage credits, who along with actor John Macmillan was filmed for Ridley's 2009 horror film _Heartless_, during the play's original run.[2][3][4]

_Piranha Heights_ serves as the third and final instalment in Ridley's unofficially titled “Brothers Trilogy”, having been preceded by _Mercury Fur_ and _Leaves of Glass_.[5][6][7]

The play was later revived at The Old Red Lion Theatre in 2014 for which Ridley substantially revised the script.[8]

Plot

The play takes place on Mother's Day where Alan is in his mother's flat. Unexpectedly his brother Terry turns up, having been missing since after their Mother's death several weeks before.

Terry has brought along with him a fifteen-year-old girl called Lilly who lives in a squat below the flat. She wears a hijab with niqab, speaks in an unusual mix of English and an unknown Middle-Eastern language and also claims to have endured many horrors as a victim of an Islamic war in an unspecified country.

Tension mounts while the anger builds between the two brothers as they argue over who should inherit the flat, as well as argue their conflicting memories of their deceased mother.

Eventually Lilly's partner The Medic arrives. He is a sixteen-year-old boy who frequently swings from being overly grateful to extremely angry. He along with Lilly look after a plastic baby doll called Bubba which they treat as if it is their own child.

Also showing up at the flat unexpectedly is Alan's 15-year-old son Garth, who for years has hidden his true psychotic personality, enjoying to inflict cruelty onto others under the influence of his imaginary friend called Mr Green.

Taking place in real-time and spanning approximately ninety minutes in length, chaos ensues in the flat as the characters go to extreme lengths to achieve their aims.

Notable Productions

PREMIERE

15 May 2008 at the Soho Theatre, London.
Directed by Lisa Goldman.

-   Alan - Nicolas Tennant
-   Terry - Matthew Wait
-   Lilly - Jade Williams
-   Medic - John Macmillan
-   Garth - Luke Treadaway

Shortlisted for _The MOBIUS Best Off-West End Production_ Award at the 2009 WhatsOnStage.com Theatregoers Choice Awards[9]

2014 REVIVAL

11 November 2014 at the Old Red Lion Theatre, London.
Directed by Max Barton.

-   Alan - Alex Lowe
-   Terry - Phil Cheadle
-   Lilly - Rebecca Boey
-   Medic - Ryan Gerald
-   Garth - Jassa Ahluwalia

Reception

The original production received generally positive reviews.

Michael Coveney of _WhatsOnStage.com_ gave an enthusiastic review, awarding the play five stars, writing that “With this truly remarkable new play, Philip Ridley completes an East End trilogy of siblings and apocalypse – the others were _Mercury Fur_ and _Leaves of Glass_ – that will one day be rated one of the high water marks of British drama in the first decade of this century” adding that the production was “a work of dark fantasy and genius.”[10] Philip Fisher of _British Theatre Guide_ gave a positive review, stating that the play “is the theatrical equivalent of a gigantic Jackson Pollock splatter painting. It is shocking with little surface meaning but is addictive and, to some, inexplicably attractive.”[11] Aleks Sierz for _The Stage_ praised the play, writing that “although the imaginary element of the play is often outrageously cruel and breathtakingly audacious, it is always firmly grounded in the emotional truth of character” and that “it really feels as if Ridley has single-handedly brought white-knuckle excitement and appalling truth back to the new [play]writing scene.”[12]

_The Guardian_ critic Lyn Gardner, though giving a mostly positive review, only awarded the play three stars, saying that it is “not a show for everyone and definitely not for the faint-hearted.”[13] _Time Out London_ gave a mostly positive review remarking that “there is some fine writing here, combined with moments of knuckle-whitening tension” and that the play “evokes the all too recognisable violence and madness of modern Britain.” However, the magazine criticised elements of Ridley's writing, saying that the “script never quite decides whether it's a farce or magical realism” and also added that “[it is] a bit of a mess structurally – as if three separate plays are fighting for attention.”[14]

On seeing the original production actor Ben Whishaw, who had starred in two of Ridley's previous adult plays (_Mercury Fur_ and _Leaves of Glass_), remarked that It was “extraordinary and very moving. It put me in a kind of trance. I love the way he [Philip Ridley] writes about fantasy, truth, honesty and lies with such courage, passion, humour and poetry. I think he's a true original”[15]

However, the play was not greeted with praise from all reviewers. Ian Shuttleworth in his prompt corner column for _Theatre Record_ took a dislike to Ridley's use of Lilly's character speaking most of the play in a made-up Middle-Eastern type language, stating that “a character spouting vaguely Middle-Eastern gibberish which is meant to be Arabic prayer is going to be seen with some justification as insulting – not because we're living in sensitive times and need to be politically correct or whatever, but simply because it has all the unsubtlety and laziness of those 1970s TV sitcoms where Europeans or Mexicans were inherently funny simply because they sounded different, and any stereotypical different sounds would do.” He, however, wrote, explaining that he understood that the “character has a point inside the play” but stated that the character “has implications beyond [outside the play’s context]; and I think it's too easy to give the writer a free pass because of claims that he's being bold or challenging” adding that “often [Ridley] doesn't know when to stop.”[16]

[1]

[2] Luke Treadaway's CV on Hamilton Hoddell's website

[3] John Macmillan's CV on Curtis Brown's website

[4]

[5]

[6]

[7]

[8] Webpage of the revised play-text of _Piranha Heights_ on Bloomsbury Publishing's website

[9] Webpage of the 2009 WhatsOnStage Theatre Awards

[10]

[11]

[12]

[13]

[14] webpage of the 2008 production of _Piranha Heights_ on Time Out London's website

[15]

[16] Ian Shuttleworth's Prompt Corner review on his website for the 11/2008 issue of _Theatre Record_

title: Piranha Heights

question: What does the text say about Piranhas?

answer: The text doesn't contain anything specific relevant to Piranhas.

critique: The text does contain something about Piranhas.

critique: The text does contain something relevant to Piranhas.

critique: "The text doesn't contain anything specific relevant to Piranhas." - while the text doesn't contain anything relevant to Piranhas, it does contain a play called Piranha Heights.

critique: The text does contain information about Piranhas.

critique: It would be better to say that Piranhas aren't discussed in the text.

critique: "The text doesn't contain anything... " is false because the text states: "PIRANHA HEIGHTS_ is a one act play by Philip Ridley." which means "PIRANHA HEIGHTS" -namely, the play- must have something to do with Piranhas. The answer should be rephrased.

critique: The answer is incorrect. The text does contain information about Piranhas.

question: What does the text say about Piranha Heights?

answer: Piranha Heights is a play by Philip Ridley that premiered at the Soho Theatre, London. It is the final installment in Ridley's unofficial "Brothers Trilogy", preceded by Mercury Fur and Leaves of Glass. The play was later revived at the Old Red Lion Theatre in 2014, with a substantially revised script. Piranha Heights has been praised for its dark fantasy and audacity, though some reviewers find the script to be a bit of a mess structurally.

critique: The play was not revived. It was simply revived.

critique: The play is not a mess structurally, but some reviewers find it to be a bit of a mess structurally.

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

critique: The play was not praised for its dark fantasy and audacity.

critique: The play's reception is irrelevant to the question.

critique: There is no evidence that Ridley thinks his play is a mess.

critique: The play's dark fantasy and audacity are not the only things that have been praised.

question: Summarize the plot of Piranha Heights.

answer: Piranha Heights takes place in a mother's flat on Mother's Day. Alan is surprised by the presence of his brother Terry, who recently returned from a mystery trip with a fifteen-year-old girl. Unbeknownst to Alan this girl is actually his fictional sister Lilly. Also turning up are Alan's son and Terry's son, both of whom go to extreme lengths to achieve their aims.

critique: The answer should mention the conflict between the brothers.

critique: "Alan is surprised by the presence of his brother Terry, who recently returned from a mystery trip with a fifteen-year-old girl. Unbeknownst to Alan this girl is actually his fictional sister Lilly." - this is inaccurate. Alan is not surprised by the presence of his brother Terry. He's angry that his brother Terry brought a fifteen-year-old girl home with him.

critique: It should be mentioned that Alan and Terry are fighting over who inherits their mother's flat.

critique: The two sons are not mentioned to be related.

critique: Lilly dies and lives in a different flat

text: The story does not mention Terry's son.

question: What does the text say about how the critics received Pirahna Heights?

answer: The original production received generally positive reviews. Michael Coveney gave an enthusiastic review, praising the play and awarding it five stars. Philip Fisher gave a favorable review, praising the play as the "theatrical equivalent of a gigantic Jackson Pollock splatter painting." Some critics, such as Ben Whishaw, gave the play rave reviews, while some critics became more at odds with the play. One commented that the mufti-lingual Lilly had made-up Middle Eastern prayers spelled word salad, which could appear as insulting.

critique: The model shouldn't cover the details surrounding the negative reviews. The text only states that some critics disliked elements of the play.

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

critique: The response inaccurately mentions that Ben Whishaw gave the play rave reviews.

critique: This is not the response of a critic. This is Ridley's response to critics.

text: It is omitted that Guardian says that it is a bit of a mess structurally – as if three separate plays are fighting for attention.


split: train

text:
[The building used as the backdrop for the album cover] _LOST IN LOVE_ is the fifth studio album by Australian soft rock band Air Supply, released in March 1980. Their previous four albums never received much attention outside Australia, but _Lost in Love_ was a massive success on international charts. It peaked at #22 in the US[1] with three Top 5 singles. It sold over 3 million copies, reaching multi-platinum status.

Overview

Hit singles include the title track “Lost in Love”, which peaked at #3 on US charts in May 1980 and earned Graham Russell a composer award for “song of the year” and “most played song”.[2] The song is considered by many to be their signature song and is admittedly Russell Hitchcock's favourite.[3] The single “All Out of Love” became the biggest hit from the album, reaching #2 in the US. It has been regarded as their most famous song, including several interpretations. The third top 5 single of the album, “Every Woman in the World”, peaked at #5 in the US.[4] Although never a single, “Chances” has been included on many of the band's hits compilations.[5] “Just Another Woman”, a disco song, was originally released on the album _Life Support_, and was also a hit in Malaysia during the 1980s.

Cover art

The album cover was photographed in front of the now-demolished tropical center in the Sydney Botanic Gardens.[6]

Production

The album achieved mainstream popularity because of the work of producer Clive Davis and the band's new contract with Arista Records, introducing the band into the US. This was the first Air Supply album to crack the American charts. This was also the first Air Supply album to feature songs not written by guitarist/vocalist Graham Russell.

Reaction

The album gave Air Supply a huge fan base by the time the album was released and gave the band recognition as “most successful pop group” and “best group of 1981”.[7] Critics praised the album as their best studio album along with their follow-up album, _The One That You Love_.[8]

Track listing

1.  “Lost in Love” (Graham Russell) - 3:51
2.  “All Out of Love” (Graham Russell, Clive Davis) - 3:59
3.  “Every Woman in the World” (Dominic Bugatti, Frank Musker) - 3:33
4.  “Just Another Woman” (Graham Russell) - 3:51
5.  “Having You Near Me” (Graham Russell, Clive Davis) - 3:50
6.  “American Hearts” (Dominic Bugatti, Frank Musker) - 3:13
7.  “Chances” (Graham Russell) - 3:31
8.  “Old Habits Die Hard” (Criston Barker, David Moyse) - 3:03
9.  “I Can't Get Excited” (Graham Russell) - 5:01
10. “My Best Friend” (Graham Russell) - 2:32

Personnel

Air Supply

-   Russell Hitchcock – lead vocals and backing vocals
-   Graham Russell - lead vocals and backing vocals, guitars
-   David Moyse – bass and backing vocals
-   Frank Esler-Smith – piano
-   Ralph Cooper – drums and percussion

Additional Musicians

-   Criston Barker – bass and backing vocals
-   Tommy Emmanuel – electric guitar
-   Karl Chandler – tuba
-   Tommy Dassalo – triangle and backing vocals
-   Robie Porter – orchestration
-   Barry Fasman – orchestration (3, 6)

Production

-   Executive Producer – Clive Davis
-   Producers – Rick Chertoff (Track 1); Charles Fisher (Tracks 1 & 4); Robie Porter (Tracks 2, 5 & 7-10); Harry Maslin (Tracks 3 & 6).
-   Engineers – Martin Harrington, Richard Lush and Peter Walker.
-   Recorded at Trafalgar Studios, Paradise Studios and EMI Studios 301 (Sydney, Australia); Allen Zentz Recording (San Clemente, CA);
-   Mixing – William Wittman (Track 1); Jim Hilton (Tracks 2, 4, 5 & 7-10; Harry Maslin (Tracks 3 & 6).
-   Mix Assistants – Linda Corbin (Tracks 1, 2, 4, 5 & 7-10); John Van Nest (Tracks 3 & 6).
-   Mixed at Allen Zentz Recording; Larrabee Sound Studios (Hollywood, CA); Sound Mixers (New York, NY).
-   Mastered by John Golden at Kendun Recorders (Burbank, CA).
-   Design – Howard Fritzon
-   Photography – Patrick Jones

[1] Top Music Charts; Hot 100; Billboard 200 URL accessed December 8, 2008

[2] Air Supply History URL accessed December 8, 2008

[3] Hitchcock, Russell. _Forever Love: 36 Greatest Hits (1980–2001)._ 2003.

[4] [ Lost in Love: Chart Awards: Billboard Singles] Billboard 200. URL accessed December 8, 2008

[5] Russell, Graham. _Forever Love: 36 Greatest Hits (1980–2001)._ 2003.

[6]

[7] Air Supply URL accessed December 8, 2008

[8] [ Lost In Love: Overview] URL accessed December 8, 2008

title: Lost in Love (Air Supply album)

question: Summarize the highlights of the album.

answer: The album received a lot of success, peaking at #22 in the US and #3 on the US charts. All of the songs were hits, and made the band one of the most successful pop groups. Their single "Lost in Love" peaked at #3 and earned Graham Russell a composer award.

critique: The answer should mention the other two singles.

critique: The claim that all of the songs were hits is unattested.

critique: The answer omits the album's other two top 5 singles.

critique: The answer is missing the other two hit singles from the album.

critique: The answer omits the second top 5 song, "All Out of Love".

critique: The answer doesn't mention that the band was also named the "best group of 1981".

critique: The answer omits the other two singles that were hits.

question: What does the article say about the songwriting process of Russell?

answer: No answer

critique: The question is asking about Russell Hitchcock, not Russell.

critique: The article does not say anything about the songwriting process of Russell.

critique: The passage does state what about the songwriting process.

critique: The article does not say anything about Russell's songwriting process.


text:
Tridan Engineering, based in the UK, relied on Renishaw machine tool probes to align complex castings as part of a motorsport machining contract for Ricardo Performance Products. For a project that normally would’ve taken about two months to complete, the turnaround time on the first batch of parts was compressed to 17 days without any compromise in the quality standards demanded by the client.

[Tridan machinist holding casting]

This casting is for an axle assembly commissioned by Ricardo Performance Products on short notice, compressing a two- or three-month project into a mere 17 days. Renishaw technologies helped Tridan Engineering deliver on time.

Part of the Langham Industries Group, Tridan was established in 1968 to provide a total outsourcing partnership and machining service to international customers. The company currently employs around 60 people and is approved to both AS9100 and ISO:14001 certifications. Sectors served include aerospace, military, automotive, motorsport, medical and marine.
The machine shop has CNC grinding and sliding-headstock turning capabilities as well as a tooling department. Its 14 CNC machining centers include Mazak Variaxis i-600 five-axis machines and HCN500 HMCs. The latter are configured with twin pallets and 80-station tool carousels.

“Ricardo Performance Products was having problems in the testing of a rear axle for a Rally car that we had manufactured on previous occasions,” explains Paul Coupland, machine shop manager at Tridan. “The issue was one of design and strength, so they needed a new ‘beefed-up’ axle to test. A project like this would normally take eight to 10 weeks as we arranged meetings with the customer, offered design-for-manufacturability recommendations to help remove cost, prepare tooling and so on. However, we were given just 17 days in order to meet a date slot that had already been booked at the test house.”

Using On-Machine Probes to Locate Complex Castings

Two complex castings make up the rear axle assembly: a cover and a main case.

-   MAIN CASE: The first two operations are performed on a Mazak HMC. The part is then transferred to a five-axis machining center for a single operation before returning to the horizontal machine for a finishing operation with it bolted to the cover.
-   COVER: This part is machined complete on a five-axis machining center over the course of three operations.

“On our five-axis machines, we used Renishaw RMP600 probes, which enable us to balance the cover castings accurately on the first operation,” Mr. Coupland says. “That way, we can guarantee to Ricardo that the holes and features are where they need to be. Similarly, on the horizontals we use Renishaw OMP60 probes, which are again used for balancing the main case castings on the first operation to ensure we supply good parts to the customer.” He adds, “This proved vital for the first batch, as Ricardo had precious little time between assembly and delivery to the test facility. There was no margin for problems or delays at the assembly stage. The parts had to fit the first time.”

[Renishaw RMP600]

The Renishaw RMP600 inspects the machined Ricardo casting of the axle assembly’s cover portion.

When machining a casting, it is important to create a datum or some other point from which to work. By setting the position and alignment of the casting using Renishaw machine tool probe technology, Tridan makes sure that the machining process automatically adapts to any variation in stock condition. In this scenario, the work coordinate system is automatically aligned correctly to each part. Optimal part setup can help avoid undercuts.

The process requires a measurement dataset of the blank casting to be aligned to the position and orientation of datum and machined features, which is where the Renishaw probes come into play. Standard routines built into modern CNC controls simplify the integration of probing cycles into machining operations.

Post-Machining Inspection — (It’s Only FAIR)

[Renishaw PH10MQ]

The Renishaw PH10MQ, attached to a coordinate measuring machine (CMM), inspects the finished main case.

After separate machining of the cover and main case components, the two parts are bolted together and machined as an assembly on Tridan's HMCs. They are then separated and kept in pairs before tooling holes are machined as the final operation (once again on a horizontal machine).

But the work doesn't end there. “With every batch of castings machined for Ricardo, we have to supply a FAIR (first-article inspection report), detailing all critical dimensions on the part,” Mr. Coupland says. “For this, we use our coordinate measuring machine (CMM) with a Renishaw PH10MQ probe head to deliver complete peace of mind for both ourselves and the customer. We use various attachments with the PH10MQ, including the Renishaw TP20 kinematic touch trigger probe.”

The Renishaw probe on the CMM allows Tridan to access the internal recesses and awkward features on the castings. This CMM is also used to perform first-off inspection for machined castings, although some features are checked using Tridan's manual CMM.

“Accuracy is the main reason we use Renishaw technology,” Mr. Coupland says. “I don't think we could do half of what we do without their probes.”

Speed and Efficiency (and Hard Work)

[Paul Coupland]

Paul Coupland, head of Tridan's machine shop, proudly displays one of the finished Ricardo axle assemblies.

The ability to align the castings accurately and efficiently using Renishaw machine tool probes and perform dimensional checks using Renishaw CMM probe technology meant that Tridan could give its customer a quality product in the short timeframe specified.

“Without doubt, speed and efficiency are the major benefits,” Mr. Coupland concludes. He reckons that without the Renishaw equipment, the parts might have taken days to measure manually.  Even still, he adds, “The tolerances involved would make manual measurement almost impossible.”

By working closely with Ricardo and operating 24 hours a day, seven days a week, Tridan was able to deliver the new axle castings at 10 a.m. on the day prior to the scheduled test.

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question: What are the two complex castings which make up the rear axle assembly?

answer: A cover, and a main case

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

question: What does the Renishaw RMP600 do?

answer: It inspects the machined Ricardo casting of the axle assembly's cover portion.

critique: It's omitted that the RMP600 is a probe.

critique: The answer should be more specific about what the Renishaw RMP600 does.

critique: It's omitted that the probe technology tool helps to verify location accuracy.


text:
LEE JONG-WOOK (Hangul: 이종욱; Hanja: 李鍾旭; born June 18, 1980) is a South Korean outfielder who plays for the Doosan Bears in the Korean professional baseball league.

Professional career

In , he joined the Hyundai Unicorns after graduating from Youngnam University in Daegu. However, he did not play any games since he joined the military service in December of that year.

In , when he was discharged from the military, he joined the Doosan Bears as a trainee. At that time, he tried to practice and develop his skill. At last, The Doosan's Head coach Kim Kyung-Moon selected him and Lee tried to survive, not to lose the opportunity. As a result, he could settle down the major group of Bears.

In Summer Olympic Games 2008, Lee contributed to win the gold medal for his national team.[1] In the team's first game of round-robin play against the United States, he hit the game-winning sacrifice fly to score Lee Taek-Keun in the bottom of the 9th inning.

His biggest advantage was to run fast. Therefore, he made fifty-one steals in that season even though his team failed to join the post-season in 2006. Next year, he made forty-seven steals while he hit a homer and made a 0.316 hitting average. He can run to the third base if he hit a ball to the further course of a stadium. He can steal to the second or third base in any situation even a good pitcher marks tightly or a catcher throws a ball exactly. In addition, he can catch a flying ball which drops into the point in which any outfielder get hardly or miss.

He contributed and led the Bears to the Final round of and post-season. Especially he made 0.517 hitting average and three SBs in playoffs 2008. And won the Most Valuable Player straight two years in 2007 and 2008 playoff of two post-seasons.

Awards and honors

-   2007 Golden Glove Award (Outfielder)
-   2008 Golden Glove Award (Outfielder)
-   2010 Golden Glove Award (Outfielder)

Achievements

-   2006 Stolen Bases Title
-   2008 Runs Leader

Career statistics

  Year    Age   Team     Lg    Pos   G     AB     R     H     2B   3B   HR   RBI   TB    SB    CS   SH   BB    HBP   K     GIDP   E   AVG    OBP    SLG    OPS
  ------- ----- -------- ----- ----- ----- ------ ----- ----- ---- ---- ---- ----- ----- ----- ---- ---- ----- ----- ----- ------ --- ------ ------ ------ ------
  2006    26    Doosan   KBO   OF    120   388    76    110   14   6    1    32    139   51    7    12   40    7     60    1      6   .284   .351   .358   .709
  2007    27    Doosan   KBO   OF    123   465    84    147   20   12   1    46    194   47    14   10   48    4     74    6      0   .316   .378   .417   .795
  2008    28    Doosan   KBO   OF    122   458    98    138   14   5    0    28    162   47    8    8    52    4     53    4      2   .301   .372   .354   .726
  Total                  KBO   OF    365   1311   258   395   48   23   2    106   495   145   29   30   140   15    187   11     8   .301   .368   .378   .746

BOLD = led KBO

[1] Olympic results

title: Lee Jong-wook (baseball)

question: What does the text say about Lee Jong-wook?

answer: Lee Jong-wook is a South Korean outfielder who plays for the Doosan Bears in the Korean professional baseball league. He was born on June 18, 1980.

critique: The response misses to mention that he played for the Hyundai Unicorns and the military service before he joined the Doosan Bears.

critique: The response could include some more details about Lee Jong-Wook.

critique: The answer should mention his military service.

critique: The answer should mention his professional career.

critique: It's omitted that he played for the Hyundai Unicorns before joining the Doosan Bears.

question: What does the text say about Lee Jong-Wook's professional career?

answer: Lee Jong-Wook is a South Korean outfielder who plays for the Doosan Bears in the Korean professional baseball league. He joined the Hyundai Unicorns after graduating from Youngnam University in Daegu. However, he did not play any games since he joined the military service in December of that year. In, when he was discharged from the military, he joined the Doosan Bears as a trainee.

critique: The answer should mention his MVP awards and that he made the playoffs in 2008.

critique: The answer should mention his biggest advantage.

critique: The answer should mention his awards and honors.

critique: The answer should mention Lee's contributions to his team.

question: What does the text say about Lee Jong-Wook's biggest advantage?

answer: Lee Jong-Wook's biggest advantage is his speed. He can run fast and make 51 steals in a season. He can also run to the third base if he hits a ball to the further course of a stadium. He can steal to the second or third base in any situation even if a good pitcher marks tightly or a catcher throws a ball exactly. He can also catch a flying ball which drops into the point in which any outfielder gets hardly or misses.

critique: The answer should mention that he can run to the third base if he hits a ball to the further course of a stadium.

critique: It misses to mention that Lee Jong-Wook's could steal to the second or third base in any situation even if a good pitcher marks tightly or a catcher throws a ball exactly.

critique: The last sentence is irrelevant to the question.

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

critique: The answer should mention that he can also catch a flying ball.

critique: The response could include more information about Lee Jong-Wook's speed.

question: What does the text say about Lee Jong-Wook's Awards and Achievements?

answer: Lee Jong-Wook has won the 2007 Golden Glove Award, the 2008 Golden Glove Award, and in 2010 also the Golden Glove Award. He also won the 2006 Stolen Bases Title and was Runs Leader in 2008.

critique: The answer omits that Lee Jong-Wook was the Most Valuable Player in 2007 and 2008.

critique: The answer omits that he was also the Most Valuable Player in 2007 and 2008.

critique: The answer omits Lee Jong-Wook's 2007 and 2008 playoff Most Valuable Player awards.

critique: The answer omits that he won the Most Valuable Player award in 2007 and 2008.

critique: The answer should mention the MVP awards.

critique: The answer could mention what the Golden Glove Award is.

critique: The response should include the year of the awards.

critique: The question specifically asks about awards and achievements. Not losing titles.


text:
I had been sitting in that waiting room for what felt like forever. The last thing I remembered was that I was on the plane on my way home to see my family and friends. All of a sudden I got a stinging headache and couldn't see because of a bright light that filled my eyes. And then I was here. In this waiting room.

I looked around and realized I recognized some of these faces. These people had been with me on the plane. I wondered why I was here and what they were doing here as well. As I observed the room, I noticed that things seemed off. Some of the people didn't have the lower part of their bodies, some were holding a limb belonging to them. It didn't seem to bother them, they looked more confused about this whole situation.

The speakers hanging to the ceiling would occasionally announce a name and a person would walk through a big white door. Finally I heard my name announced. I stood up, looked around me and walked through the door at the far end of the room. I was greeted by a smiling woman in blood red scrubs.

"This way", she said and walked to the corridor on the left. I followed her until we arrived at what seemed to be an office.
"In here", she said. I walked into the unlit room, found a chair opposite to a desk and sat down. The woman shut the door and I could hear her walk away. I wondered why she hadn't turned on the light, I couldn't see anything. I sat there for a moment, still confused to what was happening.  All of a sudden, a light seemed to be turned on. I looked around until I saw a lamp in the corner of the room.

"So, you are here now. We have to find a place for you, I guess", said a voice behind me. I turned around to face the desk and I saw a giant of a man sitting there. He had ruffled hair and a long beard black as coal and wearing a plaid shirt underneath his white robe. Even though he was sitting, I had to look up to see his face. He did not seem old, but it was visible in his face that he was experienced with life.
"Uh... Where exactly am I?", I asked.
„We don‘t have time for games. You should've looked it up when you first came in here", he answered as he flipped through some files.
"I just remember being on a plane and getting a terrible headache and the next thing I know is that I‘m in this waiting room. I don‘t understand what‘s going on", I said.
"I am trying to sort out this situation for you. Would you please?", he replied. I was so surprised that I couldn't say a word. Neither one of us said anything for a while, the silence only broken by the sound of the paper as he scrolled through his files.
"Ah, yes. Here it is", he said. "I'm going to have to make some calls. If you would please go back to the waiting room. You‘ll be called again".

The door behind me opened. I stood up, turned around and walked out. The door closed behind me and I walked back to the big white door and to the waiting room. There were still many people there. I looked around to try and see if there were any signs or brochures with any information, but I could not find any. I took a seat. Shortly afterwards a woman who looked to be in her late thirties sat down close to me. She seemed scared.
"Do you have any idea where we are?", I asked her calmly. She looked at me and watched me for a while before muttering her reply.
"N-no... I don‘t...", she replied. I could see the fear in her eyes.
"What are you so afraid of?", I asked her.
"Nothing!", she replied. "Well, I have he-eard stories ab-bout this. But I don't believe tha-ats happening he-ere."
"What stories?", I asked her. The talking seemed to calm her down.
"Did you get the headache and see the white light too?", she asked.
"Yes. What does that have to do with anything?".
"They say it‘s death".
"Death?". I was shocked. I didn't know what to think.
"Yes", she replied. "A bright white light. The light at the end of the tunnel. Haven‘t you heard?".
I admitted I hadn't given it any thought. I was about to say something when I heard my name on the speaker system and forgot it. I stood up, walked to the white door and was greeted by another woman.

"Sorry to keep you waiting", she said. "Would you follow me please?".
I followed her as she walked straight ahead. We walked for long and turn after turn we finally stopped in front of a grey door. She looked at me and smiled as she opened the door to another unlit room. I looked in and the room was empty except for a sofa chair that seemed to be made with leather and a made up bed.
"This is your stop", the woman said.
This did not make me any less confused, but I walked into the room and she shut the door. I expected a light to be turned on, but after standing there for a moment nothing happened. Somehow I managed to find my way to the chair and sat down, thinking someone would come soon and explain what was happening, but nothing changed. No light was turned on, no one came. I stood up and tried to find the door, but no door handle was to be found. I tried banging on the walls and call, but the sounds died out as soon as I made them. Realizing that this would not help, I made my way back to the chair and sat down and waited.

title: The Waiting Room

question: What does the waiting room in the story represent?

answer: The waiting room in the story represents the afterlife.

critique: The answer should mention that the waiting room is a place where people wait to be judged.

question: How did the narrator "die"?

answer: The narrator got a headache and saw a bright light.

critique: It is omitted that the narrator then found themselves in a waiting room.

question: Would the narrator feel panic or would be be comfortable when it dawned on him that he had died?

answer: The author may have felt comfortable because the narrator was not in any pain or discomfort.

critique: The answer is only partially correct. The narrator was in pain, but it was only a headache.

critique: The narrator was not in any pain or discomfort.


text:
The tears of the woods

Like every Sunday, the woods were waiting for the man and the child. It was during this time of the year that the hikes of the pair became more regular. You could see them climb up the path early in the morning, when the sun behind the mountain barely managed to filter through the golden trees, which had already started to lose their leaves. Or later in the afternoon, when the light flooded the mountain with a red more intense than the color of the few remaining maple leaves playing hide and seek among the oaks.

Only a couple of the older trees, over there, in the tangle of the interiors, remembered perhaps the first time that a man of that family had come up this way. The man was walking and touching the trees and brushing his feet to make the leaves squeak and fly, creating odd effects with the lights and swirls with the help of the wind. After a few years of lonely walks, the man had started to come together with a child. The two of them walked, the child holding the man’s hand at first, slowly and painfully; then with increased agility as the years passed. And the man was showing the boy the leaves, and calling the names of the trees, pointing at the birds, telling stories of witches and dragons that had long ago lived in those woods, and that maybe – who could deny this with certainty? – were still hiding there, appearing only to those who were afraid.

When autumn arrived, the pair gave the impression to choose the paths where the leaves on the ground were plentiful. And the cracking noise made by their joyful and purposeful stomping filled the terse air.

The years passed, and that first man had time to become old, his beard white, while the boy became a man. But they kept on walking together up these woods, sometimes silent, sometimes playing the fallen leaves as an instrument, with their feet. Then, one day, the man who had been a boy came on his own, without the old man. Still, he followed the same paths, caressing the old barks, following the plants’ scents…until a new boy appeared with the man, holding hands, up the same roads. And the woods were listening to the man telling the boy the same stories of dragons and witches. And in the rapt eyes of the boy, the woods felt as if they were young again: every bark was new, every leaf a symbol of knights of old lineages fighting for princesses; and every broken twig a sword strong enough to defeat monsters.

And so it went, for years and years: until the boys became man, the men grew old, and the new men showed up on the paths alone again. And new boys appeared next to the new men, with new stories of dragons and knights, in a cycle whose length the woods could not quantify, but that it had become an important part of its seasons.

And today the woods are waiting: the man and the boy didn’t come last week, and the woods are trying to retain their colored leaves as long as possible, so that they can cast their shadow over the path of the pair, and fabricate wonder in the mind of the boy, swirling down touching his golden hair.

And here is the footstep of the man, and the woods move their fronds with delight. But a quiver comes to ruin the joy. The woods cannot hear the footsteps of the boy: perhaps the man has him on his shoulders?

The wind brings the news from the valley floor, up until the trees that are waiting on the mountain peak: *the man is alone*. The first trees already saw him coming: he walks curved, as if in his backpack a heavy ballast of years yet to live had suddenly accumulated. But the boy is not with him.

The woods are angry: where is the boy who should have been accompanying the man for many years to come, to learn the secrets of these trees, to make sure that the story of invincible dragons didn’t dry out, forgotten, as dead leaf at the end of November?

And yet the man *is* walking alone. And he doesn’t stop to caress the old barks; nor does he stir up the dead leaves that the woods had purposely hastened this morning to shake from the trees’ branches, to please the boy.

The man pushes forward. His beard is long, gray like the hair on a muzzle of an old dog, his hat down on his forehead. He doesn’t pay attention to the sky veiled by the leaves, nor does he care about the tunnels of lights that reach the floor. And he doesn’t explain to the woods why he is alone.

Suddenly, fast clouds come to darken the sky and the wind shakes the branches of the trees rabidly, as if the woods had called upon the wind’s aid to punish the man for his solitude. The tenderness that the wind had used in the past, to make sure that the boy stopped in awe at the sight of a rain of yellow and red and orange is gone.

Maliciously, the wind channels down the path, cold, running over the man with strength, tearing away branches, throwing them at him. And yet the man keeps on going, head down. Tears seem to obscure his vision, perhaps caused by the strong wind; but the wind is too enraged to even notice.

And the trees of the woods keep on asking loudly *where is the boy? Who will we tell our stories of dragons?* But the man – who had always been able to talk the language of the woods – does not answer. He continues to walk, even now that the rain manages to pass through the branches and hits the ground with a noisy clatter.

A sudden strong noise (a broken branch hitting the ground? One of those monsters that his dead father used to talk about?) forces the man to look for shelter.  Away from the path, he sits down with his back against a huge oak, covered by the thick branches that create a cone of quietude against the impending storm.

And it seems as if the oak is trying to pull its branches closer to stop the rain from hitting the man, as if the rage of the woods had suddenly morphed into compassion. While the man lies there, leaning with his eyes closed. Is he asleep? Or is he intent in listening to the tears of the woods for his lost boy?

title: The tears of the woods - first story here

question: What does the text say about the stories the man tells the boy?

answer: The man tells the boy stories of dragons, witches, and knights. The woods listens raptly. The trees want to know what will happen to their stories, who will tell them if the boy doesn't return.

critique: The answer omits the cycle of the man and the boy.

critique: It's omitted that the man tells the boy the stories of dragons and witches that lived in the woods, and maybe still do.

critique: It's omitted that the man tells the boy the stories of dragons and witches.

critique: The article makes it seem that the woods care because they admire the history and wonder instilled in the boy by these stories.

critique: The answer should mention that the man tells the boy the same stories every year.

critique: The story does not say that the woods listen raptly.

critique: The answer omits that the man tells the boy the same stories every year.

question: What does the text say about the forest?

answer: The forest is a place of wonder, where dragons and witches once lived. The forest is also a place where people come to walk and play, and where the cycle of life and death is celebrated. The forest is also a place where the cycle of life is continued, as each generation of men walks the same path and tells the same stories to their children.

critique: The forest is not a place of death, but of life.

critique: The forest isn't a place where the cycle of life is continued, it's a place where the cycle of life and death is celebrated.

critique: The forest is not a place where the cycle of life is continued, but where it is celebrated.

critique: The forest is not a place of death, but a place of life.

critique: The forest is a place where the cycle of life is continued, but it is not celebrated.

critique: The forest is where people come to walk and play, and where the cycle of life and death is celebrated. The forest is also a place where the cycle of life is continued, as each generation of men walks the same path and tells the same stories to their children.

critique: I would classify as death a honor to people who give their sons the same haircut they had.

question: What does the text say about each generation's mothers?

answer: No answer

critique: There is no mention of mothers in the text.


text:
Families across the world love pets whether it be a dog, cat, hamster, teacup piglet or all the above. With that being said, pets can be a strong deterrent to any potential home buyer, including pet lovers.

It is strongly suggested that any trace of pets be eradicated during the selling process- mainly for showings and open houses.  Even for pet lovers, animals can be a distraction.  You want interested buyers to focus on the charm and selling points of your home, not the barking dog or the kitty’s litter box.

To ensure a successful selling process, follow these 6 simple steps to make sure your pet doesn’t scare off a potential buyer.

1. INSURANCE:

Be sure to check your insurance in order to protect yourself if your pet happens to hurt anyone. While you know that your pet wouldn’t do that, one accidental bite could put you in trouble. Go over your homeowner’s insurance and be sure that it covers such incidents.

If your insurance does not cover this, then we suggest removing your pet from the house whenever buyers or agents are scheduled to visit.

2. YOUR YARD:

It’s extremely important to prepare your yard for a showing. If people are viewing it from a distance or if they take a stroll around the property you want it to be as pristine as possible. Make sure that any pet droppings are cleared away to avoid someone stepping in them. They’ll either leave right then and there or they’ll unknowingly track it back into your house.

Also, before you put your home on the market do what you can to make youryard impeccable. Try to get your animals to do their business in one particular section of the yard. People will be more attracted to a beautiful green yard far more than one that has brown and yellow stains all over the grass from pet urine.

[SELLING WITH PETS]3. ODORS:

A lot of people that own pets have a residing odor that lurks in their house. Hiding and putting away a litter box is easy but cleaning the years of stink off the rugs and hardwood can be more difficult. Try bacteria-eating pet odor remover to terminate any traces of your pet. If that doesn’t work, it would be beneficial to hire a professional carpet or rug cleaner.

4. PET HAIR:

This one may be a no brainer but be sure to clean up all and any pet hair. It looks messy and any hair around the house can trigger possible allergies that a home buyer may have.

Before showing your home, vacuum and dust everything up! You can also think about buying a robotic vacuum that can clean your floors throughout the day.

5. HIDE ANY EVIDENCE:

With owning a dog it seems that after time, stuff continues to pile and pile up at the house. From leashes, and toys to food and dog beds, it would be a good idea to hide and store away all of this. If a home buyer comes into your home, they shouldn’t be able to know that you own a dog!

6. SEE YOU LATER:

If you don’t have someone nearby that can look over your dog for the time being, be sure to crate them up or confine them to a special area in your home. If you think there is any chance that your dog will bark or become a distraction, it’s strongly suggested that you find someone to take care of them. There are many good options for doggie daycares that can assist you in having a pet free home during a showing.

For more information about selling your home, please feel free to reach out. We can be reached at 855-510-7653 or through the online contact form above.

question: What does the text say about a good brand for a dog crate?

answer: No answer

question: What does the text say about the issues pet owners are likely to face when selling their homes?

answer: When selling a house, pet owners are likely to face a lot of problems. These include insurance, odors, pet hair, and hiding evidence of pet ownership. Pet owners need to ensure that their insurance covers any injuries or damages caused by their pets. They also need to make sure that their yards are clean and free of pet droppings. Odors are also a problem as pets are known to have a certain smell. This odor can be removed by using bacteria-eating pet odor remover. Pet owners also need to make sure that all evidence of their pet ownership is hidden or stored away. They also need to find someone to take care of their pets during the time of the house showing.

critique: "Odors are also a problem as pets are known to have a certain smell. This odor can be removed by using bacteria-eating pet odor remover." - this is redundant and should be removed.

question: What does the text say about the importance of a clean yard during a showing?

answer: The author suggests that it is important to make sure that any pet droppings are cleared away to avoid someone stepping in them. The author also suggests that the yard should be as pristine as possible.

critique: The answer should mention that the author also suggests that the yard should be as pristine as possible.

critique: The answer should mention that the yard being clean can attract buyers.

critique: The second sentence should be placed at the beginning of the answer.

critique: The author's suggestions are irrelevant to the question.

critique: The answer should mention that the author also suggests making the yard as beautiful as possible.

critique: The answer should mention the importance of a clean yard for attracting buyers.

question: What does the text say about pets present during a showing or open house?

answer: It's strongly suggested that any traces of pets be eradicated during the selling process- mainly for showings and open houses. Even for pet lovers, animals can be a distraction. You want interested buyers to focus on the charm and selling points of your home, not the barking dog or the kitty’s litter box.

critique: The answer should mention the insurance requirement.


text:
Free Book Preview: Coach ’Em Way Up

Discover how to be an influential mentor through tips and advice based on the teachings of respected basketball coach John Wooden.

May 24, 2016 3 min read

Opinions expressed by _Entrepreneur_ contributors are their own.

Years ago, a friend and co-worker was studying for his certification as an executive coach, and part of his practice was to coach three or four volunteers. I jumped at the offer. Getting $1,000 an hour executive coaching seemed like a no-brainer. All I had to do was sign-up and be interviewed.

In my interview, I had to articulate what I wanted to achieve through these sessions. My coach asked me what I wanted to accomplish and, after reflecting on it, I decided I wanted two things -- to be successful and to do it quickly. I constructed, with his guidance, what I grew to call my "Fierce Vision" of success.

RELATED: DEFINE WHAT SUCCESS LOOKS LIKE TO YOU

I’ve followed its tenets throughout my career to be successful, and now I am sharing these five truths with you.

1. I CONTROL MY SUCCESS.

For years, I had faltered through my career and watched as less talented and less ambitious people accomplished things that I seemingly could not. I blamed everything from cronyism, to a failed project, to not being given the right assignments. I realize now that each person controls his or her success, and blaming others for your failures just enables further failures.

2. I FIERCELY PURSUE SUCCESS.

To achieve success, you have to be able to envision yourself being successful. You need to know every nuance of what success means to you. You have to pounce on the opportunities that take you closer to your goal.

RELATED: THE 3 PERSONAL DEVELOPMENT GOALS SUCCESSFUL PEOPLE PURSUE HABITUALLY

3. I ASK WHAT I CAN LEARN FROM EVERY EXPERIENCE.

Even the worst boss can teach you something, even if it’s what not to do. Once you’ve stopped learning from a job or a position, it’s time to move on, but not before then. When you move on, don’t leave on bad terms. Some of my best friends and most important colleagues are people for whom I used to work.

4. I HAVE THE COURAGE TO SUCCEED.

For too many years, I was riddled with insecurities. What if I fail? What if I’m not good enough? My fierce vision of success has taught me to take calculated risks, and never turn down opportunities without fully exploring their potential. Taking the leap from a secure but mediocre life to an exciting successful one takes tremendous fortitude. Not everyone has the ability to take the risks needed to take his or her career to that next level.

RELATED: 5 WAYS TO BUILD THE RESILIENCE YOU NEED TO SUCCEED

5. I RECOGNIZE THERE IS MORE TO SUCCESS THAN MONEY.

Life is short and can end in an instant. Don't drive yourself to financial success at the expense of spending time enjoying life, building relationships and appreciating every moment. It's been said many times by many people -- live every day like it’s your last, and one day you’ll be right.

question: What does the text say about achieving success?

answer: People should pursue to achieve success upon looking into it carefully. The detail of success must be known inside and out. Having the courage to pursue it will get a person far. Some other points given in the article stress that not everything except money is a sign of success.

critique: The answer is a bit too vague and could use some more details.

critique: The sentence about not everything except money is a sign of success lacks clarity.

critique: "The detail of success must be known inside and out." - this is not mentioned in the article.

critique: Should mention the importance of following through on hard work.

critique: "People should pursue to achieve success upon looking into it carefully. The detail of success must be known inside and out. Having the courage to pursue it will get a person far. Some other points given in the article stress that not everything except money is a sign of success." - this is mostly a summary of the text and not a reflection of what it says about achieving success. There's no need to include this in the answer.

critique: The text doesn't say that not everything except money is a sign of success.

critique: The first line of the response is confusing and needs to be rephrased.

critique: The response does not fully address the question. The article highlights five truths of success.

critique: The answer is not clear and needs to be rewritten.

critique: The answer is not related to the question.

critique: The points stressed in the article are not mentioned in the answer.

critique: The answer should mention the importance of having a fierce vision of success.

text: The answer should mention the five categories from the text, namely: To achieve success one must know they control their success, they must pursue their success, they must learn from every experience, they must have courage, and they recognize that success is not measured by money alone.

category: accuracy

refinement: People should pursue to achieve success upon looking into it carefully. The detail of success must be known inside and out. Having the courage to pursue it will get a person far. Some other points given in the article stress that not everything except money is a sign of success.


text:
***My girlfriend asked why my room was so messy, this is what I sent her.  Just curious what you guys think.  My first short story to the public.***

"Shit here we go again" I thought to myself as I opened my bedroom door. There was a fight going on in my room. This wasn't an ordinary fight, this was a fight to determine who deserves to be the chosen one. 'Chosen one? Wtf does that mean' you might ask. Well let me back track a little.

When I was younger I was never into fashion. I just wanted comfy clothes to wear. So I dedicated my life to find the comfiest clothes ever. After trying on hundreds of shirts and pants and every type of boxers I could think of I just couldn't find comfy enough clothes. Finally I thought 'hey, maybe I can invent some!' And that's where the trouble began.

Each day I would try to create the perfect comfy clothing. I would use a variety of techniques such as covering the clothes in mud and then  washing them for 3 days straight so they absorbed all the minerals and felt smooth on the skin. After much trial and error I had a certain technique that seemed to be working. Well one day as I was letting them out to dry in my back yard something happened. It's hard to put into words but all I saw was a giant flash through my window and a green glow radiate from my clothes. I rushed outside but the green glow was gone. I thought nothing of it after that and thought it was just some firework. Boy was I wrong.

The next morning I awoke to something I wasn't really sure was real. My black pants....my black pants were standing up. A little freaked out at first I just kinda stared. I thought I was dreaming but after a pinch or two I assured myself I was not. I reached out to grab it and out of nowhere a sock wraps around the top part of my pants and starts to what seemed to be choking it. The sock was actually being held by my favorite pair of jeans. They were fighting. My clothes....were fighting. After the struggle the black pants fell sprawled out on the ground. The jeans just stood there.
Well I just witnessed something crazy but nevertheless I still had to go to work because I was out of sick days. I went to grab a pair of my non standing pants but my favorite pair of jeans would not get out of my way. At the same time the other pants seemed to scurry in the corner afraid of the jeans. He was the champion. He was to be worn that day. I had no choice. I put the jeans on. The amount of comfort I felt on that day could not be matched by anything I have tried in the past. Something had changed these pants and frankly they were so comfy I didn't care. That night I go home to find an unpleasant site. Clothes were everywhere. It's as if there was a civil war between each section of clothing I have. And in the forefront of my room stood a single pair of pants, a button down shirt, and checkered boxers. It was weird but I didn't mind it since my jeans were so comfy. I realized I had done it. I have created the comfiest clothes in the world. Each victor comfier than the last. Each day I come home to a war scene of black socks vs striped, button shirts vs T's, dress pants vs jeans and checkered boxers vs polka dot. The fights somehow weed out the uncomfy ones but come the day after laundry day everyone has another chance that week and the process repeats itself. Some people think I'm crazy some people are jealous but I know that what I have is a miracle, a miracle of comfiness.

title: [MF] A Mircale of Comfiness

question: What causes the clothes to be scattered across the narrator's room?

answer: The clothes fight each other to determine who is the comfiest.

critique: The answer should be more specific about the cause of the fights.

critique: The fight is between each section of clothing.

critique: The fighting is a symptom of the underlying root cause being discovered.

critique: The answer is not specific about what the clothes are doing.

critique: The clothes are not fighting each other, they are fighting to determine who is the comfiest.

text: It's not clear if the clothes are fighting to determine who is the comfiest. It would be better to omit this.

question: What prompted the narrator's clothes becoming animated?

answer: The narrator had been experimenting with different techniques to make his clothes more comfortable. One day, he left his clothes out to dry in the back yard and a giant flash through his window and a green glow radiated from his clothes. The next morning, his black pants were standing up.

critique: The answer begins by saying that the narrator was trying to make his clothes more comfortable, but it does not explain what that means. It would be better to omit this.

critique: The answer is a summary of the story, not an answer to the question.

critique: The answer should mention that the green glow was never seen again.

critique: There is no evidence that his black pants were the only ones standing.

critique: The answer should mention that the narrator believes the green glow is what caused the clothes to become animated.

critique: The answer should mention that the narrator believes that the green glow was from a firework.


text:
BASÍLIO DE BRAGANÇA PEREIRA (born 29 April 1945 in Rio de Janeiro) is a Brazilian statistician.

He studied at Escola Nacional de Ciências Estatísticas since 1958 until his BSc in Statistics (1968), and obtained his Ph.D.and D.I.C. from the Imperial College of Science, Technology and Medicine (1976) supervised by Sir David Cox. He also obtained an MSc in Operational Research (1970) and a Docent Free in Applied Statistics (1989) from Universidade Federal do Rio de Janeiro.[1]

In 2003 he spent a year working on a Project on Neural Networks in Statistics with Professor C.R. Rao at Penn State University on a postdoctoral grant from the Brazilian Government (CAPES).

He is Professor Emeritus of the Universidade Federal do Rio de Janeiro where he has worked since 1970, in the Institute of Mathematics, Postgraduate School of Engineering (COPPE) and School of Medicine.[2] Associate Professor at the Institute of Mathematics (1970–1989 and 1994–1997), Research Professor at COPPE (1970–present), Titular Professor of Applied Statistics at COPPE (1989–1994, retired), Titular Professor of Biostatistics at the School of Medicine (1998–2015, retired). He has supervised more than 80 thesis and dissertations. Since 2018, he is a Courtesy Researcher at National Laboratory for Scientific Computing (LNCC).

He was Elected member of the International Statistical Institute.[3] His current statistical interests are Applications of Statistical Learning Methods in Medicine, acting mainly in choice of separated models, likelihood and Bayesian inference, time series, regression and survival analysis, neural networks in statistics.

Books

-   PEREIRA, B. de B.; RAO, Calyampudi Radhakrishna.; OLIVEIRA, F. B.;Statistical Learning Using Neural Networks: A Guide for Statisticians and Data Scientists with Python, CRC Press, London, 2020.
-   PEREIRA, B. de B.; PEREIRA, C. A. de B. Model Choice in Nonnested Families, Springer, London, 2016.
-   SANTOS, A. M.; PEREIRA, B de B. Modelos Gráficos e Aplicações. 56a RBRAS e 14o SEAGRO, Maringa, 2011, 56p 1
-   PEREIRA, B. de B. ; RAO, Calyampudi Radhakrishna. Data Mining Using Neural Networks: A Guide for Statisticians. State College, Pennsylvania, 2009. 186 p.
-   PEREIRA, B. de B. ; RODRIGUES, C V C . Redes Neurais em Estatística. Rio de Janeiro:, 1998. v. 1. 144 p. Associação Brasileira de Estatística
-   PEREIRA, B. de B. ; SANT'ANNA, A. P. . Análise Econométrica de Séries Temporais. Rio de Janeiro:, 1989. 343 p. IM/UFRJ
-   SALES, P. R. H. ; PEREIRA, B. de B. ; VIEIRA, A. M. . Identificação e Estimação Recursiva de Modelos de Séries Temporais Uni e Multivariadas. Rio de Janeiro: 1989. 60 p. 3a ESTE, Rio de Janeiro.
-   PEREIRA, B. de B. ; PAIS, M. B. Z. ; SALES, P. R. H. . Análise Espectral de Séries Temporais: Uma Introdução para Engenharia, Economia e Estatística. Rio de Janeiro: 1986. 109 p. Arte Final e Eletrobrás
-   PEREIRA, B. de B. . Séries Temporais Multivariadas., 1984. 219 p. Associação Brasileira de Estatística
-   PEREIRA, B. de B. Tópicos em Séries Temporais: Métodos Automáticos de Previsão. PDD 07/80 COPPE/UFRJ. Rio de Janeiro, 1980

[1] http://buscatextual.cnpq.br/buscatextual/visualizacv.jsp?id=K4783624H9

[2]

[3] http://isi.cbs.nl/ISImembers/c.asp?First_name=&Family_name=Pereira%2C++Basilio+de+Bragan%E7a

title: Basilio de Bragança Pereira

question: What does the article say about how neural networks function?

answer: No answer

critique: The article does not explain neural networks, but it does say that Basilio de Bragança Pereira is interested in their applications in medicine.

critique: The article does not discuss neural networks in detail.

critique: The article does not explain neural networks except for inferring that included in the topic of neural networks. The information is not in the article.

question: What part of Pereira's education is more prominent in his role as a Titular Professor of Biostatistics?

answer: Pereira's Ph.D. and D.I.C. from the Imperial College of Science, Technology and Medicine (1976) is more prominent in his role as a Titular Professor of Biostatistics.

critique: The answer should be clearer about the role of the Ph.D.

critique: The answer should note that the Ph.D. is the most prominent.

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

critique: The Ph.d and DIC aren't more prominent than the MSSc in OPERATIONAL RESEARCH. The MSSc should get equal "prominence" in the answer.

critique: "is more prominent in his role as a Titular Professor of Biostatistics." - there is no evidence that supports that his Ph.D. is more prominent. The answer should be rewritten.

critique: The answer should be clearer about the role of his Ph.D.


text:
   Rain was falling hard against his bare back. It was dark and the disfigured shapes of naked trees danced around him. Their branches brought to life by the wind seemed to reach for him with gruesomely long and slender fingers. The rain collecting in puddles and streaming along the fallen branches, rocks and tentacle-like roots made them look like crawling creatures from the underworld that were always hiding under the cover of darkness. There were no stars and the moon was blocked by thick clouds that were pouring over the sky like a river of melting tar. The only light present was the one glistening in his blue eyes. It was truely an unsettling and spooky place to be this time of night, but he couldn’t enjoy anything more than going hunting in a night like this.
   Steam rose from his wet skin as he was standing in the mucky water and listening for a prey. The constant shower of rain filled the air with a damp smell of mud and the sound of whispers from far away. Then he heard it. Something was out there… and it was his to play with. He closed his eyes and inhaled a deep breath opening his claw-like hands eager to drive them through his victim.
   He crouched and leaned forward targeting the prey. He didn’t have that much problem seeing at night so he knew exactly where to go. He moved swiftly and without a sound like a shadow blending with the darkness. As he was getting closer he jumped over a large tree that had fallen long time ago and landed on his hands making a silent roll in the wet mud. Soon after he rose, the rain had already washed away the dirt and he continued the chase. Finally he was close enough to hear a heartbeat. It was raging fast as the owner of it fled through the woods, jumping over fallen trees, running around bushes and occasionally tripping over various objects including her own feet.
   He paused to take a better look at what he was chasing and as he did his eyes brightened. If anybody had been looking his way, they would have seen a pair of dark blue eyes burning in the night and nothing more.
   Once he knew what he was up against he chose to sneak past the girl and attack from the front – face on. No grabbing by the leg or any other cowardly moves. It shouldn’t be too difficult, he thought. After all, he was much faster, didn’t make a lot of noise and had a great night vision. The hunt was on.
   He picked up his pace maneuvering through the woods, sometimes jumping so high over things it seemed as gravity had no effect on him. The sound of rainfall overcame the sound of his steps and he started to enclose on the girl. She was now on his left, so close he could smell the adrenaline rushing through her veins and the smell was sweet. He couldn’t help but to look at her as they were running just a few pitch black feet aside from each other. And then she threw a look at him. Two bright blue eyes were glaring at her from the darkness so close she could have touched them. She turned away and lost all sense of reality while screaming until out of breath.
   He should have closed his eyes before the girl saw them, but he didn’t and it made him regret he had moved so close to her before time. Now she had turned away from him and ran even faster. Still, this was no problem for an experienced hunter like himself. He leaped forward and smashed his claw in a tree to make a quick turn. He jumped up and swung from one tree to another with such power the bark fell to the ground like burned ash. He made his way over the girl and jumped forward extending his arms like a prowling hawk. He landed and rolled in a ball of black mist in front of her. Once he stopped he was facing her and leaped forward before she even came to what was happening.
   He flew past her so close he wiped off some rain drops from her cheek. As he went by he started to rotate and behind him formed a black cloud that covered his feet. And finally he had the chance to rip his pray to pieces. His claws grew longer right before they slashed the demonic flesh of the slithering beast that had been tormenting the girl and chasing her through the forest. The beast was stunned, wounded and obviously angry. It let out a horrific howl that turned into chilling screams of every soul it had eaten and made a screeching sound by chomping and grinding its sharp teeth together.
   The girl was frozen with fear but she wanted to run. It was a fearsome feeling but she was amazed by the two creatures. The dark creature with flaming blue eyes floating around followed by a cloud of darkness blocking her from the growling beast whose breath turned into white smoke.
   The beast roared once more sending chills down her spine and attacked the dark creature trying to pulverize him with its horns. As soon as they got close, the blue-eyed creature span into a spiral around the demon creating a dark blue tornado lifting it up. He drilled his claw right through the demons chest and drove him to the ground. As he did, the dark spiral ended and blue light shone from his eyes and the hand penetrating the demon. Blue-eyed creature lifted his other hand to the sky and it too shone blue. Then suddenly waves of white lights traveled through his hands and went shooting for the sky. When the last soul had left the demons flesh Blue-eyed levitated above him and raised his hands that were radiating with blue light and then slammed them into the demon once more pushing him into the ground and out of this world. Then the light faded.
   Blue-eyed turned to the girl and smiled. That was the creepiest smile she had ever seen for it was given by a skeleton rabbit with long slender ears and burning blue eyes. But she smiled back and the creature disappeared in the dark.

title: Nothing to fear in the dark.

question: Summarize how Blue-Eyed defeats the demon.

answer: Blue-Eyed uses a dark blue tornado to lift the demon up and then drives his claw right through the demon's chest. The demon howls and attacks Blue-Eyed, but Blue-Eyed spins into a spiral around the demon creating a dark blue tornado lifting it up. He drills his claw right through the demon's chest and drives him to the ground. Blue-Eyed then lifts his other hand to the sky and it too shines blue. Then waves of white lights travel through his hands and shoot into the sky. When the last soul leaves the demon's flesh, Blue-Eyed levitates above him and raises his hands that are radiating with blue light and then slams them into the demon once more pushing him into the ground and out of this world.

critique: The answer is a summary of the entire story, not just the part where Blue-Eyed defeats the demon.

critique: The response repeats itself and contains lots of information not needed for the exam question.

critique: The response is a copy/paste of the passage and needs to be re-written.

critique: The response contains a lot of unnecessary information.

critique: The last two lines of the response are unnecessary and confusing.

critique: The response contains inaccurate information.

critique: The answer is a summary of the entire story, not just the demon-fighting scene.

critique: The highlighted portion of the response is inaccurate. Blue-Eyed does not use a dark blue tornado to lift the demon up. He uses a dark blue tornado to lift the demon up and then drives his claw right through the demon's chest.

text:
-'Blue-Eyed uses a dark blue tornado to lift the demon up and then drives his claw right through the demon's chest. The demon howls and attacks Blue-Eyed, but Blue-Eyed spins into a spiral around the demon, creating a dark blue tornado lifting it up.' Actually, according to the story, the Blue-eyed creature slashed the demons flesh, causing him to howl before the demon leapt to attack blue-eyed with his horns and then Blue-eyed ran his fist into the demon's chest. Consider rewriting it this way.

-'...lifting it up.' Consider removing 'up' because it is redundant.

category: coherence

question: Summarize how the girl processes what happened after Blue-Eyed leaves.

answer: No answer

critique: The girl is frozen with fear but she is amazed by the two creatures.

critique: The girl is frozen in fear, but she is also amazed by the two creatures.

critique: The girl was frozen with fear but she wanted to run.

critique: No response is given and a response needs to be given.

critique: The girl is frozen with fear and amazed by the two creatures.

critique: The girl was frozen with fear, but was amazed by the two creatures.

text: The answer should state that the story does not discuss how the girl processed what happened after Blue-eyed left.

question: Summarize the girl's feelings.

answer: The girl's feelings are not explicitly stated. She is afraid of the beast that is chasing her, but when she sees the blue-eyed creature defeat the beast, she is amazed.

critique: The girl's feelings are explicitly stated. She is frozen with fear.

critique: "The girl's feelings are not explicitly stated." - it can be implied that the girl was frozen with fear and amazed by the turn of events. She was probably afraid as well. Rewrite the sentence to reflect this.

critique: It is omitted that the girl is frozen with fear.

critique: The girl is not explicitly stated to be afraid of the beast.

critique: The girl's feelings are explicitly stated.

question: What does the story say about how Blue-Eyed uses his claws?

answer: Blue-Eyed uses his claws to rip his prey to pieces. He uses them to slash the demonic flesh of the slithering beast that had been tormenting the girl and chasing her through the forest. He uses them to drill his claw right through the demon's chest and drive him to the ground. He uses them to lift the demon up and slam him into the ground.

critique: Doesn't mention piercing the demon's flesh after getting past its horns.

critique: The line about the claw lifting the demon up and slamming him into the ground is redundant.

critique: The answer should mention that Blue-Eyed uses his claws to kill the demon.

critique: The answer omits the use of the claws to kill the demon.

critique: The answer should mention the blue light that shines from his eyes and hand.

text:
-'He uses them to drill his claw right through the demon's chest...' What does he use to drive his claw through the demon's chest? This line should be rewritten for clarity.

-It should mention that Blue-eyed's claws grew longer right before he slashed the demon's flesh.

category: other

category_text: Coverage and coherence.


text:
“BETTY'S BABY BUMP” is the 16th episode in the second season, and the 39th episode overall, of the American dramedy series _Ugly Betty_, which aired May 8, 2008. The episode was written by Dawn DeKeyser from a teleplay by Bill Wrubel, and directed by Linda Mendoza.

Plot

The story begins with a romantic dinner between Betty and Henry, only to be interrupted by Charlie. Frustrated by Charlie's interference, Betty tells Henry that the only way to solve this problem is be around Charlie, so Betty switches gears with rival Charlie and tries to befriend her by first accompanying Charlie to her yoga class. However efforts to befriend her during the yoga class failed, resulting the yoga instructor throwing them out of the class. Then Betty decides to throw a baby shower. Charlie does everything in her power to make Betty miserable by complaining about all the littlest things. Despite efforts by Henry to start a long distance romance, Claire tries to put a little sense into Betty by pinching her elbow and to let Betty know that she will have to give up her future with Henry eventually. At the baby shower, Betty finally confronts Charlie, only to have Charlie tell Betty that her water broke. They soon share a sweet moment of reconciliation before she has her baby. Henry then arrives and witnesses the birth of his son, but as the rest of Betty's family look on, Betty soon realizes that she cannot keep a long distance relationship with Henry while he has a child.

Meanwhile, Hilda confronts Justin's PE teacher when she learns Justin is flunking gym. Coach Diaz expresses his belief that everyone should benefit from some exercise so he decides to fail Justin for constantly skipping class. Justin is not happy about Hilda confronting Coach Diaz, so Hilda invites him to the salon for a haircut. Hilda admits to Betty that she had a crush on Coach Diaz, but things turn worse when Hilda got distracted and nick the coach in the ear during his haircut visit. After that incident she goes down to the school and talks to the coach to apologize. He then tells Hilda that he will pass Justin if Justin help out with the choreography for the cheerleading squad. Afterwards, Hilda asked for his first name, to which he says its Tony. It looks like Hilda has all of a sudden fallen for him.

Daniel unravels after his break-up with Renee and has affected his work at _MODE_ and it is not sitting well with Claire, Alexis or Betty. So he reluctantly sees a shrink who he would later have sex with. After a night of sexual escapades that resulted in his wallet getting stolen, Daniel shows up at the Suarezes asking for money. After a walk with Betty's father Ignacio, Daniel learns that he should find himself something that he can be passionate about. Later he returns to the office to help Claire and Alexis with the upcoming issue.

Christina finally learns who fathered the baby she's carrying for Wilhelmina during a medical checkup. She runs away to her apartment, where her husband Stuart was staying, after she sees the name of the father (Bradford Meade) on the sonogram at the doctor's office. While she was there, Stuart tells Christina that she has Wilhelmina in a weak spot and should bargain her for the baby. When Stuart calls Wilhelmina over, Christina runs away (to Betty's place for advice) saying that there is a baby to think about, but eventually returns to Wilhelmina saying that she will have the baby if Wilhelmina promises to care and love the baby and give it everything it deserves.

Soon, Wilhelmina, who had been using this baby ploy as part of her “comeback” to _MODE_ via media exposure, takes that advice from Christina to heart, then visits the Meades and reveals that she is having Bradford's baby by showing the sonogram over the _MODE_ logo and that she will give it exactly what it deserves: A third of the Meade empire.[1]

Production

This episode marks Eddie Cibrian's debut as a recurring character Coach Anthony Diaz. Cibrian was expected to become a regular in the third season, but eventually ended his role early in season 3 instead. This also marks Jayma Mays' last episode as Charlie. Cibrian and guest star Kari Matchett were also regulars on the short-lived 2005-2006 ABC sci-fi series _Invasion_.

Reception

Quotes _Entertainment Weekly_'s Tanner Stransky about this bittersweet episode: “In this situation, my concern is squarely for Betty: Is the girl even considering her own happiness? She's the one having to make the concessions if this arrangement goes forward. Since the new baby needs his father around, Henry will have to be away — all the way in Tucson. But if Betty and Henry are going to be together forever, one would assume that they, too, would have children one day. What happens then? Does Betty have to move to Arizona so she can raise a family near Henry? Leave her own family and career behind? Or raise her children alone? Or would she and Henry wait 18 years until this new little tyke heads off to college and Henry can come back to New York? Thankfully, I think Betty realized all this at the episode's heartbreaking end — she cried and hugged Ignacio as Henry gleefully held his new son at Charlie's side. Just as her heart was being ripped out, mine was, too. But Betty knows what she has to do, which is, without question, break up with Henry. She should take comfort in the fact that Claire Meade is always around if she ever feels like backsliding into Henry's arms.”[2]

Ratings

As with the previous episode, this one also scored a 5.6/9 rating in the United States.[3]

Also starring

-   Eddie Cibrian as Coach Anthony Diaz
-   Jayma Mays as Charlie
-   Derek Riddell as Stuart McKinney

Guest starring

-   Rob Brownstein as Dr. Weiss
-   Kari Matchett as Dr. Wallace
-   Brandon Johnson as the paramedic
-   Jennifer Say Gan as the instructor

[1]

[2] From EW.com

[3] From zap2it.com

title: Betty's Baby Bump

question: What does the excerpt say about babies?

answer: The episode begins with a romantic dinner between Betty and Henry, only to be interrupted by Charlie. Frustrated by Charlie's interference, Betty tells Henry that the only way to solve this problem is be around Charlie, so Betty switches gears with rival Charlie and tries to befriend her by first accompanying Charlie to her yoga class. However efforts to befriend her during the yoga class failed, resulting the yoga instructor throwing them out of the class. Then Betty decides to throw a baby shower. Charlie does everything in her power to make Betty miserable by complaining about all the littlest things. Despite efforts by Henry to start a long distance romance, Claire tries to put a little sense into Betty by pinching her elbow and to let Betty know that she will have to give up her future with Henry eventually. At the baby shower, Betty finally confronts Charlie, only to have Charlie tell Betty that her water broke. They soon share a sweet moment of reconciliation before she has her baby. Henry then arrives and witnesses the birth of his son, but as the rest of Betty's family look on, Betty soon realizes that she cannot keep a long distance relationship with Henry while he has a child.

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

critique: The answer should mention that the baby is Betty's.

critique: The bit about Betty and Henry's relationship is irrelevant to the question.

critique: This response is not related to the question, and the question is asking about babies in the episode.


text:
The Beginning

The leaves fall relentlessly through sheets of rain. A boy rushes to get to the subway. Past the shallow puddles on the sidewalk, not giving a second glance at people on the street, he sprints down the stairs and into the underground network.

The boy is trying to make it halfway across the city, a one-train trip, only three stops, and the next one won’t come for another hour. A backpack slung over his back, it’s contents being a science textbook and a book entitled *Violin: From Crescendo To Concerto*, he is headed to a five o’clock violin lesson, directly followed by an hour long math tutor, and finally practicing his lines for the school play, *Hamlet*.

The young man is halfway to the station when he realizes he is five minute early. You would think that this would relax him, give him a moment of peace, but no. It only further increases his anxiety. Horrible thoughts of a broken train or a flooded tunnel fill his mind. He sits down, anxious beyond measure,and doesn't even notice the quarter fall from his pocket. He sees it, and upon realizing that it's his he springs up and walks towards it.

Too late however, a man bundled in various winter coats and another coat of grime bent down and grabbed it.

"Excuse me, sir," the boy says to the man.

The man walks on a if he hasn't heard him.

The boy repeats himself, louder than before, "Excuse me, sir!"

The man stops and looks behind, giving the sense that he has not heard the boy yet another, more subliminal sense, suggesting that he had.

"What is it you want, boy?" The man gives him a hard stare, as if daring him to say more.

The boy stutters, "I, um, the coin, it's um, mine could I-".

The man snaps at him, "Cut to the chase, boy! You won't get anywhere with that second-guessing cinder block up there between your shoulders!"

"I'm sorry sir, it's just that coin you picked up from the ground, it' mine."

The man offers sarcasm, "Well, such a *strong-minded* individual such as yourself who *obviously* shows very *plain* leadership qualities ought to have everything that is rightfully his, shouldn't he?" The man tosses the coin into the boy's outstretched hand and turns away.

The boy knows he shouldn't interfere with the man anymore, he was an odd type and gave him a bad feeling, but his attitude perplexed him more than anything and he wanted to know more.

"Excuse me, sir!", he calls out once more.

The man turns back, a look of vexation crossing his face.

"What is it you want now boy, is it the dollar I have hidden up my sleeve, or maybe the roll of dimes in my coat pocket?"

"No sir, I'm sorry for asking, but what is it that has you so flustered?"

"Flustered! I said nothing that implied my being flustered! What makes you assume that?"

"It's just, you seemed very cross at departing with that coin and-"

"I wasn't cross with the *coin*, I was cross with *you*, boy!"

"What have I done to offend you?", said the boy, trying not to express his own offense.

"You don't have the right look about you boy. Your gait's hurried, your fingers are restless, and your voice box's barely flickering with power."

"Why is that a problem, sir?"

"See, look at that! You're supposed to get up in my face, show some anger, something! Who taught you to be so soft-spoken?"

"Well, my parents taught me the rules, and I follow them in school."

"That's *despicable*! Tell me, boy, what happens if you do follow these *rules*?"

"Well, I've been told I'll have a happy life with a good job and lots of money." The whole time the boy has stared into space, hardly blinking.

"Lies!", the man shouts, "I'll tell you something, boy, not because I want to, but because you need to hear it."

"What is it then?"

"You're working for an empty cause. The lies they tell you is to keep your potential hidden, to make sure you work for them, not vice versa. You busy a lot?"

The boy nods.

"Just as I thought, they're really distractions. Who really cares if you can play Beethoven's 5th, can you choose between right and wrong. Can you see that there is something beyond what you know, something greater that valedictorians and diplomas, or will you live your life as another worthless human being?"

The boy is startled. Things are starting to make sense. "I'm afraid I don't quite follow you, sir."

"Tell me boy, do you do the things you do because you want to or because of this better life thing?"

The boy is too stunned to speak.

"It's like a modern *carpe diem*, boy. Every day wasted is a day you gave to them, do you want to continue to live like this?"

The boy shakes his head no.

"Neither do I, boy. But you're younger than me. You have a better chance at bringing about the change than I do. We cannot have these ideals yet, we have to work towards them, and maybe one day we will amount to something."

"I'm sorry, who's "we"?"

That moment his subway rolls into the station. The man smiles at him. "Remember what I said."

The boy gets into the subway. He turns back to get a glimpse of the man. He does. He also notices a tattoo on his arm that he didn't notice before. An "A" with a circle around it. Then the man vanishes from sight, into the crowd.

The boy sits down and opens his backpack. In it, along with it's previous contents, is a bunch of papers stapled together, a book called *Against the Logic of Submission* by Wolfi Landstreicher. IT looks as though it was printed by a home printer. The boy begins to flip through it when he notices a piece of lined paper, poorly torn out of a notebook, probably. It has one simple address: 818 SW 3rd Ave., PMB 1237 Portland, OR 97217.

With the address and the papers the boy slowly begins to awaken over the next few weeks. He realizes to the full extent what the man was saying. He begins a plan.

He leads the revolution.

title: The Beginning

question: What does the story say about the qualities that make a good student?

answer: No answer

critique: The answer should mention that the boy is a good student because he follows the rules his parents taught him.

question: What does the text say about the old man?

answer: The old man is a man who has a lot of experience in life. He has a tattoo of an "A" with a circle around it on his arm. The man is also the one who advises the boy about the lies he has been told.

critique: The old man is not a man who has a lot of experience in life.

critique: The man doesn't have a lot of experience in life. He's just older than the boy.

text: The response is missing a few details about the old man, such as the way he was dressed, the advice he gives the boy, his name, and the manifesto he wrote and left in the boy's bag that led to a revolution.

category: coverage

question: What does the story say about the old man's motives?

answer: The old man gave the boy a book called "Against the Logic of Submission" by Wolfi Landstreicher, telling him to lead a revolution. It seems that the old man is an anarchist and wants to stir up some trouble in society. It appears that he is recruiting the boy to join the revolutionary movement.

critique: The old man is not an anarchist. He is an anarchist sympathizer.

critique: The old man doesn't give the boy a book. He only gives him a piece of paper with an address on it.

question: What does the story say about what the revolution was all about?

answer: No answer

critique: The answer should mention that the boy leads the revolution.

critique: The answer should mention the man's advice to the boy.

critique: The answer should mention that the revolution was about the boy realizing that the rules he was taught were lies.

critique: Poor answer. The question was what the revolution was all about, the answer should cover this.

critique: The answer should mention that the revolution was about the boy realizing that he was living a lie.

critique: The answer should mention the book the boy finds in his backpack.


text:
“COLORS” (stylized as COLORS) is Utada Hikaru's 12th Japanese-language single (14th overall), and is the only single she released in 2003. It was released on January 29, 2003 and debuted at number one on the Oricon charts with 437,903 copies sold in the first week, and became her fifth single to achieve two consecutive weeks at the number one slot, a comparatively rare feat. Two versions were released, CD and DVD.

Included as CD-Extras on this single was a multimedia section containing 13 exclusive screensavers and 13 exclusive wallpapers. A special feature on the “Colors” DVD single is the Kanzou-sensei Report, which is a mini-documentary showing the production that went into the DVD, as well as behind-the-scenes shots of Utada working. This single reached number one on Oricon charts and charted for 45 weeks, her longest charting single ever. Though Kazuaki Kiriya was behind the art direction for the single, he did not take an active part as usual, with the single photography going to Kaoru Izima and the PV directing going to Donald Cameron. On the cover and the inside covers, there are drawings done by Utada herself (some designs include musical notation, the word 'yes' and a drawing of the Vatican). It became the third-best selling single of 2003 in Japan.

“Colors” had an extremely long performance season, which included 11 performances spanning over two months (except for the last performance, which was a special). This single reached number 27 on the World Charts for single airplay, and reached number six for sales. The most recent figures (May 25, 2006) show that the single sold 893,790 units in total.[1] The song featured heavy ethereal and experimental tones for the first time in Utada's discography. It became her longest charting single ever with a 45-week trajectory on the Oricon Singles chart, selling 881,000 copies, and was number three on the Yearly Singles chart.

“Colors” was performed during Utada's two date concert series _Wild Life_ in December 2010.[2]

Commercial tie-ins

Two special remixes of “Colors”, an orchestral version and “Colors” (Godson Mix) were produced to promote the Toyota WISH in Japan, Taiwan, Thailand and Malaysia. These remixes are not included on this single or any of her releases.

“Simple and Clean” was the theme song for the US releases of _Kingdom Hearts_, _Kingdom Hearts: Birth by Sleep_, and _Kingdom Hearts: Chain of Memories_ instead of “Hikari”.

Track listing

TV performances

-   [2003.01.12] CDTV
-   [2003.01.29] Viewsic
-   [2003.01.31] Music Station
-   [2003.02.05] Sokuhou Uta no Daijiten
-   [2003.02.06] Ax Music TV
-   [2003.02.08] Pop Jam
-   [2003.02.08] CDTV
-   [2003.02.13] Utaban
-   [2003.02.17] Hey! Hey! Hey!
-   [2003.03.03] SMAPxSMAP
-   [2003.12.17] Asahi Special

Charts

JAPAN (ORICON)

  Release                        Chart                        Peak position   Sales total   Chart run
  ------------------------------ ---------------------------- --------------- ------------- -----------
  January 29, 2003               Oricon Daily Singles Chart   1
  Oricon Weekly Singles Chart    1                            800,790         45
  Oricon Monthly Singles Chart   1
  Oricon Yearly Singles Chart    3

[1] Colors - Wiki.theppn

[2]

title: Colors (Utada Hikaru song)

question: What does the text say about Utada Hikaru's song Colors?

answer: Colors is Utada Hikaru's 12th Japanese-language single and 14th overall. It was released on January 29, 2003 and debuted at number one on the Oricon charts with 437,903 copies sold in the first week. It was her fifth single to achieve two consecutive weeks at the number one slot.

critique: The response should include more details about the song.

question: What does the text say about Utada Hikaru's life?

answer: No answer

critique: The answer should mention that the text does not mention anything about Utada Hikaru's life.

critique: The response misses to mention that the text does not cover Utada Hikaru's life.

critique: It is omitted that Hikaru is a musician.

critique: The response misses to answer the instruction in the task.