text:
_I DISMEMBER MAMA_ (also known as _POOR ALBERT AND LITTLE ANNIE_ and released in the UK as _CRAZED_), is a 1972 American horror film written by William Norton and directed by Paul Leder. The film centers on a violent sex criminal who goes on a killing spree while watching over the daughter of one of his victims. During its original theatrical release, patrons were given free paper “Up Chuck Cups” with the purchase of a ticket. There is a well-known US trailer advertising a double feature of this film paired with the 1972 horror film _The Blood Spattered Bride_ which was filmed in the style of a news report covering the “story” of an audience member who had gone insane while watching the films.[1] The title is a pun on the famous play _I Remember Mama_.

Plot

Albert (Zooey Hall) has tried to kill his rich, snobbish mother once, for which he was institutionalized. The low-security hospital she has sent him to, however, is not prepared to deal with the extent of his problems. Obsessed with his own hatred for his mother, Albert is dangerously violent toward all women and attacks a nurse, after which his doctor decides to send him to a high-security state institution. Albert easily escapes by murdering an orderly and the police put his mother in hiding after he phones her and threatens her. When Albert returns to his mother's home, he finds her housekeeper Alice (Marlene Tracy), whom he tortures and murders.

When Alice's 9-year-old daughter Annie (Geri Reischl) returns home from school, Albert immediately takes a liking to her and tells her that her mother has gone to the hospital and left him to take care of Annie while she is away. Albert reverts to a childlike persona and they immediately form a friendship, playing games, talking and laughing together. Albert takes Annie on a day of doing activities like riding paddleboats and a small train and that night he takes her to a hotel where they conduct a mock wedding ritual. Albert considers Annie to be a pure “woman” and he truly loves her. When his sexual attraction to her manifests itself while she is sleeping, instead, Albert goes out and picks up a woman in a bar and brings her back to the hotel room. His bizarre sadism comes out again and he murders the woman, but Annie wakes up and sees it happening. She screams and escapes out of a window, climbing down the fire escape with Albert chasing after her. They run into a mannequin factory, where Annie attempts to hide among the figures. Albert sees her, and envisions her wearing makeup like a harlot and decides she is just like all the other women after all. When he attempts to kill her with a cleaver, Annie defends herself by holding one of the mannequins in front of herself. She pushes Albert backwards and he falls out of a fourth story window onto the concrete below. The police arrive moments later and comfort Annie, while Albert lies dying on the ground.

Cast

-   Zooey Hall as Albert
-   Geri Reischl as Annie
-   Joanne Moore Jordan as Mrs. Robertson
-   Greg Mullavey as a detective
-   Marlene Tracy as Alice
-   Frank Whiteman as Dr. Burton
-   Elaine Partnow as a nurse
-   Rosella Olsen as a girl in poolroom
-   Robert Christopher as a man in poolroom
-   James Tartan as an attendant

Production

_I Dismember Mama_ was directed by exploitation filmmaker Paul Leder. Principal photography began in 1972 under the title _Poor Albert and Little Annie_,[2] with a planned release date that same year.[3]

Release

Home media

The film made its DVD debut on April 21, 2009, and was released by Substance.[4]

Critical response

TV Guide panned the film calling the film's production “shabby” but also noted that actor Zooey Hall's performance as Albert as “interesting”.[5] Author and independent filmmaker John Kenneth Muir awarded the film one out of a possible four stars, commenting that, although the performances were solid and it was technically well made, the film's theme of pedophilia went too far, to the point of being exploitative. On this theme, Muir wrote, “_I Dismember Mama_ makes one feel dirty about watching because its main concern is not just violence, but sex. The film makes it plain that Albert sees little Annie as a possible sexual conquest, and that is really disturbing thing to see in a film with no aspirations to be anything but entertainment.”[6] Joseph A. Ziemba from _Bleeding Skull!_ gave the film a negative review, writing, “_I Dismember Mama_ is somewhat suspenseful and definitely bizarre. However, given the subject matter and so-so execution, it’s not something I’d ever want to see again.”[7] Blockbuster Inc.'s _Guide to Movies and Videos_ rated the film one out of four stars, calling it “junk”.[8]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

title: I Dismember Mama

question: What does the text say about the critical response to the movie?

answer: The TV Guide panned the film calling the film's production “shabby” but also noted that actor, Zooey Hall's performance as Albert as “interesting”. Author, independent filmmaker John Kenneth Muir awarded the film one out of a possible four stars, commenting that, although the performances were solid and it was technically well made, the film's theme of pedophilia went too far, to the point of being exploitative. On this theme, Muir wrote, “I Dismember Mama makes one feel dirty about watching because its main concern is not just violence, but sex. The film makes it plain that Albert sees little Annie as a possible sexual conquest, and that is really disturbing to see in a film with no aspirations to be anything but entertainment.”

critique: Repetition of "one out of a possible four stars"

critique: First mention of Muir should have his full name, John Kenneth Muir.

critique: The response contains irrelevant information.

critique: The last sentence is incorrect and should be omitted.

critique: The response contains some inaccurate information.

critique:
"the film's theme of pedophilia went too far, to the point of being exploitative." - this is a bit confusing. It should be rewritten.
"The film makes it plain that Albert sees little Annie as a possible sexual conquest, and that is really disturbing to see in a film with no aspirations to be anything but entertainment." - this is a bit confusing. It should be rewritten.

critique: Move the "theatre" sentence to start the critical commentary, and remove the second sentence.

critique: The film's trailer is quoted, but not the film itself.

critique: The response has omitted critical comments relating to the film.

critique: There are a number of errors that must be corrected. First and foremost, "Zooey Hall's" should be "Zooey Hall's". Second, the answer omits Joseph A. Ziemba whom the text identifies as "Joseph A. Ziemba" and who wrote a review. This line of response should read: "Author and independent filmmaker John Kenneth Muir and Joseph A. Ziemba reviewed the film, both rating it one out of a possible four stars." The line omits mention of Blockbuster Inc. as well, which also rated it one out of four stars. The Blockbuster Inc. rating should be included: "Blockbuster Inc.'s Guide to Movies and Videos rated the film one out of four stars."

critique: The response contains inaccurate information.

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

question: What does the text say about the advertising for the movie?

answer: No answer

critique: There is information about the advertising of the movie.

critique: No response is given. A response needs to be generated.

critique: The advertising is discussed in the article, excerpts from which are used.

critique: No response is given. Marketing for the movie is discussed in the text.

critique: The response misses to mention that the film was advertised with a double feature of this film paired with the 1972 horror film The Blood Spattered Bride.

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

answer: No answer

critique: No answer is given, but the text does mention the film's producers.

critique: No answer is given, but the article does mention the film's producers briefly.

critique: The answer should include the film's producer.

critique: There is no information about the producers.

critique: There is no information about the producers of the film.

critique: There is no answer because there is no information about the producers.

critique: The text does not explicitly mention the producers of the film.

critique: The response misses to mention that the film was produced by Paul Leder.

critique: Nearly all other bits of information are incorrect. Rewrite the response to only say "No answer" and change the following:


split: train

text:
A '''mine-clearing line charge ''' (abbreviated MICLIC and pronounced or “_mick-lick_”) is used to create a breach in minefields under combat conditions. While there are many types, the basic design is for many explosive charges connected on a line to be projected onto the minefield. The charges explode, detonating any buried mines, thus clearing a path for infantry to cross. The system may either be human-portable or vehicle-mounted. The systems do not guarantee clearance of all types of mines.[1]

History

[Laid out line charge being used to destroy surplus ammunition.] The British and Commonwealth developed their systems during the Second World War. The Canadians developed “Snake”, an oversized application of the Bangalore torpedo in 1941 to 1942. A more flexible development was “Conger”, developed in 1944, a tube that could be fired across the minefield and then filled with explosive before detonation.[2]

Conger was a 2-inch woven hose launched by a five-inch rocket. The tube and rocket were mounted in a Universal Carrier which had been stripped out to reduce it down to an armoured tracked trailer that could be towed by a tank, often a Churchill AVRE. The rocket was fired, trailing the hose across the area to be cleared. Compressed air was then used to pump the liquid explosive - just over a ton of “822C” nitroglycerin - into the hose before it was detonated. Conger was used in Normandy where there were instances of premature detonation.[3]

In the postwar period the British introduced Giant Viper.

In 1991, during the First Gulf War (aka the Persian Gulf War) MICLICs, such as the Giant Viper, consisted of rocket launched lines containing roughly 800 kilograms of explosives, stretching some 100 meters long. These MICLICs were used by Coalition forces to penetrate Saddam Hussein's extensive minefield along the Saudi-Kuwait border.[4]

Current use

Systems in current use include the British Python, which can clear a 7.3 m wide by 180–200 m long path, and the American M58 Mine Clearing Line Charge, which can clear an 8 m wide by 100 m long path.[5] Both are large, heavy systems that are deployed in a vehicle-towed trailer. The US Army also uses the Antipersonnel Obstacle Breaching System, which clears a path 0.6 to 1.0 meters by 45 meters, and is light enough to be carried by two soldiers.

Some modern mines, such as the Italian SB-33 mine, have a fuze mechanism that detonates the mine if subject to gradual, steady pressure, but locks the fuze if subject to a sudden shock. This can defeat the use of mine-clearing line charges to clear such mines.

Examples

-   Charge Line Mine Clearing (Vehicle)-Indian
-   UR-77 (УР-77) Meteorit Mineclearing System (rocket launched explosive hose),[6] replacement of the UR-67 system based on the BTR-50PK chassis.[7]

[1] уБРЕТ-5(ETEL) пЗМБЧМЕОЙЕ ТБЪДЕМБ -ЙОЦЕОЕТОБС ФЕИОЙЛБ. index-texnica.html

[2] https://fas.org/man/dod-101/sys/land/docs/981100-schneck.htm

[3] Fletcher, _The Universal Tank_ 1993 HMSO 0 11 290534 X p94

[4] Alberto Bin, Richard Hill and Archer Jones. _Desert Storm: A Forgotten War._ Connecticut: Praeger, 1998, 157. and Roy Boulting. _Modern Warfare: The Persian Gulf War_. Total Content Digital. 2003. DVD.

[5] M58 MICLIC. FAS.org. Retrieved 16 June 2013.

[6]

[7]  Yuri Veremeyev, Zmei Gorinich and URka, Popular Muchanics, May 2007

title: Mine-clearing line charge

question: How does the MICLIC's change over time?

answer: There are mine-clearing line charges for vehicle use, such as the Python, and there are mine clearing line charges for human use. All of them use larger explosives and the more modern ones are more portable than they used to be.

critique: Some are due to the specific type of minefield that the MICLIC is used to clear

critique: It is not stated that the MICLIC's change over time.

critique: Change "are" to "was" to reflect the past tense of the question

critique: The answer does not explain the changes in MICLICs.

critique: The order of mention of each line charge is incorrect.

critique: The answer is not related to the question.

critique: The response is not related to the question.

critique: The response does not address the question and is not useful for the task.

critique: There is no evidence Python isn't human portable.

text: There is no mention of how the MICLIC's change over time. There should be mention of the Conger and the Giant Viper and what makes them different from the modern Python.

category: coverage

refinement: There are mine-clearing line charges for vehicle use, such as the Python, and there are mine clearing line charges for human use. All of them use larger explosives and the more modern ones are more portable than they used to be.

question: What does the text say about warmongering?

answer: No answer

critique: The article states that MCLICs have been used from WW2 to modern times.

critique: No answer is given, however, the text does discuss the use of MICLICs in the First Gulf War.

critique: This question is not answered in the text

critique: No answer is given, but the article contains information about the use of MICLICs, which is a mine-clearing line charge, during the First Gulf War.

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

critique: The term "warmongering" is not mentioned in the article.


text:
I tried to be kind of experimental in the way I wrote it. Please let me know if you think it's silly or good or just meh! It's best read slowly.

Anyway enough of that, here it is:

----

It was the year 250,000,000 BC. It was the year 2011 AD. It was the end of the universe. It was every year, all at once.

A man tunnels inside a mountain using his pickaxe as a woman bites in to a freshly baked bagel. The mountain fractures apart in to pieces that are sent to the coal power plant. The bagels finish baking and the warm smell fills the kitchen in the bakery. The miner coughs and feels slightly ill. The electricity from the coal plant is sold at a rate of 10.96¢/kW•h. The woman pays for the bagel. The baker paid the electricity bill and the woman’s hunger feels temporarily satisfied.

It’s there. The path the energy took. The miner, the coal, the electricity, the bagel, the woman's satisfaction…you see it all. It’s at once obvious and yet mysteriously laden with hidden details.

You see beings, human and other, making decisions in their lives based on the way they experience reality. “How imperfect their information. It feels almost shameful, being trapped such a low-dimensional manner like that. Like a prisoner. Or an insect. Or perhaps Pac-Man, controlled by the joystick. How limited.” you think to yourself, as if there were anyone else to think it to.

It’s all twisting and folding, wiggling around and too impressive to take in at any one moment. Its pores breathe with life at the biggest and smallest of scales, each scale cooperating with all the others in surprising ways to produce layers upon layers of interwoven complexity. “Oh… if only the beings trapped in this thing could come outside it for a second and see it from this perspective” you think, soaking in the richness of detail available in this oversized fractal. The biggest and smallest sizes have a difference of several hundred orders of magnitude, yet it seemed most humans only used a few of them. Silly humans.

You fly around and zoom and expand certain portions of time and space, examining some parts of the 4-dimensional block with more scrutiny. You pass through it and around it like a ghost while occasionally grabbing on to edges to pivot around, floating like an astronaut outside the space ship. Except you were outside the universe.

The universe exploded in to existence at the start, you see. And the end showed the last souls blowing out their final breaths, silently giving homage to every being that had ever died before them. Somewhere else, it was a balmy 86 degree day in southern Florida as a few gentlemen went fishing in a boat one of them was still making loan payments on.

“A lot of them seem to take the game quite seriously, this game of being.” You look around some more, pinching and grabbing the multi-textured styrofoam-like contours of this crazy 4D thing, romantically grasping as if your hand holds were jacket lapels on the coat of a lover. There’s so much emotion and hurt and suffering and pain, while also harboring unbelievable joy, compassion, beauty, and peace. All more or less self-contained in this one object, what a marvel!

You fly to a different place. The United States president gave a long awaited speech to millions of diversely-opinioned citizens while inside their bodies billions of glucose molecules metabolized as they processed the words rolled to them down the social hierarchy from above. The atoms the people were made of seemed to buzz with imprecise possibility, as did their states of minds. The decision was made, and the action was performed by the government. The people had mixed opinions about the results.

Then, out of nowhere, there’s a pulling. Away from this thing in a manner that didn’t seem controllable or comprehendible in that moment, like the rug was jerked out from under your feet or the chair accidentally leaned too far back. You were in freefall, away from what was familiar. It had been happening the whole time, but you had only just realized it was going on. You reach out to this thing in desperation, this giant marvelous complicated life-giving thing, and yet the metaphorical lapels slip from your fingers. It’s so pretty you want to look at it forever.

The pulling persists. It seems as though you have angered a strange form of gravity. There’s a sense of confusion and slight panic.

You cling on to this 4D network of form and ideas and lifestyles and meaning and values. You try so hard to keep it from leaving you. In the last moments you see a human, a specific one. This human was you. Or… you thought it was you. But now you're up here.

You are dying. Or you died. You remember now. It’s hard to tell which, causality didn’t seem to have the same meaning here. It seemed to just happen moments ago. There was a strange feeling. “Oh well” you laugh to your ever-changing self. What a farce. What a beautiful farce.

The universe leaves your hands and you plummet away from it.

At that moment of letting go, you briefly forget you were ever alive to begin with. You began to exist in a new way you’d forgotten was possible. You became it, it became you, and all was forgiven. All love and compassion, no divisions or walls. Not just this marvelously complex life-giving 4D thing either, but all the other things too. *All of them*. “Welcome back!” reality said to itself, to you.

You realized you had won the war, whatever that was about. What’s the point in fighting if there is no disagreement? You dissolve in to it like a drop of ink dissolves in to the entire ocean.

The coal miner exhaled the last puffs of poisonous carbon monoxide as he passed out from asphyxiation inside the mountain. “That bagel was delicious.” said the woman at another time and place. And she was right, it was delicious.

title: A short story [x-post from /r/Buddhism]

question: What does the story say about the man carving the mountain?

answer: The man tunnels inside a mountain using his pickaxe as a woman bites into a freshly baked bagel. The mountain fractures apart in pieces that are sent to the coal power plant. The bagels finish baking and the warm smell fills the kitchen in the bakery. The miner coughs and feels slightly ill. The electricity from the coal plant is sold at a rate of 10.96¢/kW•h. The woman pays for the bagel. The baker paid the electricity bill and the woman's hunger feels temporarily satisfied.

critique: The answer should mention that the man is dying.

critique: The answer is a summary of the story, not a description of the man carving the mountain.

critique: The answer is a summary of the entire story. It should be omitted.


text:
Time for some shit you don't want to hear.

We've been so busy playing defense I neglected to tell you everything, and I'm sorry for that but if you knew everything then you might not have tried anything I suggested.

And I want you to survive.

But now, you've tried these things and perhaps after trial and error you've got some of them to work better then others. So we kind of have a little trust going on.

You've accepted that the repeating demon voices in your head originated from some brain wave radio machine, and after accepting that was able to prevent, maybe even stop that loop entirely. You've found your calm little circle that helps you identify outside influences and your decision making process has become significantly easier. We did all that without even thinking about why we where doing it, like a thirsty nomad digging in the desert for water without understanding why the water table is underground just knowing the water will be there.

So why? Why did we go through all that?

Here's the fact.

If it's technological, that means someone has to work a machine. Most likely a team of people, much in the same way a team of people spies on a foreign country. Previously we couldn't address our assailants, as they where a random loop broadcast over the radio waves instigated by some anonymous hand. No, we couldn't address the loop because we thought the loop ourselves, or another sentience, but a loop will never address you back you see. But we can talk to the hand, oh yes we can.

The new dialogues happening in your head that flow so smoothly as though you where talking to yourself, they originate from the same kind of machine. Only now that machine has a sentient operator. A human being say, recently graduated from some college somewhere, hired on to defend the state against it's enemies, recruited to conduct R&D research on possible future weapons and population controls. He is part of an organization, a cog in a machine. He has superiors and possibly subordinates, but that voice trying to destroy you or manipulate you into things you're unsure of is not the devil or god. It is a man behind a machine.

And he feels as immune to you as drone pilot operators feel immune from retaliation from the people they target in countries so far away.

He has probably been told that for whatever reason you deserve what is happening to you, so he is relentless in his attempts. He is part of a organizational machine and probably worked hard his whole life to be doing what he's doing, going through all sorts of conditioning and screening to be sure he is capable of driving a fellow human being mad and possibly to suicide. We should not feel bad for this man. He has wanted this his whole life and you, you are the unfortunate victim of his desires and the desires of his superiors.

They know the loops can be enough for suicide if not caught in time and they know that this new technique is even more lethal.

I would go into why, but you already know why. No one believes you but maybe you.. and apparently this anonymous writer on the internet. You're the only one who can hear them and if they're past the loops that means they're researching you. They're learning about you. They go through your books, your old school papers, your religious beliefs. They'll watch you at work if possible and conduct passive to aggressive interviews about you with your friends and family. Everything you have ever known or ever believed will be turned upside down and used against you.

Seriously though, calm your tits. You've made it this far, you've practically got this in the bag. You've been working out.

Time to shake shit up.

So, here is this person, sitting comfortably in his office over some elaborate machine, probably watching you on some form of viewing device. He chuckles to himself when he gets you to fail, or stumble, or be awkward in conversation. He probably gets raises and promotions if you collapse and are institutionalized or kill yourself. He's probably getting paid by your tax dollars. If he's good at it he probably has a team he directs, full of young trainees longing for his status within their organization.

He is aware of technologies the commercial public may never see. He is aware of knowledges you will never learn outside his organization and he is privy to secrets presidents and emperors are ignorant of. He is confident and assured in his position. He has (at this point) watched and reviewed you using the bathroom, taking a shower, masturbating, flirting, crying, laughing, etc. and despite his knowledge of your life, probably even better than you remember, he doesn't see a beautiful individual desperately trying to find some kind of happiness in this world.

He sees a disgusting train-wreck of an unambitious loser barely plodding his way through life. You will never be as important as he is. He is so clearly your superior. It doesn't matter if you're a doctor, a president, or a heroin junkie. He, with the help of his cameras and investigations and the use of his machine to push you around so easily, how weak you are to his device, to him. He has put you in a jail no one else can see. He has been silently beating you in a corner and over time you will act like someone who has been repeatedly abused. Therapists will divulge false or 'hidden' memories as an explanation and that may calm you for awhile, but he will persevere in his purpose.

And so, he sits in his comfortable office, this anonymous untraceable (or so he thinks) assassin, and reviews your documentation and personality profile seeking the next new thing to wear you out with. Perhaps he puts his headset on so he can hear your superficial inner voice, your cognitive voice, and engage in dialogue with it as though he were you. He leans over his microphone and engages directly with your mind, assured that he is unreachable and unknown.

But that machine. That machine that is your curse and the cause of your despair has also been your exercise bike. You've been running around the world while this man has been flown in private jets and been driven by drivers in fancy cars.

This man has no idea how big he has made you.

He thinks he needs the machine, that the machine is the only way. You and I know better. Well, I do, you're about to.

Your going to stand at the edge of your circle, your gonna look at that light, or hear his voice, and your going to travel back with it, right to his machine. And from his machine your going to step right on top of his circle, and you going to say "Hello, who are you? Please stop what your doing."

And he's going to hear you.

And he's going to lose his mind.

title: This is Not a Guide for Beginners (Part 4)

question: What does the text say about survival?

answer: No answer

critique: The response misses to mention that the narrator is trying to teach the reader how to survive the man behind the machine.

critique: The answer should mention the narrator's goal of helping the reader survive.

critique: The response misses to provide an answer to the task.

critique: The question asks for the answer, so it shouldn't be left blank.

question: What does the text say about "him"?

answer: The text says that "him" is the man behind the machine. He is part of an organization and works hard his whole life to be doing what he's doing. He is relentless in his attempts. He is a cog in a machine and has superiors. He has been told that the narrator deserves what is happening to them. He has a team of young trainees longing for his status. He is privy to secrets presidents and emperors are ignorant of. He is confident and assured in his position. He has been silently beating the narrator in a corner. He thinks he needs the machine, that the machine is the only way. The narrator is going to travel back with the machine and step right on top of his circle.

critique: The answer is a summary of the entire text, not just the part about "him".

critique: The answer begins with "he" instead of "him" and could be corrected as such.

critique: The answer is a summary of the entire text.

critique: The text does not say that the narrator is going to travel back with the machine and step right on top of his circle.

critique: The narrator has already been traveling back with the machine and stepped on top of his circle in their previous encounter.

critique: The answer is a summary of the whole text, not just the part about "him".

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

answer: The story says that the machine is a brain wave radio machine that causes voices in the narrator's head. The voices that the narrator hears are looping and repeating. The looping voices are caused by a machine that is being operated by some man. The story says that the machine is the only way the man can operate the machine.

critique: We don't even know that it's the only way he can operate the machine, it just may be the easier way.

critique: The story doesn't say that the machine is the only way the man can operate the machine.

critique: The answer is a bit inaccurate and confusing.

critique: The narrator is not hearing voices, the man's voice is being broadcast over the machine.

critique: The first sentence of the answer is redundant and should be omitted.

critique: The answer should mention that the man is operating the machine to drive the narrator mad.

critique: The answer should mention that the machine is used to drive people mad.

question: What does the story say about who is begging?

answer: No answer


text:
On this particular chilly Eugene evening, I am on a bus headed for campus. Park lights illuminate the Willamette with their reflection off the dark surface of the water. The metal beams of the bridge flash in a green blur as the bus pushes its way toward the university campus. The time is 9:04 pm as I get off the bus which means I have some time to walk around before my shift begins at 9:30. I work at a cafeteria on the university’s campus washing dishes as a way to make some extra money.
I walk through campus, passing buildings I see every day, in the silent, cold night. The lampposts littering campus and the music coming through my earphones are the nearest thing to company I have. Looking down the long stretch of vacant asphalt, I feel lonely in this empty environment of concrete and bricks. In search of something comforting, I decide to venture to some nearby neighborhoods. Less than a year ago, my friends and I would walk around the neighborhoods south of campus to talk about classes and smoke. These ritualized walks became a staple in my daily routine and the foreign area of Eugene became familiar to me. Coming from Las Vegas, and being a freshman in college, the entire university experience was new to me. Being a newcomer to Eugene, and the overall atmosphere of the northwest, I held a certain amount of anxiety to living in a new place and meeting new people. After a short while, I met a few guys, who lived in the same hall I did, and we spent a lot of our free time together conversing, venting, smoking, and learning, but I digress. I venture off the cracked sidewalk and cross the street. Just past the sidewalk is a large, wooden tunnel that towers over me as I pass through. On the other side of the tall, wooden tunnel is a grey and black ball of fur and fangs standing in the middle of a patch of grass.
A raccoon the size of an overweight bulldog stares at me while its mouth hangs open, flashing sharp rows of teeth and fangs where he stands just five feet away from me. Our eyes meet. I could see the reflection of the lamps by the museum shining off his black eyes. I freeze, fearful that any move I make may scare the raccoon and cause him to attack me. I feel mad for a split second because I am too afraid to pass the raccoon, to test his patience; he claims this area. He kept eye contact with me, marking his territory, standing his ground. I see the open sidewalk in front of me, but I cannot move. Instead I am confronted by a living, wild road block in the form of a raccoon. He could attack me at any moment, jump at my shaking legs and claw at my body till he was finished. I can feel the thumping of my pulse in my chest and around my jugular. My pounding pulse surely must be visible to the raccoon. I am powerless against his brute force and wild instincts. I imagine the raccoon scratching at my neck, fangs out biting at my body for any piece of flesh he could get a hold of. The raccoon’s mouth opened even wider as he took a step closer to me. It was time for him to get rid of the intruder. My heart elevated to my throat. Fight or flight.
I begin to back up without realizing it. About face and then I fast-walk back to campus as discretely as I can. I don’t want to show fear, for the raccoon could smell it and would take any advantage he could. A city in the middle of the desert doesn’t have wild animals lurking the streets, there are only diseased pigeons who avoid people. Encountering a feral raccoon is an experience I have never had, and knew right away I would not want to come across one of these creatures again. My fear arises from ignorance. Once I crossed the street, I turned my head and the raccoon was nowhere in sight.
I can breathe again. A moment of anticipation and joy interrupted and ruined with a glance. The memory of the raccoon’s dark eyes lives with me, always watching. My memories of the wooded, charming neighborhoods are tainted by the vacant gaze of a raccoon flashing his feral fangs as a warning. The international sign for no trespassing. There is still an inkling of space in the back of my mind that wonders if the raccoon meant no harm and would have idly watched me pass by his temporary residence in the grass. Perhaps I should have tried; perhaps I am smart not to have tried.

title: An Encounter with a Raccoon (criticism/comments appreciated!)

question: How does the narrator feel about crossing paths with the large raccoon?

answer: The narrator feels fearful.

critique: It is omitted that he feels powerless against the raccoon's brute force and wild instincts.


text:
[]

Overview

In this small but mighty book, the author comes to grips with basic issues in theology, such as why Jesus died and why Jewish people object to Him. This rabbinic interpretation presents passage after biblical passage relating the Old Covenant’s fulfillment in the Messiah. For two decades, _Jesus Was a Jew_ has proven itself an incredibly powerful witnessing tool to Jewish people, and it is ideal for Jewish friends who are skeptical of your faith, but willing to read.

Who was Jesus of Nazareth? Controversy over the answer still rages today. Was he a good teacher? Was he a well-meaning, but confused, religionist? Was he a disciple of another teacher?

Regardless of your answer, _Jesus was a Jew._

THIS RESOURCE IS ALSO AVAILABLE AS PART OF ARIEL MINISTRIES MESSIANIC COLLECTION (11 VOLUMES).

Product Details

-   Title: _Jesus Was a Jew_
-   Author: Dr. Arnold G. Fruchtenbaum
-   Publisher: Ariel Ministries Press
-   Publication Date: 1981
-   Pages: 156

About Dr. Arnold G. Fruchtenbaum

One of the foremost authorities on the nation of Israel, DR. ARNOLD G. FRUCHTENBAUM is a messianic believer and founder and director of Ariel Ministries, a Texas-based organization dedicated to evangelism and discipleship of Jewish people.

[]

Dr. Fruchtenbaum was born in Siberia after his father was released from a communist prison there. Aided by the Israeli underground, the Fruchtenbaum family escaped from behind the Iron Curtain. While living in Germany from 1947 to 1951, Arnold received Orthodox training from his father – who had himself been reared to assume Chasidic (ultra-orthodox Jewish) leadership in Poland, only to later lose most of his family and his faith to the Holocaust. The Fruchtenbaums immigrated to New York, and five years later, at age 13, Arnold came to saving faith.

Before receiving his doctorate from New York University in 1989, Dr. Fruchtenbaum earned his Th. M. from Dallas Theological Seminary. His graduate work also includes studies at the Jewish Theological Seminary in New York City and the Hebrew University of Jerusalem. Having lived in Israel for three years, Dr. Fruchtenbaum’s intensive study of the role of that nation in God’s plan of world redemption has made him a much in-demand speaker at Bible conferences and schools throughout the world.

-   Title: Jesus Was a Jew
-   Author: Arnold G. Fruchtenbaum
-   Publisher: Ariel Ministries
-   Print Publication Date: 1981
-   Logos Release Date: 2007
-   Language: English
-   Resources: 1
-   Format: Digital › Logos Research Edition
-   Subjects: Jesus Christ › Person and offices; Jesus Christ › Jewish interpretations
-   Resource ID: LLS:JESUSWSJEW
-   Resource Type: Monograph
-   Metadata Last Updated: 2019-06-17T17:54:38Z

[Arnold G. Fruchtenbaum]

DR. ARNOLD G. FRUCHTENBAUM (1943– ) is a messianic believer and founder and director of Ariel Ministries, an organization dedicated to evangelism and discipleship of Jewish people. He earned his doctorate from New York University and his MTh from Dallas Theological Seminary, and he studied at Jewish Theological Seminary and Hebrew University of Jerusalem.

As a child, Dr. Fruchtenbaum was trained by his father in Orthodox Judaism, but at age thirteen he came to believe that Jesus is the Messiah. He worked as a missionary with the American Board of Missions to Jews (known today as Chosen People Ministries) and served as editor of their monthly publication, _The Chosen People_.

Dr. Fruchtenbaum is the author of _Ariel’s Bible Commentary: The Book of Genesis_ and the eleven volumes in the Ariel Ministries Messianic Collection, and he is the coauthor of _How Jewish Is Christianity?: 2 Views on the Messianic Movement_.

question: What are Dr. Fruchtenbaum's Ariel Ministries' main objectives?

answer: To evangelize and disciple Jewish people.

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

critique: The answer should mention the Ariel Ministries' founder.

critique: Does not mention the specific means by which this is done.

critique: The answer should mention the organization's name.

critique: The answer should mention the Ariel Ministries' Messianic Collection.

critique: His complete mission statement could be included.

critique: It is omitted that Dr. Fruchtenbaum is the founder and director of Ariel Ministries.


text:
THE SPRIG OF THYME, THE SEEDS OF LOVE, MAIDEN’S LAMENT, GARNERS GAY, LET NO MAN STEAL YOUR THYME or RUE (Roud #3) is a traditional British and Irish folk ballad that uses botanical and other symbolism to warn young people of the dangers in taking false lovers. The song was first documented in 1689[1] and the many variants go by a large number of titles.

History

_The Seeds of Love_, sung by the gardener John England, was the first folksong legendary folklorist Cecil Sharp ever collected while he was staying with Charles Marson, vicar of Hambridge, Somerset, England, in 1903[2]. Maud Karpeles wrote about this occasion in her 1967 autobiography:

  _Cecil Sharp was sitting in the vicarage garden talking to Charles Marson and to Mattie Kay, who was likewise staying at Hambridge, when he heard John England quietly singing to himself as he mowed the vicarage lawn. Cecil Sharp whipped out his notebook and took down the tune; and then persuaded John to give him the words. He immediately harmonised the song; and that same evening it was sung at a choir supper by Mattie Kay, Cecil Sharp accompanying. The audience was delighted; as one said, it was the first time that the song had been put into evening dress._[3]

Synopsis

In one version of _Maiden’s Lament_,[4] the narrator tells her audience to keep their gardens fair and not to let anyone steal their thyme. Once, she had a sprig of thyme but a gardener’s son came with a red rose, a blue violet and some bitter rue. He stole the thyme and left only rue, with its “running root”, growing in its place. Her parents were angry but she will cut the head off the rose and plant a willow for all to see. There is many a “dark and cloudy morn brings forth a pleasant day” and “there are fine boats sailing here”.

In a version of _Let No Man Steal Your Thyme_,[5] she wishes she were in her lover’s arms but she tells false men not to give her cause to complain about the grass underfoot being “trodden down” – in time, it will rise again.

In some versions of _Garners Gay_,[6] the narrator plucks up all rue and plants a sturdy oak in its place with the hope that it will grow strong and remain as true as the stars do to the sky.

Other plants are mentioned in other versions.

Commentary

The representative symbolism is as follows:[7]

-   “Thyme” – virginity and, to an extent, time.
-   “Red Rose” – romantic love, lust or “wanton passion”
-   “Violet” – modesty
-   “Willow” – sorrow and despair
-   “Rue” – regret
-   “Oak” – strength, loyalty

Recordings

-   Jean Redpath recorded “Rue” on her 1962 Prestige album “Skipping Barefoot Through the Heather”.
-   Anne Briggs recorded a version of _Let No Man Steal Your Thyme_ (1963), which is included on _A Collection_
-   Kathy and Carol recorded _A Sprig of Thyme_ for their 1965 album _Kathy and Carol_ (Elektra EKL-289).
-   Pentangle recorded “Let No Man Steal Your Thyme” on their 1968 debut _The Pentangle_.
-   Shelagh McDonald recorded “Let No Man Steal Your Thyme” on _Album_ (1970); the song was re-released on 2005's _Let No Man Steal Your Thyme_.
-   Foster and Allen recorded _A Bunch of Thyme_ as a single in 1979 and released an album of the same name in 1980.
-   Roberts and Barrand recorded “Garners Gay” on their 1983 _Live at Holstein's!_
-   Jim Moray performed _Seeds Of Love_ on his 2003 album _Sweet England_
-   Josienne Clarke and Ben Walker recorded “Let No Man Steal Your Thyme” on their 2014 album Nothing Can Bring Back The Hour.
-   Carey Mulligan and Michael Sheen performed a version of _Let No Man Steal Your Thyme_ in the 2015 film adaptation of _Far From The Madding Crowd_.
-   Cassie and Maggie MacDonald recorded “Let No Man Steal Your Thyme” on their 2016 recording “The Willow Collection”.

[1] _Let No Man Steal Your Thyme_

[2]

[3]

[4] _Maiden’s Lament_

[5]

[6] _Come All You Garners Gay_

[7] _Language of Flowers_

title: The Sprig of Thyme

question: What does the article say about the ballad The Seeds of Love?

answer: The ballad was documented in 1689 and was the first folksong Cecil Sharp collected in 1903. He heard John England singing it, and the ballad used a large number of names. Some of the variants are The Sprig of Thyme, The Seeds of Love, Maiden's Lament, Garners Gay, Let No Man Steal Your Thyme, or Rue. The Seeds of Love got its name from the singer John England and it was sung by Cecil Sharp on the night of his first ballad collection.

critique: The ballad's name is not "The Seeds of Love".

critique: The ballad's name is not "The Seeds of Love."

critique: The ballad was not sung by Cecil Sharp on the night of his first ballad collection.

critique: The ballad's name is not "The Seeds of Love" but "The Seeds of Love".

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

critique: The ballad's name is not "The Seeds of Love." It is "The Seeds of Love."

critique: It is not stated that the ballad got its name from the singer John England.

critique: "and used a large number of names" should be "and is known by a large number of names."

text: It is omitted that the ballad was also sung by Mattie Kay.

refinement: The ballad was documented in 1689 and was the first folksong Cecil Sharp collected in 1903. He heard John England singing it, and the ballad used a large number of names. Some of the variants are The Sprig of Thyme, The Seeds of Love, Maiden's Lament, Garners Gay, Let No Man Steal Your Thyme, or Rue. The Seeds of Love got its name from the singer John England and it was sung by Cecil Sharp on the night of his first ballad collection.

question: What is the meaning of the metaphorical ballad 'Maiden’s Lament'?

answer: The song refers to the idea of virginity and warns women that young people must reject false love. It also uses imagery of trees, suggesting strong roots, as well as a willow tree, which symbolizes sorrow. In contrast, the narrator in the song plants an oak tree that grows strong, which is an encouragement to solidify your roots and aspire for long-lasting love.

critique: The first sentence of this response doesn't answer the question or answer the question in a way that makes sense.

critique: The singer is the gardener's son, not the narrator.

critique: The answer could be more specific about what the narrator is warning against.

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

question: What does the article say about Cecil Sharp's education?

answer: No answer

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

critique: The question asks about Sharp's education, so the answer should mention his legendary status.

critique: There is no question about Cecil Sharp's education

critique: The question asks for Cecil Sharp's education, however the article does not provide any information about it. The answer should state it.


text:
[Jollywise]

What can we expect from the kids’ entertainment space in 2017?

The new year is well and truly upon us, and every other tech blog ready to impart their digital predictions for 2017 if they haven’t already. Whilst generally you can expect a lot of the same old – ‘this will be the year for VR’, etc. – we wanted to examine some of the things that we expect to see more specifically in the kids’ entertainment space this year.

Augmented and virtual reality

The underlying issues of accessibility and refinement prevented VR from slipping comfortably into the mainstream in 2016, while the Pokémon Go craze of the summer teased AR potential. While we might not have seen the ‘year for VR’ that we had hoped for, what we did see was a string of brands getting involved with VR just to say they’re in the VR game – regardless of whether they actually have something valuable to offer to the space. Ideally, this year we’ll see more companies offering valuable uses of the technology, rather than the ‘VR for VR’s sake’ that is born out of the fear of being left behind.

Furthermore, we’re hoping to see more defined areas for the use of virtual and augmented reality, be it gaming, education, or even live events – and we’re especially interested in how this will come to fruition in kids’ entertainment and education. However, while developers of VR work towards a tech-accessible, cost-friendly product, it’s likely that we’ll be looking more closely at AR for the time being. The challenge, we suspect, will be creating AR that outlives the initial gimmick, which means content is more important than ever.

There are a few great examples of recent children’s AR that we’d love to see more of. TILT Textiles weave their technology with animated stories in their Enchanted Duvet and Jungle Rug to create an interactive storytelling experience for youngsters, while Curiscope’s Virtuali-Tee (which got a mention in our post on augmented reality last year) is a strong example of the ways in which augmented reality might be integrated into the classroom as a tool for learning.

Web TV

As early as 2010 we’ve seen reports surfacing to indicate the shift from cable/satellite television to online show providers. Over the past few years in particular, web based TV has gained a lot of traction, but this area has been largely dominated by Netflix and Amazon Video, whose online exclusive shows (think Netflix’s recent A Series of Unfortunate Events and Amazon’s The Grand Tour) are able to pull more and more people into subscriptions. Newer or more niche services (Mubi, Twitch, Animax, Hulu) tend to be overshadowed by the bigger names and app versions of existing TV channels.

We’re excited to see what this shift could mean for kids’ TV this year, especially with the recent prototype demonstration of Disney’s own TV product at CES 2017. With tablet sales in decline, we could be looking at a resurgence of television that favours web-based, ‘watch anytime’ content. An expansion of the children’s web TV space is on the horizon.

We’re also anticipating further crossover between television and gaming in 2017. SVOD (Subscription Video On Demand) platforms like Azoomee, Sky, and Hopster currently operate as two separate services: a classic TV service, and then gaming. We’re hoping to see the lines between these two services begin to blur, as more crossover content is created. Interactivity is especially appealing to kids. So there’s no reason this can’t be geared towards younger viewers.

Live Video

As Facebook continued its attempt to undercut YouTube’s dominance in the video space, live video was everywhere in 2016. We’re seeing many kids turning away from traditional television and towards their favourite YouTube stars – the interactivity of the platform means that the viewing experience is more personal, intimate, and therefore valuable.

Web TV is allowing kids to watch what they want to, exactly when and where they want to watch it, but the appeal of the interactivity of YouTube has encouraged a flood of online video creators to start aiming their content at younger audiences. Live videos build on this to create a more ‘immediate’ interactive experience, so kids are especially engaged when consuming content from their favourite YouTubers (MirandaSings is a great example) this way.

As our Facebook and YouTube subscription feeds become more and more infiltrated with live video content, we’re anticipating an emergence of live video in the kids’ entertainment space – and we’re especially interested to see which broadcaster will be the first to truly capitalise on this demand.

AI and chat bots

While we blogged about the rise of the internet bot last year, we’re excited to see how this space will be refined in 2017, and how (if at all) the chatbot will find and secure its space in kids’ entertainment and education.

We saw the beginnings of this exploration in 2016; Unilever, for example, have used a chatbot campaign on Facebook Messenger called ‘Little Brush, Big Brush’ to create an interactive storytelling platform that encourages children to look after their teeth. Then there’s Oyoty, a bot app described as a ‘personal safety assistant’, that’s designed to connect with children’s social accounts, detect potential problems, and help them learn to stay safe online.

The trick, however, will be finding the line between being helpful/educational, and not stepping on parents’ toes.

OUR CEO JON MASON also indicates that we could see an increase in the use of bots outside of the sales and service bots that were everywhere in 2016. We’re looking, he suggests, towards,

  “Bots as entertainment, branching narratives, and stories – low cost ways of providing immersive brand extensions for entertainment companies”.

We’re ready to see interactive children’s storytelling secure a place in the chatbot game.

Fitness and educational tech

Despite the apparent need for “quality research and evidence” to support the claims of the negative impact of “increasingly screen-based lifestyles”, the media continues to be hot to report on the negative physical effects of children’s preoccupation with digital entertainment. To combat the negative association between digital entertainment and childhood obesity, we’ve seen toy companies invest in technical toys that incorporate gamification to encourage tech savvy children to take part in physical activity.

Fisher Price’s Think & Learn Cycle, for example, attempts to entice three to six years olds to exercise whilst playing screen-based games. It’s essentially a children’s exercise bike in disguise, that maintains the brand’s educational focus. This is just one example of how toy companies are shifting focus from toys that function purely as entertainment, to technical toys that provide longer-term value in the form of fitter and smarter kids. These attractive benefits could result in a surge in the production and popularity of fitness based toys this year – even the AR Jungle Rug that we mentioned encourages physical activity in the form of yoga.

We’ll also be seeing kids’ entertainment pay more attention to the development of emotional intelligence. Our upcoming game for The Next Step, for example, focuses on relationships; the player must figure out the best way to communicate with a variety of personalities to successfully navigate the story. We’re interested to see what other projects surface this year in kids’ entertainment to perpetuate values of empathy and good communication.

Overall?

In 2016 we saw a lot of digital trends extensively explored, but very few refined. This year, we’re hoping to see these trends consolidate, establishing their relevance and overall suitability to a young demographic.

OUR GAME FOR THE NEXT STEP, “TAKE IT TO THE TOP” IS NOW AVAILABLE TO PLAY HERE.

[]

Posted January 16th 2017

Steph Rathbone

Steph is Jollywise's Content Executive and resident bookworm.

question: What does the text say about VR's inability to slip into the mainstream on 2016?

answer: The underlying issues of accessibility and refinement prevented VR from slipping into the mainstream on 2016. The VR for VR's sake that is born out of the fear of being left behind. The article also says that while developers of VR work towards a tech-accessible, cost-friendly product, it's likely that they'll be looking more closely at AR for the time being.

critique: The VR for VR's sake part is not relevant to the question.

critique: The last sentence is irrelevant to the question.

critique: The answer is irrelevant to the question.

critique: The answer fails to mention that VR for VR's sake is born out of fear of being left behind.

question: What does the text say about Facebook?

answer: Facebook has seen a surge in live video content. It seems it's trying to undercut Youtube's control over live videos. Facebook is planning to create a kids' television service.

critique: It's irrelevant that Facebook is planning to create a kids' television service. Consequently, this part needs to be removed.

critique: The answer should mention the use of bots.

critique: The answer does not mention that Facebook is an important part of the live video trend.

critique: Facebook is not planning to create a kids' television service.

critique: The text doesn't say anything about Facebook planning to create a kids' television service.

question: What does the text say about smartphones?

answer: No answer

critique: The article does not mention smartphones.

critique: The response misses to mention that the article does not talk about smartphones.

critique: The article does mention smartphones, so there should be an answer.


text:
Vineyards around Volnay. Most of the vineyards in the image, those to the left of the village and immediately beyond it, are classified Premier Cru. In the far distance are some village-level vineyards.
Volnay wine is produced in the commune of Volnay in Côte de Beaune of Burgundy, and in some vineyards in the commune of Meursault. The Appellation d'origine contrôlée (AOC) Volnay is only used for red wine with pinot noir as the main grape variety. There are no Grand Cru vineyards within Volnay, but several highly regarded Premier Cru vineyards. The AOC was created in 1937.
In 2008, there were  of vineyard surface was in production for Volnay wine at village and Premier Cru level, and 7,733 hectoliter of wine was produced, corresponding to just over 1 million bottles.
The AOC regulations also allow up to 15% total of chardonnay, pinot blanc and pinot gris as accessory grapes in the red wines, but this not very often practiced. The allowed base yield is 40 hectoliter per hectare. The grapes must reach a maturity of at least 10.5% potential alcohol for village-level wine, and 11.0% for Premier Cru wine.
The style of Volnay wine is typically light and aromatic, and elegant rather than powerful, with considerably less tannin than the Pommard wines from the neighboring village.
 Premiers Crus
Three bottles of Volnay Premier Cru. The left-hand bottle is a named cuvée which does not mention a specific vineyard, the bottle in the middle is from the Champans vineyard, and the right-hand bottle is from Volnay-Santenots, a vineyard in the commune of Meursault.
There are 29 climats within the Volnay AOC that are classified as Premier Cru vineyards, which stretch in a wide band through the commune, located mid-slope and on both sides of the D973 road. Their wines are designated Volnay Premier Cru + vineyard name, or may be labelled just Volnay Premier Cru, in which case it is possible to blend wine from several Premier Cru vineyards within the AOC.
In 2007,  of the total Volnay vineyard surface consisted of Premier Cru vineyards. The annual production of Premier Cru wine, as a five-year average, is 4,756 hectoliter.
The climats classified as Premiers Crus, and located within Volnay, are:
* Pitures-Dessus
* Lassolle
* Clos des Ducs
* Le Village
* Clos de la Cave des Ducs
* Clos de l’Audignac
* Clos de la Chapelle
* Clos du Château des Ducs
* Clos de la Rougeotte
* Frémiets-Clos de la Rougeotte
* Clos de la Barre
* Clos de la Bousse d’Or
* Les Brouillards
* Mitans
* Les Angles
* Frémiets
* La Gigotte
* Les Lurets
* Robardelle
*Les Grand Champs
* Carelle sous la Chapelle
* Le Ronceret
* Champans
* Les Caillerets
* Les Caillerets-Clos des 60 Ouvrées
* En Chevret
* Taille Pieds
* Clos du Verseuil
* Clos des Chênes
 Volnay-Santenots
A bottle of Volnay-Santenots from the Hospices de Beaune.
Five climats in the north of Meursault, just across the border from the commune of Volnay, together make up Santenots, which also fall within the Volnay AOC and therefore can use the designation Volnay-Santenots for red wine. All are classified as Premier Cru. While it is allowed to produce both white and red Meursault wine, white wine production dominates, and Volnay is more famous than Meursault for red wine, so from a marketing point of view, the designation Volnay-Santenots is logical to use for the red wines. The "Santenots" part is not mandatory; wines from these vineyards may simply be called Volnay or Volnay Premier Cru.

title: Volnay wine

question: Summarize the Volnay AOC's wine regulations.

answer: The regulations dictate that the approved wine variety is pinot noir, and up to 15% of the remaining grapes can be chardonnay, pinot blanc, or pinot gris, the grapes must reach a maturity of at least 10.5% or 11.0% potential alcohol depending on the vineyard's classification, the base yield permitted is 40 hectoliter per hectare, and the wine is to be light and aromatic.

critique: The answer includes information about wines other than Volnay, which are not relevant to the question.

critique: Change the 10.5% to 11% and 40 hectares to 40 hectoliter

critique: The grapes must reach a maturity of at least 10.5% potential alcohol for village-level wine, and 11.0% for Premier Cru wine. is important to note

critique: The answer omits the allowed base yield.

critique: The answer should mention the allowed base yield.

critique: "The regulations dictate that the approved wine variety is pinot noir, and up to 15% of the remaining grapes can be chardonnay, pinot blanc, or pinot gris, the grapes must reach a maturity of at least 10.5% or 11.0% potential alcohol depending on the vineyard's classification, the base yield permitted is 40 hectoliter per hectare, and the wine is to be light and aromatic." - this is inaccurate. The AOC does not dictate the approved wine variety, and up to 15% of the remaining grapes can be chardonnay, pinot blanc, or pinot gris but not pinot noir.

critique: The answer should include the details about the allowed base yield and the grapes' maturity.

critique: "The regulations dictate that the approved wine variety is pinot noir, and up to 15% of the remaining grapes can be chardonnay, pinot blanc, or pinot gris, the grapes must reach a maturity of at least 10.5% or 11.0% potential alcohol depending on the vineyard's classification, the base yield permitted is 40 hectoliter per hectare, and the wine is to be light and aromatic." - these are unnecessary details for the task requested. The most important information about the wine regulations should be included.

critique: The grapes do not need to reach a maturity of 11.0%; it is the wine

critique: The wine regulations are not stated explicitly in the article. It would be better to omit this information.

critique: The wine's required alcohol levels are not mentioned.

question: Summarize the Premier Cru vineyards of the Volnay AOC.

answer: According to the article, there are a total of 29 Premier Cru vineyards, which stretch through the commune of Volnay, including in the commune of Meursault. These Premier Cru vineyards are the most coveted by producers. The area of the Premier Cru vineyards must be 10.5% +/- and not exceed 40,000 hectoliters. The Premier Cru vineyards are spread over 50,760 are in the entire Volnay AOC.

critique: The area of the Premier Cru vineyards is not mentioned in the article.

critique: The answer is way to long and is inaccurate.

critique: The answer is not relevant to the question.

critique: The information about the area is not mentioned anywhere in the article.

critique: The area of the Premier Cru vineyards is irrelevant.

critique: The answer is wrong. It's not mentioned in the article that the Premier Crus vineyards stretch through the commune of Volnay, including in the commune of Meursault. The area of the Premier Cru vineyards must be 10.5% +/- and not exceed 40,000 hectoliters. The Premier Cru vineyards are spread over 50,760 are in the entire Volnay AOC.

critique: It is only stated that there are a total of 29 climats that are classified as Premier Cru vineyards.

critique: This information is not found in the article.

critique: The answers are mostly out of the scope of the summary, and most other answers are better and more complete.

critique: "The area of the Premier Cru vineyards must be 10.5% +/- and not exceed 40,000 hectoliters." This statement is unattested.

question: Summarize the wine production of the Volnay AOC.

answer: The AOC is used for red wine with pinot noir as the main grape variety. The surface area in production for the AOC in 2008 was 650 hectares of land and 7,733 hectoliter of wine was produced. The base yield is 40 hectoliter per hectare and the vines must have a maturity of at least 10.5% potential alcohol for village-level wine and 11.0% for premier cru wine.

critique: The answer could be clearer about the surface area in production and wine production.

critique: The answer should mention the number of Premier Cru vineyards.

critique: "The AOC is used for red wine with pinot noir as the main grape variety." - this is incorrect. The AOC is only used for red wine with pinot noir as the main grape variety.

critique: The answer doesn't mention the Premier Cru vineyards.

critique: The answer should mention the vineyards.

critique: The surface area and the yields are irrelevant to the question.

critique: There is no information in the input confirming the surface area in production.

critique: The wine being produced on the surface area is not mentioned in the synopsis, it is omitted.

critique: "The AOC is used for red wine with pinot noir as the main grape variety." - this is incorrect. It's only used for red wine with pinot noir as the main grape variety.

critique: The surface area in production of the entire AOC is not 650 hectares, but of the Premier Cru vineyards.

critique: Grammar - the base yield is 40 hectoliter per hectare


text:
QURIAQOS OF TAGRIT (, )[1] was the Patriarch of Antioch, and head of the Syriac Orthodox Church, from 793 until his death in 817. He is commemorated as a saint by the Syriac Orthodox Church in the _Martyrology of Rabban Sliba_, and his feast day is 13 or 16 August.

Biography

Quriaqos was born and raised at Tagrit in the 8th century, and became a monk at the Monastery of the Pillar near Raqqa, where he studied theology. He was elected as patriarch of Antioch, and ordained at Harran on 17 August 793. Soon after his ascension to the patriarchate, Quriaqos had to resolve the issue of Zachariah, the former Bishop of Edessa, who had been deposed by Patriarch George I of Antioch in 785/786 due to complaints from the city's clergymen and chief laymen, and had unsuccessfully petitioned Quriaqos' predecessor Joseph to restore him to his former see. Quriaqos travelled with Zachariah to the city, and it was agreed that he would receive four rural districts in the diocese on the condition that they revert to the city's bishop on his death, and he ordained a monk of Qenneshre named Basil as bishop of Edessa. In the same year as his ascension to the patriarchate in 793, Quriaqos travelled to Tagrit in response to an appeal to resolve a dispute between the archbishop of Tagrit and the monks of the Monastery of Saint Matthew. The patriarch declared that the archbishop of Tagrit had the authority to ordain an archbishop for the monastery, Nineveh, and some churches of Mosul.

Quriaqos aimed to put to an end to the phrase, 'we break the heavenly bread in the name of the Father and of the Son and of the Holy Ghost' in celebrating the Eucharist, which the Patriarch George had declared heretical as he argued it implied a division of the person of Christ, but its usage had not been banned in fear of a schism as it was popular at the monasteries of Gubo Baroyo and Qartmin. Priests ordained by Quriaqos were forbidden from using the phrase. This drew the ire of the proponents of the phrase, and at the synod of Beth Batin in November 794/795, it was decided that the phrase was permissible, to Quriaqos' chagrin. The patriarch's opponents further disrupted his policies in his attempt to reconcile with the Julianists, a fellow non-Chalcedonian sect. Quriaqos held a synod at the Monastery of Nawawis in 797/798, and on 7 September, a union with the Julianists was agreed after a creed co-written by Quriaqos and the Julianist patriarch Gabriel was accepted. It was stipulated that Gabriel would become the next patriarch of Antioch if Quriaqos predeceased him. However, the agreement did not come to fruition as Quriaqos' opponents refused to accept the union, and accused him of becoming a Julianist.

Quriaqos had some success in confronting his opponents, in that Severus of Samosata was successfully dealt with after the patriarch appealed to the Muslim authorities. His success was short-lived as Quriaqos' deposition of Bishop Bacchus of Cyrrhus prompted an open schism. Bacchus was deposed after several warnings, but he defied the patriarch, encouraged the use of the aforementioned 'heavenly bread' phrase amongst clergymen in his diocese, and demanded that all future bishops of Cyrrhus have first been a monk at the Monastery of Gubo Baroyo, where he resided. Quriaqos disregarded Bacchus' demand, and ordained Solomon, a monk of the Monastery of Jacob of Cyrrhus, as bishop, but this incensed his opponents, and Quriaqos was removed from the diptychs of the diocese of Cyrrhus. The dispute escalated in 807 as monks from the Monastery of Gubo Baroyo met with the Caliph Harun al-Rashid, and accused Quriaqos of being an eastern Roman sympathiser and spy, and of constructing churches on the frontier with the eastern Roman Empire so to further aid them in the conflict against the caliphate. All churches on the frontier were thus destroyed on the caliph's orders, as well as churches at Antioch and Jerusalem. The patriarch survived the incident unscathed as Harun's secretary Isma'il ibn Salih, who was acquainted with and on good terms with Quriaqos, was charged with handling the accusations, and exiled the monks.

To reassert his authority on the church, Quriaqos summoned a synod at Beth Gabrin near Cyrrhus in 807/808, and excommunicated and deposed his opponents. After the synod, a monk of Qartmin named Abraham, who was resentful towards Quriaqos for refusing to pardon his brother Simeon, a monk of Gubo Baroyo, joined the schismatics and was subsequently proclaimed patriarch by the monks of Gubo Baroyo. Abraham consecrated his own bishops, accused Quriaqos of being a Julianist, and promoted the 'heavenly bread' phrase, to which the patriarch responded by excommunicating him and his supporters. Abraham unsuccessfully appealed to the Coptic Pope Mark II of Alexandria for recognition, but was met with excommunication after the pope received a letter from Quriaqos. The schism with Abraham and his supporters went unresolved for the remainder of Quriaqos' reign.

He summoned another synod at Harran in 812/813. In c. 816, in response to an invitation from Prince Ashot Msaker to debate the Chalcedonian Theodore Abu Qurrah, Quriaqos sent Nonnus of Nisibis to represent the non-Chalcedonians. A dispute between the Archbishop Basil I of Tagrit and the Monastery of Saint Matthew erupted in 817 as Basil opposed the monks' election of a certain Daniel as archbishop, and Quriaqos was forced to intervene as the situation deteriorated. Quriaqos supported Basil I as the archbishop had precedence over all other bishops in the former Sassanian Empire, and excommunicated the monks. The patriarch convened a synod at Mosul to resolve the issue, and acknowledged Daniel as archbishop of the Monastery of Saint Matthew, on the condition that he accepted his subordination to the archbishop of Tagrit. Although the precedence of the archbishop of Tagrit was established at the synod, his power was limited, whereby it was decreed he must not act in a suffragan diocese without its bishop's consent, nor ordain a bishop without the approval of the archbishop of the Monastery of Saint Matthew, and thus the dispute was resolved. Quriaqos died soon after at Mosul in June or August 817, and was buried at Tagrit. As patriarch, he consecrated eighty-six bishops.

Works

Quriaqos issued forty-six canons at the synod of Beth Batin in 794/795, one of which ordered clergymen and laymen to not enter the churches of the Nestorians, Chalcedonians, and Julianists, and to not participate in their services. The canons also forbade the baptism of adherents of the aforementioned churches, and condemned clergymen who were involved in divination. As well as this, he enacted twenty-six canons at the synod of Harran in 812/813.

The patriarch also wrote a biography of Patriarch Severus of Antioch, an anaphora, and ten letters in response to questions from Yeshu, deacon of Tirminaz. Additionally, he is credited with writing a book on theological teaching, divided into three volumes and 98 treatises.

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title: Quriaqos of Tagrit

question: Why did the monasteries of Gubo Baroyo and Qartmin oppose Quriaqos of Tagrit for much of his reign as the Patriarch of Antioch?

answer: They opposed him because he tried to put an end to the phrase 'we break the heavenly bread in the name of the Father and of the Son and of the Holy Ghost' in celebrating the Eucharist.

critique: The answer is not related to the question.

critique: The answer should mention that the phrase was heretical.

critique: It is not stated that they opposed him because he tried to put an end to the phrase 'we break the heavenly bread in the name of the Father and of the Son and of the Holy Ghost' in celebrating the Eucharist.

critique: The answer should mention the other reasons for the monks' opposition.

critique: The answer should mention the reason for the opposition.


text:
AMA SUMANI (28 August 1965 – 19 March 2008) was a Ghanaian woman who was expelled from the United Kingdom to Ghana after overstaying her visa while she was suffering from a terminal form of bone marrow cancer and receiving dialysis treatment. It was reported that her expulsion caused her to go without a drug that could have prolonged her life, a drug not available in her native Ghana.[1][2]

Background

Ama Sumani, a mother of two,[3] first came to Wales in 2003 with a visitor's visa. According to her solicitor, with the hopes of getting a degree in economics, she quickly applied for a change in visa status to a student visa and attempted to stay in the U.K. by enrolling in a banking course at a local college in the Cardiff area.[4] Her lack of English language skills and poor educational level prevented her from enrolling. She returned to Ghana in 2005 to attend memorial services for her dead husband, but upon returning the UK, her student visa had been revoked. She was permitted to return to Wales under temporary admission assuming she adhered to certain conditions. She eventually violated those requirements by failing to maintain contact with immigration officials and elusive behavior in moving without updating her contact information.[5][6]

Her illness

By January 2006, she was diagnosed with multiple myeloma, a cancer affecting the bone marrow. By January 2008, the aggressive cancer replicated and led to other serious health problems, namely kidney failure. After she refused a medically recommended transplant operation, doctors began kidney dialysis treatment, in order to prolong her life. Despite the pleas of solicitors working on behalf of Sumani, the Home Office of the United Kingdom ruled that due to Sumani “knowingly overstaying her visa”, she was to be “removed the country”. Sumani and her representatives pleaded for compassion, noting she could not afford dialysis treatment in Ghana, which would have cost £2,400 upfront to continue her treatment for three months.[7]

On 9 January 2008, Sumani was removed from University Hospital of Wales in Cardiff and transported to Accra, in her native homeland Ghana.[8] Sumani's situation had drawn international media coverage and would soon become a major cause célèbre in both the UK, the Netherlands and Ghana due to her near terminal deteriorating health condition.[9] Officials noted her forced migration was not a 'deportation' because an expired visa merits void legal status in the UK.[10]

Controversy

In an editorial, the _Lancet_, a British medical journal, decried the decision and wrote, “The UK has committed an atrocious barbarism ... [I]t is time for doctors' leaders to say so – forcefully and uncompromisingly.”[11] Church leaders in Wales, including Archbishop Dr. Barry Morgan and several other bishops were similarly upset, calling Sumani's removal a “breach of her basic human rights”.[12] Mrs. Sumani's solicitor said she accepted her removal was fair but said they had made representations on her behalf on compassionate grounds.[13]

In the wake of public criticism, Home Office representative Lin Homer defended its actions, stating that Sumani's case, while difficult, was not exceptional. She noted, “We deal with many hundreds of cases where the personal circumstances reach and touch the people involved. It is one of the things that makes being a caseworker in the agency a difficult job”.[14]

Sumani's health deteriorated after the removal, as she had not received dialysis treatment for several days after her arrival in Ghana. An anonymous donation of £3,000 was sent by a Dutch resident in Cardiff, and by 20 January 2008, Sumani had begun receiving dialysis treatment.[15] A charitable fund for Sumani's medical expenses was established, and as of February 2008 £30,000 had been donated to the fund. Trudie Styler was reported to have donated £10,000 into the fund.[16]

Death

Despite the kidney dialysis treatments, she was not able to access a supply of thalidomide, a drug that might have prolonged her life.[17] Donors had reportedly raised £70,000 toward her treatments and were able to find doctors in Britain and South Africa to treat her. News of the upcoming treatments reached Sumani on the morning of 18 March 2008.[18] Sumani died in Korle Bu Teaching Hospital in Accra the next day, on 19 March 2008.

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title: Ama Sumani

question: Summarize Sumani's illness.

answer: Sumani was diagnosed with multiple myeloma in 2006. She refused a transplant operation, and doctors began dialysis treatment to prolong her life. She was removed from the UK and transported to Ghana, where she began dialysis treatment. She died in 2008.

critique: She was removed from the UK and transported to Ghana, where she began dialysis treatment. She died in 2008.

critique: The answer should mention that she was removed from the UK because she overstayed her visa.

critique: She was removed to Ghana over two years after she began dialysis

critique: The answer omits that Sumani was removed from the UK and transported to Ghana, where she began dialysis treatment.

critique: The answer omits that Sumani's health deteriorated after her removal from the UK.

critique: The year of her death is irrelevant to the question.

text:
-The answer omits that despite the pleas of solicitors working on behalf of Sumani, the Home Office of the United Kingdom ruled that due to Sumani knowingly overstaying her visa, she was to be removed from the country.

-The answer also omits Sumani and her representatives pleaded for compassion, noting she could not afford dialysis treatment in Ghana, which would have cost £2,400 upfront to continue her treatment for three months.

-It also omits that Sumani's situation had drawn international media coverage due to her near terminal deteriorating health condition.

question: Summarize Sumani's immigration status.

answer: Sumani first came to Wales in 2003 with a visitor's visa. She applied for a student visa and was accepted. She returned to Ghana in 2005, but her student visa was revoked when she returned. She was permitted to return to Wales under temporary admission, but she violated the conditions of her stay. She was removed from the UK and deported to Ghana.

critique: The answer should include the fact that she had an expired visa.

critique: "She returned to Ghana in 2005, but her student visa was revoked when she returned." - remove the comma.

critique: "She was permitted to return to Wales under temporary admission assuming she adhered to certain conditions. She eventually violated those requirements by failing to maintain contact with immigration officials and elusive behavior in moving without updating her contact information." is evidence that she was permitted to return to Wales under temporary admission assuming she adhered to certain conditions. She eventually violated those requirements by failing to maintain contact with immigration officials and elusive behavior in moving without updating her contact information.

critique: The answer omits the fact that her student visa was revoked before she left the UK.

critique: It is omitted that she was expelled from the UK to Ghana after overstaying her visa while she was suffering from a terminal form of bone marrow cancer and receiving dialysis treatment.

critique: "She applied for a student visa and was accepted" - she was never accepted. She applied for a change in visa status to a student visa and attempted to stay in the U.K. by enrolling in a banking course at a local college in the Cardiff area.

text: The answer omitted that her lack of English language skills and poor educational level prevented her from enrolling in a banking course at a local college in the Cardiff area.

question: What does the text say about Sumani's parents?

answer: No answer

critique: The answer should mention that her parents are not mentioned in the text.


text:
Saturday,  August 8th – Sunday, August 16th
Register Now!

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Join us August 8th-16th for our Step Out for the Brave Virtual Challenge!

Join Homes for the Brave for a whole new spin on our signature event of the year! This year, we are stepping out in honor of our brave servicemen and women. Between SATURDAY, AUGUST 8TH AND SUNDAY, AUGUST 16TH, join the STEP OUT FOR THE BRAVE 40,000 STEP VIRTUAL CHALLENGE to take 40,000 steps for each of the 40,000 homeless Veterans across the United States. Complete the challenge individually or as a group. Step Out in one day or nine. Each step you take is a step towards helping a homeless Veteran.

Our annual Step Up for the Brave Stair Climb draws hundreds of people from across Connecticut and beyond. This year we are going national and bringing the challenge to YOUR doorstep as a virtual challenge. Take 4 steps or 40,000. Individuals of all ages and abilities are welcome to participate. Remember to snap a picture each when you participate for us to share.

How to Participate

A virtual challenge means running or walking from any location you choose at any time during the STEP OUT FOR THE BRAVE VIRTUAL CHALLENGE. Run or walk on the trail, the treadmill, on a track, at the beach, or wherever you choose. Your choice, your time, your challenge. Step Out in Connecticut or have friends and family from anywhere across the country register and join in on the fun.

It costs $40 TO REGISTER PER PERSON. The registration fee includes platform fees, event shirt, and applicable shipping fees. Shirts will be available for pick up ahead of time and can be mailed for those unable to pick up in person.

Proceeds from the event will support our mission to help homeless individuals, most of whom are Veterans, return to independence. To date, we have served nearly 1,400 people, helping them with housing, nutrition, life skills, mental health, computer training, and so much more.

Frequently Asked Questions

WHERE CAN I RUN/WALK?

Wherever you would like, but please follow all local and state mandates and distancing guidelines in place. Follow all rules of the roads, trails, or venues you choose to run or walk.

DO I HAVE TO COMPLETE THE DISTANCE ALL AT ONE TIME/BY MYSELF?

This is YOUR challenge. You can complete the distance at once or break it up over the whole nine days. You can break up the 40,000 steps among team members. Set your personal goal and conquer it!

WILL THE EVENT BE TIMED?

This year, the challenge will be untimed. All levels of walkers, runners and joggers are welcome. You are free to complete the Challenge at once or over the whole nine days,

HOW WILL PEOPLE KNOW I’M PARTICIPATING?

Upon registration, you will receive a downloadable bib that you can personalize and wear on the day you participate. Your registration also includes an event shirt.

WILL THERE BE AWARDS?

Yes. Awards and categories will be announced at a later date.

[Participants on Step Up Course]

Challenge your coworkers, friends, and family members to complete 40,000 steps!

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Step Out as a team or individually! Each step you take is a step towards helping homeless Veterans.

Thank You To Our Sponsors

Platinum Sponsors:

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[Webster Bank Arena]

Gold Sponsor:

[]

[]

Red, White, & Blue Sponsor:

[]

Silver Sponsor:

[]

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Winner’s Circle Sponsors:

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Salute Our Veterans Sponsor:

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JUDY EMILIANO

[]BRIDGEPORT

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WOMEN MARINES ASSOCIATION, CT-1 CHAPTER

Become a Sponsor!

Companies and individuals can sponsor the Event or a Salute a Veteran in honor or memory of a personal hero or loved one. Levels range from $100 up to $5,000. Click here to sponsor the event.

PLATINUM SPONSOR: $5,000

_Everything included with the Gold Level Sponsor, plus:_

-   Exclusive event kick-off and wrap-up videos (deadline 8/3)
-   Identified as presenting sponsor on all live video content
-   Logo included on event bib/finisher certificate (deadline 7/10)
-   15 COMPLIMENTARY REGISTRATIONS for the event

GOLD SPONSOR: $3,500

_Everything included with the Red, White, & Blue Level Sponsor, plus:_

-   Company inclusion in all event-related press releases
-   Company listing on event registration pages
-   10 COMPLIMENTARY REGISTRATIONS for the event

RED, WHITE, & BLUE SPONSOR: $2,500

_Everything included with the Silver Sponsor, plus:_

-   Motivational video during Step Out Event (30-60 seconds) (deadline 8/3)
-   8 COMPLIMENTARY REGISTRATIONS for the even

SILVER SPONSOR: $1500

_Everything included with the Salute Our Veterans Sponsor, plus:_

-   Logo printed on official event shirt (deadline 7/10)
-   Inclusion in sponsor shout-out social media posts
-   Promotional material in participant program (provided by company) (deadline 7/24)
-   6 COMPLIMENTARY REGISTRATIONS for the event

WINNER’S CIRCLE: $750

_Everything included with the Salute Our Veterans Sponsor, plus:_

-   Identified as sponsor of prize for raffle or event category winner
-   Video presentation of prize winners (30-60 seconds) broadcast on all social media channels.
-   4 COMPLIMENTARY REGISTRATIONS for the event

SALUTE OUR VETERANS SPONSOR: $100

-   Company logo and link to your website in email blasts & event page
-   Dedicated social media post in honor or memory of an individual or group
-   1 COMPLIMENTARY REGISTRATION for the event

question: What does the text say about the proper walking technique to complete 40,000 steps?

answer: No answer

critique: The text doesn't say anything about the proper walking technique to complete 40,000 steps.

critique: The answer should mention that the text does not have anything on the proper walking technique to complete 40,000 steps.

question: What does the text say about the "Step Out for the Brave 40,000 Step Virtual Challenge"?

answer: Join Homes for the Brave for a whole new spin on our signature event of the year. This year, we are stepping out in honor of our brave servicemen and women. Join the STEP OUT FOR THE BRAVE 40,000 STEP VIRTUAL CHALLENGE to take 40,000 steps for each of the 40,000 homeless Veterans across the United States.

critique: The answer should mention the virtual challenge.

critique: The answer should mention the registration fee.

critique: The answer should mention that the challenge is a virtual one.

critique: We also should mention that you can take 40,000 steps for each of the 40,000 homeless Veterans across the United States or four steps.

text: This answer should be rewritten in first person, not second.

category: coherence

refinement: Join Homes for the Brave for a whole new spin on our signature event of the year. This year, we are stepping out in honor of our brave servicemen and women. Join the STEP OUT FOR THE BRAVE 40,000 STEP VIRTUAL CHALLENGE to take 40,000 steps for each of the 40,000 homeless Veterans across the United States.


text:
BRYAN FOY (December 8, 1896 – April 20, 1977) was an American film producer and director. He produced 214 films between 1924 and 1963. He also directed 41 films between 1923 and 1934. He headed the B picture unit at Warner Bros. where he was known as “the keeper of the B's”.[1]

Biography

He was born in Chicago, Illinois, on December 8, 1896. He was the eldest son of the vaudeville star Eddie Foy and appeared with his father in the vaudeville act “Eddie Foy and The Seven Little Foys.” The act broke up when Bryan Foy left to join the U.S. Army in World War I in 1918,[2] after which his remaining siblings continued performing with their father under the title, “Eddie Foy and the Younger Foys”, through 1923, when their father retired.[3]

He was also a songwriter, and by 1916 had several published songs, including “My Honolulu Girl”.[4]

Foy led Warners B picture unit until 1942 when the studio ended their second features. He was recruited 20th Century Fox where he produced the acclaimed war movie _Guadalcanal Diary_ in 1943. Following the war Foy entered motion picture production with a series of short subjects for Universal Pictures including a series of _The Shadow_ with Foy writing and directing several of the two reelers. He remained with Fox until 1947 where he produced for Eagle-Lion Films with one of his assistant producers being famed mobster Johnny Rosselli. He was rehired by Warner Bros in 1950. From 1954 Foy produced films for Columbia Pictures. He returned again to Warners in 1962 for his final two films.

He died in Los Angeles from a heart attack on April 20, 1977. He was buried in Calvary Cemetery, East Los Angeles.[5]

Selected filmography

-   _The Swell Head_ (1928)
-   _Lights of New York_ (1928)
-   _The Home Towners_ (1928)
-   _Queen of the Night Clubs_ (1929)
-   _The Royal Box_ (1929)
-   _Stout Hearts and Willing Hands_ (1931)
-   _The Unwelcome Stranger_ (1935)
-   _Road Gang_ (1936)
-   _Love Is on the Air_ (1937)
-   _Marry the Girl_ (1937)
-   _Smart Blonde_ (1937) (Torchy Blaine film series}
-   _West of Shanghai_ (1937)
-   _The Invisible Menace_ (1938)
-   _Girls on Probation_ (1938)
-   _Nancy Drew... Detective_ (1938) (Nancy Drew film series)
-   _Comet Over Broadway_ (1938)
-   _Devil's Island_ (1939)
-   _Hell's Kitchen_ (1939)
-   _On Dress Parade_ (1939)
-   _South of Suez_ (1940)
-   _Law of the Tropics_ (1941)
-   _Wild Bill Hickok Rides_ (1942)
-   _The Loves of Edgar Allan Poe_ (1942)
-   _Little Tokyo, U.S.A._ (1942)
-   _Berlin Correspondent_ (1942)
-   _The Undying Monster_ (1942)
-   _Chetniks! The Fighting Guerrillas_ (1943)
-   _Guadalcanal Diary_ (1943)
-   _Doll Face_ (1945)
-   _Adventures of Casanova_ (1948)
-   _Trapped_ (1949)
-   _The Great Jewel Robber_ (1950)
-   _Breakthrough_ (1950)
-   _I Was a Communist for the FBI_ (1951)
-   _The Miracle of Our Lady of Fatima_ (1952)
-   _House of Wax_ (1953)
-   _The Mad Magician_ (1954)
-   _House of Women_ (1962)
-   _PT-109_ (1963)

[1] p. 430 Senn, Bryan _Golden Horrors_ 1996 McFarland

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title: Bryan Foy

question: What does the text say about Bryan Foy's filmography?

answer: Bryan Foy produced 214 films between 1924 and 1963. He also directed 41 films between 1923 and 1934. He headed the B picture unit at Warner Bros. where he was known as "the keeper of the B's".

critique: The answer should mention that he produced and directed short films for several studios.


text:
TERRENCE WHEATLEY (born May 5, 1985) is a former American football cornerback. He played college football at Colorado and was drafted by the New England Patriots in the second round of the 2008 NFL Draft.

Wheatley has also been a member of the Jacksonville Jaguars, Buffalo Bills and Tennessee Titans.

Early years

Wheatley attended Plano East Senior High School in Plano, Texas, where he holds track and field records in the triple jump, the long jump, and the 100 meters.[1] As a sophomore, he was the district champion in the long jump.[2]

During his junior season in football, Wheatley had 70 tackles, six interceptions, 18 pass breakups, three forced fumbles and three fumble recoveries.[3] Although a cornerback, Wheatley spent time at running back, where he had 23 rushing attempts for 200 yards and 11 catches for 161 yards and two touchdowns.[4] He averaged 25 yards per kick return and eight per punt return.[5]

During his senior season, he had 82 tackles, five interceptions, nine pass deflections, one forced fumble and one fumble recovery.[6] Once again seeing time on offense, he had 25 catches, 410 yards and three touchdowns.[7] He earned all-state honorable mention, all-district first team honors, and was named to the all-area first team of the _Dallas Morning News_ as a cornerback and wide receiver.[8] _Rivals.com_ named him the 56th best cornerback prospect in high school football.

College career

As a freshman at the University of Colorado, Wheatley saw action in 12 games, starting twice on defense.[9] He had 24 tackles and five pass deflections during 268 snaps on defense.[10] When Wheatley and Samuel Joseph started against Baylor, it marked the first time in Colorado history that two freshmen started at cornerback.[11] Wheatley had eight tackles in the Baylor game, which was his season high.[12]

As a sophomore, he played in all 13 games, starting the last five, including the Houston Bowl.[13] However, during the season, he was held back by wrist, groin and hamstring injuries.[14] He had 33 tackles, three passes broken up and four interceptions, which ranked second on the team.[15] His first collegiate interception was returned for a touchdown,[16] making him the 12th player in Colorado history to accomplish that feat.[17]

In 2005, his true junior year, he had wrist surgery in the spring but because the wrist continued to bother him, he missed the entire season.[18] As a redshirt junior in 2006 he had 57 tackles, five interceptions, and 11 passes broken up.[19] After the season, he was named first-team All-Big 12 and All-Colorado.[20]

During his senior season in 2007, Wheatley had 42 tackles and five interceptions in the first 10 games, before suffering a hairline fracture and missing the rest of the regular season.[21] He was able to return for the Independence Bowl.[22] He was named a third-team All-American and first-team All-Big 12 at cornerback, and received an honorable mention as a kick returner.[23] Wheatley also appeared on the official watchlists for the Bronko Nagurski Trophy and the Jim Thorpe Award.[24]

Professional career

New England Patriots

Wheatley was drafted by the New England Patriots in the second round (62nd overall) in the 2008 NFL Draft,[25] and signed with them on July 22, 2008.[26] As a rookie, Wheatley debuted in the first week of the season against Kansas City,[27] and played in six of the first seven games as a reserve. In his first career start against the Indianapolis Colts on November 2 he suffered a wrist injury that forced him to be placed on injured reserve on November 17,[28] after being inactive for the team's following two games. He finished the season with two tackles and two passes defensed.

Wheatley was active for five games in 2009, all as a reserve. He finished the season with two tackles.

After suffering a foot injury in the 2010 preseason, Wheatley did not practice or play for the first five weeks of the regular season; however, he remained inactive in Weeks 6 and 7 even after returning to practice in Week 6. He was active for the first time in 2010, but did not play in the Patriots' Week 8 win over the Minnesota Vikings. He was waived the following Saturday, in advance of the team's Week 9 game against the Cleveland Browns.

Jacksonville Jaguars

After clearing waivers, Wheatley signed a two-year contract with the Jacksonville Jaguars on November 8, 2010. He played in one game for the Jaguars before being placed on injured reserve on December 17, 2010. He was waived during final cuts in September 2011.

Buffalo Bills

Wheatley was signed to the Buffalo Bills' practice squad on September 13, 2011. He was promoted to the active roster on September 27.

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title: Terrence Wheatley

question: Describe Wheatley's first foray into football.

answer: He attended Plano East Senior High School in Plano, Texas, where he hold track and field records in the triple jump, the long jump, and the 100 meters. He was named to the all-area first team of the Dallas Morning News as a cornerback and wide receiver. He averaged 25 yards per kick return and eight per punt return.

critique: "He was named to the all-area first team of the Dallas Morning News as a cornerback and wide receiver. He averaged 25 yards per kick return and eight per punt return." - this is irrelevant to the topic of Wheatley's first foray into football and should be removed.

critique: Doesn't mention his junior season in football.

critique: The answer should mention his junior season in football.

critique: The answer should mention his college career.

critique: 'He was named to the all-area first team of the Dallas Morning News as a cornerback and wide receiver' is relevant to his career later on. It is not a description of his early days in football

text: The answer mentions Wheatley's track and field records, however this is irrelevant to the question.

question: Summarize when Wheatley is expected to retire.

answer: It is not stated.

critique: It is not stated, but it is implied that he is still active.

critique: The article mentions that Wheatley is still active in the NFL.

critique: The year 2010 is indicative of when Wheatley may have retired, or when he is expected to retire. Change the response to reflect this.

critique: The question is not asking for information that is not available in the article.