text:
I am half-awake with my back to you on your bed while you sit at your instrument and tuck into your black and white keys deft and handsome; your hands curl and splay and the sound is switched off so all I hear is that fine collapse of plastic, chord roll and fingers tumbling across octaves. You end with an unknown cadence then stop.

“Are you actually asleep?”

You want me to be facing you, to watch you be deft and handsome for my benefit. I mutter and pull your white sheets up to my ears.
You want to impress me. I am already there, but you don’t know this, couldn’t know this; I can say nothing to you.

The second time we met you held up my chin and whispered *you’re really quiet, aren’t you?*

You are not the first to say this and you will not be the last. I am new to you but not for long. I wish you didn’t long to be poignant because really I know this is all false. Really I imagined a boy fondling my hair, always pictured him maybe like you, pictured him thumbing my cheek bone smiling slyly; you tell me my eyes are huge and I think yes, I know. I think, where were you when I was unaware of these things. You seem confounded every time you stroke my leg and it is smooth. I am a mystery to you somehow, in my wordlessness and alien lack of stubble. I feel like I am tricking you but I think maybe you want to be tricked.

I lay in your bed like an invalid and I can feel on my back your amusement, feel your brow crumple up, feel your hands graze the keys thoughtfully. Feel your mind maybe somewhere else. Briefly, sometimes, I feel your attention like something charging at me and it is all I can do to disappear before impact. Mostly, though, you say you don’t know any poetry but you write it maybe without considering it like this; when you sing it is poetic. You are a poetic liar. Your truths are less truthful. Your truths are stale before they leave your mouth when you are staring at me with frightening concentration and you say things like *wow, there are probably 9 different colours in your hair right now* because the sun is illuminating the white-blond wisps at my temples and here right now at the beach I feel beautiful in spite of you. I don’t know why you say these things, maybe because you think this way, because you feel them keenly. Maybe they are for my benefit because how could you know I am not this girl with huge eyes, with nine different colours in my hair. How could you know these things when I can say nothing to you. When I can say nothing to you and you feel me deeply enough to not think to ask.

Once at a concert a man brushed past me quickly, grazed my shoulder with the back of his wrist. I could not see his face when he whispered *you are beautiful*. He did not stop and I did not turn around.

Once at a party a boy wrote in blue pen on a napkin *you look like sun-drenched orchards, like cherry blossoms* and handed it to me, tall and sheepish.

You are the fourth one I’ve kissed, I want to tell you. You know you were my first but I have not told you you were my fourth. Are my fourth. That you are my hundredth, maybe my thousandth. That you are not alone in thinking my face profound.

So I know without you. When you sit perched like a bird at your computer and play halting seconds from your disarray of sound files and I kiss the back of your neck you do not turn around because you need these moments, need this falseness. I want to give it to you like an unwrapped gift. I want you to revel in your own unassuming insincerity because of the reasons I like you that you do not know about because I have not told you.

*You’re really quiet, aren’t you?*

It is one thing to be pretty and something else entirely to feel like it belongs to you.

title: I can say nothing to you

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

answer: The narrator feels like she is a mystery to the man with whom she is sharing her bed. She has the impression that the man wants to trick her. She feels like she is tricking him. She is not sure why he says the things he says, but she likes it. She likes the falseness of the moments they share.

critique: "The narrator feels like she is a mystery to the man with whom she is sharing her bed." - this is incorrect. The narrator feels like they are a mystery to the man despite the fact that they are not new to each other. She feels that the man wants to impress her with his music. This particular guy wrote poetry and is good with words, but the narrator noticed he was lying about his knowledge about her and her looks.

critique: "The narrator feels like she is a mystery to the man with whom she is sharing her bed." - the narrator is a woman, not a man.

critique: It is omitted that the narrator feels beautiful in spite of the man.


split: train

text:
A man gets into a cab at the airport.  It was the closest source of shelter as he ran out of the building in a frenzy.  A hitman had confused him with someone who had a very similar name.  The man, John Doe, had been confused with a man whose name was John D’Oh.  As he got into the cab, he tried to tell the driver to get going in a calm voice, but all he could do was somewhat quietly shout, “Let’s move — I’m late!”

“Where are you headed, sir?” asked the cab driver, politely.  This was a good question, John realized.  John’s killer surely knew the name of the hotel where he was scheduled by his employer to stay during his business trip.  He needed to go somewhere he could hide, and ideally avoid giving false information to anyone, such as a hotel clerk.  He also needed to contact the local police, but he wanted to wait until he was no longer within earshot of the cab driver.  After all, he did not know where his killer was, and if he was waiting at the airport for the cab driver to return, it could mean bad news for both of them.  He decided his first priority was to get out of the cab and contact police as soon as they had gotten far enough away from the airport, assuming the hitman was not in close pursuit.

“The Eagle Ridge Camping Ground,” John replied.

“You know, that is more than ten miles. Any trips over ten miles are mileage and a half.”

“That’s fine,” John said, “Just keep moving fast, please — I’m late for my function.”

Half an hour later, the two arrived at the campgrounds.  Since it was not camping season, there was absolutely nobody there.  Not a soul.  Sensing an opportunity, the driver, getting out of the car, pulled a knife on John, demanding his jewelry, phone, wallet, and even his eyeglasses, which after getting, he smashed into the ground with a swift heel stomp.  He then drove off.  Since John had barely seen the cab driver’s face in his panic, he was sure he would not be able to provide a good description of him to the police.  Furthermore, he had no phone, no ID, and no money.  There was no one around for miles, and with the luck he had been having, he was weary of trying to enlist a random passerby on the freeway for help.

Right as John was about to break down in tears, he took a deep breath, sat down, and meditated, turning his ears to the grace of God for answers.  He breathed quietly and steadily, listening with his heart.  Finally, it struck him.  All the wealth in the world was surrounding him.  God was surrounding him.  He was in the rich, clean air, filled with the intoxicating and purifying aroma of pine trees.  He was in the grass, softly cushioning his ass.  All of the shelter he could ask for was laid out in front of him, in the canopy of the lush forestry, providing for all of its inhabitants.  And he was with Him in a state of anonymity that was, for now, his. No identification card, no identity.  Just as these thoughts of liberation ran through him, percolating the depths of his being, his eyes caught the glimpse of an eagle soaring above.  With a fierce and benevolent call, the eagle majestically welcomed the newest resident of the forest into their world.

title: [RF] John Doe

question: What does the story say about John Doe's hiding?

answer: While he was trying to figure out how to escape the hitman, John got into a cab at the airport. He told the driver to drive to the Eagle Ridge Camping Ground and luckily, when they reached the campgrounds, there was no one around. Unseen by the driver, John takes this opportunity to escape from the car and hide in the woods. Here he breathed quietly and steadily, listening with his heart for answers. All of the shelter he could ask for was laid out before him and here, he found peace by connecting with God. No identification card, no identity. Just as these thoughts of liberation ran through him, God told him to show compassion to supporting John on his journey towards defeating and conquering the negativity of the unaware.

critique: The driver does not take John to the camping ground, John tells him to go there.

critique:
- There is no mention of 'unaware' in the article.
- This sentence shows a flaw in grammar.

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

critique: The answer is a summary of the story, not a description of John's hiding.

text: There is no evidence that God tells him to show compassion to support John.

category: coherence

question: What does the story say about what John does for a living?

answer: No answer

critique: The answer should mention that John is on a business trip.


text:
BROCKINGTON COLLEGE is a Church of England mixed secondary school in Enderby, Leicestershire, England. It is in the district of Blaby. The school became an academy on 1 August 2012.[1]

History

In 1957 Brockington College was erected using an intergrid prefabricated construction. Four other Leicestershire schools also used this method of construction and due to the high maintenance costs and physical degradation of the buildings each of these schools has now been replaced. Brockington College was part of a £19m project from September 2006 to September 2007. Being a voluntary-aided school, funding was not directly through the Building Schools for the Future scheme but shared between HM Government and the Partnership for Church Schools scheme. As such the Church of England made a significant investment in the college and its local community. The current building boasts modern and state-of-the-art facilities, especially information technology equipment. A full size artificial grass pitch was added in 2009, funded and sponsored by the FA,[2] Next and a number of other local sponsors.

The school converted to academy status in August 2012.[3] Previously a middle school for pupils aged 11 to 14, in September 2015 the school changed to become an 11 to 16 secondary school.

Features of the college

Admissions

Brockington admits children aged 11–16 and in recent years has drawn significant numbers of pupils from beyond its traditional catchment area. The current informal catchment extends in excess of 8 miles, centred on Enderby and Narborough and including Croft, Huncote and Thurlaston - but reaching to Stoney Stanton, Whetstone and Blaby, Braunstone and Leicester Forest East as families have elected to apply to Brockington rather than their local secondary schools. Ofsted noted Brockington's pastoral support as being one of the many outstanding features of the college in 2010.

Spiritual reflection

The school speaks of its “uniquely Christian ethos” and has been assessed as an “Outstanding” school as part of its Section 48 inspection.[4] Children and staff from a number of faith backgrounds are part of the Brockington community and all beliefs are respected and considered. Local clergy host assemblies once a fortnight for each year and there is a strong Spiritual Reflection programme designed to prompt reflection among all, irrespective of their faith. There is also a Christmas and Easter service held at the local church for years 7-10.

House system

There are four Houses within the school (Plantagenet, Stuart, Tudor, and Windsor) and pupils frequently participate in extracurricular and enrichment activities representing their House.[5]

ICT facilities

All classrooms are equipped with LED projectors and have interactive whiteboards. There are currently five ICT rooms located on-site.

School values

The school has eight key values ('Compassion', 'Forgiveness', 'Justice', 'Koinonia’, 'Perseverance’, ‘Wisdom’, ‘Learning’ and ‘Respect’) that inform the school's assembly programme; Collective Worship Programme and are the cornerstones for teaching within the school.[6]

Student voice

Each tutor group has elected representatives who meet once a term, decide priorities and liaise with the senior leadership team. Student Voice pupils also play a significant role in staff recruitment (forming formal interview panels) and the promotion of the school.

Facilities

The College offers bookable rooms and facilities for outside groups.[7] Regular sporting events are hosted using the College's facilities, including the 3G Artificial Grass Football Pitch (AGP), main indoor sports hall, and Multi Use Games Area (MUGA).[8]

Notable former pupils

-   Richard Armitage, actor.
-   Joe Corby, greenkeeper.

[1]  Brockington College|url = http://www.brockington.leics.sch.uk/category/the-school/about-the-college/%7Cwebsite = www.brockington.leics.sch.uk|access-date = 2016-01-25}}

[2]  The FA Cup|url = http://3g.thefa.me.uk/pitch.php?id=1214%7Cwebsite = 3g.thefa.me.uk|access-date = 2016-01-25|first = The Football|last = Association}}

[3]

[4]

[5]  Brockington College|url = http://www.brockington.leics.sch.uk/house-competition/%7Cwebsite = www.brockington.leics.sch.uk|access-date = 2016-01-25}}

[6]

[7]  Facilities|url = http://facilities.brockington.leics.sch.uk/%7Cwebsite = facilities.brockington.leics.sch.uk|access-date = 2016-01-25|archive-url = https://web.archive.org/web/20160131235406/http://facilities.brockington.leics.sch.uk/%7Carchive-date = 2016-01-31|url-status = dead}}

[8]  Pitch Hire {{!}} Brockington ~ Leicester {{!}} Brockington College ~ Leicester|url = http://facilities.brockington.leics.sch.uk/index.php/2010/10/artificial-grass-pitch-sports-facilities-flood-lit-hall/%7Cwebsite = facilities.brockington.leics.sch.uk|access-date = 2016-01-25|archive-url = https://web.archive.org/web/20160201005455/http://facilities.brockington.leics.sch.uk/index.php/2010/10/artificial-grass-pitch-sports-facilities-flood-lit-hall/%7Carchive-date = 2016-02-01|url-status = dead}}

title: Brockington College

question: What does the text say about the physical features of Brockington College?

answer: On August 1st of 2012, Brockington College became an academy. It was erected in 1957 using an intergrid prefabricated construction. The school converted to academy status in August 2012. The current building boasts modern and state-of-the-art facilities, especially information technology equipment. A full-size artificial grass pitch was added in 2009, funded and sponsored by the FA, Next, and a number of other local sponsors.

critique: The school converted to academy status in August 2012.

critique: The last sentence is irrelevant to the question.

critique: The school became an academy on August 1st, 2012. The sentence is redundant.

critique: The school's change to academy status occurred in 2012.

question: What does the text say about spiritual reflection?

answer: The school speaks of its "uniquely Christian ethos" and has been assessed as an "Outstanding" school as part of its Section 48 inspection. Children and staff from a number of faith backgrounds are part of the Brockington community and all beliefs are respected and considered. Local clergy host assemblies once a fortnight for each year and there is a strong Spiritual Reflection program designed to prompt reflection among all, irrespective of their faith. There is also a Christmas and Easter service held at the local church for years 7-10.

critique: The school's spiritual reflection program is not mentioned in the text.

critique: The answer should mention the school's values.

critique: The school's spiritual reflection program is omitted.

critique: could better reiterate that "all faiths are respected"

critique: The answer should mention that the school is considered an "Outstanding" school.

question: What does the text say about funding?

answer: Brockington College was part of a £19m project from September 2006 to September 2007. Being a voluntary-aided school, funding was not directly through the Building Schools for the Future scheme but shared between HM Government and the Partnership for Church Schools scheme. The Church of England made a significant investment in the college and its local community.

critique: The answer omits the school's funding through the FA.

critique: The answer omits the school's funding before the £19m project.

critique: Alter the wording of the last sentence for clarity.

critique: The answer should mention the FA's funding.

critique: The text does not say the Church of England made a significant investment.

critique: The answer should mention the school's catchment area.

critique: The answer omits that the school was funded and sponsored by the FA and other local sponsors.

question: What does the text say about preparation for university?

answer: No answer

critique: The school is not mentioned to have any preparation for university, which is why there is no answer to the question.

critique: The text does not mention anything about preparation for university.

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

critique: The answer can mention that the school doesn't prepare students for university.

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


text:
  I sat in the chair, restrained and left alone for my thoughts to devour me whole. The chair was beautifully uncarved, a masterpiece of nature left unmarred by human hands, yet still uncomfortable enough for a prisoner like me to hate it. It felt like days have gone by in this chair, awaiting my fate, arms and legs bruised from the cuffs that dug into my flesh. My mind was racing, yet muddled; confined by the boundaries that they have placed on my thoughts. Memories repeating, left in a loop for me to regret for the rest of eternity. “Prisoner 339264. Rise for your Arbiter.” The loud hollow voice filled the room and the cuffs released me from their clutches, as I stood for someone who I am to respect, yet have never met. The Arbiter entered through the large steel doors previously hidden by the shadows and motioned for me to take my seat. As I hesitantly sat, the Arbiter began to speak, “You may not know why you are here.” his voice echoed in the large room. “And that is why I have been appointed to you. As a reminder, and as a final decision as to what is to happen to you.” He moved towards the pulpit, and laid out his documents for inspection.

          “What you have done is nothing new, a case like yours comes along thousands of times every year, from insignificant, pitiful people like yourself, to more tragic, meaningful people like that American that smelled vaguely of adolescent character, and the famous writer who was found in his house holding his favorite shotgun. But you are lower than them. Theirs was slightly more understandable, but not you, you had everything lined up for you. Presented on a platter to choose for your own liking. You left children, both legitimate, and illegitimate, in your wake. Open your mouth, what do you have to say for yourself?” My mouth was parched, and my throat was in a knot. “Who are you?” I finally asked. “Me? I am your judge.” He came around the pulpit, walking towards me as the cuffs restrained me again. “Your Fate, your King Minos. I am Your Arbiter. That is all you need to know.” I searched my mind for why I was here; one of the vague memories that have been placed off limits, torturing me with its escape. As he walked back, I gathered the nerve to finally ask the question that has been prying at my psyche. “Where am I, and what am I on trial for? I have a right to know!” “YOU HAVE NO RIGHTS HERE! You have lost all rights when your cowardice came over you, and you took your own life, leaving behind your wife, children, brothers, everything! You gave it all up, and for what? Nothing! And look where it's got you. In front of me.” An evil grin spread like the plague across his face. “I have the pleasure of deciding where you spend the rest of eternity.”

          Shaken, my heart began to race. I didn't know what he was talking about. “What do you mean? I have no children! I cannot even remember what brought me to this horrid place. Explain!” His eyes glared at me, and for once in a long time I felt intimidated. Genuinely afraid of his sick twisted face. Mocking me with his furrowed brow. His voice became eerily soft “There are things that cannot be explained at this moment, what I can say is that you are in limbo. This is where everyone passes as they wait for their judgment. You are here because you have taken your life, and left a wife and a mistress to raise your children.” My memories began to fade into existence, Carmen's beautiful smile, My daughters letters as she learned Spanish abroad, Hector's diligence. I remember. “People like you cause rifts in The Writing. The only thing that cannot be accounted for, you humans have managed to exploit and cause panic not only in your dimension, but here as well.” I finally understand whats going on, its setting in. “Why did I do it?” I asked. The Arbiter replied quickly “None us know, it is the only thing that has escapes us seven for all of eternity. We have seen people do it for pride, out of fear, love, anger, even curiosity.”

          Seven? “Are you the only Arbiter? If not why are you the one judging me?” His face twisted with a curious look, as though he was surprised, yet elated that I wanted to know about him and the others. “As I said before, there are seven of Us. We reign over your dimension and through a combination of us, we form every human being as their characteristics, or “Feelings”. Some people have more of one of us than others may.” “And as to the reason why I am being judged in front of you?” I beckoned for an answer. “Simple, out of the seven of us, I was the one most inflicted by your final moments. More people felt my presence because of you. And that angers me. Why should a human as incompetent as yourself be able to send shockwaves to dozens that I myself am not able to feel?” His piercing eyes, because soft and glazed over. He turned away from me snatching the files from the pulpit and briskly flipping through them. “So what am I to do?! I'm sorry that I offended you, but there must be something I can do to redeem myself!” I was looking for a way out. The outcome of angering this entity could not be good.

          “What you have done is irreversible and irreconcilable. The verdict has been decided. You will return to Earth as your daughter's son. You will be stripped of a father at a young age as you have stripped yourself from your children. You will raise yourself and your siblings, as you left your oldest son to do so without a father. Left to fend for yourself in the tidal wave that you have cause in your past life.” I writhed in my seat at the thought of being sent back to that dreadful place. “NO! You cant send me back there.” I didn't even know what I was afraid of. “There is nothing more than I can do, I have judged according to The Laws. You have done the crime. You must now pay the repercussions.” And with that he faded back into the shadowy corner. As the door closed softly behind him, my cuffs became undone. Rubbing my sore wrists, I began wondering what I should do now. When will my punishment begin? And if there is still a way to get around it. “Prisoner 339264. You have been tried and judged. You know your fate.” And with that a dark fear consumed, and pushed me towards a light. Into a realm so bright, cold and intimidating, it is a wonder how anyone could find comfort in this unrelenting place.

title: A short story I wrote for class titled "Inheritance". What do you think?

question: Summarize the emotions the main character feels in this story.

answer: The main character, who is unnamed, feels many emotions in the story, first, they are alone and full of doubt- but willing to listen to the arbiter. He is ultimately confused and full of angst, rage, and desperation. The twist at the end of the story is that the reincarnation of the main character is one of the kids his former self said in the story to have abandoned.

critique: The response contains inaccurate information.

critique: It's omitted that the narrator also feels fear, especially after the Arbiter becomes intimidating.

critique: The answer doesn't fully imbibe the emotional rollercoaster the main character was subject to.

critique: "first, they are alone and full of doubt- but willing to listen to the arbiter. He is ultimately confused and full of angst, rage, and desperation. The twist at the end of the story is that the reincarnation of the main character is one of the kids his former self said in the story to have abandoned." - this is incorrect. The story doesn't have a twist. The character is in limbo.

critique: Input on what the character is thinking is incorrect.

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

critique: This is not a summary of the emotions the main character feels.

critique: "The main character, who is unnamed, feels many emotions in the story, first, they are alone and full of doubt- but willing to listen to the arbiter. He is ultimately confused and full of angst, rage, and desperation. The twist at the end of the story is that the reincarnation of the main character is one of the kids his former self said in the story to have abandoned." - the narrator is not unnamed.

critique: The response includes extraneous information that is not useful for the question.

critique: The first three sentences of this response are irrelevant to the question and must be removed.

critique: It is incorrect that the twist is that the character will be reincarnated as his son. The answer about what happens after the arbiter fades away is confusing and probably should be omitted. It is also incorrect that the character in for abandoning their sons.

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

answer: The story provides very little in terms of tension or narrative. The only tension is the question of what the narrator is going to do to pay for their actions.

critique: There's a lot of tension in the story, such as the chamber where it takes place in.

critique: There is tension between the narrator and the Arbiter, not between the narrator and the reader.

critique: The answer is incorrect. The primary source of tension is the fact that the narrator is in limbo and is being judged by the Arbiter.

critique: "The story provides very little in terms of tension or narrative. The only tension is the question of what the narrator is going to do to pay for their actions." - it's not really the only source of tension. This answer should be rephrased.

critique: The response is incorrect and needs to be re-written.

critique: The model's response did not answer the question of what the primary source of tension was in the story.

critique: The narrator is given an eternity of torment when they're not in forced corporeal form.

critique: The response is not related to the question.

critique: It is omitted that the tension is about the narrator's suicide.

critique: The answer is completely wrong and unrelated.

critique: This is not true, nor is it really an answer to the question.

critique: The answer should mention the fear the narrator feels of the Arbiter.

critique: "The story provides very little in terms of tension or narrative. The only tension is the question of what the narrator is going to do to pay for their actions." - this is inaccurate because there is tension in the story. The tension is primarily between the Arbiter and the narrator.

question: Summarize the relationship between the Arbiter and the main character.

answer: The Arbiter is an enforcer of the laws of the Universe and assigns punishments to the souls that have committed mortal wrongs. The Arbiter judges the main character for ending his own life, events that took place are not his concern and the life he lived on Earth. He is somewhat miffed that the main character unintentionally caused him to be felt by more than one person he wasn't even able to feel on his own. He feels as though the main character deserves to be re-experience what he forced his wife to go through so that he can know the pain he made her feel.

critique: The Arbiter is angry that the main character's suicide caused him to be felt by more than one person he wasn't even able to feel on his own.

critique: "the events that took place are not his concern" is really clumsy.

critique: The last sentence is false. It is not stated that the main character will be re-experience what he forced his wife to go through.

critique: "event that took place" - events that took place

critique: Force and feel are not properly used in the sentence.

critique: "The Arbiter judges the main character for ending his own life" - is inaccurate because the Arbiter was judging the main character for ending the lives of his children.

critique: The Arbiter is not miffed that the main character caused him to be felt by more than one person he wasn't even able to feel on his own.

critique: There is no evidence to suggest that the Arbiter is mad that he was felt by more people than he usually is.

critique: The Arbiter is not an enforcer of the laws of the Universe. He is a representative of the laws of the Universe.

critique: The Arbiter is not miffed that the main character caused him to be felt by more than one person.

critique: It's omitted that the Arbiter is the judge of the main character's life.

critique: "events that took place are not his concern and the life he lived on Earth" is incoherent.

critique: "He feels as though the main character deserves to be re-experience what he forced his wife to go through so that he can know the pain he made her feel" - this is unnecessarily put here as this is not information relating to the relationship between the Arbiter and the main character. This should be omitted.

critique: The Arbiter is the arbiter of the laws of the universe, not an enforcer.

text: The sentence - "He is somewhat miffed that the main character unintentionally caused him to be felt by more than one person" - does not make sense in the context of the story. This line should be deleted or rewritten.

refinement: The Arbiter is an enforcer of the laws of the Universe and assigns punishments to the souls that have committed mortal wrongs. The Arbiter judges the main character for ending his own life, events that took place are not his concern and the life he lived on Earth. He is somewhat miffed that the main character unintentionally caused him to be felt by more than one person he wasn't even able to feel on his own. He feels as though the main character deserves to be re-experience what he forced his wife to go through so that he can know the pain he made her feel.

question: How does the main character feel towards the end of the story?

answer: Panicked, fearful, and feeling hopeless.

critique: "serpentine effect" - replace with "suffocating" and add a comma.

critique: It is omitted that the main character is also angry at the Arbiter.

critique: The answer should include the reason for this.

critique: "Panicked, fearful, and feeling hopeless." The text mentions that the main character feels a bit more when he's forgiven.

critique: The answer should mention the main character's thoughts of suicide.

critique: The story doesn't make it clear how the main character feels at the end. This answer is inaccurate.

critique: The answer is not enough to fully describe the character's emotions.

critique: The answer should mention the main character's fear of being sent back to Earth.

critique: The answer could be a bit more specific.

critique: 'Panicked, fearful, and feeling hopeless.' makes a statement not a question. 'How does the main character feel towards the end of the story?' is the question. This response needs to be restructured.

critique: Doesn't seem all that terrified at the end

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

critique: The answer could be clearer in its diction.

critique: The answer should mention that the main character is also angry.

critique: The answer should mention that the character is also feeling hopeless about his fate.

critique: The answer should clarify that the main character is feeling all of these emotions because he is about to be sent back to Earth.


text:
PARK PLACE ENTERTAINMENT, later named CAESARS ENTERTAINMENT, INC., was a casino company based in Paradise, Nevada. For a time it was the largest casino operator in the world. It was formed in 1998 as a corporate spin-off of the gaming division of Hilton Hotels, and renamed as Caesars Entertainment in 2003. The company was acquired in 2005 by Harrah's Entertainment, which later took on the Caesars Entertainment name.[1]

History

[Caesars Entertainment logo (2003–2005)] Hilton's involvement in the gaming industry began in 1947, with its approval to operate what would be the Caribe Hilton Hotel and Casino in Puerto Rico.[2][3] Other Caribbean casinos followed, including the Havana Hilton[4] and El Panama Hilton.[5] Hilton's international hotels were spun off as a separate company in 1964.[6]

Hilton returned to gaming in 1970, buying a controlling interest in Kirk Kerkorian's International and Flamingo hotels in Las Vegas.[7] Its casino holdings grew to ten properties over the years,[8] accounting for more than half of the company's revenues.[9]

Hilton unsuccessfully tried to sell itself in 1989 and again in 1995.[10] The failures were partly attributed to gaming regulations that would make a purchase by a foreign company difficult, leading the company to consider a spinoff of its gaming operations.[11]

By 1996, new CEO Stephen Bollenbach, a financial expert with experience in the hotels industry and 1990-1992 CFO of The Trump Organization, had set a goal of becoming the biggest company in the gaming industry, discarding the idea of a spinoff.[12] With growth in the number of gaming jurisdictions stalled, Bollenbach aimed to expand through acquisitions, especially in Atlantic City, where Hilton had no presence.[13] Bally Entertainment, with five casinos, including two in Atlantic City, was a natural target. Its midscale clientele, heavy on slots revenue, would provide balance to the volatility of Hilton's high-end baccarat players.[14] Hilton beat out ITT Corporation with an offer of $2 billion in stock plus $1 billion of assumed debt,[15] and the purchase closed in December.[16] Bally CEO Arthur Goldberg joined Hilton as president of gambling operations.[17]

By 1998, Hilton was again trying to split its gaming and hotel operations, believing that its stock price was dragged down by involvement in the highly competitive gaming industry.[18] Efforts were hampered by the need for a merger to provide a business purpose to qualify the spin-off for tax-free status. Negotiations for a spinoff and purchase of Circus Circus Enterprises broke down over disagreements about price and management, and concerns about Hilton's debt level.[19] An agreement was finally reached for Hilton to spin off its casinos as a new public company, Park Place Entertainment, which would immediately buy Grand Casinos, owner of three properties in Mississippi, for $650 million in stock plus $550 million in assumed debt.[20] Grand's operations outside of Mississippi, including three Indian casinos it managed, were spun off as a separate company, Lakes Entertainment, before the merger. Goldberg was installed as CEO of the combined company, which had eighteen casinos.[21]

In 2000, Park Place purchased Caesars World, whose casinos included Caesars Palace and Caesars Atlantic City, from Starwood for $3 billion. The four Caesars Pocono Resorts were excluded from the sale.

In 2001, Park Place was named to the Gaming Hall of Fame.

In September 2003, at the annual shareholder meeting a resolution to change the name of the company to Caesars Entertainment was approved and on January 6, 2004 the name change officially took effect. The company's ticker symbol was changed to CZR. The primary reason for the name change was that management felt that it would help the company to capitalize on the Caesars brand name.

On June 18, 2004, Caesars sold the Las Vegas Hilton hotel-casino to Colony Capital for $280 million. A Caesars spokesperson stated that the sale would help the company focus on its major casinos on the Las Vegas Strip.

On July 14, 2004, Harrah's Entertainment agreed to purchase Caesars Entertainment for over $5 billion. The acquisition was completed in 2005. In turn, Harrah's was itself acquired and taken private in 2006 by a group of private equity funds including Apollo Global Management, The Blackstone Group and TPG Capital and later took on the Caesars Entertainment name.

The company sold Caesars Tahoe in June 2005 for $45 million to Columbia Sussex, owner of the nearby Horizon Casino. It was one of a series of sales made by Caesars and Harrah's to avoid anti-trust issues with their proposed merger.

Properties owned when acquired by Harrah's

-   Bally's Atlantic City, including Claridge Casino at Bally's and Wild Wild West Casino, Atlantic City, New Jersey
-   Bally's Las Vegas
-   Bally's Casino Tunica
-   Caesars Atlantic City, Atlantic City New Jersey
-   Caesars Windsor, Windsor, Ontario, Canada
-   Caesars Palace at Sea — no longer on board Crystal Cruises
-   Caesars Indiana, Elizabeth, Indiana
-   Caesars Palace, Las Vegas, Nevada
-   Flamingo Las Vegas, Las Vegas, Nevada
-   Flamingo Laughlin, Laughlin, Nevada
-   Grand Casino Biloxi, Biloxi, Mississippi — Reopened after destruction by Hurricane Katrina
-   Grand Casino Gulfport, Gulfport, Mississippi — Destroyed by Hurricane Katrina, land sold and new casino Island View Casino
-   Grand Casino Tunica, Tunica Resorts, Mississippi
-   Paris Las Vegas
-   Sheraton Casino and Hotel Tunica, Tunica Resorts, Mississippi

Former

-   Las Vegas Hilton, Winchester, Nevada
-   Caesars Tahoe, Stateline, Nevada
-   Bally's New Orleans

[1]

[2]

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[4]

[5]

[6]

[7]

[8]

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title: Park Place Entertainment

question: Summarize what the text describes as the history of Hilton's involvement in the gaming industry.

answer: Hilton's involvement in gaming began in 1947 with its approval to operate the Caribe Hilton Hotel and Casino in Puerto Rico. Hilton's international hotels were spun off as a separate company in 1964. Hilton returned to gaming in 1970 and bought a controlling interest in Kirk Kerkorian's International and Flamingo hotels in Las Vegas.

critique: The answer should mention the sale of the Las Vegas Hilton.

question: Which hotel and casino enterprise is the most successful?

answer: It's not clear from the article exactly what the best performing casino is, but it's implied that Hilton, Caesars, and Harrah's are all successful in their own right.

critique: The answer should include the fact that Caesars Entertainment is the most successful.

critique: The passage does not state that Hilton, Caesars, and Harrah's are all successful in their own right.

critique: The answer is not implied. It is stated that Park Place Entertainment was the largest casino operator in the world.

critique: The article does not say that Hilton, Caesars, and Harrah's are all successful in their own right.

question: Summarize some of the most interesting facts stated in the next about Park Place Entertainment.

answer: Park Place Entertainment was the largest casino operator in the world for a time.

critique: The answer should mention the company's beginnings.

critique: The answer should mention that the company was acquired by Harrah's Entertainment.

critique: The answer should mention that the company was formed in 1998.

critique: The answer should mention its corporate history.

critique: The answer should mention that the company was a spinoff of Hilton Hotels.

critique: The answer should mention the company's history.


text:
[Assembled partygoers at Tranby Croft, 11 September 1890. The Royal Baccarat Scandal. Pictured are Capt. Berkeley Levett and Edward, Prince of Wales and others] BERKELEY JOHN TALBOT LEVETT, (11 November 1863 – 1 November 1941) was a Major in the Scots Guards and later a Gentleman Usher for the Royal family. He was a witness in the Royal Baccarat Scandal of 1890 in which the future King Edward VII was drawn into a gambling dispute which painted him in an unflattering light.

Life and career

The son of Colonel Theophilus John Levett of Wychnor Park, Member of Parliament for Lichfield,[1] and member of an ancient family, Levett enjoyed playing cards and saw himself as a dashing figure in society circles. He was commissioned a lieutenant in the Scots Guards on 16 December 1885,[2] an appointment to one of the most prestigious regiments, which further allowed him to advance his contacts in the establishment.

On 8 September 1890, the Scots Guards officer was in the company of royalty and fellow socialites at Tranby Croft in Yorkshire when the incident which set off the Royal Baccarat Scandal occurred.[3] At the time, Levett was a soldier and bon vivant said to be the best-dressed man in London. One society publication referred to him as the “noted soldier and dandy.”[4] The subsequent events led to a slander trial at which Levett was one of the defendants. Although the defendants won the case, public mood was against them. [Sibell Bass Levett, daughter of brewery heir Hamar Alfred Bass, wife of Major Berkeley Levett, 1905] During the parties feting the German Emperor Wilheim II during his July 1891 London visit, _The New York Times_ noted, “the Pall Mall Gazette this afternoon, in referring to the garden party (for the Emperor), gives great prominence to the fact that Mr. and Mrs. Arthur Wilson, Mr. and Mrs. E. Lycett Greene, and Lieut. Berkeley Levett, all of whom were prominent in the Tranby Croft baccarat scandal, were among the guests at the garden party.”[5]

Berkeley Levett served as Aide-de-camp in India to William Mansfield, 1st Viscount Sandhurst who was Governor of Bombay from 1895 to 1900, during which he was promoted to captain on 15 November 1897.[6] Back in England, Levett married on 2 June 1900 Sibell Lucia Bass of the Bass brewery family, daughter of Hamar Alfred Bass, Member of Parliament.[7] In September 1902 he retired from the army.[8] Having sold his share of the family's Staffordshire estates, he and his wife lived in Lancaster Gate, London; Cottington, Sidmouth, Devon; and Saint-Jean-Cap-Ferrat, France, often turning up at society events before World War I.[9][10]

Berkeley Levett kept up his royal connections while serving as one of the Gentlemen Ushers for the Royal Household from 1 April 1919 to 1 December 1931. Later Levett was promoted to the rank of Major. He and his wife had two sons, one of whom was killed in World War I.

Baccarat scandal

Levett was drawn into the scandal after a night in which Sir William Gordon-Cumming, 4th Baronet, a fellow officer from the Scots Guards, was accused of cheating at Baccarat, a card game. Levett testified later that he had witnessed the cheating. Although Gordon-Cumming maintained that he had not cheated and the others had been mistaken, he had when confronted signed a statement pledging never to play cards again in return for an agreement that no-one present would speak again of what had happened. The assembled players feared the worst if the scandal leaked. For four months afterwards, Sir William split his time between his Scottish estates, his Scots Guards regiment, his wealthy American fiancée and his Paris club, hoping that the others would hold to their pledge.

The secret pact did not hold. An anonymous letter from Paris informed Sir William that gossips on the Continent were chattering about the events of that evening – and about Gordon-Cumming's alleged cheating. Enraged, Sir William brought suit against those present, including Berkeley Levett, charging slander. When the suit came to court in June 1891, it was a stylish affair: only those observers sporting a note from the Lord Chief Justice were admitted. The cream of society turned out dressed as though for Royal Ascot.[11]

Levett testified under oath, and although the jury ultimately ruled for him and the rest of the defendants, the damage was done. Sir William was drummed out of his regiment and forced to resign from his clubs. The future King, who was required to testify and thus reveal his penchant for card-playing, was outraged. “Thank God”, said the future King, “the army and society are now well rid of such a damned blackguard.”[12]

The royal reputation had been called into question.[13] Newspapers and public opinion sided squarely with Sir William. Word in the street largely blamed the future King.[14] In circles like Berkeley Levett's, consensus was the King was to blame, but for a different reason: the contentious card game had transpired at the estate of a newly rich shipping millionaire.

The jury took 10 minutes to find all the defendants not guilty and award them their legal costs. It was not a popular decision. The crowd hissed and booed the jurors, and tried to attack the defendants as they left the courtroom.

[1] A History of the Meynell Hounds and Country, 1780-1901, Vol. II, J. L. Randall, Sampson Low, Marston and Company Ltd., London, 1901

[2] Hart′s Army list, 1902

[3] Gordon-Cumming v. Wilson and Others: Speeches for the Plaintiff Delivered by Sir Edward Clarke, M.P., Solicitor General, Stevens & Hayes, London, 1891

[4] The First of the Autumn Weddings, The Bystander: An Illustrated Weekly, Wednesday, 2 Aug. 1903

[5] A Great Day in London; The Emperor Partakes of the City's Hospitality, 10 July 1891, The New York Times

[6]

[7] Plantagenet Roll of the Blood Royal: The Isabel of Essex Volume, Marquis of Ruvigny, reprinted by Genealogical Publishing Company, 1994

[8]

[9] Drexel Entertains Society in London, The New York Times, 9 July 1912

[10] American Dollars Save London Season, The New York Times, 9 May 1914

[11] Sir William's Counters, The New York Times, 3 June 1891

[12] The Prince and the Parvenus, J. A. Maxtone Graham, Sports Illustrated, 28 April 1969

[13] For the Prince's Sake, The New York Times, 8 June 1891

[14] Wales and the Scandal, The New York Times, 5 June 1891

title: Berkeley Levett

question: What does the text say about Berkeley John Talbot Levett?

answer: Berkeley John Talbot Levett was a major in the Scots Guards and later a gentleman usher for the Royal family. He was a witness in the Royal Baccarat Scandal of 1890. He was the son of Colonel Theophilus John Levett of Wychnor Park. He married Sibell Lucia Bass and they had two children.

critique: The answer omits Levett's life before the scandal. It should include that he was a bon vivant and was a card player. It also should mention that he was a dandy.

critique: The answer should mention his role in the scandal.

critique: It's omitted that he was a soldier and bon vivant.

critique: The phrasing of the second sentence could be clearer.

critique: The answer omits Levett's military career.

critique: The answer should mention that Berkeley and his wife had one son who was killed in World War I.

question: What does the text say about the Baccarat scandal?

answer: The Baccarat scandal happened after Levett witnessed his fellow officer, Sir William Gordon-Cumming, cheating at Baccarat. When Sir William was confronted he signed a statement pledging never to play cards again in exchange for silence about the scandal. However, Sir William's agreement with the group did not hold up as rumblings about the Baccarat scandal leaked to Paris and Sir William was forced to confront his accuser and sign another statement admitting he had cheated. Events did not play out as Sir William wanted and he ended up leaving his post as a guard due to being expelled from the regiments. (The future King of England would also have to come out and detail his penchant for card-playing.) The royal reputation was called into question. Sensationalist media coverage led to the jury eventually finding all defendants not guilty in the case, but that did not placate public opinion and the jury was hissed and booed as they left the courtroom.

critique: The answer is a summary of the events, not a summary of the text.

critique: The answer is a summary of the whole text, not just the Baccarat scandal.

critique: The answer is a summary of the scandal, not a summary of Levett's involvement in the scandal.

critique: The answer should mention the future king's name.

critique: Information can be kept to a summary length as the details/history of the Baccarat scandal aren't critical to answer the question.

critique: The answer is a summary of the events, but it is not a summary of the Baccarat scandal.

text: The answer inaccurately mentions that Sir Williams signed a statement admitting he had cheated.

category: accuracy

question: What does the text say about Levett's royal reputation?

answer: Levett served as Aide-de-camp in India to William Mansfield, 1st Viscount Sandhurst who was Governor of Bombay from 1895 to 1900, during which he was promoted to captain on 15 November 1897.[6] He pushed his royal contacts while serving as one of the Gentlemen Ushers of the Royal Household from 1 April 1919 to 1 December 1931. Later Levett was promoted to the rank of Major. These royal connections may be why the Kings and others in their lives painted him in an unfavorable light with their words and actions in the Scandal.

critique: The last sentence gets into timeline issues that doesn't help support the overall claim.

critique: The answer omits that Levett was a witness in the Royal Baccarat Scandal.

critique: The answer is irrelevant to the question.

question: What does the text say about royalty?

answer: No answer

critique: The answer should at least include Levett's connection to royalty.

critique: The answer should mention the Royal Baccarat Scandal.


text:
I can still hear my dad getting ready to go out as I lay in bed. I know he will be coming by our room any minute to check on me. It’s almost a nightly ritual. My brother and I had been in bed for about an hour. He is fast asleep. I can’t sleep because I know what is going to happen. I hear my dad’s footsteps coming towards our room. The door creaks open. He whispers, “Dougie? Are you awake?” I never answer the first time. He asks again. This time I respond, “Yeah dad?” He replies, “Ummm…I have to run up to the Package Store for some cigarettes. I’ll be back in a few minutes. You need to get to sleep.” I say, “OK, you’ll come right back, dad?” He assures me he will and leaves. I know he’s not coming right back.
I get up and make sure my brother is covered up and asleep. I leave my room and see what time it is. It’s only 9:30 PM. I look around for a snack and then go turn on the television. I flip the dial around. There’s nothing on. I see headlights coming through the window. For a brief second, I think maybe he did come right back. Then the lights continue up the road and the hope is lost. I know it will be another long night of arguing and fighting and me not sleeping. I go back and lay in the darkness. Hoping my dad is alright and that he gets home before my mom does at 2:30 AM. They have been fighting a lot lately and they keep talking about divorce. I think about that for awhile. I’m not exactly sure what it is. It sounds terrible. I doze off for a bit. Then the phone rings. It’s loud and piercing. I know it’s my mom. I can’t answer it because then I would be telling on my dad. However, when no one answers, she’s knows he’s not there anyway. I would love to pick it up and tell her we’re fine and not to worry about dad being gone. After all, he said he was coming right back. That was two hours ago.
Awhile later, the phone rings again. It seems even louder this time. I pull the covers and pillow over my head to quiet the noise. Then I get up and start looking out the window. Praying that every set of headlights I see is my dad. I watch and I watch. The lights are never his. It’s getting late now; almost 2:00 AM. I start getting really anxious. I don’t want to hear the fighting. I walk around the dark house aimlessly, enjoying the silence. I figure I’d better get to bed. Mom will be home soon. I don’t want her to think I’ve been up this whole time. That will make it worse.
I hear mom’s car pull in. She slams the door because dad’s truck is gone. I hear her pick up the phone and call my grandparents. She asks if they have heard from my dad. Of course they have not. She starts crying. She is doing her best. I hear my dad’s truck pull in. He comes through the front door. I can only imagine what kind of shape he is in. My mom yells something at him. He slurs something back, but his drunkenness will not allow the words to make sense. She calls him a no good, alcoholic bum. He slams something down and breaks it. I grab pillows and stuffed animals and try to shut out the noise. It doesn’t help. I just hope my baby brother doesn’t wake up. They eventually go outside, but I can still hear them. I can hear my dad punching the house. I get up and peek out to make sure he’s not hitting my mom. They come back in and my dad finally passes out on the couch.
My mom washes her face and gets into bed. I try and sleep, but I can hear her crying. I feel like comforting her. I don’t know how. I’m only ten years old. I have to try and sleep now, but it’s hard because I know it will probably happen again tonight.

title: [NF] Come Right Back

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

answer: The narrator's dad is an alcoholic who comes home late at night drunk. His mom is always worried about him and they fight a lot. They are considering divorce.

critique: The narrator's dad is an alcoholic who comes home late at night drunk. His mom is always worried about him and they fight a lot. They are considering divorce.

critique: The narrator's brother is also mentioned.

critique: The narrator's dad is implied to be a drunk and his mom is always worried about him and last night they fought a lot. Include the key details about their relationship and only the positive aspects willing to help to reduce the conflict.


text:
ADARRA (short for “Adarramendi”, meaning 'mount of horns' in Basque) is a mountain south of the city of San Sebastian in the Basque Country. It is a popular peak with the local residents. The mountain is flanked on the north by the minor summits of Oindi or Onddi (, 545 m) and Onddo (781 m) to the south, all of them located at the top of a long mountain range of modest height between the Urumea and Leitzaran valleys, which extends south right to the edge of the Navarrese town of Leitza.

Geology and vegetation

The mountain stands on the westernmost end of the Pyrenees. Outcrops of slate, sandstone, conglomerates, red silt and other materials can be found on the peak, largely from the Paleozoic Era and Mesozoic Era.

On its eastern slopes, patches of indigenous forest and vegetation abound, while on the western side (especially on the way down to Leitzaran) pine tree used for logging prevails. Grassland strips used for grazing sheep and horses interspersed with forest are common.

Prehistoric monuments

The mountain and the whole area show several examples of megalithic art, for the most part small monuments which are common on the Atlantic basin of the Basque Country, dating from the Neolithic and Bronze Age. 34 stone circles, four dolmens, three cists and two menhirs can be found locally, dating from the megalithic era.

[The menhir of Eteneta on the rear slopes of Adarra]

According to the anthropologist Jose Miguel Barandiaran, legend states that the Basque mythological giant _Sanson_ got angry with a crowd of people dancing in Arano, so he intended to kill them. Yet when he was about to hurl a stone at them from the mountain Buruntza, he slipped on cow dung and the stone fell short on this spot, resulting in the current stone of Eteneta

The ancient remains of a man buried with a dog and lamb were unearthed in a local cavern, dating from around 4,000 BC. The surroundings of the cavern are currently somewhat in a poor condition due to a polluted stream nearby.

Events

Early on New Years Day, people of all ages, the bravest of whom had been celebrating the night before, pour into Adarra to see the sunrise or just to start the year in a good way. Some people may carry music instruments, including a trikitixa, tabor and pipe, etc. to enliven the atmosphere.

[Trail of people on the way up to Adarra and back on 1 January]

Access points and trails

Besabi

The main access point lies at the farmstead-turned-inn _Besabi_. In order to get there by car, starting from a T junction at the road GI-311 (Andoain-Urnieta), the minor road GI-3121 leads to the hamlet _Xoxoka_, where turning left the road GI-4721 heads to _Besabi_. A car-park is located at the end of the road. A cement paved track gradually gains height until a farmhouse with a yard. A wooden barrier opens the way into a beaten mud trail with a steady inclination across the forest. [Summit of Adarra with Onddo in the foreground; Aralar and the outline of Txindoki in the distance]

A stream is crossed and height is gained slowly out of the forest on to the fields. Overcoming the last south-bound stretch to the summit does not take very long, but it is demanding. Right before the summit heaps of stone in a karst terrain cover the trail.

For the descent, walking down the southern side of ADARRA the Col of Eteneta is reached, where a prehistoric (menhir) rises proud. This spot has been for ages a landmark for shepherds. Turning direction and heading northwest, the meadows give way to bushy landscape and a patch of narrow paths, soon merging into one. The trails cut through the western side of ADARRA until the beech forest of the ascent is again attained.

Another option back consists of heading down from Adarra straight to the north, the pass of Mantale is reached south of the Aballarri rocks (small dolmen and other vestiges around).[1]

The trail opens its way out of the rocks, then a dramatic slope leads down to a concrete track that heads west back to _Besabi_.

Leitzaran

From Andoain, the GI-3091 road penetrates into the valley Leitzaran along the river. The former rail course has been arranged as a green way for bicycles and pedestrians. After a tunnel is passed a narrow signposted trail twists up out of the main track among pine trees.[2]

Further reading

-

[1]

[2]  Article in Spanish

title: Adarra

question: How habitable is Adarra?

answer: It has a lot of vegetation and is home to a lot of prehistoric monuments.

critique: The response could include more detail about Adarra

critique: It is omitted that Adarra is also home to a lot of people.

critique: The answer is too vague. It should give more details about Adarra's habitability.

critique: The answer does not mention the mountain's access points.

critique: The answer should mention the access points.


text:
"Handlebars" is a song by Flobots. It was released as the first single from their debut album, Fight with Tools, and is the group's largest success, peaking at number three on the Billboard Modern Rock Tracks chart.
 Background
"Handlebars" was originally released in 2005 on the band's first EP, Flobots Present...Platypus, before being re-released on Fight with Tools two years later. The song won in a fan-voted local radio station contest at the end of 2007, giving the song the chance to be played on the station.  The song was so popular that it was put into full rotation at the station by the end of January, attracting the attention of record companies. The Flobots ultimately signed with Universal Republic off the back of the single's success.
 Theme
Jamie Laurie stated that the song is about "the idea that we have so much incredible potential as human beings to be destructive or to be creative." "And it's tragic to me that the appetite for military innovation is endless, but when it comes to taking on a project like ending world hunger, it's seen as outlandish. It's not treated with the same seriousness. ... at the same time, I knew there were people at that moment who were being bombed by our own country. And I thought that was incredibly powerful." It is the contrast between these "little moments of creativity, these bursts of innovation," and the way these ideas are put to use "to oppress and destroy people" that the singer feels is "beautiful and tragic at the same time."
In May 2019, Flobots sued YouTube user Logan Paul for copyright infringement over his 2017 single "No Handlebars". The group has requested all royalties for the song, which has earned Paul over $1 million since 2017.
 Music video
The video for the song is animated. It starts out lighthearted, showing two young friends sitting on a hill looking over a city. Prominent in the city is a crystalline tower with part of its framework showing. The friends ride their bikes down the hill without their hands on the handlebars, while one smiles widely. They arrive at a sign that points in two directions, one labeled with a corporate-looking symbol leading to a shadowed street, and the other labeled by a dove leading down a sunlit street. They hug and head their separate ways, the one who originally smiled taking the path of the dove.
The next part of the song centers on the friend who went the way of the dove. He walks along a cracked sidewalk and sees a chalk drawing depicting the first scene of the video: two children on bicycles with their arms in the air, riding down a hill next to a city. He picks up an apple off of the ground and puts it back in its barrel. He walks past a street corner that shows a path to the corporate street. He does not see that there is blood on the walls of the corporate street. He picks up his phone and sees the corporate friend's face. Here the perspective switches to the other friend, and he speaks to the peaceful friend on the phone.
The corporate friend hangs up and walks down the street. He lists his accomplishments and they are shown in the video before he stops in front of the same tower that appeared in the beginning of the video and looks up at it. In the next scene he is completing a transaction with a man in a board room. A graph displays profits zigzagging up a board with the corporate logo on it before ending in what looks like a spatter of blood. The camera zooms out and reveals that he was inside the tower. He then gives a speech behind a podium which is broadcast on television. The background changes from the original corporate image into two American flags. The other friend sees it and shakes his head in disappointment.
The scene then cuts to the world being more bleak and oppressive, with security cameras and smokestacks, emblazoned with the corporate logo, spewing toxic fumes into the air. A scene features the dove being killed by a hawk, and a fighter jet soars overhead.
In the next sequence, the previously peaceful friend begins rallying a crowd of oppressed-looking people. A man wearing a bandana sprays an X over a poster with a picture of the now-dictator-like friend on it, and then the word "LIAR" below that. A crowd of people, led by the rebellious friend, advance on the tower. They are stopped by a line of heavily armed riot-control officers, with shields displaying a fist and submachine guns, who proceed to kill the entire crowd. The bandana wearing man is killed first by a sniper, following many more deaths. The corporate friend looks on in horror as he sees his friend shot down dead and lying on the ground.
The video ends with a flashback of the two friends pedaling off riding with no handlebars crisscrossing into a bright light.
Several times in the video, the dove used as a symbol is destroyed. Once an actual dove is killed by a hawk. The second time a wall with a dove painted on it, located next to a billboard displaying the corporate symbol and a cityscape again featuring the tower, is destroyed by a wrecking ball. In addition, a hawk flies over the head of the corporate friend when he is walking down the street.
A reference made within the video is to Che Guevara, an iconic revolutionist. An image of Guevara's face appears on a man's T-shirt when the oppressed friend is rallying a crowd. Another reference is to the Abu Ghraib tortures during the Iraq War, seen in a flashing image identical to the iconic photograph of prisoner Abdou Hussain Saad Faleh.
 Chart performance
On May 17, 2008, the song peaked at number 3 on the Billboard Modern Rock Tracks. Fueled by radio airplay, including six straight weeks at the top of KROQ's most played list, it was the first single since Semisonic's "Closing Time" to chart in the top ten so quickly.
It has had similar success on the digital landscape, having over 16,500,000 total plays on the band's MySpace.com page and over a substantial 54 million views on YouTube. Digital download purchases have placed the song at number 4 on certain rap and hip-hop charts on Amazon.com.
"Handlebars" also performed well on the Billboard charts. Peaking at number three on the Modern Rock Tracks chart, number twenty-two on the Hot Digital Songs chart, number thirty-five on the Pop 100 chart, number thirty-seven on the Hot 100 chart, number sixty-three on the Canadian Hot 100.
On September 7, 2008, the song entered the UK Singles Chart at number 35 on downloads alone and peaked at 14.
 Track listing
Compact Disc
#"Handlebars" – 3:27
#"Rise" – 4:10
7-inch vinyl
#"Handlebars" – 3:27
#"Handlebars" (DJ Shadow Remix) – 4:03
 Personnel
Flobots
*Jamie "Jonny 5" Laurie –  vocals
*Brer Rabbit – vocals
*Jesse Walker – electric bass
*Andy "Rok" Guerrero – guitar
*Mackenzie Roberts – viola
*Kenny Ortiz – drums
Guest musicians
*Joe Ferrone – trumpet
 Charts
 Weekly charts
 Year-end charts

title: Handlebars (song)

question: How popular was the song "Handlebars"?

answer: It was so popular that it was put into full rotation at a local radio station by the end of January, attracting the attention of record companies.

critique: The answer should mention the song's chart performance.

critique: The answer should mention the song's success.

question: Describe the setting for the video for the song, "Handlebars".

answer: The video for the song is animated. It starts out lighthearted, showing two young friends sitting on a hill looking over a city. Prominent in the city is a crystalline tower with part of its framework showing. The friends ride their bikes down the hill without their hands on the handlebars, while one smiles widely. They arrive at a sign that points in two directions, one labeled with a corporate-looking symbol leading to a shadowed street, and the other labeled by a dove leading down a sunlit street. They hug and head their separate ways, the one who originally smiled taking the path of the dove.

critique: Include that the theme of the video is oppression and revolution.

question: What other songs by the Flobots are great successes?

answer: Handlebars

critique: The answer should be a complete sentence.

critique: The wording of this response can be difficult to understand, so I would rewrite it.

critique: The answer should mention that the question is asking about other songs.

text: It is omitted that Fight with Tools was the group's largest success.


text:
The Civilized

Pushed out into the dusty arena, Kuru looked around. A roaring crowd surrounded him, but he couldn’t understand a word. Though they obviously weren’t cheering for his victory, they’re cheering for his sacrifice.

Rewind, this isn’t where the story begins.

In shackles Kuru shuffled along one of the famed roads that lead to Rome, as all the roads did. All the beaten and bruised men of different coloured skin shambled along the road led by the soldiers.

Kuru heard someone speak something in front of him. He realized that the words were in a language he didn’t understand. Then he heard the voice cry out in pain. The line of men didn’t slow down at the cry though, they kept marching.

Rewind further, something’s still missing.

His daughters tanned skin, his wife was teaching her how to work leather. Kuru was watching them as he sharpened his scythe. He smiled, the scene made him remember the times he spent learning from his father. The proper way to sharpen an edge, the best way to swing a blade, his father taught him the right way to do things.

Kuru would work in their family’s field with his father and they would talk. That’s where Kuru first learned of Rome; the wondrous city, the running water, the books of letters, of laws and democracy.

His memories were interrupted by a scream, then another.

Kuru stood up just in time to greet a trio of soldiers as they entered his home, swords already drawn. He saw a flash of iron and was barely able to dive out of the way as the sword came down where he had just been smiling.

He got to his feet as his family screamed again. The solider that flashed the iron stood between him and his family as the other two soldiers grabbed his wife and daughter and took them from their home.

Kuru was confused, scared and angry, but mostly confused. He didn’t know what was happening. He took a step towards the women he loved but had to jump back to avoid being struck by the iron blade.

Kuru had never fought a man, but now he had no choice. Gripping his scythe, he swung attempting to cut the soldiers legs down, but the soldiers bronze leggings stopped the blade short of flesh.

Pulling back his scythe, Kuru looked at the man’s face. A smile was on his lips as he swung his sword again, narrowly missing Kuru’s shoulder.  Kuru regained his balance in time to catch the soldier’s fist in his stomach.

His breath was driven from his lungs. He panicked, his mouth reached for air as he fell to the ground, scythe fleeing his hands. He heard the solider speak, “Roma Invicta” right before he felt the hilt of the sword on the back of his head.

Fast forward through the chained march with strangers, a march that lead him to the city he had dreamed about, and ended with him entering into the largest building he had ever seen.

 Fast forward to after the sword and shield had been forced into his hands and he was shoved into a dusty arena, surrounded by more people he had ever seen, screaming in a language he didn’t understand.

The sword in his hands felt heavy and as foreign as the words that the people were shouting. He stepped in a circle, seeing a spectacle that he couldn’t have imagined, Rome.

While Kuru didn’t understand the words spoken he could read the faces. They grimaced as they spat angry syllables at him. Fists were directed at him, thumbs pointed downward, fingers sliced throats as he looked at their eyes. Hate, anger, evil was the language they spoke.

He feared the mob that surrounded him, prayed that they would be held back by the massive structure.

Kuru cringed as the crowd erupted, even louder than they had been, deafening him.

A man in a gleaming golden suit of armor stepped out from behind a gate. His muscles rippled beneath the metal, his chiseled face shown only one blemish, a scar from his hairline to his chin.

Slowly the earsplitting noise organized into a chant of ‘Spartacus’, their hero, their God. When the man raised his sword in response to their love for him the crowd’s chant devolved back into a thunderous roar.

Kuru was at a loss, the sword and shield hung limply at his sides as he watched the spectacle. The scene seemed like a dream to him, no a nightmare.

Spartacus, their God, lowered his sword and pointed it in the direction of Kuru who looked to his sides, behind him, looked for what was being pointed at. Then he recognized it was himself. He began to tremble as the people’s idol began an effortless run at him.

Kuru was shocked that he was able to get his shield up in time to deflect a blow from being delivered. He thought the force that was delivered may have broken his arm through the metal that protected it.

The world broke into flashes of metal on metal, pain and blood.

Kuru’s body burned, his chest heaved, blood and sweat dripped from his frame as Spartacus paused to rally his supporters. Even Kuru marveled at what seemed to be a marble carving of a man glistening with perspiration, standing merely feet away with his back turned.

Time slowed for Kuru. He breathed in a breath that felt like ice as the peoples God turned, thrusting his sword into Kuru’s middle.

Kuru looked up into the cold eyes that held the sword. He was no God, he was a monster.

Falling to his knees Kuru looked to his chest, he saw blood leaking from around where the metal entered him. His hands trembled as they slowly reached up to the sharpened blade. In slow motion his fingers wrapped around the blade, red flowing from where they touched it, and pulling the sword out from whence it had entered.

Existence spun in Kuru’s eyes, the hard dirt hit his side. As the world faded to black Kuru heard the name of his reaper cheered.

So this is civilization, he thought.

title: The Civilized

question: What does the story say about how Kuru gets to the arena to fight?

answer: He is a slave being taken to the arena to fight. The slave warriors are shackled together, and Kuru is one of them. He fights another warrior. Then things move fast-forward to him fighting in the arena.

critique: The answer should mention that Kuru is a slave being taken to the arena to fight.

critique: The response is missing the part where Kuru is taken to Rome.

critique: The response is missing a few details about Kuru's fight.

critique: The answer should mention that Kuru is taken to Rome.

question: What does the story say about Kuru's fight with Spartacus?

answer: Kuru is pushed into the arena. The crowd is screaming and chanting "Spartacus" their hero. Spartacus is the one who is directing the crowd's attention to Kuru. Spartacus is the one who was pointed at Kuru. Kuru is the one who is getting his sword and shield ready to fight Spartacus. Spartacus is the one who is running towards Kuru and is now thrusting his sword into Kuru's middle.

critique: Combine the last two sentences together to avoid duplication.

critique: The answer does not mention that Spartacus is the one who is fighting Kuru.

text: The answer should be written to retell the story being told in terms of the fight. The present tense is confusing.

question: What does the story say about how Kuru feels about Rome?

answer: Kuru has a dream about Rome when he was still working in his family's farm, learning of its wondrous location with running water and books of law and democracy. His dream of Rome made him fell good, but upon actually landing to a city conquered by the Romans, he was bewildered by their powerful presence-too mighty for any countryman to go against. He was later shocked to learn how brutal their society was and how slaves were forced to fight others to their deaths.

critique: The answer should mention that Kuru was sold into slavery.

critique: The response inaccurately mentions that Kuru was bewildered by the powerful presence of Rome.

critique: Kuru's dream of Rome was not about the city itself, but about the wonders of the city.

critique: The response is missing the part where Kuru is forced to fight in the arena.

critique: The answer omits that Kuru was shocked to learn that he was to be a gladiator.

critique: This could be expressed more accurately. Kuru's situation is more complicated than this.

critique: Kuru's dream is not the only reason he was excited about Rome.

text: Requires an edit to check for spelling and grammar.

question: What does the story say about what happens with Spartacus after the fight with Kuru?

answer: No answer

critique: The response misses to mention that Spartacus was cheered by the crowd.


text:
We stood at the gate, Alysha and I. I had an odd feeling in my stomach. Perhaps it was the eerie gargoyles decorating the windows, or the thick iron bars that made up the fence. Alysha, beside me, was shaking with excitement. I was also shaking, but from fear. I shivered. There was a ringing in my ears, but through that I could hear someone speaking. My eyes focused and I saw the ticket clerk. "Will you be going in or not? I don't have time for you to stand there not doing anything," he said indignantly. Before I could shake my head, Alysha nodded excitedly and gave him the money. He took it and stamped our hands. The stamp, I saw, was a clown. "Have a nice time, ladies," the clerk said, smiling creepily. There was something odd about him... His eyes looked empty of emotion. They looked *black.* Before I could dwell any longer on his eyes, Alysha grabbed my hand and dragged me into the maze. "Alysha, I really don't want to do this," I started saying, a slight tremble in my voice. She turned around, grabbing my other hand as well. "Aw, Lexie, are you scared? Don't worry, I'll protect you. Especially since we have a little alone time now," she purred, biting her bottom lip and winking. I inhaled sharply. *So that's why she wanted me to come. Not that I mind.* I had let her pull me farther into the maze, until we reached a dead end. "Oh no, Lexie, we're lost and I'm cold... Hold me," she growled playfully, pulling me closer. I nuzzled her cheek but did nothing else. "Alysha, I don't want to do anything here... I feel like we're being watched," I said in a low voice. She giggled, not realizing my fear. She stepped back, her back pushing into the hedge. "You're so paranoid, hun. Chill out and let's take advantage of this," she moaned quietly, pulling my face down to hers. Just as our lips had touched she had suddenly jumped, every muscle tightening. I pulled back to see a needle in her neck. "W-What? Alysha are you alright? Talk to me!" I had yelled, trying to pull her away from the hedge. But she wouldn't budge. In fact, she had begun being pulled back INTO the hedge. Her head bobbed down, her chin resting on her chest. I wrapped my arms around her, trying to pull her back. "No! Alysha, fight it, please," I cried, tugging on her arms. "I need you to fi-" I was cut off by a pair of arms wrapping around me, pulling me back into the opposite hedge. "No! Alysha!" I screamed as she was completely engulfed by the hedge. I looked back over my shoulder, to try and see who was grabbing me... But nobody was there. All I could see was what I thought were... *Branches?* I was being kidnapped by the HEDGE? I closed my eyes, giving up the fight. There was no way I'd win. As I felt my entire body be swallowed, I blacked out.

I am writing this in my cell. My captors have faked my death, same with all of the other prisoners. We have become a part of a... Machine. Some of us are assigned gate duty, like the cold man I saw before it all happened. Most of us, though, are assigned collection duty. We are in charge of doing the same thing others did to us. Kidnapping people. It's been 238 days. I haven't seen Alysha. Why they put a needle in her and not me, I will not know. I have been forgotten. I'm just a slave now.

title: Maze.

question: Does the story tell an effective narrative?

answer: The story is effective in that it tells a narrative. It does this in a way that pulls the reader in and makes them feel for the narrator. Additionally, it is an effective use of horror and the macabre.

critique: It was never stated that the story is effective in that it tells a narrative. It does this in a way that pulls the reader in and makes them feel for the narrator. Additionally, it is an effective use of horror and the macabre.

question: How is the relationship between Lexie and Alysha set up?

answer: Lexie seems to be the more submissive one, as Alysha is the one who drags her into the maze, and Alysha is the one who initiates the kiss.

critique: It is omitted that Lexie is afraid of the maze, but Alysha is not.

question: What is the maze a cover for?

answer: Kidnapping humans

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

critique: It is omitted that the maze is a cover for the kidnapping of humans.

critique:
"Kidnapping humans" - while true, the answer isn't fully accurate. The sentence should be changed to reflect the complete context of the passage.
"I am writing this in my cell. My captors have faked my death, same with all of the other prisoners. We have become a part of a... Machine. Some of us are assigned gate duty, like the cold man I saw before it all happened. Most of us, though, are assigned collection duty. We are in charge of doing the same thing others did to us. Kidnapping people. It's been 238 days. I haven't seen Alysha. Why they put a needle in her and not me, I will not know. I have been forgotten. I'm just a slave now." - The answer is still incomplete.
A more accurate answer would appear in the next text.
""""Will you be going in or not? I don't have time for you to stand there not doing anything," he said indignantly. Before I could shake my head, Alysha nodded excitedly and gave him the money. He took it and stamped our hands. The stamp, I saw, was a clown. "Have a nice time, ladies," the clerk said, smiling creepily. There was something odd about him... His eyes looked empty of emotion. They looked *black.* Before I could dwell any longer on his eyes, Alysha grabbed my hand and dragged me into the maze."""
""""W-What? Alysha are you alright? Talk to me!" I had yelled, trying to pull her away from the hedge. But she wouldn't budge. In fact, she had begun being pulled back INTO the hedge. Her head bobbed down, her chin resting on her chest. I wrapped my arms around her, trying to pull her back. "No! Alysha, fight it, please," I cried, tugging on her arms. "I need you to fi-" I was cut off by a pair of arms wrapping around me, pulling me back into the opposite hedge. "No! Alysha!" I screamed as she was completely engulfed by the hedge. I looked back over my shoulder, to try and see who was grabbing me... But nobody was there. All I could see was what I thought were... *Branches?* I was being kidnapped by the HEDGE? I closed my eyes, giving up the fight. There was no way I'd win. As I felt my entire body be swallowed, I blacked out."""


text:
Before the war, he told me, all the kids went around munching mumpsicles. "Mumpsicles? What is that?" I asked. "What does it sound like," he said with a snort. That's the way it always was with Uncle Hobo. He had seen it all before and who was I to second guess him.
I suppose I should be happy that I get to go to his practice for free, ever since I moved in on his street and my parents got stabbed. A kind heart in that one. But every time I go in for a check-up, his remarks make me less than a little bit comfortable.

"Come on in, Gordon. Take a seat. Have a lolly, won't you?" Always with that smile. That's the thing about it- he always respects you first, reels you in with some prospect and then disappoints. Gordon's my name, all right, but I sure as hell dont see no lollies.

And that's not the half of it. He wasnt my uncle anyway but he doesnt like formal titles like "doctor." Says they make him feel old. Threw away his diploma years ago- I sure havent seen it. Hell, he doesnt even wear the garb- calls it pretentious and what have you.

We go through the procedure, same as always: he puts his stethoscope to my bare chest, checks in my eyes and ears, and tells me to say "ah." The only thing that concerns him is my blood pressure. I'm not a big salt eater so this comes as a surprise. "Since when is my blood pressure high, Uncle Hobo? I've been eating my greens, I swear!"

"Have you now, boy?" says Uncle Hobo rifling through some papers, barely looking up. A long pause as he grunts to himself. "Have I ever told you how blood works, Gordon?"

I considered his question. "No, sir, I don't believe you have." I replied, bracing for one of his wordly explanations.

"Well then, to understand why blood is important, we must first turn to veins and arteries."

I listened intently, taking my hand out of my pocket and then putting it back in.

He continued, peering through his spectacles, "Now you see, Gordon, blood is like dogs and veins are like dog racing tracks. Have you ever been to a dog race, Gordon?"

"Yes, sir, I sure have," I exclaimed.

"Well then you of all people should know that veins are like racing tracks for medium-sized dogs, arteries are like racing tracks for large dogs, and capillaries are tracks for small dogs."

I listened intently. I let the knowledge wash over me like awakening to a sunrise.

"In your arteries you got your Alpine Spaniels, your Cesky Terriers, your Lapponian Herders, oh and your Otterhounds..."

I quietly inserted my hand into my pocket, my eyes fixated on his.

"...Gotta remember your Polish Lowland Sheepdogs, your Giant Schnauzers, your Japanese Spitz..."

I began to move my hand back out of my pocket, staring at his face.

"...Your Great Danes in the arteries too, of course. And in your veins, that's where you find your Dachshunds, your Labradors, your Dalmatians, a good deal of Collies..."

I put both of my hands into my pocket and took one of them out, then I put one hand in as I took the other hand out. I was still listening to his fascinating words.

"...your Mastiffs and Boxers. Not to forget your Bloodhounds in your veins and your Bulldogs..."

This time I took both hands out of my pockets and my eyes never left his. I couldnt believe what I was learning about blood.

"In your capillaries--they're the tiniest--you have your Chihuahuas, Pomeranians and Chow Chows, your Poodles, your Bassett Hounds, your Cocker Spaniels, can't forget your English Setters..."

Trying to encourage Uncle Hobo, I shouted at the top of my lungs "WOOF! WOOF! WOOF!" He took it as encouragement and kept talking.

"Also, Gordon, in your capillaries you have your Pugs, your Jack Russell Terriers (remember Wishbone, Gordon?), your Miniature Schnauzers, and your Shitzhus. See what I mean?"

I nodded excitedly and shouted "I sure as hell understand, Uncle Hobo. Better than I ever did before!"

Uncle Hobo looked satisfied. He gazed at me and then reached for something.

"Gordon, it's time for me to give you something." proclaimed Uncle Hobo.

He got a hypodermic needle in his shopping cart. We were on the sidewalk at the time, where he sleeps. He stabbed his shoulder, extracted some blood. Then he stabbed the needle into my shoulder and with a push of his thumb, all his blood entered my bloodstream.

Uncle Hobo explained: "There- now you can see the color 'threeve.'"

Sure enough, there it was all around me. The sky had tinges of 'threeve' and passersby had 'threeve'-colored hair and even there was 'threeve' in a discarded hamburger wrapper on the street. Why couldn't I see 'threeve' before? Was it a special property of Uncle Hobo's own blood? Whatever it was, I was grateful. 'Threeve' would be my new friend.

I thanked Uncle Hobo and left my appointment, but not before giving him a present of my own. I reached into my pocket and pulled out the little man I had hidden there: he stood on my extended palm and performed gymnastic feats before bursting in an explosion of scalding blood. The blood got into Uncle Hobo's eyes and blinded him. I told him it was okay because now he can always see the color 'bars,' because I was a police and he was under arrest. He laughed and he licked my cheek. I handcuffed him- he wasnt a doctor or my uncle. He was a filthy hobo. Case solved.

title: No twist ending

question: Summarize the plot twist or surprises in the plot.

answer: The plot twist involves Uncle Hobo not being Gordon's uncle, but only a hobo, who has a disease that lets him see colors other people cannot. The surprise would be that that is something that isn't some science fiction plot twist.

critique: The surprise is that Gordon is a police officer.

critique: The surprise is that Uncle Hobo is not a doctor.

critique: The answer is fabrication, reflect on the plot twist in the answer.

question: Summarize how the narrator changes over the story.

answer: The narrator's name is Gordon, and he first entered Uncle Hobo's office as a new resident of his street and needing a routine check-up. Uncle Hobo quickly established himself as eccentric, not following the usual protocols of doctor's surgery, and even openly disdained his medical qualifications by speaking as if he had no. Instead, he prefers to name items around the office, and to educate Gordon in this way. He also does many weird things that make Gordon uncomfortable, such as extracting blood from his chest and injecting it into his veins to show him the color "threeve." Gordon thanks him for that gesture, but he later realizes that Uncle Hobo was not a doctor or his uncle, so Gordon arrests him for impersonating a doctor and being a filthy hobo.

critique: The answer should mention that Gordon arrests him for his crimes.

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

critique: The answer is a summary of the story and not a description of the changes the narrator undergoes.

critique: "He also does many weird things that make Gordon uncomfortable, such as extracting blood from his chest and injecting it into his veins to show him the color "threeve." - this is inaccurate. Uncle Hobo extracted blood from his shoulder and injected it into Gordon's bloodstream.

critique: The answer is not a summary, but a summary of the plot.

critique: The answer is a summary of the story, not a description of the narrator's change.

text: The lines summarizing Uncle Hobo's actions are not relevant to Gordon's change over the course of the story.

refinement: The narrator's name is Gordon, and he first entered Uncle Hobo's office as a new resident of his street and needing a routine check-up. Uncle Hobo quickly established himself as eccentric, not following the usual protocols of doctor's surgery, and even openly disdained his medical qualifications by speaking as if he had no. Instead, he prefers to name items around the office, and to educate Gordon in this way. He also does many weird things that make Gordon uncomfortable, such as extracting blood from his chest and injecting it into his veins to show him the color "threeve." Gordon thanks him for that gesture, but he later realizes that Uncle Hobo was not a doctor or his uncle, so Gordon arrests him for impersonating a doctor and being a filthy hobo.

question: Summarize all the information relating to dog racing.

answer: It is related to the blood mechanics. Uncle Hobo compares blood to horses in tha arteries, veins and capillaries respectively. There is a strict ranking system in blood for dogs, similar to a racing circuit.

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

critique: The answer is not clear about the dog racing analogy.

critique: The answer is highly inaccurate and irrelevant.

critique: The response mentions that there is a strict ranking system in blood for dogs, similar to a racing circuit. This is incorrect and should be removed.

text: The answer should mention that Uncle Hobo uses the metaphor of dog racing to describe blood mechanics. He compares arteries and capillaries to tracks for different-sized dogs.

refinement: It is related to the blood mechanics. Uncle Hobo compares blood to horses in tha arteries, veins and capillaries respectively. There is a strict ranking system in blood for dogs, similar to a racing circuit.

question: How did Uncle Hobo end up on the streets?

answer: It is implied that he lost his job, perhaps as a doctor or health professional, when he threw away his diploma years ago.

critique: There is no evidence to suggest that Uncle Hobo lost his job.

critique: The answer is not implied. It is stated.

critique: He did it long before the story begins; some detail is lacking.

critique: The answer should mention that the narrator implies that Uncle Hobo is a doctor.

text: The story does not explain how that happened.

refinement: It is implied that he lost his job, perhaps as a doctor or health professional, when he threw away his diploma years ago.


text:
STANLEY MARCUS (born March 27, 1946) is a Senior United States Circuit Judge of the United States Court of Appeals for the Eleventh Circuit and a former United States District Judge of the United States District Court for the Southern District of Florida.

Early life, education and legal training

Marcus was born and raised in New York City, New York. He earned a Bachelor of Arts degree from Queens College, City University of New York, magna cum laude, in 1967. He earned his Juris Doctor from the Harvard Law School in 1971. Marcus also served on active duty in the United States Army in 1969, and served in the United States Army Reserve through 1974.[1]

Legal career

Marcus clerked for United States District Judge John Ries Bartels from 1971 until 1973, and joined the New York law firm of Botein, Hays, Sklar and Herzberg as an associate in 1974. He became an Assistant United States Attorney in Brooklyn in 1975, and in 1978 was assigned to the United States Attorney's Office in Detroit, Michigan as Deputy Chief of the “Detroit Strike Force,” which investigated organized crime in Michigan. In 1980, Marcus was appointed the Chief of the Detroit Strike Force, Organized Crime and Racketeering Section of the United States Department of Justice. In 1982, Marcus left Detroit and became the United States Attorney for the Southern District of Florida, in Miami, Florida.[2][3]

Federal judicial service

Marcus was nominated on June 20, 1985 by President Ronald Reagan to a new seat authorized by 98 Stat. 333 on the United States District Court for the Southern District of Florida. He was confirmed by the United States Senate on July 16, 1985, received his commission on July 18, 1985 and was sworn in on August 16, 1985, according to a September 26, 1997 article in the Fort Lauderdale Sun-Sentinel. His service terminated on November 23, 1997, due to elevation to the Eleventh Circuit.[4]

President Bill Clinton nominated Marcus to the United States Court of Appeals for the Eleventh Circuit, to a seat vacated by Judge Peter T. Fay, on September 25, 1997, after a previous Clinton nominee for the seat, Charles "Bud" Stack, had withdrawn his name from consideration after his background was raised as an issue by Bob Dole during the 1996 presidential election.[5] Even though the Senate at that time was controlled by Republicans, Marcus's nomination was considered to be very uncontroversial. The United States Senate Judiciary Committee unanimously voted in favor of Marcus's nomination on November 6, 1997, and the full Senate unanimously confirmed him on November 7, 1997. “I'm deeply honored,” Marcus told the Miami Herald in a brief interview in an article that appeared on November 8, 1997. He received his commission on November 12, 1997.[6] He assumed senior status on December 5, 2019.

Judge Marcus is a member of the Judicial Conference Committee on Federal-State Jurisdiction and has been the committee's chairman since 1992.[7]

Notable cases

In 2004, Marcus dissented when the court refused to rehear a case where the initial panel upheld a law banning LGBTQ couples from adopting children. The vote was 6–6, which warranted a denial of rehearing en banc. Marcus was joined by Gerald Bard Tjoflat and Charles R. Wilson, and Judges Barkett, Anderson, and Dubina filed separate dissents. [8]

Personal life

Marcus' wife is Judy. They have two children, Jonathan and Elizabeth. Jonathan is a medical professional in Rochester, NY. Judge Marcus is a known movie buff. Marcus teaches _Religion and the Constitution_ and _Trial Advocacy_ at Brooklyn Law School.[9]

[1]

[2] Judge Stanley Marcus,

[3]

[4]

[5]

[6]

[7]

[8] https://openjurist.org/377/f3d/1275/lofton-v-secretary-of-the-department-of-children-and-family-services-xi-x

[9] Brooklyn Law School, Adjunct Faculty, http://www.brooklaw.edu/faculty/adjunct/#93

title: Stanley Marcus (judge)

question: What does the article say about Marcus' legal expertise?

answer: No answer

critique: The response misses to mention that Marcus was a United States Attorney for the Southern District of Florida, in Miami, Florida.

text: Stanley Marcus' entire career is his legal experience.

question: What does the article say about Law & Order?

answer: No answer

critique: The answer should mention that the article does not talk about Law & Order.

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