text:
 A bolt of lightning streaked across the sky, splitting the dark clouds, illuminating the sea ever so slightly. A small wooden ship, with no less than three men, rocked back and forth on the stormy sea’s surface. The helmsman gripped the wheel as best he could, so as not to slip off the wet surface of the deck, while the captain shouted orders directly to him. The orders turned to an argument, and conflict of ideas with the helmsman who questioned the Captain’s beliefs. The Captain marched off below deck to a man, seated on a chair, that with each crashing wave slid to and fro across the mess hall.

   “I really ‘ope, ye ‘re whatch ye say ye ‘er, stranger.” The Captain maintained a wide stance to steady himself, glaring down at the stranger sliding across his mess hall. The stranger was garbed from head to toe in black, his hat tipped down – no response so much as uttered from him. “If ye cann’t do it, ye might’s well say so now. We might even get out of ‘ere alive.”

The stranger’s head began to rise. From beneath the hat, two eyes peered out, eyes that showed no fear, eyes that told a story of what they had seen; things beyond the Captain’s imagination. His voice was quiet, but not soft, firm, but not commanding, “It’s time.” A wave crashed against the ship sending the stranger’s chair across the mess hall once again, to the table the chair was originally meant for. The table had not so much as moved, kept still by the weight of the sword that lay across it. The stranger picked up his weapon and started off for the deck.

   On the deck, the helmsman cursed and shouted – holding on for dear life. The stranger, followed by the captain had come to join him topside. The stranger held out his sword to the captain, wishing him to hold onto it. The blade was enormous, needing two hands to be held upright – the sword was a brilliant hue of blue, and the hilt was a darker metal of which the captain was also not familiar. Once the weight of the sword was fully handed over to him, he couldn’t help but have his knees buckle and tremble below its weight, it was all he could do to stand. The Captain’s eyes widened, taking in the stranger’s figure, who could carry such a weapon without so much of an effort.

  The stranger stripped down to his pants, the water beading off of him as he held out his hand to the captain. He returned it back to its rightful owner, who without so much of a heave took it into his own hands, and turned to look out at the sea.

 That was when it arose, from the depths of the sea. The water bulged and parted, unable to hold the creature at bay. Its head emerged first, maybe 50 yards long. Its teeth roughly 5 yards and sharper than any human’s sword. As its emerged from the water, they stared down at the boat as if acknowledging the stranger and not once wavering in its view. More and more of the beast begin to slither out from the sea, and the captain fell backwards on the deck, in fear. “…L-Leviathan…”
It was the serpent-dragon, Leviathan. Only thought to be myth to some, but more than legend to others. The stranger swung his sword onto his shoulder, and bent his knees. The captain watched idly by, unable to stop him, unable to even ask him not to go. The stranger’s muscles tensed beneath the skin, and he leapt into the air – higher than any man the captain had ever seen. No sooner than he thought ‘Maybe this man can pull it off’, the stranger was snatched out of the air by the dragon.

 The captain, a burly man with clear over 20 years on the sea, looked up into the lightning filled sky and wept. He wept for the first time since his childhood. He didn’t cry for the stranger, no, he cried because he knew that both his helmsman and he were next. The Leviathan would spare no one. It was in the moment of doubt, that moment of terror where the captain could not control the shuddering of his own body, the beast stopped moving – its head turned. A dark liquid rained over the boat, and the dragon’s eye ceased to glimmer brightly in the storm.

  A single hand emerged, pulling the stranger to the surface of the dragon’s eye, coated in its blood. He tossed himself atop the Leviathan’s head, a screech coming from the creature that nearly shattered the captain’s eardrums. In his hand, he held a brilliant, glowing ball that shined a vibrant blue.

  He knew. The captain knew exactly what was in the stranger’s hand, without a shadow of a doubt. It was something he had only heard about in bed time stories.

  The helmsman shouted to captain, in a panic, “What, what in the seven seas is that?!”

  The captain responded calmly, “That there’s the Leviathan’s soul itself.”

title: [FN] Leviathan: The First

question: Describe the stranger's sword.

answer: The sword is enormous, needing two hands to be held upright. The blade is a brilliant hue of blue, and the hilt is a darker metal of which the captain is also not familiar.

critique: The answer does not mention that the sword is a weapon used to kill the Leviathan.

critique: The sword is not a brilliant hue of blue, the hilt is a darker metal.

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

critique: The answer should mention that the sword is the Leviathan's soul.

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

question: What does the stranger retrieve from the Leviathan?

answer: He retrieves the Leviathan's soul from its eye.

critique: The answer should clarify that the soul is a glowing ball.

critique: It is omitted that the stranger retrieves a glowing ball from the Leviathan.

critique: The answer could be clearer by using a pronoun.

critique: The answer should clarify that the soul is in the form of a glowing ball.

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

critique: It is omitted that the Leviathan's soul is a glowing blue ball.

question: Why is the captain afraid?

answer: The captain is afraid because he is on a small wooden ship with a giant sea creature, Leviathan, coming up from the ocean. The captain is also afraid because he knows that the Leviathan is going to eat him and his helmsman.

critique: The second sentence is not a logical cause of the first.

critique: The captain is not afraid of the Leviathan.

critique: The captain is not afraid of the Leviathan, he is afraid of the stranger.

critique: The captain is not afraid of the Leviathan. He is afraid of the stranger.

critique: The captain isn't afraid of the Leviathan.

critique: The answer is wrong on both accounts. The captain isn't afraid of the Leviathan. He's in awe of the creature.

question: Describe the stranger.

answer: The stranger is dressed in black and has a hat that is tipped down so that no one can see his face. The stranger is also very strong, able to wield the sword.

critique: Although the stranger's strength is implied. it should be included in the answer.

critique: The answer should mention that the stranger is able to kill the Leviathan.

critique: The stranger is not able to wield the sword.

critique: The answer omits the stranger's possession of the Leviathan's soul.

critique: It is omitted that the stranger is able to kill the Leviathan.

critique: It is omitted that the stranger is also very brave, as he is willing to fight the Leviathan.


split: train

text:
[]

Antoinette Comer is a clinician for the Loudoun County Group Home, a new service for county residents who are connected with Loudoun’s human services agencies, which opened its doors earlier this year. She provides family and individual therapy to help children who are struggling with mental health and behavioral challenges that they haven’t been able to overcome while living at home.

WHY DID YOU WANT TO WORK IN BEHAVIORAL HEALTHCARE?

I have a lot of people in my family that struggle with mental health challenges that weren’t properly diagnosed or went untreated. I wanted to work in behavioral healthcare to help others get the services and resources they need. I’m also inspired by my grandmother, who always went out of her way to help people at her church however she could.

WHAT IS YOUR BACKGROUND? WHAT TYPE OF TRAINING HAVE YOU RECEIVED?

I have a bachelor’s degree in Sociology from Le Moyne College in Syracuse, New York, and a master’s in Social Work from Norfolk State University. Right now I’m working to finish the hours I need for my license in Social Work. I have to complete 3,000 hours and I’m about halfway there.

Before joining Grafton in January 2018, I worked for the City of Alexandria’s Community Wraparound Team. In that role I provided therapy to youth with serious emotional or behavioral challenges and their families. I would make home visits and track families to make sure they were receiving the different community supports and resources that they needed. Before graduate school I counseled foster youth and their parents as a visitation coach for the Salvation Army Family Place in Syracuse, New York. A big part of that job was working on reunification so parents could get their kids back in the home.

WHAT MAKES GRAFTON A SPECIAL PLACE TO WORK?

I like working here because I feel super supported by my supervisor. If I don’t know something or need help, I can easily go to her or someone else and get what I need. I also feel like there’s always opportunity for me to grow.

WHAT MAKES GRAFTON’S APPROACH PERSON-CENTERED?

Everything we do is centered on the clients. We make sure they’re involved and have a say in their achievement plans and what happens – there’s no secrecy. Everybody knows what is going on: the client, the parents, and all of the other professionals involved.

WHAT DOES UTILIZING A TRAUMA-INFORMED APPROACH MEAN TO YOU? HOW DOES IT AFFECT YOUR WORK?

It means being aware of what the client has been through. You have to look at the environment around them, the parenting style they grew up with, and everything in their past up until now. The clients’ behaviors often stem from these experiences, so you have to understand that trauma in order to help them heal.

For example, I met with a client’s family recently and I noticed how the mother reacted to certain behaviors displayed by her other children. Witnessing that interaction gave me a better understanding of why our client was responding negatively to some of the females here at the shelter.

DO YOU HAVE A FAVORITE STORY FROM YOUR TIME AT GRAFTON?

We had one resident who made a lot of progress. He came in after suffering physical and verbal abuse from his mother, and he had a really rough time in the beginning. While he was here he received individual therapy and music therapy. Gradually, his behaviors started to change, and by the time he left he was a totally different person. He was ultimately able to return home and be with his family again. It makes you happy to see that people can actually follow through with the work that you’re doing.

WHAT WOULD YOU SAY TO SOMEONE WHO IS CONSIDERING WORKING AT GRAFTON?

It’s a great place to work because you will be supported in everything you do, including academically. You’ll be able to grow at Grafton. The supervisors genuinely want to see you do well and improve in your career.

WHAT WOULD YOU SAY TO A FAMILY CONSIDERING GRAFTON FOR THEIR CHILD?

Grafton is a great place to get services for your child. In some other programs, families may drop off their child without receiving the proper training for what to do when their son or daughter returns home. But at Grafton, as long as you’re invested in the program, you are welcome to be a real partner with us.

question: Describe Antoinette Comer's occupation.

answer: Comer is a clinician for the Loudon County Group Home. She provides family and individual therapy to children who are struggling with mental health and behavioral challenges.

critique: The answer should mention that the Loudon County Group Home is a new service for county residents.

critique: Clarify that Loudoun County is a county in the U.S.

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

question: Summarize Comer's background and training.

answer: Comer received a bachelor's degree in sociology from Le Moyne College in Syracuse, New York, and a master's in Social Work from Norfolk State University. She is working to finish the hours needed for her license in Social Work. She has worked for the City of Alexandria's Community Wraparound Team and at the Salvation Army Family Place in Syracuse, New York.

critique: The answer should mention her current job.

critique: "She has worked for the City of Alexandria's Community Wraparound Team and at the Salvation Army Family Place in Syracuse, New York." - this is irrelevant and should be removed.

critique:
The following part of the answer is redundant and should be omitted.
"""She has worked for the City of Alexandria's Community Wraparound Team and at the Salvation Army Family Place in Syracuse, New York."""

critique: The answer should mention her work at the Loudoun County Group Home.

question: Does Comer seem to be passionate about her job and well-equipped to do her job to the best of her capability?

answer: Yes, she seems to be passionate about her job and well-equipped to do her job to the best of her capability.

critique: The passage does not describe the job specifically.

critique: "Yes, she seems to be passionate about her job and well-equipped to do her job to the best of her capability." - missing a period.

critique:
Quotes from text:
""", and a master’s in Social Work from Norfolk State University."""
"""Before graduate school I counseled foster youth and their parents as a visitation coach for the Salvation Army Family Place in Syracuse, New York."""
"""I like working here because I feel super supported by my supervisor."""
"""I noticed how the mother reacted to certain behaviors displayed by her other children."""
"""Witnessing that interaction gave me a better understanding of why our client was responding negatively to some of the females here at the shelter."""
"""We had one resident who made a lot of progress. He came in after suffering physical and verbal abuse from his mother, and he had a really rough time in the beginning. While he was here he received individual therapy and music therapy."""

critique: "Yes, she seems to be passionate about her job and well-equipped to do her job to the best of her capability." - Comer is passionate about her job and well-equipped, but it's not a certainty that she does the job to the best of her capability. Needs a complete rewrite.

critique: The answer could be more specific about how she is passionate about her job.

critique: It is omitted that she is passionate about her job because she wants to help people get the services and resources they need.


text:
[General area]

VANHANKAUPUNGINSELKÄ (also called _Vanhankaupunginlahti_, ) is a bay area which together with parts of adjoining Viikki district constitute a natural conservation zone near downtown Helsinki in the southern part of Finland. The area is listed in Ramsar Convention on Wetlands of International Importance, is part of European Union's Natura 2000 program and is also listed as BirdLife International's Important Bird Area.

Geographically the area lies east of Helsinki peninsula and is surrounded by the districts of Hermanni, Arabianranta, Viikki, Herttoniemi and Kulosaari. The Vantaa River ends at the north end of Vanhankaupunginselkä.

Although the area appears to be either land or water on various maps or satellite pictures, it is largely marsh-like, impassable either on foot or on boat. Most parts of the area are covered with reeds as tall as a person, which will prevent use of boats, while the subsoil beneath the reeds is soft and muddy, thus preventing passage on foot.

[Duckboards on the area] However, for the purposes of walking between the reeds the City of Helsinki has constructed some duckboards, which permit the visitors on the area to walk between the reeds. While these duckboards permit the visitors to walk between the reeds, the duckboards are just two to four planks wide, which require the visitors to apply appropriate caution in general and while passing other visitors. During times of higher water, the duckboards can be submerged in whole or in part, while in winter, the boards can be warped or destroyed by ice.

[Prohibition sign, stipulating: “Conservation Zone. Do not move between the reeds while the area is unfrozen, collect or damage the foliage or distribute animals in general, do not fish.” The text on the right is in Swedish.] As for the bird species in the area, 285 different species have been observed on the area. Out of these species, 114 have nested on the area during last 10 years.1

When the species of area are considered, certain species rare in Finland nest at the area. Examples of these are western marsh harrier, Eurasian bittern, white-backed woodpecker, red-backed shrike, ortolan bunting and black woodpecker. 2

As for other species, various predators like hawks and owls are frequently observed on the area.

The rules applicable to visitors of Vanhankaupunginselkä are fairly strict. As per the instructions printed on the signs all over the area, visitors on the area are not permitted to move between the reeds while the area is unfrozen, collect or damage the foliage or distribute animals in general. In addition, fishing is not permitted at the area, nor is walking unleashed dogs or horse riding. Furthermore, as Vanhankaupunginselkä is frequently visited by persons interested in nature, informal social control is strict. Littering, loud behavioural and comparable activities are typically strongly condemned.

The visitors can commute to the area either by cars, trams or buses. The trams number 6 and 8 have stops less than a kilometre from the area and various locations near the area offer ample parking space.

Birds at Vanhankaupunginselkä and Viikki Area

Image:CygnusOlorNaturalHabitatMorning.jpg|Mute swan Image:CygnusOlorJuvenile.jpg|Juvenile mute swan Image:FringillaCoelebsFemale.jpg|Common chaffinch (female) Image:EmberizaSchoeniclusNaturalHabitat.jpg|Reed bunting File:Fringilla coelebs eating.jpg| Common chaffinch Image:DendrocoposMinorNaturalHabitat.jpg|Lesser spotted woodpecker Image:MergellusAlbellusTakeOffv2.jpg|Smew Image:Cygnus olor juvenile flight2.jpg |Juvenile mute swan Image:AccipterGentilisJuvenileFlight1.jpg|Goshawk File:Phasianus_colchicus_female_Vanhankaupunginlahti_Finland.jpg%7CFemale common pheasant

title: Vanhankaupunginselkä

question: What does the article say about the geographical features of Vanhankaupunginselkä?

answer: It is a bay area near downtown Helsinki in the southern part of Finland. It is surrounded by the districts of Hermanni, Arabianranta, Viikki, Herttoniemi, and Kulosaari. The Vantaa River ends at the north end of Vanhankaupunginselkä. The area is largely marsh-like.

critique: The answer should mention that the area is impassable on foot or boat.

critique: The answer does not mention the limitations caused by tall reeds.

question: What does the story say about the wildlife conservation in Vanhankaupunginselkä?

answer: Vanhankaupunginselkä is a bay area which together with parts of adjoining Viikki district constitute a natural conservation zone near downtown Helsinki in the southern part of Finland. The area is listed in Ramsar Convention on Wetlands of International Importance, is part of European Union's Natura 2000 program, and is also listed as BirdLife International's Important Bird Area. The area is largely marsh-like, impassable either on foot or on boat. The area is covered with reeds as tall as a person, which will prevent use of boats, while the subsoil beneath the reeds is soft and muddy, thus preventing passage on foot. The City of Helsinki has constructed some duckboards, which permit the visitors on the area to walk between the reeds. The rules applicable to visitors of Vanhankaupunginselkä are fairly strict. As per the instructions printed on the signs all over the area, visitors on the area are not permitted to move between the reeds while the area is unfrozen, collect or damage the foliage or distribute animals in general. In addition, fishing is not permitted at the area, nor is walking unleashed dogs or horse riding. Furthermore, as Vanhankaupunginselkä is frequently visited by persons interested in nature, informal social control is strict. Littering, loud behavioural and comparable activities are typically strongly condemned.

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

critique: The answer is a summary of the article, not a description of the wildlife conservation in Vanhankaupunginselkä.

question: What does the article say about nature versus nurture?

answer: No answer

critique: It's a little hard to say Nature versus Nurture without some sort of groundwork laid by asking what is the purpose of the article?

critique: The question is asking for an answer, so the answer should reflect that.

critique: The answer should mention that the article doesn't say anything about nature versus nurture.

critique: The answer should mention that the article does not mention anything about nature versus nurture.


text:
[Wow! Make this washable Valentine plate with scrapbook paper by using dishwasher safe Mod Podge!]

You can knock me over with a feather. Well, almost.

I recently learned that there is a special Mod Podge. One that make craft projects dishwasher safe!

Imagine that!

So of course I had to give it a try. Of course!

Since it is so close to Valentine’s Day, I decided to make a Valentine plate — a plate that I can use to serve up yummy Valentine cookies!

Here’s what you’ll need for this project:

-   A plain glass plate from the dollar store
-   Valentine scrapbook paper
-   Special Mod Podge (it has a blue label and says that it is dishwasher safe)
-   Foam brush
-   Waxed paper

[Here are the supplies that you'll need.]

First, spread some Mod Podge on the back of the plate. When you have a good coat on it, put the plate upside down on a piece of waxed paper.

[Spread Mod Podge on the back of the plate.]

Then, spread some Mod Podge on the FRONT side of the scrapbook paper. Yup, you read that right. Put it on the side with the design on it.

Place the front side of the paper to the back side of the plate. (This is so the pattern of the paper can be seen.)

Gently press the paper to the plate. Because the plate is curved, you will get some wrinkles in the paper. You can either accept the wrinkles or you could make some cuts into the paper to make it lay flat.

I didn’t care about the wrinkles. They weren’t obvious. I suppose if the pattern on the paper wasn’t so ‘busy’ that wrinkles might be more noticeable.

[Put the front of the scrap book paper on the back side of the plate.]

Let the plate dry 2-3 hours. When it is dry, cut the excess paper off.

[Wow! Make this washable Valentine plate with scrapbook paper by using dishwasher safe Mod Podge!]

Ta da! You’re almost finished.

Apply 2-3 more coats of Mod Podge making sure that you wait 2-3 hours between applications. Also, make sure that the edges of the paper is glued snugly down to the plate. It would be horrid to have water get under an unglued spot and ruin the paper on your lovely Valentine plate.

[Here's the finished plate.]

Isn’t that plate a cutie?

[Here's the finished plate full of cookies.]

When I use it to serve sugar cookies, everything looks so delicious — both the plate and the cookies!

[Yum! I love sugar cookies!]

The label on the Mod Podge said to wait 28 days before washing the item in the dishwasher. Twenty-eight days?!?

Of course I couldn’t wait that long to use it. So, I’m just using it with food that won’t really get the plate dirty. I’ll just wipe off the plate with a damp wash cloth until the 28 days are past.

Now let’s think about this craft for a moment. You could make a plate for any holiday — St. Patrick’s Day, Easter, 4th of July, Halloween, Thanksgiving, Christmas.

It would be fun to do a birthday plate that you used for your grandchildren’s birthday.

Your granddaughters could use a small salad plate and a fun scrapbook paper to make a dish to hold jewelry. She could put it on a glass for a special drinking glass at your house. She could put it on the outside of a vase for flowers. She could put it on a tray that you get from a thrift store for a snazzy serving tray.

The possibilities are endless!

question: What does the text say about dishwashers?

answer: The text says that there is a special Mod Podge that makes craft projects dishwasher safe. The author of the text made a Valentine plate using dishwasher safe Mod Podge and it worked. The author says that you could make a plate for any holiday using the dishwasher safe Mod Podge.

critique: Knowing that the author made a dishwasher safe Valentine plate is probably enough (although the point of reading is knowing what the text says).

critique: The answer should mention that the author washed the plate after 28 days.

critique: The answer should mention that the author used the dishwasher after the 28-day waiting period.

critique: The Mod Podge is dishwasher safe. The plate is dishwasher safe. The author is not saying that you could make a dishwasher safe plate for any holiday.

critique: The author says that you could make a plate for any holiday, not that you could use the dishwasher.

critique: The answer doesn't mention that the author actually washed the plate in the dishwasher.

question: Summarize what the text says about uses for dishwasher safe Mod Podge.

answer: This product is a special kind of Mod Podge that makes craft projects dishwasher safe. It could be used to make Valentine's Day plates for serving food, Easter, 4th of July, Halloween, Thanksgiving, Christmas, and birthday plates for grandchildren.

critique: The answer omits the uses for dishwasher safe Mod Podge outside of the holidays.

critique: The answer should mention the other applications for the Mod Podge.

critique: The answer omits the use of the dishwasher safe Mod Podge on other surfaces.

critique: The answer omits the use of dishwasher safe Mod Podge for making a special plate for any holiday.

critique: It would be more accurate to say it can be used for any holiday.

critique: The answer does not mention the uses for dishwasher safe Mod Podge that are not holiday-related.

critique: The answer omits that the Mod Podge can also be used to make a variety of other things.

critique: The answer omits the use of the dishwasher safe Mod Podge for making a special plate for any holiday.

question: What does the text say about tie dye?

answer: No answer

critique: The question asks about tie dye, which is not mentioned in the text.

question: What does the text say about birthday cake?

answer: No answer

critique: There's no answer, but the text does talk about a birthday plate.

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


text:
SHACK MOUNTAIN is a house near Charlottesville, Virginia, that is a tribute to Thomas Jefferson's architectural style. It was designed by and for Fiske Kimball (1881-1955), an architectural historian who was the founder of the University of Virginia School of Architecture, and who is credited with restoring respect for Jefferson's architectural ability. The house derives its name from the Shackelford family, who owned and settled the property in the 18th century.[1][2]

History

Intended as a retirement home for Kimball, the house is based on Jefferson's design for Farmington. The house was built in 1935-36. Like Jefferson at Monticello, Kimball found a site with a commanding view of the wooded hills around Charlottesville. Kimball's intended name for the house was _Tusculum_, but the name “Shack Mountain,” for earlier owners of the property, remained. Kimball and his wife Marie used the house as a retreat, mainly at Christmas and for two weeks in June, until they both died in 1955. They willed the house to the Philadelphia Museum of Art, where Kimball had been director. The museum sold the house to W. Bedford Moore III, a professor of engineering at the University of Virginia.[3][4]

Description

The one-story, T-shaped house features a projecting octagonal space to either side at the front. Fronting the elongated side of the octagon is a Tuscan portico with paired stucco columns. Windows are mostly triple-hung sashes. The roof is a shallow standing-seam metal hipped structure that defers to the portico. Exterior balustrades are in the Chinese Chippendale pattern. Entry is through the portico, with the front door leading into a shallow round vestibule projecting into the half-octagonal parlor to the left side with a curved door, an adaptation of Pavilion IX at the University of Virginia. A corresponding alcove leads to the cross corridor, while another door leads to the dining room which occupies the right side of the front octagonal volume. A wing to the rear contains kitchens and bedrooms, none of which are of unusual design. A basement houses utility spaces.[5]

Shack Mountain was placed on the National Register of Historic Places on September 1, 1976, and was declared a National Historic Landmark on October 5, 1992 for its association with Kimball.[6][7][8] The house is located about north-northwest of Charlottesville.[9]

[1] {{ cite book |title=The Virginia Landmarks Register |url=https://books.google.com/books?id=NJa_64aH1iMC&pg=PA20&dq=%22fiske+kimball%22+shack+mountain&hl=en&ei=yDz1TcyNGefSiALR7LSPBw&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDQQ6AEwAg#v=onepage&q=%22fiske%20kimball%22%20shack%20mountain&f=false |author=|last=Loth|first=Calder|publisher=The University Press of Virginia|place=Charlottesville|year=1999 }}

[2] {{ cite book|title=Albemarle County in Virginia: Giving Some Account of What It Was by Nature, of What It was Made by Man, and of Some of the Men who Made It|url=https://archive.org/details/albemarlecounty00woodgoog%7Cpage=364|quote=roger shackelford albemarle county.|author=|last=Woods|first=Edgar|publisher=The Michie Company|place=Charlottesville|year=1901}}

[3]

[4] _Fleming v. Moore_ 275 S.E.2d 632 (Va. 1981)

[5]

[6]  and

[7]

[8]

[9]

title: Shack Mountain

question: Summarize the history of the house.

answer: The house was built by Kimball in 1935-36. He used it for recreation and for two weeks in June. Kimball and his wife Marie lived in the house until their deaths in 1955. They willed it to the Philadelphia Museum of Art. The museum sold the house to W. Bedford Moore III in 1992.

critique: "Kimball and his wife Marie lived in the house until their deaths in 1955." - Kimball and Marie lived in the house for 20 years, which is not the same as saying they lived there until their deaths.

critique: The house's history of ownership is not relevant.

critique: The house was not sold in 1992. It was sold in 1976.

critique: The house was placed on the National Register of Historic Places in 1976 and declared a National Historic Landmark in 1992. Include this information in the response.

critique: The house was placed on the National Register of Historic Places in 1976.

text: Remove "in 1992" - the year of sale is not specified.

category: accuracy

question: What does the article say about Kimball's early life?

answer: No answer

critique: It is omitted that Kimball married Marie Clements in 1913. It is unclear if the Kimballs have children.

question: Summarize the ownership of the house.

answer: The house was built by Kimball as his retirement home. He and his wife used it as a retreat, until they died in 1955. They willed the house to the Philadelphia Museum of Art. The museum sold the house to W. Bedford Moore III.

critique: The answer omits the Shackelford family.

critique: It is omitted that the house was put on the National Register of Historic Places.

critique: The answer should mention when it was declared a National Historic Landmark.

critique: The answer should mention the original owners of the land.

critique: The answer omits the ownership of the house by the Shackelford family.

question: What does the article say about the houses connection to the University of Virginia?

answer: The house was designed by and for Fiske Kimball, an architectural historian who was the founder of the University of Virginia School of Architecture. He is credited with restoring respect for Jefferson's architectural ability. The house was built in 1935-36. Kimball and his wife Marie used the house as a retreat, mainly at Christmas and for two weeks in June, until they both died in 1955. They willed the house to the Philadelphia Museum of Art, where Kimball had been director. The museum sold the house to W. Bedford Moore III, a professor of engineering at the University of Virginia.

critique: Most inadvertantly gave the wrong dates for when Kimball lived there. Refer to main text for accurate dates.

critique: The answer is irrelevant and should be omitted.

text: Everything but the first and last sentence are irrelevant to the question.

category: coherence


text:
[Grand Canyon National Park]
Even as we prepare to send the kids back to school, we can still enjoy the luxury of long daylight hours in the great outdoors. Some of us have taken summer walks along an urban greenway in Dallas or honored our past at Valley Forge National Historical Park. Others packed up coolers, camping gear and children for a road trip to Olympic or Acadia National Parks. For my part, I enjoyed many a weekend hike along the C&O Canal near my home in Washington, D.C.

In addition to each one of these examples, there are more than 40,000 other places across the United States that have benefited from the Land and Water Conservation Fund.  For 50 years now, this national program has preserved our country’s priceless natural beauty and resources, connecting millions of Americans with the parks and public lands that define and inspire us.

Yet this enduring program will be gutted unless Congress takes action to reauthorize it before Sept. 30. If we lose the Land and Water Conservation Fund, we rob America’s future generations of the chance to be stronger, healthier and happier by enjoying natural spaces. But what’s more, we unduly expose our national heritage to unacceptable development, such as private resorts in national parks and the destruction of hallowed battlefields to make way for strip malls and roadways.

This program has funded the protection of historic places like the Lewis and Clark Trail, battlefields and memorial sites, and some of America’s most iconic parkland like the Grand Canyon from irresponsible development inside and surrounding their boundaries. Enabling the government to conserve land for public use keeps development at an appropriate distance.

The fund has also helped to create thousands of local parks and places for outdoor recreation like hiking, hunting and camping in virtually every county in the nation. Whether you enjoy rambling up a mountain trail or simply taking your children to let off steam at a local playground, chances are good that the Land and Water Conservation Fund has richly expanded your opportunities to enjoy the great outdoors.  Many of our most treasured lands and waters have been preserved over the years only because of forward-looking citizens and policy-makers who realized that a growing nation needs places for recreation, renewal and resource protection.

Congress needs to save the Land and Water Conservation Fund from extinction before it expires at the end of September. This remarkable program is funded with a slim portion of the royalties from offshore drilling in public waters. It trades one type of resource owned by the American public — oil and gas — for another — lands and waters that generations will enjoy for years to come.

Yet, some in Congress have made it abundantly clear that they intend to “reduce the Federal estate,” meaning the public lands we jointly own as Americans. Currently several bills are pending in the House, including measures from Rep. Raul Labrador, R-Idaho, and Rep. Ted Poe, R-Texas, that intend to facilitate the transfer of certain public lands to the states, which can then allow those lands to be disposed of in whatever way the states choose, including leasing or selling the land for drilling, mining and logging to maximize revenues.  House Natural Resources Committee Chairman Rob Bishop, R-Utah, launched a Federal Land Action Group this spring with the “goal of introducing transfer legislation.” Should that transfer idea become law, some of our national forests, monuments, wilderness areas and other outdoor places could belong solely to corporate special interests; we may no longer be able to access them for a spontaneous weekend camping trip or a walk with the dog.

Many of our shared public lands bring countless restorative benefits not only to nature and wildlife, but to people — providing clean air and water, reconnecting children with the magic of the outdoors and creating jobs through America’s burgeoning $646 billion recreation economy. Republicans and Democrats alike agreed with that premise and proved it in 1990 when this funding for land conservation was last reauthorized — overwhelmingly.

Without the Land and Water Conservation Fund, our great outdoors will be threatened by poorly planned growth and development because local communities and the federal government will lose funds that could be used to preserve park land forever. Tomorrow’s children will grow up with fewer open green spaces and their American heritage will be buried beneath strip malls and condos.

There is still time for Congress to act and preserve this shared legacy. After you visit a favorite forest, bike trail, ball field or path along the beach this summer, I urge you to call your members of Congress and tell them to fully fund and reauthorize the Land and Water Conservation Fund.

_Jamie Williams is president of The Wilderness Society._

_In addition to its own editorials, USA TODAY publishes diverse opinions from outside writers, including our Board of Contributors. To read more columns like this, go to the Opinion front page._

question: Summarize what the text says about the purpose of the Land and Water Conservation Fund.

answer: The Land and Water Conservation Fund has the purpose of preserving America's priceless natural beauty and resources, which improves the country's generations to come. If Congress does not take action to reauthorize the fund before September 30, then it will be reduced, depriving generations to come from enjoying the great outdoors.

critique: The answer should mention the purpose of the fund.

critique: The answer omits the fact that the fund is also used to create local parks and places for outdoor recreation.

critique: A few more details about the importance of the fund could be added.

critique: The text does not mention the reduction of the fund and needs to be removed.

critique: The text does not say that the fund will be reduced.

critique: The second and third sentences are unnecessary to the answer.

critique: The original answer directed attention to the fund reducing because of the author's input, which is not quite the case. This edits the explanation about reductions.

critique: "If Congress does not take action to reauthorize the fund before September 30, then it will be reduced, depriving generations to come from enjoying the great outdoors." - this is not necessarily true. The fund won't be reduced if it is not reauthorized.

critique: It is omitted that the fund also preserves historic places and battlefields.

question: What does the text say is the biggest threat to the Land and Water Conservation Fund?

answer: In the text, the biggest threat to the Land and Water Conservation Fund is being gutted. The C&O Canal is listed as an example of the benefits of the fund. This example is followed by stating that if the fund is lost then the future generations will be worse off because they'll have less access to green spaces and more strip malls. The current states with the program, such as Hawaii, have very few parklands. The threat is development.

critique: The last two sentences are not necessary.

critique: "The current states with the program, such as Hawaii, have very few parklands." - this is incorrect. Hawaii does not have a National Park and is not affected in any way. The information should be removed.

critique: The program is due to expire at the end of September, this information should be included.

critique: It is not stated that the current states with the program, such as Hawaii, have very few parklands.

critique: It's not stated in the article that the program will be lost if the fund is lost. It's a prediction that the author made.

critique: The answer is mostly inaccurate and incoherent.

critique: The answer has some good points, but it comes off as rather incoherent. It would be a lot easier to understand if it were rewritten.

critique: The last two sentences are not relevant to the question.

critique: It is not mentioned anywhere in the text that loses of green spaces are the biggest threat.

critique: "The C&O Canal is listed as an example of the benefits of the fund. This example is followed by stating that if the fund is lost then the future generations will be worse off because they'll have less access to green spaces and more strip malls. The current states with the program, such as Hawaii, have very few parklands. The threat is development." - too much information for a simple answer.

critique: The answer is not clear about the biggest threat to the Land and Water Conservation Fund.

question: Summarize the included consequences of losing the Land and Water Conservation Fund.

answer: Without the fund, responsibly-backed development will be more negligent and aggressive towards land, as if they were an autonomous corporation. Meaning they may disregard the limitations of their "corporate" land.

critique: "responsibly-backed" - the article does not say anything about "responsibly-backed" development.

critique: "as if they were an autonomous corporation" doesn't make sense.

critique: "If we lose the Land and Water Conservation Fund, we rob America’s future generations of the chance to be stronger, healthier and happier by enjoying natural spaces." is evidence that the fund supports the enjoyment of natural spaces. It is not evidence that irresponsible development will be aggressive towards land. Rewrite the answer to include the effects on the enjoyment of natural spaces.

critique: "meaning they may disregard the limitations of their "corporate"" is unclear.

critique: It is not mentioned that "responsibly-backed development" will be more negligent.

critique: There is no evidence that responsibly-backed development will be more negligent and aggressive towards land, as if they were an autonomous corporation.

critique: The answer should mention the specific consequences of losing the fund.

critique: The article does not explicitly state that the consequences will be negligent development, rather it talks about the process of loss that will follow the expiration.

critique: The answer needs to mention the loss of green spaces and the loss of funds for the national parks.

critique: The answer is not related to the question.

critique: "Without the fund, responsibly-backed development will be more negligent and aggressive towards land, as if they were an autonomous corporation." - There was no mention of this in the article. The author was talking about the Land and Water Conservation Fund, not any other program.

critique: "responsibly-backed" - change to "responsible"

question: Summarize the total number of landmarks and parks in the U.S.

answer: No answer

critique: There is no information in the passage to answer this question.

critique: While there are no examples given in the passage for landmarks or parks in the U.S., there are some examples given for the Land and Water Conservation Fund.

critique: The answer should be replaced with the correct information


text:
[Adam Rudolph]

ADAM RUDOLPH (born September 12, 1955) is a composer, improviser, and percussionist actively involved in modern music. For the past four decades Rudolph has performed extensively in concert throughout North & South America, Europe, Africa, and Asia. Rudolph has been hailed as “a pioneer in world music” by the New York Times and “a master percussionist” by Musician Magazine. He has released over 25 recordings under his own name, featuring his compositions and percussion work. Rudolph composes for his ensembles Adam Rudolph's Moving Pictures, the Hu Vibrational percussion group, and Go: Organic Orchestra, an 18 to 54 piece ensemble for which he has developed an original music notation and conducting system. He has taught and conducted hundreds of musicians worldwide utilizing the Go: Organic Orchestra concept. In 1995 Rudolph premiered his opera _The Dreamer_, based on the text of Friedrich Nietzsche's “The Birth of Tragedy.”

Rudolph has performed with Don Cherry, Jon Hassell, Sam Rivers, Pharaoh Sanders,[1] Bill Laswell, Herbie Hancock,[2] Foday Musa Suso,[3] Massimo Laguardia, L. Shankar, A.A.C.M. co-founders Fred Anderson and Muhal Richard Abrams, Wadada Leo Smith, and Omar Sosa. He has toured extensively and recorded 15 albums with Yusef Lateef including duets and their large ensemble compositional collaborations.

Rudolph grew up in the Hyde Park area of the Southside of Chicago. From an early age he was exposed to the live music performances of the great blues and improvising artists who lived nearby. As a teenager, Rudolph started playing hand drums in local streets and parks and soon apprenticed with elders of African American improvised music. He performed regularly in Chicago with Fred Anderson and in Detroit with the Contemporary Jazz Quintet. In 1973 Rudolph played on his first record date with Maulawi Nururdin and with the CJQ at the Ann Arbor Blues and Jazz festival.

In 1977 he lived and studied in Ghana, where he experienced trance ceremonies. In his travels throughout West Africa he saw how music can come from a cosmological grounding beyond music itself and can also be about something beyond music itself. In 1978 he lived in Don Cherry's house in the Swedish countryside. Cherry inspired him to start composing and showed him about Ornette Coleman's concept and the connection of music to nature.

Rudolph is known as one of the early innovators of what is now called “World Music.” in 1978 he and Gambian Kora player Jali Foday Musa Suso, along with fellow percussionist Hamid Drake, co-founded The Mandingo Griot Society,[4] one of the first groups to combine African and American music. In 1988, he recorded the first fusion of American and Gnawa music with sintir player and singer Hassan Hakmoun. Rudolph intensely studied North Indian Tabla for over 15 years with Pandit Taranath Rao. He learned hundreds of drum compositions and about how music is a form of Yoga – the unity of mind, body and spirit. In 1988 Rudolph began his association with Yusef Lateef, with whom he has recorded over 15 albums including several of their large ensemble collaborations. Lateef introduced Rudolph to the inspirational practice of Autophysiopsychic Music – “that which comes from one's spiritual, physical and emotional self.” Rudolph has performed worldwide with Dr. Lateef. Their performances have ranged from their acclaimed duet concerts to appearances as guest soloists with the Köln, Atlanta and Detroit Symphony Orchestras.

Rudolph continues to also create visual art – painting, drawing, photography ‑ and to write. In 2006, his rhythm repository and methodology book, Pure Rhythm was published by Advance Music, Germany. In 2010 Rudolph's article Music and Mysticism: Rhythm and Form was published in Arcana V, edited by John Zorn. Other essays have been published by Parabola Magazine and Morton Books. Rudolph has been on the faculty of Creative Music Studio (New York and Istanbul), Esalen Institute, California Institute of the Arts and the Danish Jazz Federation Summer Institute. Rudolph has received grants and compositional commissions from the Rockefeller Foundation, Chamber Music America, Meet the Composer, Mary Flagler Cary Trust, the NEA, Arts International, Durfee Foundation, Phaedrus Foundation and American Composers Forum.

Discography

As leader

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title: Adam Rudolph

question: What does the text say about Adam Rudolph's upbringing?

answer: Adam Rudolph grew up in the Hyde Park area of the Southside of Chicago. He started playing drums in local parks and streets as a child.

critique: The answer should mention that Rudolph was exposed to live music performances of great blues and improvising artists.

critique: We don't know that he started playing drums as a child, he started to play as a teenager.

critique: The answer should mention the musicians he was exposed to.

critique: It is omitted that he was exposed to live music performances in his area.

critique: The answer fails to mention his exposure to music.

critique: The answer should mention that Rudolph was exposed to the live music performances of the great blues and improvising artists who lived nearby.

critique: The answer should mention that Rudolph was exposed to live music performances of the great blues and improvising artists who lived nearby.

critique: "Adam Rudolph grew up in the Hyde Park area of the Southside of Chicago. He started playing drums in local parks and streets as a child." - add that Rudolph was exposed to the music from great musicians who were nearby and that he started playing the drums in local streets and parks at an early age.

critique: "He started playing drums in local parks and streets" - this is evidence of his childhood hobby. He should've focused more on his education although playing drums is normal.

critique: The answer should mention that he was exposed to live music performances of the great blues and improvising artists who lived nearby.

critique: It is omitted that he was exposed to live music performances of the great blues and improvising artists who lived nearby.

critique: The answer should mention his exposure to blues and improvised music.

critique: The answer fails to mention that he started playing drums in local parks and streets as a teenager.

critique: The answer could mention the music his neighborhood exposed him to.


text:
_'Edmund (or EDMOND) Meyrick_' (or MEYRICKE) (1636 – 24 April 1713) was a Welsh cleric and benefactor of Jesus College, Oxford, where scholarships are still awarded in his name. He is a member of the Meyrick family.

Life

Meyrick was born at Garthlwyd, Llandderfel (near Bala, Merionethshire) and christened in Llandderfel on 11 June 1636. He attended four schools, including one year at Ruthin School, before matriculating at Jesus College, Oxford in 1656. He was elected to a scholarship in 1658 and obtained his BA degree in 1659.[1] He was ordained both deacon and priest by Robert Skinner, Bishop of Oxford, on 30 August 1660 in the chapel of New College, Oxford.[2] In 1662, he was elected to a probationary Fellowship of the college, but married in 1663 and became ineligible for a full fellowship. He became vicar of Eynsham on 10 August 1663.[3] He was chaplain to Richard, Earl of Carbery — the Meyricks and the Carberys being related – and this connection led to Meyrick's appointment to a number of lucrative positions in West Wales.[4] Meyrick became vicar of Llangathen in 1665, vicar of Llanegwad and a Canon of St David's Cathedral in 1667, rector of Burton, Pembrokeshire in 1670, treasurer of St David's in 1690 and rector of Penboyr in 1713. He was also a canon of Christ College, Brecon and vicar of Carmarthen; he held many of these positions at the same time. He died in Carmarthen, where he was then living, on 24 April 1713, and was buried in St Peter's Church; a memorial to him was placed on the north wall of the chancel.[5]

Bequests

Meyrick's wife and only child had predeceased him, enabling a more generous disposition of his assets.[6] He had extensive property interests, in both North and South Wales. The family seat was in Ucheldre, Gwyddelwern, Merionethshire and Meyrick also owned several houses in Carmarthen.[7] In 1708, he set up a charity school in Carmarthen but for some reason directed in his will that the school and master should be moved to Bala, where it became the Bala Grammar School.[8] The will provided for an annual payment of £15 to the schoolmaster together with the use of the schoolhouse, and £15 per year for clothing for the students.[9]

His will, dated 25 March 1712, said: He left family property in Denbighshire and Merionethshire, as well as his Carmarthen property after expiration of some life interests, to the college to provide six scholarships of £10 and six exhibitions of £8. The scholarships and exhibitions were to be awarded to Jesus College students from North Wales, until they obtained their Master of Arts degree or were receiving more than £40 per year from a parish appointment. Any surplus was to be used to buy advowsons so that the College might present one of the scholars (or in default of a suitable scholar, a Meyrick exhibitioner or a North Wales fellow of the College) to a parish position.[10] Whilst the estate produced a surplus, only one living was purchased by the trustees, that of the rectory of Llandow in 1735. Further increases in the surplus led to an increase in payments to Bala School and to the scholars and exhibitioners, and to the purchase of other property in Cheltenham and Carmarthen.[11][12] This proved to be a profitable investment since, by 1840, the college had received more than £10,000 through the sale of trust land near Cheltenham for railway purposes. Payments to Bala School ended in 1862, when the annual payments were commuted for a lump-sum payment of £5,333.[13]

Meyrick scholarships and exhibitions are still awarded to students at Jesus College, based on academic merit. Students performing consistently at a first-class standard during the year in the opinion of their tutors may be awarded a Meyrick scholarship, with consistent performance at upper second to first-class standard potentially leading to the award of a Meyrick exhibition.[14] The restriction in Meyrick's bequest that the scholarships were for students from North Wales only was relaxed in 1857 to cover students from all of Wales and Monmouthshire.[15][16] The restrictions have been further relaxed and students who were not born in Wales are also now eligible for a Meyrick scholarship or exhibition if they are the child of a native of Wales, are able to speak Welsh or they were educated for the last three years of secondary school in Wales.[17]

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title: Edmund Meyrick

question: Describe Meyrick's relationship to Wales.

answer: He appears to have had strong ties to Wales. He attended schools there, was a clergyman there, and owned a house there.

critique: He is buried in Wales, which may be more indicative of the strength of the relationship to Wales.

critique: It is omitted that he was also a member of the Meyrick family.

critique: "He appears to have had strong ties to Wales" is not a very specific answer to the question. It would be better to rewrite the answer completely.

critique: Meyrick had extensive property interests in North and South Wales.

critique: He also held several positions in West Wales.

critique: The response misses to mention that he was also a benefactor of Jesus College, Oxford, where scholarships are still awarded in his name.

critique: It would help if it is stated that Meyrick was a clergyman based in West Wales.

critique: It should be pointed out that his most lucrative connections were in West Wales, not all of Wales

critique: Meyrick also received many lucrative positions in West Wales.

critique: He also seems to have had an extensive property portfolio in Wales.

critique: This is an accurate fact, but it does not show the extent of Meyrick's relationship to Wales.

critique: Meyrick was a clergyman in Wales, but the answer should mention that he was also a benefactor of Jesus College, Oxford.

critique: The response misses to mention that Meyrick was a Welsh cleric and benefactor of Jesus College, Oxford, where scholarships are still awarded in his name.

text: The only thing missing from the answer is the fact that Meyrick was actually born in Wales.

category: coverage

refinement: He appears to have had strong ties to Wales. He attended schools there, was a clergyman there, and owned a house there.

question: When did Meyrick live?

answer: 1636 to 1713

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

critique: The answer should give the dates in a proper format.

critique: He died in 1713, but this doesn't mean that he was born in 1636.

critique: The answer should be written in a full sentence.

critique: Include the month and year of Meyrick's death in the answer.

critique: It is omitted that he was born in 1636 and died in 1713.


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ROBERT 'BOB' JAMES MCCASKILL (27 September 1895 – 23 June 1952) was an Australian rules footballer who played for Richmond in the Victorian Football League (VFL) during the 1920s and coached both North Melbourne and Hawthorn.

Early life

Born in Cobram in 1895, McCaskill spent his childhood growing up around Numurkah near Shepparton, Victoria. It was here that he learnt to play the cornet. He was also a fast running wingman and in 1914 his team, Shepparton, lost the Goulburn Valley Football League grand final.

In December 1915 with the fighting in Europe during World War I McCaskill enlisted in Shepparton only to be discharged in May 1916 for synovitis of the knee. He was issued with the service number 36704. He travelled to Royal Park in Melbourne in September 1916 to enlist again with the Australian Army. He was passed fit on this occasion. He fought in Europe rising to the rank of Sergeant. He returned to Australia in June 1919.

Playing career

After the war McCaskill returned to Shepparton where he re-established his business. He began to play football again after a time spend as an umpire. Strong performances while playing for Shepparton in the GVFL he was under the attention of the Richmond Club. At the age of 27 he got a permit to play with Richmond in June 1923. McCaskill was a centreman while at Richmond and played finals football in 1924 with his side eventually finishing second in that year's unique round robin format.

After leaving Richmond he accepted a position at the Bendigo YMCA as secretary. Richmond refused to clear him so he stood out of football for the year.

McCaskill joined Sandhurst, but he wasn't allowed to play the first year of his coaching. He had a lot of success as coach in the Bendigo Football League club, leading them to premierships in 1927, 1929, 1930, 1931, 1932, 1933, 1934, 1939 & 1940.

Coaching career

The outbreak of the Second World War, he again enlisted in 1940 and led the Southern Command Band at Royal Park and later became an Army Amenities Officer. This meant he relocated to Melbourne and the North Melbourne club offered he their coaching position. For most of the 1940s he was the coach of North Melbourne and in 1947 became the first to coach 100 games for the club. They finished the 1945 home and away season in third but lost to Carlton in the first Semi Final thus being eliminated.

He finished his coaching career with a stint at Hawthorn, McCaskill walked into a meeting in the Club's secretary office and announced “Gentlemen, I've decided that I am going to be the coach of Hawthorn Football Club”.[1]

The first decision McCaskill made was to change the jumper from brown with a gold vee to brown and gold vertical stripes, he thought that the change would make the players look bigger and huskier. McCaskill as coach also wanted to make changes to the playing group, starting with Kevin Curran to be captain. Outgoing captain-coach Alec Albiston was angry as he was told by a member of the board that he would remain as captain. Brownlow Medallist Col Austen sided with Albiston and a split occurred. The board sided with the new coach and gave Albiston and Austen open clearances. Without the club’s best two players, the team did not win a match in 1950 but won 4 in 1951.

Late in 1951 McCaskill's health began to fail, in and out of hospital he wasn't well enough to continue coaching, his assistant Jack Hale was appointed caretaker coach in the hope Bob would recover. He died at home on 23 June 1952.[2][3]

Outside Football

A musically gifted man, he could play the cornet. McCaskill was recorded as a Bandmaster when he enlisted with The Army. Later in life McCaskill lead the Bendigo Citizens Band to an Australian championship.

[1] The Hard Way, page 86.

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[3] [http://trove.nla.gov.au/newspaper/article/205402367?searchTerm=bob%20mccaskill%20coach&searchLimits=l-decade=195|||l-year=1952 Well known coach dies, The Argus, 24 June 1952]

title: Bob McCaskill

question: Summarize McCaskill's transition from playing to coaching.

answer: His playing days lasted from 1914-1923 when he got his permit to play for Richmond. Upon returning to football, he coached in the Bendigo YMCA for a time. Later he went on to coach Sandhurst and then North Melbourne, for whom he coached for most of the 1940s. His coaching career also included his time at Hawthorn.

critique: The answer should mention that he was not allowed to play the first year of his coaching.

critique: The response misses to mention that McCaskill was not allowed to play the first year of his coaching.

question: Summarize how World War I affected football in Australia.

answer: No answer

critique: The answer should mention that McCaskill enlisted in the war.


text:
Ashes, a tee shirt, and a mental slideshow. That's all I have left. I gently pressed my face into the tee shirt, waiting for the scent to take me on a winding trail of memories. Mental snapshots took life, moving slowly, with blissful happiness. That place, those smiles, these uncertain days. I rejected my raging sea of emotions, only hoping to delay the storm surge for a while longer.

Snap me back into my world, how I welcome and despise it. I lifted the plain tee shirt from my face, and put it into a small bag, and sealed it shut. Beside it, a small jar that contained everything I'd ever allowed close. It was the only other part that understood who I was. I gripped it tightly. More memories began to flow, the levees had finally given way.

Beach, stars, gentle rumbling of waves on the smooth white sand. The air was totally still, only gentle wafting scents hinted at the fact the world was still slowly churning on. There, beside me, you sat. I was accepted wholly here, no regrets. A thick band of stars became obscured by soft light, making a thin dotted white strip across the sky. I wish you could still join me on those nights, watching the Milky Way rise. We used to sit here, picking out which stars we would visit before time ended. Everything blurred again.

Face to face, eyes locked. We handed each other ear-buds, small grins traversing our faces. Our song came on, along with all those warm feelings. Late night fields filled with life, grass gently swaying in the midnight breeze. Starlight softly illuminated our world, everything became so tranquil. Peacefulness, happiness.

Sunlight began to warm my cheeks. I furrowed my brows, I wasn't ready to leave just yet. I don't want to let go, I want to stay here. Why can't time grant me this one favor? Just one more experience, one more memory. One last souvenir to bury my stinging emotions with.

I sat, looking over the field. Our field. Painful awareness had taken control for now. A jar of ash and a tee shirt, that's what all of this had been reduced to. No breathing, laughing, heartbeat, smile, watery blue eyes, nothing anymore. Carbon atoms, back to the way we both used to be, before the beginning of the world.

Supernovas, the crucibles of our Universe that finally gave way. Your atoms had begun the journey back without mine to go with them. This haunting scientific realization meshed itself to my feelings. Everything you are to me, everything you were, could be, had been. My thoughts and reality pulsated, briefly merging with each other.

I lost all control. Tears, hurt, and loss all rushed forward from every fiber in my being. I felt myself tear open, shattering into tiny pieces. Fear began to settle in. I fear that this beautiful maze of chance might never repeat itself again.

Supernovas, where it all began. Where the lighter elements were fused into the atoms of life. This is where our story began. We exploded forth into this existence, atoms mashing and combining together. Our Universe ignited these elements in the void, watching as our miracle took place. It haunts me to think about us in this way. How, after all those billions of years, we came into contact, unaware of the framework allowing for this to happen.

All I want when my days come to an end, is to explode with you once more. I want to surge outwards again, your atoms with mine. I want the maze to send us as wanderers across each other's paths again. I want to feel the same instant connection I felt when we met. I want to know that feeling of faint familiarity and unyielding curiosity, and it's absolute pull.

I want to build a home in it all.

-Dedicated to Kathryn

title: Build a Home

question: What does the story say about Supernovas?

answer: In the story, the narrator describes Supernovas as elements that seem to have mirrored its relationship with her boyfriend, beginning with their creation. The girl thinks of the Supernovas as their unification in the world. No matter where they move to in the world, they're sure to be meant to meet someday. "Supernovas, where it all began."

critique: The narrator is the most important character in the story.

critique: The answer is all over the place. The Supernovas are mentioned only once and in a different context.

critique: The narrator is not sure that if they dispersed, they'd be able to meet again

critique: The narrator is not sure if they will meet again.

critique: The narrator's relationship with her boyfriend is not mirrored by the Supernovas.

critique: Doesn't mention the fact that the narrator wants to explode with her boyfriend once more.

critique: There is no evidence in the story that the narrator thinks of the Supernovas as their unification in the world.

critique: While this answer is mostly accurate, it misses one important detail. Supernovas are where the lighter elements were fused into the atoms of life, where the narrator and her boyfriend were born.

critique: It misses to mention that Supernovas are described to be crucibles of the Universe that finally gave way.

critique: It is omitted that Supernovas seem to be their origin and destruction because the narrator says that they exploded as they came into contact and that they want to do it again in the end.

critique: This is not a direct quote from the story.


text:
I'm 17 and free write frequently.

We were in a 30 foot catamaran about 75 miles off Port Elizabeth in South Africa. It was around 5:30 PM and the seas were calm. Things were much brighter than usual, much.. Better, id say. Like a more lit up world with nothing to worry about. All I could see was water. No land, no boats, just water all around. The only radio we had was to call local ships, but there were none. It was lifeless. Imagine swimming in a pool, that swishing sound as you move about walking the floor of the pool, the movement of the water rippling, that's all that I could hear. The two ballasts of the boat cut through the water like knives cutting butter. Tuna were breaching the water from time to time. Blue Wales were breeding at the surface of the ocean. It was wonderful. At around 12:00 I woke up to the constant slamming of the cabin door and wind whistling throughout the boat. We had a parachute anchor in the water to stabilize us as we went to sleep for the night. I went out of the cabin to see exactly what we were dealing with. I looked towards the stern of the boat and all I could see was water. The bow was slightly tilted out of the ocean and one of the stabilizers on the right side was cracked and close to breaking. I woke up my mate and we began bailing the boat, but for every 10 gallons we poured out, another 20 came in from a giant wave crashing over the side. I gave up. This was the end. We were 75 miles off the coast of a country whose language we can't even speak. Boats rarely go around the tip of Africa. It's a scary place to be at sea, all boaters know that. The wind switched directions and the boom of the boat quickly switched sides. I didn't have any time to duck and it hit me square in my left temple, knocking me unconscious and flipping the boat on its side. I woke up in the stern of the boat, tangled in the guard rail. The boat had managed to flip back upright. Water was to my knees and the cabin was completely flooded. The sails were torn down the middle and ribbon split down the side. Very difficult to patch. I couldn't find my mate. I looked around, looked in the cabin, in the water, nothing. I went to the bow of the boat and looked under. He was, thankfully, just sleeping in a liferaft. I woke him up and helped him get to his feet. His right leg was badly bruised and looked broken to my eyes. We tried our FM radio, but no one answered. Who knows how far we had drifted. For 10 days we struggled to survive. We ran out of water on the sixth. And food on the ninth. We were hungry, sick, burnt, and weak. We needed out. And we needed it soon. We aren't survivalists. This wasn't like the movies where you get lucky and catch a fish with a homemade hook. There were no boats coming for us. On the tenth day I climbed to the top of the mast and looked to the horizon. I saw land. Barely visible. But land. We ambled in life raft and paddled like hell. After a tiring four and a half hours of rowing, we finally arrived. It was a forest area. My first thought was, "oh great. A deserted island. Just what we need." But Josh, my mate, heard faint drumming coming from the Forrest. We followed it and it slowly got louder. It was a tribe. We were saved. Thank god. We approached the tribe in our battered, torn, and wet clothing, water and blood dripping from out clothes, thinking that there'd welcome us with open arms. None spoke English. Not one. I looked back. Turned my head.  And realized I was was looking into the barrel of a gun. All of this. All that we've been through. And it's over. Surviving a shipwreck, living through a treacherous storm, and this is how it ends. They blindfolded us. All we could see was darkness. "Hetsika!" He screamed. I didn't know what the hell that meant at the time but by the gun jabbing at my back my only thought was to walk.  He brought us in to what I thought was a tent, a small, worn down tent. The fabric felt that way at least. "Inside!" He said with a heavy African accent. He spoke English. That's a surprise. He took off our blindfolds. The floor was red. Stained red. Originally the color of sand. There was no posters on the wall. Only a form of art. Sick, inhumane, twisted art. Limbs of people, white people were nailed to every corner of the wall. Each arm was painted a color. "This is your future" he said. "Be excited. Be ready." You could see the blood trickling down the wall like rain on a windshield. "Empty your pockets my mate was the first to empty his. I quickly followed. He looked at my wallet. "Ahh American! That's good! Now I will have no regret." He was interrupted by a boy screaming. "I'll be back." He said. Our arms were tied behind our backs and our glens were tied together. Escaping would be hard, but never impossible. There was a glass bottle near the door, about 3 yards away. I stood up and hopped to it. I grabbed it with my teeth and dropped it on the ground. It shattered. I grabbed a shard of glass and sat back down. "I said stay put. You don't listen. "The man said as he walked through the door." "Which one of you filthy Americans did this." "Me" replied Josh. I looked at josh. He looked at me. "Come with me." He was hesitant to get up. "Now!" Demanded the man, grabbing him by the color and dragging him over the shards of broken glass. I got to work. Cutting down the rope with the small piece of glass I had. Arms were set free first, then the legs. I looked outside. My friend stood facing a wall, gun to his head. "If you can't listen, this is your fate" said the man followed by a loud gunshot. He faced me and began reloading his gun. I ran. I didn't stop. I ran for about an hour. I was in the jungle. Where was I. Was there anyone, at all. Anyone to set me free. I was hungry, thirsty, hurt, and for the first time in my life, completely alone.

title: [AA] The Catamaran

question: Summarize the narrator's bad luck.

answer: The narrator and his companion are on a boat in the middle of the sea when the narrator wakes up to discover that the boat is tilted out of the ocean and is slowly sinking. The sailor finds out that the boat has flipped and one of the stabilizers is cracked. After ten days of struggling, the narrator and Josh see land, but their jubilation is short-lived when they are captured by an African tribe and taken to a tent. They are presented with severed limbs on the wall, and the narrator's friend Josh is shot dead for the crime of braking a glass bottle. The narrator escapes, but he has no food, water, or medical care.

critique: The narrator and Josh are not sailors. They are on a boat that is sinking.

question: What does the story say about how to sail through a storm?

answer: No answer

critique: The answer should say that the passage does not pertain to sailing.

critique: The answer should mention that the story does not mention any tips on how to sail through a storm.

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

critique: The story does not answer this question.

critique: There is a section devoted to proper navigation, but it is minimal

critique: The answer should mention that the story doesn't say anything about how to sail through a storm.


text:
Us four sat ensuring my stay.
In conversation, Rick was indirectly called a liar by Rob and Megan
because of me.
The price of being a father.
Any words spoken to him sounded like "Liar".
Any words spoken to me were in question.
As if I was being interrogated.
I had nothing to say unless asked.
The house was a mansion.
My cousin played the role of Keith Cozart.
I looked forward to good times as the house was left mostly
unattended.
As we spoke my mind wandered into flashbacks and daydreams.
Rob was showing me the room where I was going to stay.
There were many rooms and hallways.
Some rooms were connected by doors and weren't connected to hallways.
I opened a door to a bathroom and there was someone in the bathtub.
At first I laughed and looked away but Rob quicly put his arm around me and
led me away, and as he did I caught another quick glimpse of the bathtub and
noticed that it was a body. I was shocked and Rob started to remind me that I
didn't see anything that there was no one there. I instantly protested to
staying in the adjacent room which was where we were headed. I threatened to say
what I saw if forced to stay there. I was led away. The confusion and
unknowingness turned into fear and Plan. We returned downstairs and played it
off, acting as if that didn't happen. Later I spoke with Rob's sister about
what I had seen and she told me that it was not infact a body but pieces of
bodies that were created from insecurities. That she herself had created some
of the pieces that were in the bathtub. We walked and talked. I thought about
what I heard. Generations of insecurities brought about what was in the
bathtub. They all knew. Did Rick know? Did Megan know? I didn't know.
Who was it? Was it one of their own. We ended up back at the bathroom and I
looked in again and what I saw shocked me to the point that I couldn't clearly
make out what it was. Was it a body or was it pieces? It was entirely
underneath the water. I faked emotion and accepted the pieces of insecurities
and agreed to stay in the adjacent room. It was the only way to survive.
I spent most of the first week alone in the room.
I heard them speaking about me. About how I spent time alone.
I was genuinely afraid. The first chance I would take it.
It was a Saturday. I had stolen a few grams of Rob's cocaine and
over the course of 2 days had made it injectable with no one knowing.
The owner of the mansion, the famous Dr. Bob, had syringes in the
downstairs bathroom. Everyone left late in the night.
The only ones left were Rob and Megan. Who were passed out. I stabbed Rob with
the needle and injected it. As he woke and saw me he knew what my
intentions were but could not prevent them as the high almost instantly kicked
in and he fell into a euphoric state. Megan didn't even wake up.
The thought crossed my mind. Did she know about the bathtub? Had she noticed the
change in my behavior? I weighed the risk of foiling my Plan in my mind before
deciding to leave her behind as I escaped into the night. I stole a car from
the mansions garage and left leaving no trace of where I was going.
The insecurity of being insecure. Being insecure was my only security, the
only thing that led me to escape the fate that awaited me. Where all others had
failed and gave in to become part of the fate themselves I had broken free.

title: the fate that awaited

question: Summarize Megan's descent into madness.

answer: No answer

critique: Megan is not described as descending into madness.


text:
As California Restaurant Month works its way around the Golden State, here are seven more regions that will begin offering delectable deals at some top dining establishments. Click on any of the links below for more details.

Placer Celebrates Mandarins

For more than 125 years, the foothills of Placer County turn orange come late autumn as hundreds of Satsuma Mountain Mandarin trees bear their fruit. From Jan. 4 to 13, this Gold Country county will celebrate its first annual Placer Celebrates Mandarins restaurant week. Local restaurants will put their twist on the small citrus fruit, creating dishes that highlight the mandarin’s unique flavor profile—from salads and sauces to unique desserts. Fun fact: The Satsuma Mountain Mandarin provides natural decongestion relief for cold and allergy symptoms.

https://instagram.com/p/BsOsed3B6hR/
Cheeseburger Week in Pasadena

In 1924, a 16-year-old Pasadena fry cook named Lionel Sternberger changed the course of culinary history by serving the first burger covered in melted cheese at the Rite Spot. While the original name, the “Aristocrat Burger,” didn’t stick, the dish sure did. During Cheeseburger Week, Jan. 6–11, the city of Pasadena celebrates its delicious history with dozens of restaurants offering burger-centric meals and deals. For a truly burger-licous day, gather up your friends and head out for a cheeseburger crawl.

Santa Monica Restaurant Week

Head to the renowned Santa Monica Farmers Market at the beginning of the year and you’ll discover little cartons of gold. Persimmons are only in season for a short window of the winter, so hungry shoppers and local chefs rush to grab them before they’re gone. Celebrate the lovely pudding-textured fruit during Santa Monica Restaurant Week, from Jan. 7–13. Participating eateries will craft nutritious dishes, all centered around the persimmon. A nice bonus: You can stick to your healthy-eating resolution while celebrating the harvest in Santa Monica.

Taste Geyserville

Don’t let the three-block-long downtown fool you: Geyserville has a lot to offer when it comes to cuisine. The adorable little town in northern Sonoma County is hosting its first annual restaurant month experience over the course of 10 days. From Jan. 11 to 20, local eateries will serve up specials, sure to pair well with the area’s world-famous wines. Thanks to a deep agricultural tradition, Geyserville’s restaurants keep it super fresh, like the renowned Diavola Pizzeria & Salumeria, which earned the distinguished Snail of Approval by Slow Food International. On the grounds of Francis Ford Coppola’s iconic winery, the full-service RUSTIC, Francis’s Favorites, serves family-style Italian dishes—often with ingredients sourced from the on-site garden.

https://instagram.com/p/BsOpC_ojUDc/
dine L.A.

The culinary scene in Los Angeles encompasses everything from the best fish tacos you’ve ever tasted hidden under a highway overpass to high-concept dining where food is treated as art. During dineL.A. from Jan. 11–25, you can try meals from more than 400 restaurants with specially priced menus for lunch and dinner. Grab lunch at the splurge-worthy destination you’ve been dying to try for just $15–$35 for a two-course meal. Find a three-course dinner at every level of fancy: Meals start at $29 and go up to $99 or more. Insider tip: Make a reservation ahead of time as spots often fill up fast.

Oakland Restaurant Week

More than 100 restaurants are getting in on the action during Oakland Restaurant Week, spanning two weekends from Jan. 11–20. Over the last decade, Oakland has garnered an exceptionally high level of gastronomical attention, building a reputation as one of the most exciting culinary destinations in the country. No matter what your budget, you can get a taste of what Oakland has to offer. Prix fixe lunch and dinner menus start at just $10.

https://instagram.com/p/BsJPauznMoN/
Dine Downtown Sacramento

In 2018, Thrillist named Sacramento our country’s “best up-and-coming food city.” See what all the hype’s about during Dine Downtown. From Jan. 11 to 21, guests can enjoy three-course dinners for just $35 at more than 30 downtown restaurants. Known as the country’s Farm-to-Fork Capital, Sacramento is home to more than 8,000 acres of farmland and world-class chefs. Dine Downtown makes your decadent dinner taste all the more satisfying thanks to its donation program: One dollar from each meal goes to local social services and food literacy programs.

question: What is the purpose of this article?

answer: To promote California Restaurant Month.

critique: The article is not only about California Restaurant Month. It is also about seven other regions that will begin offering delectable deals at some top dining establishments.

critique: This answer is too vague. The article is all about California Restaurant Month.

critique: The article is not just about California Restaurant Month.

critique: The article also promotes specific regions of California.

critique: The article doesn't focus on California Restaurant Month. It focuses on the different restaurant weeks (and days) that are happening around California.

critique: The article is not just about California Restaurant Month. It is about seven other regions that will begin offering delectable deals at some top dining establishments.

question: What is the best place to go to eat according to the article?

answer: The article doesn't say.

critique: Incorrect answer; we know where the author thinks the best place to eat is

critique: This answer is incorrect. The article mentions multiple places that are great to eat at.

critique: The article does state where to go to eat.


text:
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[] [] []

Taylon Hope is a singer, songwriter, musician from West Jefferson, NC, located in the beautiful Blue Ridge Mountains and now makes her home in Music City, Nashville, TN. She began singing at the young age of four years old and music has been her passion ever since. She loves singing and performing and making a difference to others through her music. Her musical influences include Dolly Parton, Vince Gill, Carrie Underwood, Martina McBride, among others. Taylon has a love for both traditional and modern Country Music and has a great appreciation for all kinds of music. Taylon Hope values her roots and believes in being who you are and country is who she is!

In 2014, Taylon Hope released her first EP titled, "What This World Needs", which was produced by Multi-Awarding Winning Inspirational Country Artist, Tommy Brandt. The title track broke the Top 30 on The Power Source Inspirational Country Chart.

In 2016, she began working with Grammy Nominated Producer, Kent Wells, who is also Dolly Parton's producer and band leader. In December of 2016, Taylon released her second CD, "Showin' My Roots" to much success. Taylon co-wrote all of the songs on the project and the title track broke the Top 100 on Music Row. She was featured in both Billboard Magazine and Music Row Magazine.

She released her first Christmas EP, "Carolina Christmas", which was also produced by Kent Wells, in December of 2017. The project includes two original songs co-written by Taylon, along with familiar Christmas Classics.

Taylon Hope has been blessed to perform at many wonderful venues in different areas of the country. She has had the opportunity to open shows for Shenandoah, T. Graham Brown, Suzy Bogguss, Adam Crabb, and recently in Kansas she opened up for Ned LeDoux, son of Chris LeDoux. She has performed at the legendary Bluebird Cafe, The Listening Room, The Schermerhorn Symphony Center, The Texas Troubadour Theatre, The Nashville Palace, John A's, and Puckett's, all in Nashville, TN. She has also performed at The Lyric Theatre in Lexington, KY, MerleFest in Wilkesboro, NC and is a regular guest and performer at WBTV Channel 3 in Charlotte, NC. Taylon Hope is a signed artists for Dolly Parton's DreamMore Resort and performs at her resort throughout the year. In the Summer of 2017, she completed a Summer Tour with Boot Barn and she continues to perform in their stores throughout the South. Taylon Hope performed as an invited guest at the CRS Radio Seminar and at CMA Fest last year in downtown Nashville, TN. Taylon loves giving back through her music and is an on-going performer at the Ronald McDonald house and is scheduled to begin working at St. Jude's hospital with the children's unit. Taylon Hope has been a guest on three occasions this past year on WSM Radio, the broadcast home of The Grand Ole Opry. Taylon continues to do on-going writer's nights in downtown Nashville, TN.

In October of 2017, Taylon Hope was blessed to perform on the legendary stage of The Grand Ole Opry House at the tribute show for the great Ralph Stanley. Playing on this stage was a dream come true for Taylon as she is a great fan and supporter of The Grand Ole Opry and the history of this legendary show.

Taylon Hope is excited and looking forward to an exciting and productive 2018! She plans to release a new single to Country Radio this year and pursue another new EP of country music songs that she has been writing.

[] []

Josie Show Music Awards - 2018 Winner

"Entertainer of the Year - Young Adult Division"

Josie Show Music Awards - 2017 Winner

"Artist of the Year - Junior Division"

Josie Show Music Awards - 2016 Winner

"Vocalist of the Year- Junior Division"

Inspirational Country Music Awards - 2016 Winner

"Youth in Music"

Inspirational Country Music Awards - 2016 Nominee

"New Artist of the Year"

King Country AgapeFest - 2015 Winner

"Rising Star"

Inspirational Country Music Awards - 2015 Nominee

"Youth in Music"

Josie Show Music Awards - 2015 Nominee

"Junior Artist of the Year"

King Country AgapeFest - 2014 Nominee

"Rising Star"

Inspirational Country Music Awards - 2014 Nominee

"Youth in Music"

AMG Heritage Awards - 2014 Nominee

"New Artist of the Year"

AMG Heritage Awards - 2014 Nominee

"Youth Artist of the Year"

[] []

Taylon Hope CD

[]

[© Taylon Hope Music - All Rights Reserved] []

question: What kind of music does Taylon Hope create?

answer: She creates country music.

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

critique: The answer should be more specific by saying that Taylon Hope creates traditional and modern country music.

critique: The answer should mention that Taylon Hope also creates other kinds of music.

critique: It is omitted that she also created rock music.

critique: It's omitted that she also creates modern country music.


text:
    During life people are called many things, some good, some bad. Within a short eight years I’ve been called; a student, worker, son, good listener, hero, savior, and many more. Since I was ten I’ve been talking people out of suicide online. During my eight years of helping people, I’ve helped many people, created an online organization, and learned many new things. This has forever and will constantly change my life.

    Many people ask me, how did this happen? How does a ten year old get mixed up with people’s lives? It was three days after my tenth birthday, the smell of my moms homemade cake was still tangible in the air. I logged onto the computer and found a chat room. I came across a man inside the room. He was talking about ending his life because his wife was cheating on him and getting his kids. My heart was in my ears beating hard, my palms were clammy and wet like a river. I talked with him till late in the night past any ten year olds bed time. This man was set and ready to die, a mere child stopped him. Me.

    A few months after helping the man, I met a girl my age who was rather interested in the “work” I did. She wanted to be part of the action. Lillie and I decided to work together helping people we would find in chat rooms. This continued for about a year. Lillie started to struggle with herself, the constant pressure of someone’s life in your hands at that young of an age takes a heavy toll upon the beholder. Lillie messaged me one night, “Dominic I have a problem” I asked her what it was and she stated, she wanted to die. She couldn’t take helping people anymore. I remember crying, panicking, wanting her to see it my way and not do what she was planning. It all ended so fast only three words remained “Lillie Signed Off.”

    Three years have passed since Lillie’s death, I created an online organization, filled with teens helping people out of dark thoughts. I created this organization in memory of Lillie. DarkShadows. DarkShadows, was constructed of teens from around the world, looking for people with suicidal thoughts that wanted to help prevent suicide. One hundred and ninety-seven teens joined DarkShadows. Each night we would have meetings and we would talk with one another to see if everyone was ok. I learned that this “job” is to hard for one child to take on alone day in and day out, there needs to be an escape route. DarkShadows showed some amazing results, the teens in DarkShadows were able to talk to five hundred plus people out of suicide. With every construction there is a destruction.

    I had a hard time destroying DarkShadows for I was proud of it. I closed down DarkShadows because the stress was enormous, two people were talking people into suicide, three people committed suicide from the pressure, and people started to not care. DarkShadows lasted three years and I was shocked that I could uphold it for so long, but I knew it had to go. I will never forget what I’ve learned from these past experiences.

    I’ve learned, many things over the past few years. I’ve learned that even though the world seems to burn like a raging fireball, there are many people out there still that care for others. I’ve learned that it doesn’t take a hero to save someone, you don’t need a utility belt, powers, cape, gadgets, or a “cool” name to save someone. All you need is a heart, and the will power, and the determination. Everyone is a hero in a way, you’re a hero to your kid, give someone some change for the bus, do something that is not expected from you. You are a hero.

    My life has changed drastically due to this “job”. I have become a better listener, I became mature, I met new people. I think back from when I was ten, I would have never imagined that helping that one guy would take me this far. I feel that due to this, I have a good understanding of people. I can “read” them easier. At times I have thought is it worth it? Is it worth spending hours upon hours helping someone that I don’t even know? When you help someone the end result of them being alive thanks to you is by far the best feeling you can think of. My life will never be the same due to this and for that I am grateful.

    During my short life span I’ve been a lot of things and experienced even more things. Do these names and experiences define me? Or simply give a better understanding of me? By helping one man live through the loss of his wife and kids. I met a great friend that I hold dear in my heart. I became a leader, making tough decisions for a lot of people. I learned, people still care for one another in this world. This has ultimately affected, and effected my life forever and I will never forget it. To be a Hero, you don’t need a cape or a utility belt, just a heart.

title: To Be A Hero You Need A Heart (True Story)

question: What would have happened if Lillie did not kill herself?

answer: Dominic owns and runs DarkShadows, a global organization that tries to help people in need as well as prevent suicide. If Lillie did not kill herself and was still part of his life, Dominic would have never created DarkShadows.

critique: The answer is a bit speculative. It is possible that Dominic would have started the group even if Lillie did not kill herself.

critique: "Dominic owns and runs DarkShadows, a global organization that tries to help people in need as well as prevent suicide. If Lillie did not kill herself and was still part of his life, Dominic would have never created DarkShadows." - this is incorrect. Dominic created DarkShadows because he was inspired by Lillie's death.

critique: Dominic created DarkShadows in memory of Lillie.