Question: What does Poblenou mean/stand for?

Answer: new city

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. <hl> Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “ new city ,” a longtime manufacturing zone that declined in the 20th century. <hl>

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “<hl> new city <hl>,” a longtime manufacturing zone that declined in the 20th century.

Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “ <hl> new city <hl> ,” a longtime manufacturing zone that declined in the 20th century.


Question: Who is the tour guide for the musuem?

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide Jordan Susselman, whose company, Hi. This Is Barcelona … ,  increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

Answer: Jordan Susselman

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. <hl> “The area is definitely up-and-coming,” said the tour guide Jordan Susselman , <hl> whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

Not so long ago, travelers might have stopped in the Glòries area of Barcelona only if they were stuck in traffic. Three major roads leading in and out of this Spanish city — Avenida Diagonal, Avenida Meridiana and the Gran Via de les Corts Catalanes — converged here at an elevated roundabout, where cars often came to a standstill. But lately this northeastern axis of the Catalan capital — situated in the Sant Martí district, bordering Eixample — is becoming a place to go to, not just through, especially for those interested in design. The roundabout has been torn down as part of a roadway reconfiguration, making the area more walkable. And some of the city’s most exciting public spaces have sprung up nearby, including a popular flea market under a modernist metal roof and, opening last December, the Barcelona Design Museum. “The area is definitely up-and-coming,” said the tour guide <hl> Jordan Susselman <hl>, whose company, Hi. This Is Barcelona … , increasingly makes stops in Glòries and adjacent Poblenou. In fact, the city has been trying to invigorate this part of town for some time. Ildefons Cerdà, the engineer who drew up the 1859 plan for the expansion of Barcelona, envisioned his Plaça de les Glòries Catalanes as a new town center. Instead, Glòries (pronounced GLO-rias), as it’s commonly called, became the aforementioned traffic snarl, a no man’s land at the top point of a triangular swath stretching down to the Mediterranean, encompassing Poblenou, or “new city,” a longtime manufacturing zone that declined in the 20th century.

“The area is definitely up-and-coming,” said the tour guide <hl> Jordan Susselman <hl> ,


Question: Who was let go by ESPN?

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

Answer: Bill Simmons

<hl> ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons , if not its final one. <hl> Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with <hl> Bill Simmons <hl>, if not its final one. Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with <hl> Bill Simmons <hl> , if not its final one.


Question: What role does John Skipper play at ESPN?

Answer: president

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. <hl> Last Friday, John Skipper, ESPN’s president , effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. <hl> The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. Last Friday, John Skipper, ESPN’s <hl> president <hl>, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

Last Friday, John Skipper, ESPN’s <hl> president <hl> , effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract.


Question: What did Simmons help to start at ESPN?

Answer: Grantland website

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. <hl> Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website , by announcing that he would not renew his contract. <hl> The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its <hl> Grantland website <hl>, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its <hl> Grantland website <hl> , by announcing that he would not renew his contract.


Question: How often does ESPN make a presentation to it's advertisers?

Answer: annual

<hl> ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. <hl> Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.

ESPN will make its <hl> annual <hl> upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand.


Question: Who does John Skipper think is bigger than the brand?

Answer: no one

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: <hl> Regardless of your influence or the number of people who listen to your podcasts, no one is bigger than the brand. <hl>

ESPN will make its annual upfront presentation to advertisers Tuesday morning in a Broadway theater, four days after scripting the latest act in its relationship with Bill Simmons, if not its final one. Last Friday, John Skipper, ESPN’s president, effectively fired Simmons, one of the company’s best known employees and the founding editor of its Grantland website, by announcing that he would not renew his contract. The message was clear: Regardless of your influence or the number of people who listen to your podcasts, <hl> no one <hl> is bigger than the brand.


Question: How much is Simmons payed to work for ESPN?

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract.

Answer: $5 million

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. <hl> Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract. <hl>

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated <hl> $5 million <hl> salary, based on just over four months left on his contract.


Question: What is one of the clauses in Simmons contract?

Answer: nondisparagement

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. <hl> Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract. <hl>

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. Talent contracts like Simmons’s typically contain <hl> nondisparagement <hl> clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract.


Question: How much of his income does Simmons stand to lose if he says anything before he officially leaves ESPN?

Answer: a third

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. <hl> Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract. <hl>

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about <hl> a third <hl> of his estimated $5 million salary, based on just over four months left on his contract.


Question: When was Simmons contract suppose to end?

Answer: just over four months

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. <hl> Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract. <hl>

But do not expect Simmons to say anything, at least about his departure, until he and ESPN are legally done with each other. Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on <hl> just over four months <hl> left on his contract.


Question: What shouldn't Simmons talk about at this time?

Answer: his departure

<hl> But do not expect Simmons to say anything, at least about his departure , until he and ESPN are legally done with each other. <hl> Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract.

But do not expect Simmons to say anything, at least about <hl> his departure <hl>, until he and ESPN are legally done with each other. Talent contracts like Simmons’s typically contain nondisparagement clauses, so if Simmons strikes out angrily before negotiating his exit — if, say, he verbally slapped Skipper or ESPN — he would forfeit about a third of his estimated $5 million salary, based on just over four months left on his contract.

But do not expect Simmons to say anything, at least about <hl> his departure <hl> , until he and ESPN are legally done with each other.


Question: Who has a podcast empire?

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.

Answer: Simmons

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. <hl> Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus. <hl>

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. <hl> Simmons <hl> could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.


Question: What is Turner still focusing on?

Answer: Bleacher Report

<hl> Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report . <hl> Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.

Turner is also strong digitally, with much of its focus on continuing to build <hl> Bleacher Report <hl>. Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.

Turner is also strong digitally, with much of its focus on continuing to build <hl> Bleacher Report <hl> .


Question: What could Simmons create something similar from?

Answer: Grantland

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. <hl> Simmons could create a Grantland -like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus. <hl>

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. Simmons could create a <hl> Grantland <hl>-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.

Simmons could create a <hl> Grantland <hl> -like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.


Question: Who is a competitor of ESPN?

Answer: Turner

<hl> Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. <hl> Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.

<hl> Turner <hl> is also strong digitally, with much of its focus on continuing to build Bleacher Report. Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus.


Question: What would be a bonus for Turner if Simmons goes to work for them?

Answer: his podcast

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. <hl> Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring his podcast empire along as a bonus. <hl>

Turner is also strong digitally, with much of its focus on continuing to build Bleacher Report. Simmons could create a Grantland-like spinoff from Bleacher Report if Turner wants to pit a new version against ESPN’s original, and bring <hl> his podcast <hl> empire along as a bonus.


Question: Marijuana accounts for how much revenue generated by cartels?

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”

Answer: more than a fifth

<hl> As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. <hl> The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”

As it stands, marijuana accounts for <hl> more than a fifth <hl> of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”


Question: How many states allow the use of medical marijuana?

Answer: Twenty-three states and the District of Columbia

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. <hl> Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. <hl> “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. <hl> Twenty-three states and the District of Columbia <hl> have passed laws permitting medical marijuana, and four states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”


Question: How much does this amount to per year?

Answer: $1.5 billion a year

<hl> As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year , according to a 2010 report by the RAND Corporation. <hl> The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around <hl> $1.5 billion a year <hl>, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around <hl> $1.5 billion a year <hl> , according to a 2010 report by the RAND Corporation.


Question: How many states allow recreational marijuana?

Answer: four

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. <hl> Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and four states also allow recreational use by adults. <hl> “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”

As it stands, marijuana accounts for more than a fifth of revenues generated by cartels, around $1.5 billion a year, according to a 2010 report by the RAND Corporation. The one thing that could significantly affect the cartels’ marijuana business is legislation in the United States. As marijuana growing for commercial purposes in America expands, demand for Mexican marijuana could eventually dry up. Pro-marijuana activists have scored a remarkable string of election wins in recent years even though the drug remains illegal under federal law. Twenty-three states and the District of Columbia have passed laws permitting medical marijuana, and <hl> four <hl> states also allow recreational use by adults. “In the long run, as the U.S. legalizes marijuana, Mexico is going to have a tough time competing with lawful American suppliers,” Mr. Walsh said. “That doesn’t mean they won’t have a business plan, it’s just that marijuana will be removed from it.”


Question: Who wrote an 88 page opinion arguing that the state recognizes an individual's right to engage in recreational use?

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.

Answer: Justice Arturo Zaldívar

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. <hl> Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others. <hl>

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, <hl> Justice Arturo Zaldívar <hl> wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.


Question: What will persist whether or not marijuana use is legal?

Answer: The criminal infrastructure

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. <hl> The criminal infrastructure will persist whether or not marijuana use is legal. <hl> “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. <hl> The criminal infrastructure <hl> will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.


Question: What do cartels do besides smuggle marijuana?

Answer: smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home

<hl> Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home . <hl> The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.

Marijuana is just one of many sources of income for the cartels, which <hl> smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home <hl>. The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.

Marijuana is just one of many sources of income for the cartels, which <hl> smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home <hl> .


Question: The legal ruling barely eluded to what?

Answer: the bloody backdrop of the drug war.

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. <hl> The legal ruling on Wednesday barely referred to the bloody backdrop of the drug war. Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others. <hl>

Marijuana is just one of many sources of income for the cartels, which smuggle narcotics across the border to the United States and run kidnapping and extortion rings at home. The criminal infrastructure will persist whether or not marijuana use is legal. “The existing laws don’t reduce violence, either,” said Catalina Pérez Correa González, a law professor at CIDE, a university in Mexico City. The legal ruling on Wednesday barely referred to <hl> the bloody backdrop of the drug war. <hl> Instead, Justice Arturo Zaldívar wrote an 88-page opinion based on principles of human rights, arguing that the state recognizes an individual’s autonomy to engage in recreational activities that do not harm others.


Question: How many Mexicans smoked marijuana in the past year?

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.

Answer: 2 percent

The number of marijuana users in Mexico is believed to be small. <hl> One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. <hl> Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that <hl> 2 percent <hl> of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.


Question: What will allow Mexicans to be able to smoke marijuana without buying or selling it?

Answer: If Mexicans are allowed to grow and consume their own marijuana,

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. <hl> If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. <hl> Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. <hl> If Mexicans are allowed to grow and consume their own marijuana, <hl> casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.


Question: How many Americans smoked marijuana in the past year?

Answer: 7.5 percent

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. <hl> Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. <hl> If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the <hl> 7.5 percent <hl> of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.


Question: What percent of inmates sentenced for drug crimes were convicted for marijuana?

Answer: 60 percent

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. <hl> “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that 60 percent of the inmates sentenced for drug crimes were convicted in cases involving marijuana. <hl> “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.

The number of marijuana users in Mexico is believed to be small. One 2011 drug-use survey estimated that 2 percent of Mexicans had smoked marijuana in the past year. Although that figure is probably low, it is less than the 7.5 percent of people in the United States who said in a 2013 survey that they had used marijuana in the previous month. If Mexicans are allowed to grow and consume their own marijuana, casual users will not have to commit a crime to obtain it. Now, marijuana users are currently vulnerable to extortion by the police and are locked up by the thousands every year on charges of consumption and possession. “There is an enormous institutional and social cost to enforcing the laws against marijuana,” said Ms. Pérez Correa, whose surveys of state and federal prisons suggest that <hl> 60 percent <hl> of the inmates sentenced for drug crimes were convicted in cases involving marijuana. “How many resources are being used up to reduce these low-impact crimes?” The ruling on Wednesday was the culmination of an effort to change the law by four members of a prominent Mexican anticrime group, Mexico United Against Crime.


Question: Who works as a public advocate, in the passage?

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

Answer: Letitia James

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. <hl> “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James , the city’s public advocate, said. <hl>

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” <hl> Letitia James <hl>, the city’s public advocate, said.

“It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” <hl> Letitia James <hl> , the city’s public advocate, said.


Question: The National Register of Historic Places was updated with the location in question in what year?

Answer: 1999

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. <hl> The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999 . <hl> But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in <hl> 1999 <hl>. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in <hl> 1999 <hl> .


Question: Which area operates a policy that creates "historic districts" within it?

Answer: Greenwich Village

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. <hl> The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. <hl> But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. The Stonewall was already part of the city-designated <hl> Greenwich Village <hl> Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.


Question: What is the shortest name for the building that appears to be the topic of the reading?

Answer: Stonewall

<hl> The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. <hl> The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

The <hl> Stonewall <hl> is not architecturally distinguished and would not earn landmark status on aesthetic grounds, several speakers noted. The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.


Question: This building would not be able to earn landmark status for what specific reason?

Answer: aesthetic grounds

<hl> The Stonewall is not architecturally distinguished and would not earn landmark status on aesthetic grounds , several speakers noted. <hl> The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

The Stonewall is not architecturally distinguished and would not earn landmark status on <hl> aesthetic grounds <hl>, several speakers noted. The Stonewall was already part of the city-designated Greenwich Village Historic District, and it was placed on the National Register of Historic Places in 1999. But speakers at the hearing said the individual city landmark designation was necessary to preserve the Stonewall and recognize its historic importance. “It must be protected against rapacious developers who would destroy the history of this sacred place and all it represents,” Letitia James, the city’s public advocate, said.

The Stonewall is not architecturally distinguished and would not earn landmark status on <hl> aesthetic grounds <hl> , several speakers noted.


Question: What Japanese director was a great, prolific artist?

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.

Answer: Kenji Mizoguchi

<hl> The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. <hl> By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.

The Japanese director <hl> Kenji Mizoguchi <hl> (1898-1956) was not only a great artist, but he was also an unusually prolific one. By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.


Question: When was "The Story of the Last Chrysanthemum" completed?

Answer: 1939

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. <hl> By 1939 , the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. <hl> Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. By <hl> 1939 <hl>, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.

By <hl> 1939 <hl> , the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit.


Question: How many films did Kenji Mizoguchi have to his credit?

Answer: 50 films

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. <hl> By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. <hl> Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over <hl> 50 films <hl> to his credit. Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.


Question: What film helped Kenji Mizoguchi find his footing?

Answer: “Osaka Elegy”

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. <hl> Yet, it was only with his 1936 feature “Osaka Elegy” that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. <hl> “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.

The Japanese director Kenji Mizoguchi (1898-1956) was not only a great artist, but he was also an unusually prolific one. By 1939, the year he completed “The Story of the Last Chrysanthemum,” a breathtaking melodrama opening in a new restoration Friday, he had over 50 films to his credit. Yet, it was only with his 1936 feature <hl> “Osaka Elegy” <hl> that, by some accounts, Mr. Mizoguchi felt he had finally found his artistic footing. “Chrysanthemum,” set in late 19th-century Japan, tells the story of Kikunosuke (Shotaro Hanayagi), an egotistic Kabuki actor, and Otoku (Kakuko Mori), who sacrifices her own happiness to help him achieve greatness.


Question: Who is given an elaborate dressing table and mirror?

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”

Answer: Otoku

A year later, Otoku follows.

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. <hl> A year later, Otoku follows. <hl> In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. A year later, <hl> Otoku <hl> follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”


Question: Kiku is obliged to leave Tokyo for what city?

Answer: Osaka

<hl> For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. <hl> A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”

For this rashness, he is obliged to leave Tokyo and go to <hl> Osaka <hl> on his own, to work with a new troupe. A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”


Question: Name three of his postwar masterpieces?

Answer: “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. <hl> While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.” <hl>

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as <hl> “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.” <hl>


Question: Which two Mizoguchi film had been widely seen in the west?

Answer: “Osaka Elegy” and “Sisters of the Gion,”

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. <hl> While “Osaka Elegy” and “Sisters of the Gion,” the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.” <hl>

For this rashness, he is obliged to leave Tokyo and go to Osaka on his own, to work with a new troupe. A year later, Otoku follows. In one of the film’s most moving scenes, she gives Kiku an elaborate dressing table and mirror, which barely fits into their tiny living quarters. And so Kiku’s artistic redemption begins, even as the couple’s material circumstances dwindle. While <hl> “Osaka Elegy” and “Sisters of the Gion,” <hl> the two Mizoguchi pictures of this period that have been most widely seen in the West, were relatively brisk features, “Chrysanthemum,” at nearly two and a half hours, shows the director working in an expansive mode, one that would flower even more fully with his postwar masterpieces such as “The Life of Oharu,” “Ugetsu” and “Sansho the Bailiff.”


Question: How long is the video?

The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”

Answer: 1 minute 3 seconds

<hl> The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. <hl> The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”

The video, <hl> 1 minute 3 seconds <hl> and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”


Question: Where is the video set?

Answer: Boca Raton, Fla

<hl> The video, 1 minute 3 seconds and set in Boca Raton, Fla ., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. <hl> The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”

The video, 1 minute 3 seconds and set in <hl> Boca Raton, Fla <hl>., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”

The video, 1 minute 3 seconds and set in <hl> Boca Raton, Fla <hl> ., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top.


Question: What does the gender bending character drink in the video?

Answer: Red Bull

<hl> The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. <hl> The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”

The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking <hl> Red Bull <hl> in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”


Question: Where was last years Art Basel held?

Answer: Miami Beach

The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s <hl> Art Basel in Miami Beach , including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.” <hl>

The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in <hl> Miami Beach <hl>, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”

Art Basel in <hl> Miami Beach <hl> , including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.”


Question: What year did Ms. Wise graduate art school in Montreal?

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

Answer: 2013

<hl> “Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013 . <hl> “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in <hl> 2013 <hl>. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in <hl> 2013 <hl> .


Question: What is the name of the philanthropist who co-created Daata Editions?

Answer: Anita Zabludowicz

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator <hl> who, along with the British collector and philanthropist Anita Zabludowicz , co-created Daata Editions. <hl> The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist <hl> Anita Zabludowicz <hl>, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

who, along with the British collector and philanthropist <hl> Anita Zabludowicz <hl> , co-created Daata Editions.


Question: Where was the new website debuted?

Answer: Frieze Art Fair in New York

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. <hl> The website, which debuted during this year’s Frieze Art Fair in New York , combines the growing online art sales scene with the mushrooming market value of new media art. <hl> Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s <hl> Frieze Art Fair in New York <hl>, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

The website, which debuted during this year’s <hl> Frieze Art Fair in New York <hl> , combines the growing online art sales scene with the mushrooming market value of new media art.


Question: Who was one of the 18 new-media artists to be invited to part of the inaugural group?

Answer: Ms. Wise

<hl> “Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise , who graduated from art school in Montreal in 2013. <hl> “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said <hl> Ms. Wise <hl>, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said <hl> Ms. Wise <hl> , who graduated from art school in Montreal in 2013.


Question: Who created the sound work named "Stars in My Pocket Like Grains of Sand."

Answer: Mr. Vitiello

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. <hl> “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello , a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.” <hl>

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello. “I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said <hl> Mr. Vitiello <hl>, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”

“I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said <hl> Mr. Vitiello <hl> , a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.”


Question: How many video,sound and digital artists will be commissioned?

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

Answer: 18

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. <hl> Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. <hl> The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, <hl> 18 <hl> video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.


Question: How much do sound,web and digital works start at in price?

Answer: $100

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. <hl> Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. <hl> The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at <hl> $100 <hl> and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale.


Question: How much royalty does Daata pay the artiests on each sale?

Answer: 15 percent

a 15 percent royalty on each sale.

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist <hl> a 15 percent royalty on each sale. <hl>

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a <hl> 15 percent <hl> royalty on each sale.