Question: Where did St. John's play?

Answer: Madison Square Garden

<hl> St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. <hl> The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the <hl> Madison Square Garden <hl> crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.


Question: What team did St. John's beat?

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

Answer: Syracuse

<hl> St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse , 84-72. <hl> The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating <hl> Syracuse <hl>, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating <hl> Syracuse <hl> , 84-72.


Question: Who scored 17 points?

Answer: Federico Mussini

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. <hl> The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. <hl> The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman <hl> Federico Mussini <hl> had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.


Question: How many points did Michael Gbinije score?

Answer: 21 points

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” <hl> Michael Gbinije’s 21 points led Syracuse (7-3), which has lost three of four. <hl> The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.

St. John’s did what it had not been doing most of the season — shoot well and control the boards — and the Red Storm delighted the Madison Square Garden crowd in beating Syracuse, 84-72. The matchup on Sunday was the programs’ first since Jan. 19, 1977, in which Jim Boeheim was not coaching the Orange, a span of 63 games. This was the third game of his nine-game N.C.A.A. ban. The freshman Federico Mussini had 17 points, and four other players scored in double figures for the Red Storm (7-3), who won their third straight. The Orange had won nine of the previous 10 meetings; they lead the series by 51-39. St. John’s had not beaten Syracuse at the Garden since 2007. “This was the best win of my life in the world’s most famous arena,” Mussini said. “Nothing better than this.” Michael Gbinije’s <hl> 21 points <hl> led Syracuse (7-3), which has lost three of four. The Red Storm shot 30 of 61, including 12 of 24 from 3-point range, well above their season averages. Syracuse shot 5 of 26 from beyond the arc.


Question: Which movie did Mr. Williams earn his first Academy Award nomination for?

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Answer: Good Morning, Vietnam

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. <hl> He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “ Good Morning, Vietnam ” (1987), for which Mr. Williams earned his first Academy Award nomination. <hl> (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “<hl> Good Morning, Vietnam <hl>” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “ <hl> Good Morning, Vietnam <hl> ” (1987), for which Mr. Williams earned his first Academy Award nomination.


Question: Who won an Oscar for best actor in 1987?

Answer: Michael Douglas

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. <hl> (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) <hl> At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to <hl> Michael Douglas <hl> for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.


Question: Where did Mr. Brezner begin his professional life?

Answer: New York City

<hl> Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. <hl> He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Mr. Brezner, who began his professional life as a <hl> New York City <hl> public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.


Question: What year was "Throw Momma From the Train" released?

Answer: 1987

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. <hl> He produced more than a dozen feature films, including “Throw Momma From the Train” ( 1987 ), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. <hl> (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Mr. Brezner, who began his professional life as a New York City public-school teacher, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (<hl> 1987 <hl>), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

He produced more than a dozen feature films, including “Throw Momma From the Train” ( <hl> 1987 <hl> ), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination.


Question: What job did Mr. Brezner start out his professional life with?

Answer: teacher

<hl> Mr. Brezner, who began his professional life as a New York City public-school teacher , managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. <hl> He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Mr. Brezner, who began his professional life as a New York City public-school <hl> teacher <hl>, managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short. He produced more than a dozen feature films, including “Throw Momma From the Train” (1987), starring Mr. Crystal and Danny DeVito, and “Good Morning, Vietnam” (1987), for which Mr. Williams earned his first Academy Award nomination. (The best actor Oscar that year went to Michael Douglas for “Wall Street.”) At his death a principal in Brezner Steinberg Partners, based in Beverly Hills, Calif., Mr. Brezner was known throughout his career as an astute handicapper of comic talent.

Mr. Brezner, who began his professional life as a New York City public-school <hl> teacher <hl> , managed a stable of artists that over the years also included Bette Midler, David Letterman, Robert Klein and Martin Short.


Question: Who did Mr. Brezner spot in an improv class in the late '70s?

Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Answer: Mr. Williams

<hl> Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. <hl> “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Mr. Brezner, who later worked out of Los Angeles, spotted a young <hl> Mr. Williams <hl> in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”


Question: What city did Mr. Brezner later work out of?

Answer: Los Angeles

<hl> Mr. Brezner, who later worked out of Los Angeles , spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. <hl> “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Mr. Brezner, who later worked out of <hl> Los Angeles <hl>, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Mr. Brezner, who later worked out of <hl> Los Angeles <hl> , spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing.


Question: Where did Mr. Brezner spot Mr. Williams in the late '70s?

Answer: an improv class

<hl> Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. <hl> “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in <hl> an improv class <hl> there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”


Question: Which newspaper did Mr. Brezner speak with about Mr. Williams in 1985?

Answer: The New York Times

Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. <hl> “He had comedic energy that rebounded through the room,” Mr. Brezner told The New York Times in 1985. <hl> “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. “He had comedic energy that rebounded through the room,” Mr. Brezner told <hl> The New York Times <hl> in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”


Question: What did Mr. Brezner say Mr. Williams comedic energy rebound through?

Answer: the room

Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. <hl> “He had comedic energy that rebounded through the room ,” Mr. Brezner told The New York Times in 1985. <hl> “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

Mr. Brezner, who later worked out of Los Angeles, spotted a young Mr. Williams in an improv class there in the late ’70s and helped channel his perpetual motion into a routine that was cohesive and sometimes even sedately self-revealing. “He had comedic energy that rebounded through <hl> the room <hl>,” Mr. Brezner told The New York Times in 1985. “It felt like you’d stepped into a wind tunnel.” He added, “If he just did his thing, the effect was that people laughed a lot, but they wouldn’t know who he is.”

“He had comedic energy that rebounded through <hl> the room <hl> ,” Mr. Brezner told The New York Times in 1985.


Question: Who starred in "The 'Burbs" in 1989?

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Answer: Tom Hanks

<hl> Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks ; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. <hl> Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring <hl> Tom Hanks <hl>; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring <hl> Tom Hanks <hl> ; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis.


Question: What film did Mr. Brezner produce in 1989?

Answer: The ’Burbs

<hl> Mr. Brezner’s other films as a producer include “ The ’Burbs ” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. <hl> Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s other films as a producer include “<hl> The ’Burbs <hl>” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s other films as a producer include “ <hl> The ’Burbs <hl> ” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis.


Question: Where did Mr. Brezner meet Melissa Manchester?

Answer: his coffeehouse

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. <hl> Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. <hl> His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at <hl> his coffeehouse <hl> and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.


Question: Who was Mr. Brezner's second wife?

Answer: Bett Zimmerman

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. <hl> Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman . <hl> His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, <hl> Bett Zimmerman <hl>. His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, <hl> Bett Zimmerman <hl> .


Question: What is Mr. Brezner's brother's name?

Answer: Jeff

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. <hl> His survivors include his third wife, Dominique Cohen-Brezner; a brother, Jeff ; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner. <hl>

Mr. Brezner’s other films as a producer include “The ’Burbs” (1989), starring Tom Hanks; “Coupe de Ville” (1990), starring Patrick Dempsey; and “Angie” (1994), starring Geena Davis. Mr. Brezner’s first marriage, to the singer and songwriter Melissa Manchester, whom he met when she appeared at his coffeehouse and whom he managed for a time, ended in divorce; he was also divorced from his second wife, Bett Zimmerman. His survivors include his third wife, Dominique Cohen-Brezner; a brother, <hl> Jeff <hl>; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.

His survivors include his third wife, Dominique Cohen-Brezner; a brother, <hl> Jeff <hl> ; and two daughters from his marriage to Ms. Zimmerman, Lauren Azbill and China Brezner.


Question: What did the Ukraine enter?

Another was Russia, where Ukraine’s entry into NATO has always been a red flag. When the Ukrainian Parliament voted, the reaction in Moscow was swift.

Answer: NATO

<hl> Another was Russia, where Ukraine’s entry into NATO has always been a red flag. <hl> When the Ukrainian Parliament voted, the reaction in Moscow was swift.

Another was Russia, where Ukraine’s entry into <hl> NATO <hl> has always been a red flag. When the Ukrainian Parliament voted, the reaction in Moscow was swift.


Question: What did the Ukraine Parliament do?

Answer: voted

Another was Russia, where Ukraine’s entry into NATO has always been a red flag. <hl> When the Ukrainian Parliament voted , the reaction in Moscow was swift. <hl>

Another was Russia, where Ukraine’s entry into NATO has always been a red flag. When the Ukrainian Parliament <hl> voted <hl>, the reaction in Moscow was swift.

When the Ukrainian Parliament <hl> voted <hl> , the reaction in Moscow was swift.


Question: What color flag was the decision to enter NATO?

Answer: red flag

<hl> Another was Russia, where Ukraine’s entry into NATO has always been a red flag . <hl> When the Ukrainian Parliament voted, the reaction in Moscow was swift.

Another was Russia, where Ukraine’s entry into NATO has always been a <hl> red flag <hl>. When the Ukrainian Parliament voted, the reaction in Moscow was swift.

Another was Russia, where Ukraine’s entry into NATO has always been a <hl> red flag <hl> .


Question: What word describes the reaction in Moscow?

Answer: swift

Another was Russia, where Ukraine’s entry into NATO has always been a red flag. <hl> When the Ukrainian Parliament voted, the reaction in Moscow was swift . <hl>

Another was Russia, where Ukraine’s entry into NATO has always been a red flag. When the Ukrainian Parliament voted, the reaction in Moscow was <hl> swift <hl>.

When the Ukrainian Parliament voted, the reaction in Moscow was <hl> swift <hl> .


Question: what organization is partnering with London's Whitechapel gallery?

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

Answer: NEON

<hl> In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. <hl> Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

In a separate attraction, <hl> NEON <hl> is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.


Question: what date will outdoor art projects by available unitl?

Answer: July 26

<hl> In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26 . <hl> Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until <hl> July 26 <hl>. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until <hl> July 26 <hl> .


Question: what does the Deste Prize recognize?

Answer: young Greek artists

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. <hl> Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists , at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. <hl> Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes <hl> young Greek artists <hl>, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes <hl> young Greek artists <hl> , at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30.


Question: who is the front woman of Sonic Youth?

Answer: Kim Gordon

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. <hl> Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon ’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. <hl> Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman <hl> Kim Gordon <hl>’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year.

Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman <hl> Kim Gordon <hl> ’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30.


Question: when is the National Museum of Contemporary Art scheduled to open again?

Answer: the end of the year.

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. <hl> Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until the end of the year. <hl>

In a separate attraction, NEON is partnering with London’s Whitechapel Gallery to bring together 25 Greek and foreign artists to explore myth, drama, metamorphoses and bioethics through outdoor art projects at the École Française d’Athènes until July 26. Other contemporary and historic mash-ups include displays of the finalists for the Deste Prize, which recognizes young Greek artists, at the Museum of Cycladic Art, and the former Sonic Youth frontwoman Kim Gordon’s multiplatform show of paintings and sculpture at the historic Benaki Museum until Aug. 30. Many of these attractions will fill a vacuum left by the absence of the National Museum of Contemporary Art, which has spent more than a decade in a period of restoration and flux but is not scheduled to reopen until <hl> the end of the year. <hl>


Question: Who are some of Kate Tempest's inspirations.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

Answer: Wu-Tang Clan and Joyce, Bukowski and Blake

<hl> A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake ; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. <hl> Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by <hl> Wu-Tang Clan and Joyce, Bukowski and Blake <hl>; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by <hl> Wu-Tang Clan and Joyce, Bukowski and Blake <hl> ; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize.


Question: Who is the youngest winner of the Ted Hughes Prize?

Answer: Kate Tempest

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. <hl> Such dichotomies not only attest to the 29-year-old Kate Tempest ’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old <hl> Kate Tempest <hl>’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

Such dichotomies not only attest to the 29-year-old <hl> Kate Tempest <hl> ’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art.


Question: Who is the central figure in Tempest's "Hold Your Own?"

Answer: Tiresias

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias , the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. <hl> They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias <hl>, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

<hl> Tiresias <hl> , the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self.


Question: How old is Kate Tempest?

Answer: 29

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. <hl> Such dichotomies not only attest to the 29 -year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the <hl> 29 <hl>-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

Such dichotomies not only attest to the <hl> 29 <hl> -year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art.


Question: What artists influenced Kate Tempest early on?

Answer: Wu-Tang Clan and Joyce, Bukowski and Blake

<hl> A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake ; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. <hl> Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by <hl> Wu-Tang Clan and Joyce, Bukowski and Blake <hl>; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by <hl> Wu-Tang Clan and Joyce, Bukowski and Blake <hl> ; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize.


Question: Who is the presiding mythical Greek figure in Tempest's "Hold Your Own?"

Answer: Tiresias

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias , the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. <hl> They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias <hl>, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

<hl> Tiresias <hl> , the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self.


Question: Who became the youngest winner of the Ted Hughes poetry prize?

Answer: Kate Tempest

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. <hl> Such dichotomies not only attest to the 29-year-old Kate Tempest ’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old <hl> Kate Tempest <hl>’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

Such dichotomies not only attest to the 29-year-old <hl> Kate Tempest <hl> ’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art.


Question: What is the conflict for the character  in Tempest's "Bran New Ancients?"

Answer: They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. <hl> They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. <hl> Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. <hl> They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion <hl> for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.


Question: What other work by tempest uses the theme of conflict of shared by Greek Gods in it?

Answer: “Hold Your Own,”

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. <hl> Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection “Hold Your Own,” and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. <hl> They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.

A wunderkind rapper and spoken word performer equally influenced by Wu-Tang Clan and Joyce, Bukowski and Blake; an English poet whose musical sense of language bridges the worlds of rap and traditional lyric verse; a fan favorite at the Glastonbury music festival who became the youngest winner of the Ted Hughes poetry prize. Such dichotomies not only attest to the 29-year-old Kate Tempest’s gift for shattering — and transcending — convention and conventional genres, but they also underscore the tensions and contradictions that fuel her dynamic art. Tiresias, the blind seer in Greek mythology who lived as a man and a woman, is the presiding figure in her collection <hl> “Hold Your Own,” <hl> and the contemporary characters in her dazzling story-poem “Brand New Ancients” are also conflicted beings in search of a self. They are torn between confidence and self-loathing, between aching loneliness and the tumult of love, between ambition and a revulsion for the phony accouterments of fame. Ms. Tempest describes these ordinary people as gods, and their quarrels — so reminiscent of the squabbling among the Greek gods on Mount Olympus — are both petty and profound.


Question: According to Tempest. what used to be the stories that we used to explain ourselves?

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.

Answer: Myths

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... <hl> Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. <hl> At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... <hl> Myths <hl> used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.


Question: What literary work was referenced in Tempest's "Brand New Ancients?"

Answer: “The Waste Land”

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. <hl> At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. <hl> At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in <hl> “The Waste Land” <hl> — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.


Question: What do myths accomplish, according to Tempest?

Answer: myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... <hl> Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. <hl> At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, <hl> myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life <hl> — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.


Question: The characters in "Brand New Ancients" reference what fictional city?

Answer: Eliot’s “Unreal City”

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. <hl> At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. <hl> At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of <hl> Eliot’s “Unreal City” <hl> in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.


Question: What literary work is Tempest's writing reminiscent of?

Answer: Joyce’s “Dubliners.”

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. <hl> At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of Joyce’s “Dubliners.” She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride. <hl>

we’re the same beings that began, still living in all of our fury and foulness and friction, everyday odysseys, dreams and decisions ... Myths used to be “the stories we used to explain ourselves,” she observes, and to her, myths, like art, are a way to universalize individual dreams and suffering: They lend continuity and weight to the everyday struggles of life — “deadlines, debts, divorces” — and remind us that every person, every passer-by on the street, has an “epic narrative” within. At times, the people in “Brand New Ancients” recall the tired denizens of Eliot’s “Unreal City” in “The Waste Land” — which, the reader remembers, also mentions Tiresias, as one who has “perceived the scene, and foretold the rest” — trudging through their tedious day jobs, then trudging home in the twilight hour. At the same time, Ms. Tempest also gives us more intimate portraits of these characters that are reminiscent of <hl> Joyce’s “Dubliners.” <hl> She provides glimpses of them at many points in their lives — in childhood, youth, middle age, and on the downward curve toward death; and struggling with love and loss and fear and pride.


Question: What is the best way to describe the language used by Tempest?

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.

Answer: musical and street tough, cadenced and conversational

<hl> Writing in language that is, at once, musical and street tough, cadenced and conversational , Ms. Tempest creates portraits that feel both immediate and finely etched. <hl> There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.

Writing in language that is, at once, <hl> musical and street tough, cadenced and conversational <hl>, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.

Writing in language that is, at once, <hl> musical and street tough, cadenced and conversational <hl> , Ms. Tempest creates portraits that feel both immediate and finely etched.


Question: What's the best depiction of Tempest's character Kevin?

Answer: “steady and plain,”

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. <hl> There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. <hl> Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, <hl> “steady and plain,” <hl> and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.


Question: What's the best way to describe the portraits made by Tempest in terms of timing?

Answer: both immediate and finely etched.

<hl> Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. <hl> Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel <hl> both immediate and finely etched. <hl> There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.


Question: What's the best depiction of Tempest's character Jane?

Answer: “ready for change,”

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. <hl> There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. <hl> Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s <hl> “ready for change,” <hl> and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.


Question: What words does Tempest use to describe her character Gloria?

Answer: “the kind of girl whose scars run deep”

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. <hl> Tommy, gifted and hungry, falls in love with Gloria — “the kind of girl whose scars run deep” — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption. <hl>

Writing in language that is, at once, musical and street tough, cadenced and conversational, Ms. Tempest creates portraits that feel both immediate and finely etched. There’s Kevin, “steady and plain,” and his restless wife, Jane, who’s “ready for change,” and Brian, unhappily married to Mary, with an angry son named Clive. Brian has an affair with Jane, who gives birth to his child Thomas — who, as family dramas so often play out in myths — will have a fateful encounter with Clive. Tommy, gifted and hungry, falls in love with Gloria — <hl> “the kind of girl whose scars run deep” <hl> — but even as he starts to achieve his dream of becoming an artist, he risks losing everything he’s dreamed of out of carelessness and self-absorption.


Question: What charges did Mr. Disisto file in federal court?

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

Answer: false arrest and malicious prosecution

<hl> Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution . <hl> “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a <hl> false arrest and malicious prosecution <hl>. “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a <hl> false arrest and malicious prosecution <hl> .


Question: Who did Mr. Disisto file a lawsuit against?

Answer: Police Department and the city

<hl> Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. <hl> “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

Mr. Disisto has sued the <hl> Police Department and the city <hl> in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.


Question: Who is the lawyer representing Mr. Disisto?

Answer: David B. Rankin

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. <hl> “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said David B. Rankin , a lawyer representing Mr. Disisto. <hl> “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. “The officers attacked him and this is borne out entirely by the video evidence from the bar,” said <hl> David B. Rankin <hl>, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

“The officers attacked him and this is borne out entirely by the video evidence from the bar,” said <hl> David B. Rankin <hl> , a lawyer representing Mr. Disisto.


Question: What prevented Mr. Disisto from being charged with a crime?

Answer: video evidence

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. <hl> “The officers attacked him and this is borne out entirely by the video evidence from the bar <hl> ,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.

Mr. Disisto has sued the Police Department and the city in federal court in Manhattan, charging he was the victim of a false arrest and malicious prosecution. “The officers attacked him and this is borne out entirely by the <hl> video evidence <hl> from the bar,” said David B. Rankin, a lawyer representing Mr. Disisto. “But for this video, Mr. Disisto likely would have been prosecuted.” The lawsuit also accuses the Police Department of having a “custom and practice” of making retaliatory arrests against people who photograph or videotape police activity. In legal papers, the city has denied that the Police Department has a policy or practice of retaliation for videotaping, said Nick Paolucci, a spokesman for the city’s Law Department.