Question: Which became the biography of cantor ?

Answer: biography of cancer

Was Freud entirely wrong then about slips and mishearings? Of course not. He advanced fundamental considerations about wishes, fears, motives and conflicts not present in consciousness, or thrust out of consciousness, which could color slips of the tongue, mishearings or misreadings. But he was, perhaps, too insistent that misperceptions are wholly a result of unconscious motivation. Collecting mishearings over the past few years without any explicit selection or bias, I am forced to think that Freud underestimated the power of neural mechanisms, combined with the open and unpredictable nature of language, to sabotage meaning, to generate mishearings that are irrelevant both in terms of context and of subconscious motivation. And yet there is often a sort of style or wit — a “dash ”— in these instantaneous inventions; they reflect, to some extent, one’s own interests and experiences, and I rather enjoy them. <hl> Only in the realm of mishearing — at least, my mishearings — can a biography of cancer become a biography of Cantor (one of my favorite mathematicians), tarot cards turn into pteropods, a grocery bag into a poetry bag, all-or-noneness into oral numbness, a porch into a Porsche, and a mere mention of Christmas Eve a command to “Kiss my feet!” <hl>

Was Freud entirely wrong then about slips and mishearings? Of course not. He advanced fundamental considerations about wishes, fears, motives and conflicts not present in consciousness, or thrust out of consciousness, which could color slips of the tongue, mishearings or misreadings. But he was, perhaps, too insistent that misperceptions are wholly a result of unconscious motivation. Collecting mishearings over the past few years without any explicit selection or bias, I am forced to think that Freud underestimated the power of neural mechanisms, combined with the open and unpredictable nature of language, to sabotage meaning, to generate mishearings that are irrelevant both in terms of context and of subconscious motivation. And yet there is often a sort of style or wit — a “dash ”— in these instantaneous inventions; they reflect, to some extent, one’s own interests and experiences, and I rather enjoy them. Only in the realm of mishearing — at least, my mishearings — can a <hl> biography of cancer <hl> become a biography of Cantor (one of my favorite mathematicians), tarot cards turn into pteropods, a grocery bag into a poetry bag, all-or-noneness into oral numbness, a porch into a Porsche, and a mere mention of Christmas Eve a command to “Kiss my feet!”


Question: What helps reduce the copious amount of paperwork?

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.

Answer: digital filing methods

There are some promising signs of progress. <hl> For instance, the tax authorities have increased the use of digital filing methods , cutting into the mountains of paperwork. <hl> Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.

There are some promising signs of progress. For instance, the tax authorities have increased the use of <hl> digital filing methods <hl>, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.

For instance, the tax authorities have increased the use of <hl> digital filing methods <hl> , cutting into the mountains of paperwork.


Question: Who's awareness is raised by estimating sales tax in the prices?

Answer: some Brazilians

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. <hl> New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. <hl> That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among <hl> some Brazilians <hl> about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.


Question: What do they feel about the quality of education and their society?

Answer: anger

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. <hl> That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. <hl> Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking <hl> anger <hl> about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.


Question: Who is trying to raise taxes to raise government revenues?

Answer: President Dilma Rousseff

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. <hl> Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff ’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. <hl> Other proposals under consideration would raise taxes on fuel and inheritance.

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with <hl> President Dilma Rousseff <hl>’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on fuel and inheritance.

Brazil’s economic crisis is opening a new debate about taxes, with <hl> President Dilma Rousseff <hl> ’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues.


Question: What other taxes are being considered?

Answer: fuel and inheritance

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. <hl> Other proposals under consideration would raise taxes on fuel and inheritance . <hl>

There are some promising signs of progress. For instance, the tax authorities have increased the use of digital filing methods, cutting into the mountains of paperwork. Some small businesses are thought to have benefited from a method aimed at simplifying their taxes. New legislation requiring retailers to estimate the amount of sales taxes embedded in the prices of their products is raising awareness among some Brazilians about the taxes they pay on everyday purchases. That, in turn, seems to be stoking anger about the deplorable quality of the education, health care, policing and other public services they receive in return. Brazil’s economic crisis is opening a new debate about taxes, with President Dilma Rousseff’s administration seeking to resuscitate a tax on financial transactions in an effort to raise government revenues. Other proposals under consideration would raise taxes on <hl> fuel and inheritance <hl>.

Other proposals under consideration would raise taxes on <hl> fuel and inheritance <hl> .


Question: What standard tool is it used to adjust historic art prices to account for inflation?

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko.

Answer: the U.S. Department of Labor’s Consumer Price Index inflation calculator

<hl> One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator . <hl> Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko.

One standard way to adjust historic art prices to account for inflation is to run them through <hl> the U.S. Department of Labor’s Consumer Price Index inflation calculator <hl>. Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko.

One standard way to adjust historic art prices to account for inflation is to run them through <hl> the U.S. Department of Labor’s Consumer Price Index inflation calculator <hl> .


Question: In what year did Gerald Reitlinger made his study?

Answer: 1961

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. <hl> Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko. <hl>

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his <hl> 1961 <hl> study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko.


Question: What was Gerald Reitlinger's study?

Answer: The Economics of Taste

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. <hl> Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “ The Economics of Taste ,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko. <hl>

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “<hl> The Economics of Taste <hl>,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko.

Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “ <hl> The Economics of Taste <hl> ,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko.


Question: How much in today's value the most expensive picture ever been sold cost?

Answer: $35.5 million

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. <hl> Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to $35.5 million today, which would buy a middling-quality Mark Rothko. <hl>

One standard way to adjust historic art prices to account for inflation is to run them through the U.S. Department of Labor’s Consumer Price Index inflation calculator. Using this method, the czar’s big 1914 price for the Leonardo — hailed by Gerald Reitlinger in his 1961 study, “The Economics of Taste,” as “the most expensive picture that has ever been sold” — is equal to <hl> $35.5 million <hl> today, which would buy a middling-quality Mark Rothko.


Question: How much did Paul Mellon pay for Cezanne's "Boy in a Red Waistcoat"?

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.

Answer: $616,000

<hl> The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s <hl> “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.

The <hl> $616,000 <hl> paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.


Question: How much Huntington was spending on phone calls?

Answer: $20,000

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. <hl> Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. <hl> It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending <hl> $20,000 <hl> on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.


Question: How was it called the most expensive painting sold in modern times?

Answer: Dr. Gachet

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. <hl> It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “ Dr. Gachet ” as the most expensive artwork sold at auction in modern times. <hl> That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “<hl> Dr. Gachet <hl>” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month.

It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “ <hl> Dr. Gachet <hl> ” as the most expensive artwork sold at auction in modern times.


Question: How much were the bidders ready to pay for Picasso's "Femmes d'Alger"?

Answer: more than $120 million

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. <hl> No fewer than five telephone bidders were prepared to spend more than $120 million on Picasso’s “Femmes d’Alger” in New York last month. <hl>

The $616,000 paid in 1958 by the banking heir Paul Mellon for Cézanne’s “Boy in a Red Waistcoat” at Sotheby’s sale of works from the Jakob Goldschmidt Collection — the first-ever “black tie” evening sale — was hailed as an auction high for a modern work of art. But then Old Masters were still the dominant collecting taste. Also, as “Capital in the 21st Century” points out, at that time the richest 10 percent claimed less than 35 percent of America’s national income, down from 50 percent in the 1920s, when Huntington was spending $20,000 on phone calls. It’s worth noting that this income-adjusted methodology ranks Van Gogh’s “Dr. Gachet” as the most expensive artwork sold at auction in modern times. That result was a direct product of Japan’s late 1980s “bubble” economy. Now, as the auction houses never tire of telling us, there are a lot more players at the top end of the art market from a lot more countries. No fewer than five telephone bidders were prepared to spend <hl> more than $120 million <hl> on Picasso’s “Femmes d’Alger” in New York last month.


Question: A director of what is James Roundell?

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”

Answer: London and New York dealer

“In the old days you had a small market. <hl> Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” <hl> That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the <hl> London and New York dealer <hl> and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”


Question: In which year James Roundell represented the winning Japanese bidder while working for Christie's?

Answer: 1987

“In the old days you had a small market. <hl> Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987 , represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” <hl> That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in <hl> 1987 <hl>, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”

Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in <hl> 1987 <hl> , represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.”


Question: When did collectors would acquire a painting to keep in their home and then leave it to a museum?

Answer: Back in the early 20th century

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. <hl> Back in the early 20th century , collectors would buy a painting, live with it in their own home and leave it to a museum. <hl> Now it’s about acquisition, not collecting.”

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” That $39.9 million was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. <hl> Back in the early 20th century <hl>, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”

<hl> Back in the early 20th century <hl> , collectors would buy a painting, live with it in their own home and leave it to a museum.


Question: What was the price that represented the first "art boom" prices?

Answer: $39.9 million

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” <hl> That $39.9 million was the first of the modern “art boom“ prices. <hl> “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”

“In the old days you had a small market. Now globalization is a huge factor,” said James Roundell, a director at the London and New York dealer and adviser Dickinson, who, while working at Christie’s in 1987, represented the winning Japanese telephone bidder for Van Gogh’s “Sunflowers.” That <hl> $39.9 million <hl> was the first of the modern “art boom“ prices. “There’s a lot of fashion involved, and people are buying for show,” Mr. Roundell said. “I’m not sure that many of them are buying for the love of the object. For some, particularly wealthy Americans, it’s all about playing the market. Back in the early 20th century, collectors would buy a painting, live with it in their own home and leave it to a museum. Now it’s about acquisition, not collecting.”


Question: What was the tamarind eggplant topped with?

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

Answer: topped with tamarind chutney

<hl> We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney . <hl> It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and <hl> topped with tamarind chutney <hl>. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and <hl> topped with tamarind chutney <hl> .


Question: What type of shrimp was served as an appetizer?

Answer: Bagari shrimp

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. <hl> Bagari shrimp , four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. <hl> It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. <hl> Bagari shrimp <hl>, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

<hl> Bagari shrimp <hl> , four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry.


Question: What was the calamari coated with?

Answer: corn flour coating

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. <hl> And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating , was as addictive as good onion rings. <hl>

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and <hl> corn flour coating <hl>, was as addictive as good onion rings.

And the calamari Cochin, flash-fried squid rings with a coarse black pepper and <hl> corn flour coating <hl> , was as addictive as good onion rings.


Question: What kind of sauce was on the jumbo shrimp?

Answer: thick yogurt and tomato sauce

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in <hl> a thick yogurt and tomato sauce , came with puri, puffy fried bread, to scoop every last bit of curry. <hl> It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a <hl> thick yogurt and tomato sauce <hl>, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.

a <hl> thick yogurt and tomato sauce <hl> , came with puri, puffy fried bread, to scoop every last bit of curry.


Question: How were the squid rings cooked?

Answer: flash-fried

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. <hl> And the calamari Cochin, flash-fried squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings. <hl>

We had fun sharing the appetizers, like the tamarind eggplant, thin half-dollar-size rounds of the night shade vegetable tossed with onions, chickpeas and yogurt, and topped with tamarind chutney. It was tangy and cooling. Bagari shrimp, four jumbo shrimp in a thick yogurt and tomato sauce, came with puri, puffy fried bread, to scoop every last bit of curry. It was soul food. And the calamari Cochin, <hl> flash-fried <hl> squid rings with a coarse black pepper and corn flour coating, was as addictive as good onion rings.


Question: What kind of fish was used to make the Goan fish curry?

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

Answer: tilapia

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. <hl> And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. <hl> The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, <hl> tilapia <hl> simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.


Question: What types of seasonings did the chicken breast sit in?

Answer: black pepper and coconut curry

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. <hl> Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. <hl> No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a <hl> black pepper and coconut curry <hl> that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.


Question: What was served along side of Rogan Josh?

Answer: a scoop of the accompanying basmati rice

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. <hl> Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice . <hl> And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with <hl> a scoop of the accompanying basmati rice <hl>. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with <hl> a scoop of the accompanying basmati rice <hl> .


Question: What was the first food item tried from the main dishes?

Answer: chicken chettinadu

<hl> The first dish I tried from the main course spread, chicken chettinadu , was lackluster. <hl> Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

The first dish I tried from the main course spread, <hl> chicken chettinadu <hl>, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

The first dish I tried from the main course spread, <hl> chicken chettinadu <hl> , was lackluster.


Question: How long did the tiger prawns have to be marinated and in what?

Answer: overnight in yogurt, red chili powder and ginger garlic paste

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. <hl> For the dish, seven jumbo tiger prawns are marinated overnight in yogurt, red chili powder and ginger garlic paste , and are then baked in a tandoor, a clay oven. <hl> The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

The first dish I tried from the main course spread, chicken chettinadu, was lackluster. Overcooked and bland cubes of breast sat in a black pepper and coconut curry that wasn’t spicy, as it was supposed to be, and didn’t taste of coconut. No matter this miss. Rogan josh, lamb shank cubes marinated in yogurt and spices and cooked in a curry redolent of garam masala, was deep with flavor and satisfying along with a scoop of the accompanying basmati rice. And the Goan fish curry, tilapia simmered with fenugreek, mustard paste, fennel seeds and coconut milk, a specialty from the coastal state in Western India, had the right balance of sourness and heat. The aloo gobi, cauliflower florets and diced potatoes in a gingery tomato curry, was simple like it should be, but the tandoori prawns wooed us the most. For the dish, seven jumbo tiger prawns are marinated <hl> overnight in yogurt, red chili powder and ginger garlic paste <hl>, and are then baked in a tandoor, a clay oven. The prawns arrived sizzling on a cast-iron dish. It takes a mindful eye not to overcook shrimp, and these were soft, almost buttery and perfectly seasoned.

For the dish, seven jumbo tiger prawns are marinated <hl> overnight in yogurt, red chili powder and ginger garlic paste <hl> , and are then baked in a tandoor, a clay oven.


Question: what is the name of the judge in LA county court?

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

Answer: Clifford L. Klein

<hl> Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. <hl> The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

Probate Judge <hl> Clifford L. Klein <hl> of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.


Question: when did the Probate judge schedule the opportunity for the motion to be heard?

Answer: late January

<hl> Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January , to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. <hl> The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for <hl> late January <hl>, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for <hl> late January <hl> , to consider the motion from Mr. Redstone’s lawyers to dismiss the suit.


Question: did the probate judge think the hearing was high priority?

Answer: he found no urgency in the matter

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. <hl> The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. <hl> Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that <hl> he found no urgency in the matter <hl> because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.


Question: how much did Redstone make in 2014 from CBS?

Answer: $10.8 million

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. <hl> Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS. <hl>

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and <hl> $10.8 million <hl> at CBS.


Question: how much are Redstone's media assets collectively worth?

Answer: $45 billion

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. <hl> While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of $45 billion . <hl> Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

Probate Judge Clifford L. Klein of the Los Angeles County Superior Court set a new hearing date, tentatively for late January, to consider the motion from Mr. Redstone’s lawyers to dismiss the suit. The judge said that he found no urgency in the matter because of the quality of health care that Mr. Redstone now receives. Meanwhile, no other action is being taken. Mr. Redstone is the executive chairman of Viacom and CBS and controls about 80 percent of the voting stock in the two media companies. While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of <hl> $45 billion <hl>. Mr. Redstone’s total compensation for the fiscal year that ended Sept. 30, 2014, was $13.2 million at Viacom and $10.8 million at CBS.

While the legal dispute concerns his personal life, the questions about his health have raised broader issues about his role leading a media empire that has a combined market value of <hl> $45 billion <hl> .


Question: Who is Redstone's ex-girlfriend?

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

Answer: Manuela Herzer

<hl> In the suit, filed last week, Manuela Herzer , who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. <hl> The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

In the suit, filed last week, <hl> Manuela Herzer <hl>, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

In the suit, filed last week, <hl> Manuela Herzer <hl> , who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks.


Question: who is in charge of Redstone's health decisions?

Answer: Philippe Dauman,

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. <hl> Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. <hl> The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. <hl> Philippe Dauman, <hl> the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”


Question: When did the ex-girlfriend sue?

Answer: last week

<hl> In the suit, filed last week , Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. <hl> The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

In the suit, filed <hl> last week <hl>, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

In the suit, filed <hl> last week <hl> , Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks.


Question: what is Philippe Dauman's title?

Answer: chief executive of Viacom

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. <hl> Philippe Dauman, the chief executive of Viacom , has since been put in control of Mr. Redstone’s medical care. <hl> The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the <hl> chief executive of Viacom <hl>, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

Philippe Dauman, the <hl> chief executive of Viacom <hl> , has since been put in control of Mr. Redstone’s medical care.


Question: what is redstone's meal of choice?

Answer: steak

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. <hl> The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating steak ” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.” <hl>

In the suit, filed last week, Manuela Herzer, who once had a romantic relationship with Mr. Redstone, said that he had been unable to “communicate reliably or competently manage his own health care” for weeks. The petition specifically asked that the court decide whether Ms. Herzer was improperly removed on Oct. 16 from control of an advanced health care directive that put her in charge of his health decisions. Philippe Dauman, the chief executive of Viacom, has since been put in control of Mr. Redstone’s medical care. The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating <hl> steak <hl>” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”

The petition included personal details, including claims that Mr. Redstone is incontinent, requires suctioning to remove phlegm up to 20 times day, is “obsessed with eating <hl> steak <hl> ” even while on a feeding tube, and “demands, to the extent he can be understood, to engage in sexual activity every day.”


Question: What country was this museum located in?

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

Answer: Japan

Religious images live switched-on, switched-off lives. <hl> I remember walking through the National Museum in Kyoto, Japan , some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. <hl> I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, <hl> Japan <hl>, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

I remember walking through the National Museum in Kyoto, <hl> Japan <hl> , some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple.


Question: What type of art pieces did the museum have?

Answer: Buddhist sculpture

Religious images live switched-on, switched-off lives. <hl> I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture , and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. <hl> I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of <hl> Buddhist sculpture <hl>, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of <hl> Buddhist sculpture <hl> , and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple.


Question: Why did the author pause before the art piece?

Answer: because a vase with a single fresh flower had been placed in front of it

Religious images live switched-on, switched-off lives. <hl> I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it , like an offering in a temple. <hl> I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but <hl> because a vase with a single fresh flower had been placed in front of it <hl>, like an offering in a temple. I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but <hl> because a vase with a single fresh flower had been placed in front of it <hl> , like an offering in a temple.


Question: What did the author think of the piece?

Answer: not because it was especially beautiful — it wasn’t

Religious images live switched-on, switched-off lives. <hl> I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. <hl> I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, <hl> not because it was especially beautiful — it wasn’t <hl> — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important, in a personal, spiritual way.


Question: What was the message that the author thought he received?

Answer: someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. <hl> I stayed with the image because someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important , in a personal, spiritual way. <hl>

Religious images live switched-on, switched-off lives. I remember walking through the National Museum in Kyoto, Japan, some years back, taking in its rows of Buddhist sculpture, and being stopped by one piece, not because it was especially beautiful — it wasn’t — but because a vase with a single fresh flower had been placed in front of it, like an offering in a temple. I stayed with the image because <hl> someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important <hl>, in a personal, spiritual way.

I stayed with the image because <hl> someone — a guard? a visitor? — was telling me, in terms I don’t often think of in museums, that it was important <hl> , in a personal, spiritual way.


Question: What was another name for Myanmar?

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.

Answer: Burma

<hl> In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. <hl> Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.

In 1962, Myanmar — which was called <hl> Burma <hl> and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.


Question: What two countries had a large amount of Myanmar artwork?

Answer: England and Germany

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. <hl> There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. <hl> Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — <hl> England and Germany <hl> had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.


Question: Where was this place located?

Answer: wedged high up in Southeast Asia between India and China

<hl> In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. <hl> Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.

In 1962, Myanmar — which was called Burma and is <hl> wedged high up in Southeast Asia between India and China <hl> — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.


Question: What was an art piece that stood out from the rest?

Answer: a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. <hl> Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century . <hl>

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, in the early 2000s, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being <hl> a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century <hl>.

Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being <hl> a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century <hl> .


Question: When did Myanmar decide to open themselves up to the outside world?

Answer: in the early 2000s

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. <hl> Finally, in the early 2000s , Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. <hl> Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.

In 1962, Myanmar — which was called Burma and is wedged high up in Southeast Asia between India and China — closed its doors to the world and threw away the keys for almost 40 years. Under surveillance-obsessed military rule, little from outside could get in, and little from inside could get out, including art. There was Myanmar art in the West — England and Germany had made out like the colonial bandits they were — but very little in the United States. Finally, <hl> in the early 2000s <hl>, Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches. Loans of art became possible, among the first a big one to the Metropolitan Museum for “Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia” last year. Even then, at the last minute, promised pieces were held back, though extraordinary things came through, the largest being a monumental stone stele, carved on both sides with mysterious, apparently non-Buddhist figures and dating from around the fourth century.

Finally, <hl> in the early 2000s <hl> , Myanmar re-established cautious international contact and began to advertise, in the interest of tourism, its cultural riches.