Question: What was one of the things Denver learned how to deal with?

Answer: crowd control

Spike will be moved on Thursday back into a production greenhouse, where it will either pollinate (unlikely) or enter a dormant phase. Dr. Still said that even its failure to bloom would provide more opportunities to extend what experts know about the plant, which, given its relatively short history as a research specimen, is comparatively little. Think of these huge plants as the giant panda of the plant world: Researchers are trying to increase the genetic diversity of the fragile plants, but their erratic blooming schedule can make it difficult. Experts at gardens around the country have passed along knowledge and resources when possible. In the case of Spike, officials at the Denver Botanic Gardens rushed to ship frozen pollen to help Spike bloom, but they also offered practical advice. <hl> “One of the big things that we learned was how to deal with crowd control ,” Mr. Pollak said. <hl>

Spike will be moved on Thursday back into a production greenhouse, where it will either pollinate (unlikely) or enter a dormant phase. Dr. Still said that even its failure to bloom would provide more opportunities to extend what experts know about the plant, which, given its relatively short history as a research specimen, is comparatively little. Think of these huge plants as the giant panda of the plant world: Researchers are trying to increase the genetic diversity of the fragile plants, but their erratic blooming schedule can make it difficult. Experts at gardens around the country have passed along knowledge and resources when possible. In the case of Spike, officials at the Denver Botanic Gardens rushed to ship frozen pollen to help Spike bloom, but they also offered practical advice. “One of the big things that we learned was how to deal with <hl> crowd control <hl>,” Mr. Pollak said.

“One of the big things that we learned was how to deal with <hl> crowd control <hl> ,” Mr. Pollak said.


Question: What night did Joan Shelley perform in Brooklyn?

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Answer: Thursday

<hl> Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. <hl> Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on <hl> Thursday <hl> night at Union Pool in Williamsburg, Brooklyn. Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”


Question: Where in Brooklyn did Joan Shelley perform?

Answer: Union Pool

<hl> Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. <hl> Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at <hl> Union Pool <hl> in Williamsburg, Brooklyn. Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”


Question: What part of Brooklyn did Joan Shelley perform in?

Answer: Williamsburg

<hl> Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg , Brooklyn. <hl> Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in <hl> Williamsburg <hl>, Brooklyn. Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in <hl> Williamsburg <hl> , Brooklyn.


Question: What kind of music does Joan Shelley perform?

Answer: folky and pastoral

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. <hl> Her music is folky and pastoral , with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. <hl> In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. Her music is <hl> folky and pastoral <hl>, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (No Quarter Records), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

Her music is <hl> folky and pastoral <hl> , with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent.


Question: What record label does Joan Shelley work for?

Answer: No Quarter Records

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. <hl> In “Electric Ursa,” the title song of her current album ( No Quarter Records ), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.” <hl>

Stars shine overhead, and rivers flow nearby in songs by Joan Shelley, who performed on Thursday night at Union Pool in Williamsburg, Brooklyn. Her music is folky and pastoral, with a sense of scale that makes her humble about her place in mankind and the universe, and her songs are serene but never complacent. In “Electric Ursa,” the title song of her current album (<hl> No Quarter Records <hl>), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”

In “Electric Ursa,” the title song of her current album ( <hl> No Quarter Records <hl> ), Ms. Shelley sang, “Under your stars, your earthless movement/We are only feeble humans.”


Question: Where is Joan Shelley from?

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Answer: Louisville, Ky

<hl> Ms. Shelley is from Louisville, Ky ., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. <hl> Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Ms. Shelley is from <hl> Louisville, Ky <hl>., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Ms. Shelley is from <hl> Louisville, Ky <hl> ., where she has recorded in duos and groups; “Electric Ursa” is her second solo album.


Question: What is the name of Joan Shelley's second solo album?

Answer: Electric Ursa

<hl> Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “ Electric Ursa ” is her second solo album. <hl> Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “<hl> Electric Ursa <hl>” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “ <hl> Electric Ursa <hl> ” is her second solo album.


Question: What is the name of Joan Shelley's guitar player?

Answer: Nathan Salsburg

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. <hl> Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg ’s — and the occasional vocal harmonies of Glen Dentinger. <hl> A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and <hl> Nathan Salsburg <hl>’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and <hl> Nathan Salsburg <hl> ’s — and the occasional vocal harmonies of Glen Dentinger.


Question: Who sang harmonies with Joan Shelley at Union Pool?

Answer: Glen Dentinger.

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. <hl> Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. <hl> Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of <hl> Glen Dentinger. <hl> A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “Reel Around the Fountain”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.


Question: What Smith's song did Joan Shelley perform at Union Pool?

Answer: Reel Around the Fountain

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. <hl> Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “ Reel Around the Fountain ”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song. <hl>

Ms. Shelley is from Louisville, Ky., where she has recorded in duos and groups; “Electric Ursa” is her second solo album. Her songs hold echoes of the area’s Appalachian heritage in their unhurried picking and Celtic-tinged melodies, and she sings with the centered clarity of a mountain balladeer. But her songs aren’t necessarily traditionalist. She also invokes another school of American and British acoustic music: the guitar meditations of musicians like John Fahey, Davy Graham and Vashti Bunyan, who found more hypnotic uses for elements of folk styles. Although Ms. Shelley leads a full band on her albums, at Union Pool, her backup was ample with just two acoustic guitars — her own and Nathan Salsburg’s — and the occasional vocal harmonies of Glen Dentinger. A few cyclical, undulating, fingerpicked chords were enough for each song, with Ms. Shelley pinpointing the rhythm and Mr. Salsburg entwining it with touches of filigree. Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “<hl> Reel Around the Fountain <hl>”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.

Mr. Salsburg, also from Louisville, had started the evening with guitar instrumentals (including a folkified version of the Smiths’ “ <hl> Reel Around the Fountain <hl> ”); Nathan Bowles, a banjoist and singer who also shared the bill, joined Ms. Shelley’s group for one song.


Question: What month was Electric Ursa released?

Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Answer: September

<hl> Although “Electric Ursa” was released just last September , Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. <hl> One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Although “Electric Ursa” was released just last <hl> September <hl>, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Although “Electric Ursa” was released just last <hl> September <hl> , Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete.


Question: What did Joan Shelley devote much of her set to?

Answer: new songs

<hl> Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. <hl> One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to <hl> new songs <hl> that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.


Question: What personal tragedy was described by the song with the melody that would have suited the Carter family?

Answer: a breakup

Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. <hl> One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. <hl> In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in <hl> a breakup <hl> when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.


Question: What did Joan Shelley let her songs do?

Answer: she let the songs speak for themselves

Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. <hl> In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves . <hl> With its quiet purity, the music held the club audience rapt.

Although “Electric Ursa” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; <hl> she let the songs speak for themselves <hl>. With its quiet purity, the music held the club audience rapt.

In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; <hl> she let the songs speak for themselves <hl> .


Question: What is the name of Joan Shelley's last album?

Answer: Electric Ursa

<hl> Although “ Electric Ursa ” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. <hl> One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Although “<hl> Electric Ursa <hl>” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete. One, with a melody that would have suited the Carter Family, captured the moment in a breakup when the thought of freedom balances a sense of loss. In that song, and throughout the set, she was open yet composed, never pushing or overplaying the music; she let the songs speak for themselves. With its quiet purity, the music held the club audience rapt.

Although “ <hl> Electric Ursa <hl> ” was released just last September, Ms. Shelley devoted much of her set to new songs that were no less resonant and, perhaps, a little more concrete.


Question: What needs to happen for today's consumers get better healthcare?

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

Answer: directives need to be created, updated, accessible and incorporated into treatment

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. <hl> Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment . <hl> Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, <hl> directives need to be created, updated, accessible and incorporated into treatment <hl>. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

Today’s consumers deserve better care, and to provide it, <hl> directives need to be created, updated, accessible and incorporated into treatment <hl> .


Question: What was the concern about the directive put forward by Vincent

Answer: its relevancy

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. <hl> “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy . <hl> A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about <hl> its relevancy <hl>. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

“Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about <hl> its relevancy <hl> .


Question: How long did the directive by Vincent go without being updated?

Answer: 10 years

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. <hl> “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years , there was concern about its relevancy. <hl> A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in <hl> 10 years <hl>, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

“Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in <hl> 10 years <hl> , there was concern about its relevancy.


Question: What could Vincent have included with his directive to help doctors better understand and incorporate his goals?

Answer: included video messages or identified agents who could speak on his behalf

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. <hl> If Vincent had included video messages or identified agents who could speak on his behalf , doctors might have been able to better understand and incorporate his goals. <hl> Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had <hl> included video messages or identified agents who could speak on his behalf <hl>, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing.

If Vincent had <hl> included video messages or identified agents who could speak on his behalf <hl> , doctors might have been able to better understand and incorporate his goals.


Question: What is the next best thing to a person communicating their wishes for care?

Answer: an updated, digitally accessible advance medical directive

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. <hl> If the person can’t communicate clearly during the health crisis, an updated, digitally accessible advance medical directive is the next best thing. <hl>

To the Editor: Dr. Jessica Nutik Zitter’s Feb. 8 Sunday Review essay, “Patient Autonomy Gone Wrong” (“The End” series) presents a real-life case showing just some of the problems with paper-based advance directives, especially during the critical decision-making moments in the emergency room. Today’s consumers deserve better care, and to provide it, directives need to be created, updated, accessible and incorporated into treatment. Consumers should do the first two parts so doctors can do the second two parts. “Vincent” wrote a directive, but as Dr. Zitter acknowledges, since it hadn’t been updated in 10 years, there was concern about its relevancy. A simple “yes, these are still my thoughts” comment could have been helpful. If Vincent had included video messages or identified agents who could speak on his behalf, doctors might have been able to better understand and incorporate his goals. Far too often, directives are filed away in a drawer. They don’t get updated, and they are hard to find in a crisis. To truly deliver care in accordance with a person’s wishes, one’s voice should be heard. If the person can’t communicate clearly during the health crisis, <hl> an updated, digitally accessible advance medical directive <hl> is the next best thing.


Question: Where did Security forces disrupt a "large-scale attack"?

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.

Answer: Burkina Faso

<hl> Security forces disrupted what was described as a “large-scale attack” in Burkina Faso , arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. <hl> News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.

Security forces disrupted what was described as a “large-scale attack” in <hl> Burkina Faso <hl>, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.

Security forces disrupted what was described as a “large-scale attack” in <hl> Burkina Faso <hl> , arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday.


Question: How many suspects were arrested in the west near Mali's border?

Answer: 13

<hl> Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. <hl> News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting <hl> 13 <hl> suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.


Question: How many days before the West African nation holds elections does news of the arrests come?

Answer: two

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. <hl> News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. <hl> Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes <hl> two <hl> days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.


Question: When did a popular uprising occur which caused a turbulent period to begin?

Answer: October 2014

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. <hl> News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. <hl> Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in <hl> October 2014 <hl> and a brief, failed coup in September. Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting.


Question: What has Burkina Faso set up at the entrances of cities for Sunday's voting?

Answer: checkpoints

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. <hl> Burkina Faso has set up checkpoints at the entrances to cities and plans to close its borders for Sunday’s voting. <hl>

Security forces disrupted what was described as a “large-scale attack” in Burkina Faso, arresting 13 suspects and seizing weapons and bomb-making materials in the west near Mali’s border, the security minister said Friday. News of the arrests comes two days before the West African nation holds elections, capping a turbulent period that began with a popular uprising in October 2014 and a brief, failed coup in September. Burkina Faso has set up <hl> checkpoints <hl> at the entrances to cities and plans to close its borders for Sunday’s voting.


Question: Who is the director of the American Tap Dance Foundation?

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

Answer: Tony Waag

<hl> This week, Tony Waag , the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. <hl> On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, <hl> Tony Waag <hl>, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, <hl> Tony Waag <hl> , the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year.


Question: How long many years has the Tap City festival gone on?

Answer: 15

<hl> This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15 th year. <hl> On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its <hl> 15 <hl>th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its <hl> 15 <hl> th year.


Question: Who showed off a polished finish?

Answer: Brenda Bufalino

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. <hl> On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” <hl> Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran <hl> Brenda Bufalino <hl> showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.


Question: What did Brenda Bufalino dance to?

Answer: Strayhorn Medley.

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. <hl> On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “ Strayhorn Medley. ” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. <hl> When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “<hl> Strayhorn Medley. <hl>” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “ <hl> Strayhorn Medley. <hl> ” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative.


Question: Who played the finger symbols?

Answer: Rachna Nivas

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. <hl> When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas , who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. <hl> There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by <hl> Rachna Nivas <hl>, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.

When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by <hl> Rachna Nivas <hl> , who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven.


Question: Who deserves their own evening?

And isn’t it time to give Caleb Teicher his own evening? In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

Answer: Caleb Teicher

<hl> And isn’t it time to give Caleb Teicher his own evening? <hl> In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

And isn’t it time to give <hl> Caleb Teicher <hl> his own evening? In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.


Question: Who did Celeb Teicher share the stage with?

Answer: Brittany DeStefano and Gabe Winns

And isn’t it time to give Caleb Teicher his own evening? In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” <hl> Sharing the stage with Brittany DeStefano and Gabe Winns , Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. <hl> These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

And isn’t it time to give Caleb Teicher his own evening? In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” Sharing the stage with <hl> Brittany DeStefano and Gabe Winns <hl>, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

Sharing the stage with <hl> Brittany DeStefano and Gabe Winns <hl> , Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould.


Question: Who does Teicher have a new angle on?

Answer: Bach

And isn’t it time to give Caleb Teicher his own evening? <hl> In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach ’s “Goldberg Variations.” <hl> Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

And isn’t it time to give Caleb Teicher his own evening? In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of <hl> Bach <hl>’s “Goldberg Variations.” Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of <hl> Bach <hl> ’s “Goldberg Variations.”


Question: How many excerpts from Variations were performed?

Answer: three

And isn’t it time to give Caleb Teicher his own evening? <hl> In three excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” <hl> Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.

And isn’t it time to give Caleb Teicher his own evening? In <hl> three <hl> excerpts from his “Variations,” interspersed throughout the night, he paired his facile, flowing style to Glenn Gould’s recordings of Bach’s “Goldberg Variations.” Sharing the stage with Brittany DeStefano and Gabe Winns, Mr. Teicher juxtaposed barely there brushes with frenetic taps as his body — twisting and dipping — pulled toward and away from the Gould. These days, a choreographer with a new angle on Bach is startling: Mr. Teicher has a will and a way.


Question: What features allows voice messages on the same platform as texts?

Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.

Answer: iMessage

<hl> Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. <hl> Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.

Apple’s <hl> iMessage <hl> has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.


Question: What apps have similar features?

Answer: WhatsApp and WeChat

Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. <hl> Many apps have similar features, including WhatsApp and WeChat . <hl> Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.

Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. Many apps have similar features, including <hl> WhatsApp and WeChat <hl>. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.

Many apps have similar features, including <hl> WhatsApp and WeChat <hl> .


Question: What other option do you have to hear a person's voice?

Answer: call

Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. <hl> If you really want to hear someone’s voice, you can simply call her. <hl>

Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply <hl> call <hl> her.


Question: What kind of feature is iMessage?

Answer: audio-chat

<hl> Apple’s iMessage has an audio-chat feature that allows you to send voice messages to friends on the same platform as text messages. <hl> Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.

Apple’s iMessage has an <hl> audio-chat <hl> feature that allows you to send voice messages to friends on the same platform as text messages. Many apps have similar features, including WhatsApp and WeChat. Then there is the actual phone, which I’m told is the basis of these app-filled devices we all have. If you really want to hear someone’s voice, you can simply call her.


Question: Are voice messages sent instantaneously?

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”

Answer: They are sent instantaneously

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. <hl> They are sent instantaneously but do not play back automatically. <hl> It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. <hl> They are sent instantaneously <hl> but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”


Question: Where does the writer's girlfriend live?

Answer: Boston

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. <hl> With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston , when I don’t have time to call. <hl> Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in <hl> Boston <hl>, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”

With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in <hl> Boston <hl> , when I don’t have time to call.


Question: How does the writer describe the app's color scheme?

Answer: eye-pleasing

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. <hl> And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. <hl> I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an <hl> eye-pleasing <hl> color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “I just don’t see the point,” he said in an email, before using the app itself to tell me it was “worthless.”


Question: What did Roget say about the app before calling it worthless?

Answer: I just don’t see the point

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. <hl> Her cousin is harsher: “ I just don’t see the point ,” he said in an email, before using the app itself to tell me it was “worthless.” <hl>

You can’t save messages from others, or even listen to your own before you send them. And unlike an actual walkie-talkie, you have to double-click a button in order to hear your friends’ messages over the speaker. They are sent instantaneously but do not play back automatically. It doesn’t sound promising, especially since young people are notoriously squirmy about leaving and receiving voice mail. And yet the app is a pleasure to use, with an intuitive design and an eye-pleasing color scheme. I have big, clumsy fingers and don’t particularly like to text. With Roger, I can easily press a button, record a quick message and shoot it off to my girlfriend, who is based in Boston, when I don’t have time to call. Sending voice messages is also more intimate than texting. Ricardo Vice Santos, a founder of Roger, said that given the time change, it was often difficult to call his mother in Portugal, five time zones away. Text messages seemed impersonal. Roger bridges the gap, allowing for messages that still convey real warmth. Alas, Roger has not caught on with others in my circle. My girlfriend says she uses it only to humor me. Her cousin is harsher: “<hl> I just don’t see the point <hl>,” he said in an email, before using the app itself to tell me it was “worthless.”

Her cousin is harsher: “ <hl> I just don’t see the point <hl> ,” he said in an email, before using the app itself to tell me it was “worthless.”


Question: Lamesa White and her children moved away from where?

PLANO, Tex. —  Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. On the day she left, one of her daughter’s old schoolmates was shot to death. Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.

Answer: Dallas

<hl> PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. <hl> On the day she left, one of her daughter’s old schoolmates was shot to death. Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.

PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in <hl> Dallas <hl> to a single-family home in this affluent suburb. On the day she left, one of her daughter’s old schoolmates was shot to death. Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.


Question: Who was killed on the day Lamesa White movied with her children?

Answer: daughter’s old schoolmates

PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. <hl> On the day she left, one of her daughter’s old schoolmates was shot to death. <hl> Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.

PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. On the day she left, one of her <hl> daughter’s old schoolmates <hl> was shot to death. Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.


Question: What was the name of the housing project Ms. White lived on?

Answer: Estell Village

PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. On the day she left, one of her daughter’s old schoolmates was shot to death. <hl> Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas. <hl>

PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. On the day she left, one of her daughter’s old schoolmates was shot to death. Ms. White’s escape from the <hl> Estell Village <hl> housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.


Question: How many children does Lamesa White have?

Answer: four

<hl> PLANO, Tex. — Lamesa White and her four children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. <hl> On the day she left, one of her daughter’s old schoolmates was shot to death. Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.

PLANO, Tex. — Lamesa White and her <hl> four <hl> children moved in February from the most dangerous public housing project in Dallas to a single-family home in this affluent suburb. On the day she left, one of her daughter’s old schoolmates was shot to death. Ms. White’s escape from the Estell Village housing project — better known as The Pinks because the buildings were once painted that color — was made possible by an experiment in housing policy the federal government began in Dallas in 2011 and is now proposing to expand to most other large metropolitan areas.


Question: One of Ms. White's children goes to school where?

One of her children is thriving in a special education program where he gets one-to-one attention, and she is thrilled that the school provides regular updates on his progress. In Dallas, she did not learn that he had been attending the wrong class until she received a notice requiring her to appear at truancy court. Her eldest daughter, 14, has started to talk about going to college. “It’s so quiet out here,” Ms. White said as she sat in the living room of the first house she has lived in, the family’s new dog on her lap. “I love it.” The government has tried before to fix the rent subsidy program. In the early 1990s, an experiment called Moving to Opportunity required some families to use their vouchers in more expensive neighborhoods. In 2000, a broader initiative raised the value of all vouchers in 49 metropolitan areas. Officials hoped the change would make it possible for families to find rental apartments in a broader range of neighborhoods. Instead, a recent study by the economists Peter Ganong of Harvard and Robert Collinson of New York University found that most families ended up paying higher rents in the same neighborhoods — and often for the same units.

Answer: special education program

<hl> One of her children is thriving in a special education program where he gets one-to-one attention, and she is thrilled that the school provides regular updates on his progress. <hl> In Dallas, she did not learn that he had been attending the wrong class until she received a notice requiring her to appear at truancy court. Her eldest daughter, 14, has started to talk about going to college. “It’s so quiet out here,” Ms. White said as she sat in the living room of the first house she has lived in, the family’s new dog on her lap. “I love it.” The government has tried before to fix the rent subsidy program. In the early 1990s, an experiment called Moving to Opportunity required some families to use their vouchers in more expensive neighborhoods. In 2000, a broader initiative raised the value of all vouchers in 49 metropolitan areas. Officials hoped the change would make it possible for families to find rental apartments in a broader range of neighborhoods. Instead, a recent study by the economists Peter Ganong of Harvard and Robert Collinson of New York University found that most families ended up paying higher rents in the same neighborhoods — and often for the same units.

One of her children is thriving in a <hl> special education program <hl> where he gets one-to-one attention, and she is thrilled that the school provides regular updates on his progress. In Dallas, she did not learn that he had been attending the wrong class until she received a notice requiring her to appear at truancy court. Her eldest daughter, 14, has started to talk about going to college. “It’s so quiet out here,” Ms. White said as she sat in the living room of the first house she has lived in, the family’s new dog on her lap. “I love it.” The government has tried before to fix the rent subsidy program. In the early 1990s, an experiment called Moving to Opportunity required some families to use their vouchers in more expensive neighborhoods. In 2000, a broader initiative raised the value of all vouchers in 49 metropolitan areas. Officials hoped the change would make it possible for families to find rental apartments in a broader range of neighborhoods. Instead, a recent study by the economists Peter Ganong of Harvard and Robert Collinson of New York University found that most families ended up paying higher rents in the same neighborhoods — and often for the same units.


Question: How old is her eldest daughter?

Answer: 14

One of her children is thriving in a special education program where he gets one-to-one attention, and she is thrilled that the school provides regular updates on his progress. In Dallas, she did not learn that he had been attending the wrong class until she received a notice requiring her to appear at truancy court. <hl> Her eldest daughter, 14 , has started to talk about going to college. <hl> “It’s so quiet out here,” Ms. White said as she sat in the living room of the first house she has lived in, the family’s new dog on her lap. “I love it.” The government has tried before to fix the rent subsidy program. In the early 1990s, an experiment called Moving to Opportunity required some families to use their vouchers in more expensive neighborhoods. In 2000, a broader initiative raised the value of all vouchers in 49 metropolitan areas. Officials hoped the change would make it possible for families to find rental apartments in a broader range of neighborhoods. Instead, a recent study by the economists Peter Ganong of Harvard and Robert Collinson of New York University found that most families ended up paying higher rents in the same neighborhoods — and often for the same units.

One of her children is thriving in a special education program where he gets one-to-one attention, and she is thrilled that the school provides regular updates on his progress. In Dallas, she did not learn that he had been attending the wrong class until she received a notice requiring her to appear at truancy court. Her eldest daughter, <hl> 14 <hl>, has started to talk about going to college. “It’s so quiet out here,” Ms. White said as she sat in the living room of the first house she has lived in, the family’s new dog on her lap. “I love it.” The government has tried before to fix the rent subsidy program. In the early 1990s, an experiment called Moving to Opportunity required some families to use their vouchers in more expensive neighborhoods. In 2000, a broader initiative raised the value of all vouchers in 49 metropolitan areas. Officials hoped the change would make it possible for families to find rental apartments in a broader range of neighborhoods. Instead, a recent study by the economists Peter Ganong of Harvard and Robert Collinson of New York University found that most families ended up paying higher rents in the same neighborhoods — and often for the same units.

Her eldest daughter, <hl> 14 <hl> , has started to talk about going to college.