Question: What kind of race was Reims?

Answer: road race

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. <hl> Reims was a road race , and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. <hl> It wasn’t much of a circuit, it was only a triangle, very, very fast and there was a wrinkle here and there. It was part of the Champagne country and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. Reims was a <hl> road race <hl>, and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. It wasn’t much of a circuit, it was only a triangle, very, very fast and there was a wrinkle here and there. It was part of the Champagne country and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.

Reims was a <hl> road race <hl> , and you could imagine the Germans coming over in tanks but it was race cars going in the other direction.


Question: In what kind of shape was the race track at Reims?

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. Reims was a road race, and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. It wasn’t much of a circuit, it was only a triangle, very, very fast and there was a wrinkle here and there. It was part of the Champagne country and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.

Answer: triangle

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. Reims was a road race, and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. <hl> It wasn’t much of a circuit, it was only a triangle , very, very fast and there was a wrinkle here and there. <hl> It was part of the Champagne country and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. Reims was a road race, and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. It wasn’t much of a circuit, it was only a <hl> triangle <hl>, very, very fast and there was a wrinkle here and there. It was part of the Champagne country and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.

It wasn’t much of a circuit, it was only a <hl> triangle <hl> , very, very fast and there was a wrinkle here and there.


Question: What was the prize given for the fastest lap?

Answer: Champagne

It was part of the Champagne country

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. Reims was a road race, and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. It wasn’t much of a circuit, it was only a triangle, very, very fast and there was a wrinkle here and there. <hl> It was part of the Champagne country <hl> and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.

Q. What other differences do you see between then and now in Formula One? A. Before, I loved it that it happened on public roads. In Belgium, after the race, after the deaths, we drove around and to look for where it had happened, driving down to Malmedy and thinking about the war. I don’t know how you can make people understand the difference between a public road and a manufactured piste, manufactured corners, and escape roads in every direction and nothing to hit. Q. But Monza was always a track in a park. That hasn’t changed much. A. Yes, that never impressed me, I never liked it. I loved Belgium, I loved Germany, the setting, the fact that they were public roads. Reims was a road race, and you could imagine the Germans coming over in tanks but it was race cars going in the other direction. It wasn’t much of a circuit, it was only a triangle, very, very fast and there was a wrinkle here and there. It was part of the <hl> Champagne <hl> country and they gave Champagne for the fastest lap and things like that. It really was a French Grand Prix as opposed to another Grand Prix. Today nothing changes except the crowd.


Question: What implements were implicated in disease outbreaks at various hospitals?

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.

Answer: Duodenoscopes

<hl> Duodenoscopes have been implicated in similar outbreaks at other hospitals. <hl> In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.

<hl> Duodenoscopes <hl> have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.


Question: How many patients were infected with carbapenem-resistant Enterobacteriaceae at Advocate Lutheran General Hospital?

Answer: Advocate Lutheran General Hospital

Duodenoscopes have been implicated in similar outbreaks at other hospitals. <hl> In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. <hl> In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at <hl> Advocate Lutheran General Hospital <hl> in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.


Question: What year did the outbreak at Advocate Lutheran General Hospital occur?

Answer: Virginia Mason Hospital

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. <hl> In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. <hl> Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at <hl> Virginia Mason Hospital <hl> in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.


Question: Where is Virginia Mason Hospital located?

Answer: Seattle

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. <hl> In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. <hl> Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in <hl> Seattle <hl> acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.


Question: How many infected patients at Virginia Mason Hospital died?

Answer: Eleven

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. <hl> Eleven patients died, but it is not clear that the infections were the cause, as they had other serious medical problems. <hl>

Duodenoscopes have been implicated in similar outbreaks at other hospitals. In 2013, 39 patients at Advocate Lutheran General Hospital in Park Ridge, Ill., were infected with carbapenem-resistant Enterobacteriaceae (CRE), also the cause of the infections in Los Angeles. In January, officials at Virginia Mason Hospital in Seattle acknowledged that 32 patients had been infected with CRE by duodenoscopes from November 2012 to early 2014. <hl> Eleven <hl> patients died, but it is not clear that the infections were the cause, as they had other serious medical problems.


Question: What types of devices are hard to disinfect?

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” Diane Rainey, a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”

Answer: duodenoscopes

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. <hl> John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes .” <hl> Diane Rainey, a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of <hl> duodenoscopes <hl>.” Diane Rainey, a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”

John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of <hl> duodenoscopes <hl> .”


Question: What disease has been transmitted even after seemingly proper cleaning and care?

Answer: associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. <hl> Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention . <hl> Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” Diane Rainey, a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the <hl> associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention <hl>. Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” Diane Rainey, a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”

Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the <hl> associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention <hl> .


Question: John Haberstock is an employee of what company?

Answer: Diane Rainey

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. <hl> John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” Diane Rainey , a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.” <hl>

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” <hl> Diane Rainey <hl>, a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”

John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” <hl> Diane Rainey <hl> , a spokeswoman for Fujifilm, said the company’s instructions to providers “are appropriate to maintain patient safety.”


Question: Diane Rainey works as a spokesperson for which company?

Answer: Fujifilm

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” <hl> Diane Rainey, a spokeswoman for Fujifilm , said the company’s instructions to providers “are appropriate to maintain patient safety.” <hl>

The devices are uniquely difficult to disinfect, and there is no expert consensus on the best way to do so now that standard methods have been called into question. Even when health care providers “appear to be doing everything right, there has been transmission of CRE,” said Dr. Arjun Srinivasan, the associate director for health care associated infection prevention programs at the Centers for Disease Control and Prevention. Makers of the special scopes defended their disinfection recommendations. John Haberstock, a spokesman for Pentax Medical, said its cleaning protocols achieved a “high level disinfection of duodenoscopes.” Diane Rainey, a spokeswoman for <hl> Fujifilm <hl>, said the company’s instructions to providers “are appropriate to maintain patient safety.”

Diane Rainey, a spokeswoman for <hl> Fujifilm <hl> , said the company’s instructions to providers “are appropriate to maintain patient safety.”


Question: What is equipped at the end of a duodenoscope?

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.

Answer: a tiny camera

<hl> A duodenoscope is a long, flexible tube with a tiny camera at the tip. <hl> It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.

A duodenoscope is a long, flexible tube with <hl> a tiny camera <hl> at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.


Question: Where is a duodenoscope inserted into the patient?

Answer: down the throat

A duodenoscope is a long, flexible tube with a tiny camera at the tip. <hl> It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. <hl> The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted <hl> down the throat <hl> of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.


Question: How much bacteria can live within the tubing of a duodenoscope?

Answer: William A. Rutala

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. <hl> The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala , an infection control specialist at University of North Carolina Hospitals. <hl> By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said <hl> William A. Rutala <hl>, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.

The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said <hl> William A. Rutala <hl> , an infection control specialist at University of North Carolina Hospitals.


Question: At which university hospital does William A. Rutala work?

Answer: University of North Carolina

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. <hl> The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. <hl> By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at <hl> University of North Carolina <hl> Hospitals. By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.


Question: How many bacteria might a surgical forceps harbor after use?

Answer: roughly 100 bacteria

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. <hl> By contrast, a surgical forceps may have roughly 100 bacteria on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays. <hl>

A duodenoscope is a long, flexible tube with a tiny camera at the tip. It is typically inserted down the throat of an anesthetized patient to examine the very small ducts that drain the liver or gallbladder. The inner tubing is intricate and difficult to clean, and can harbor up to 10 billion individual bacteria, said William A. Rutala, an infection control specialist at University of North Carolina Hospitals. By contrast, a surgical forceps may have <hl> roughly 100 bacteria <hl> on its surface after use in the operating room, he said, and is easily cleaned with heat, detergents and high-pressure sprays.


Question: What is one measure the FDA is considering to improve the safety of duodenoscopes?

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

Answer: Advocate Lutheran General Hospital

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. <hl> Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. <hl> Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and <hl> Advocate Lutheran General Hospital <hl> have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.


Question: What substance has Advocate Lutheran General Hospital begun using to sterilize their equipment?

Answer: ethylene oxide sterilization

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. <hl> At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. <hl> “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend <hl> ethylene oxide sterilization <hl> on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.


Question: Why won't the FDA recommend using ethylene oxide sterilization regularly?

Answer: This agent itself could potentially be quite toxic

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. <hl> At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “ This agent itself could potentially be quite toxic , not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said. <hl>

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “<hl> This agent itself could potentially be quite toxic <hl>, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “ <hl> This agent itself could potentially be quite toxic <hl> , not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.


Question: What is a second measure being considered by the FDA to address the concern with duodenoscopes?

Answer: sampling them for microbiological cultures periodically

<hl> The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically . <hl> Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or <hl> sampling them for microbiological cultures periodically <hl>. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or <hl> sampling them for microbiological cultures periodically <hl> .


Question: What agency is looking into more measures to increase duodenoscope safety?

Answer: The F.D.A.

<hl> The F.D.A. is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. <hl> Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.

<hl> The F.D.A. <hl> is investigating numerous additional measures, such as sterilizing the devices with toxic gas or sampling them for microbiological cultures periodically. Ronald Reagan U.C.L.A. Medical Center and Advocate Lutheran General Hospital have begun sterilizing their instruments with a gas called ethylene oxide. Neither has had additional cases of CRE since instituting the procedure. At the moment, however, the F.D.A. is not willing to recommend ethylene oxide sterilization on a routine basis. “This agent itself could potentially be quite toxic, not only if not thoroughly aired afterward but in the longer term to people doing the cleaning,” Dr. Ostroff said.


Question: What did Mr. Lloyd think about rock?

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin.

Answer: was about theater

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. <hl> “I just thought rock was about theater , and rather old variety theater, at that.” <hl> Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin.

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock <hl> was about theater <hl>, and rather old variety theater, at that.” Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin.

“I just thought rock <hl> was about theater <hl> , and rather old variety theater, at that.”


Question: In what year Time Rice recorded his revolutionary album?

Answer: 1970

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” <hl> Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin. <hl>

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” Years later, he and Tim Rice recorded the original <hl> 1970 <hl> concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin.


Question: What was the name of Time Rice' album?

Answer: “Jesus Christ Superstar”

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” <hl> Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin. <hl>

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” Years later, he and Tim Rice recorded the original 1970 concept album for <hl> “Jesus Christ Superstar” <hl> — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios, next door to Led Zeppelin.


Question: Where was Time Rice' album recorded?

Answer: at London’s Olympic Studios

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” <hl> Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — at London’s Olympic Studios , next door to Led Zeppelin. <hl>

“What that did for me, at that impressionable age, was make theater and rock ’n’ roll indistinguishable,” Mr. Lloyd Webber said. “I just thought rock was about theater, and rather old variety theater, at that.” Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — <hl> at London’s Olympic Studios <hl>, next door to Led Zeppelin.

Years later, he and Tim Rice recorded the original 1970 concept album for “Jesus Christ Superstar” — hailed, in its own time, as revolutionary and denounced as sacrilegious — <hl> at London’s Olympic Studios <hl> , next door to Led Zeppelin.


Question: Where Time Rice traveled for his Broadway debut?

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.

Answer: New York

<hl> And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. <hl> But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.

And they got their own taste of pop stardom the following year, when they traveled to <hl> New York <hl> for its Broadway debut. But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.


Question: Who produced the  Broadway debut?

Answer: Robert Stigwood

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. <hl> But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan, as “the worst day of my life.” <hl> The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. But Mr. Lloyd Webber recalls his first viewing of that show, produced by <hl> Robert Stigwood <hl> and directed by Tom O’Horgan, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.


Question: By who was the Broadway debut directed?

Answer: by Tom O’Horgan

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. <hl> But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan , as “the worst day of my life.” <hl> The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed <hl> by Tom O’Horgan <hl>, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return.

But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed <hl> by Tom O’Horgan <hl> , as “the worst day of my life.”


Question: Which worldwide production were led by Mr. Lloyd company?

Answer: Phantom,” “Superstar” and “Cats,”

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. <hl> Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “ Phantom,” “Superstar” and “Cats,” which was recently revived on the West End and is being eyed for a Broadway return. <hl>

And they got their own taste of pop stardom the following year, when they traveled to New York for its Broadway debut. But Mr. Lloyd Webber recalls his first viewing of that show, produced by Robert Stigwood and directed by Tom O’Horgan, as “the worst day of my life.” The production was too ornate and too glitzy by his reckoning, and he was powerless to stop it. “What can you do if you’re 23 years old?” Mr. Lloyd Webber said. Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “<hl> Phantom,” “Superstar” and “Cats,” <hl> which was recently revived on the West End and is being eyed for a Broadway return.

Four decades later, Mr. Lloyd Webber and his company, the Really Useful Group, allow no such leeway with their worldwide productions of “ <hl> Phantom,” “Superstar” and “Cats,” <hl> which was recently revived on the West End and is being eyed for a Broadway return.


Question: Who is Alastair?

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”

Answer: a junior A&R manager

<hl> “If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. <hl> At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”

“If he hears about a hot show, he’ll be there,” said Alastair, 23, <hl> a junior A&R manager <hl> at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”


Question: How old is Alastair?

Answer: 23

<hl> “If he hears about a hot show, he’ll be there,” said Alastair, 23 , a junior A&R manager at that label. <hl> At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”

“If he hears about a hot show, he’ll be there,” said Alastair, <hl> 23 <hl>, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”

“If he hears about a hot show, he’ll be there,” said Alastair, <hl> 23 <hl> , a junior A&R manager at that label.


Question: Who wrote he movie  School of Rock?

Answer: Mike White

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. <hl> The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.” <hl>

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by <hl> Mike White <hl> and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”


Question: Which movie was played frequently in the Lloyd Webber household?

Answer: School of Rock

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. <hl> The movie “ School of Rock ,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.” <hl>

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “<hl> School of Rock <hl>,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”

The movie “ <hl> School of Rock <hl> ,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “about 40 times.”


Question: How many times does Alastair estimate he had watched the  movie School of Rock?

Answer: about 40 times.

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. <hl> The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “ about 40 times. ” <hl>

“If he hears about a hot show, he’ll be there,” said Alastair, 23, a junior A&R manager at that label. At his father’s age, Alastair said, “you would think most people have sat back, drinking tea somewhere. But he’s out there, trying to find the next thing.” Alastair said that as a child, his father turned him on to bands like the Beatles, Led Zeppelin and the Clash, as well as composers like Prokofiev and Shostakovich. The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “<hl> about 40 times. <hl>”

The movie “School of Rock,” written by Mike White and directed by Richard Linklater, was also played frequently in the Lloyd Webber household, with Alastair estimating that he has watched it “ <hl> about 40 times. <hl> ”


Question: Who is the  lyricist of  he movie School of Rock?

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

Answer: Glenn Slater,

<hl> Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. <hl> Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

<hl> Glenn Slater, <hl> the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)


Question: What was Mr. Lloyd 'style according to  Mr. Slater?

Answer: 1960s classic rock or 1970s heavy metal

<hl> Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal . <hl> Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of <hl> 1960s classic rock or 1970s heavy metal <hl>. Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of <hl> 1960s classic rock or 1970s heavy metal <hl> .


Question: Who worked on Love Never Dies?

Answer: Mr. Slater

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. <hl> Mr. Slater , who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” <hl> At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. <hl> Mr. Slater <hl>, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

<hl> Mr. Slater <hl> , who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman: huge, operatic, over-the-top rock.”


Question: Who Mr. Slater wrote the musical Whistle Down the Wind with?

Answer: Jim Steinman

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. <hl> Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or Jim Steinman : huge, operatic, over-the-top rock.” <hl> At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

Glenn Slater, the “School of Rock” lyricist, said he thought Mr. Lloyd Webber “had a little more self-doubt” as he decided between writing in the mode of 1960s classic rock or 1970s heavy metal. Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or <hl> Jim Steinman <hl>: huge, operatic, over-the-top rock.” At that point, Mr. Slater said, “He perked up and said, ‘Oh, I’ve worked with Jim Steinman.’” (Together they wrote the musical “Whistle Down the Wind.”)

Mr. Slater, who also worked on “Love Never Dies,” said that he suggested to Mr. Lloyd Webber, “We should think of it like Meat Loaf or <hl> Jim Steinman <hl> : huge, operatic, over-the-top rock.”


Question: Which song was  a radio hit from Mr. Lloyd's adolescence?

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”

Answer: “(I Can’t Get No) Satisfaction”

<hl> It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). <hl> Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ <hl> “(I Can’t Get No) Satisfaction” <hl> (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”


Question: Who sings: Smoke on the Water?

Answer: Ian Gillan

<hl> It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan , the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). <hl> Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, <hl> Ian Gillan <hl>, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, <hl> Ian Gillan <hl> , the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York).


Question: Whose music was ubiquitous on New York?

Answer: Lou Reed

<hl> It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). <hl> Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by <hl> Lou Reed <hl> (whose music was ubiquitous on his early visits to New York). Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The Musical.’”


Question: What type of show was School of Rock?

Answer: Musical

The Musical .

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — <hl> The Musical . <hl> ’ ”

It can be read as an ode to Mr. Lloyd Webber’s rock ’n’ roll coming-of-age, containing snippets of the Rolling Stones’ “(I Can’t Get No) Satisfaction” (an inescapable radio hit from his adolescence); Deep Purple’s “Smoke on the Water” (a nod to that band’s lead singer, Ian Gillan, the original Jesus of “Superstar”); and “Walk on the Wild Side,” by Lou Reed (whose music was ubiquitous on his early visits to New York). Looking solely at the show’s creative team, Mr. Slater acknowledged, “Certainly, from a socio-economic standpoint, this is not the most obvious group to make ‘School of Rock — The <hl> Musical <hl>.’”


Question: Who wanted to find his own voice?

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

Answer: Mr. Lloyd Webber

<hl> But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. <hl> “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

But thematically, Mr. Slater said, he could understand why <hl> Mr. Lloyd Webber <hl> might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.


Question: Who plays the Dewey Finn character in the musical?

Answer: Alex Brightman

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” <hl> The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. <hl> Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which <hl> Alex Brightman <hl> plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.


Question: when did the auditions for the musical were held?

Answer: at the start of this year,

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. <hl> Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. <hl> Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held <hl> at the start of this year, <hl> and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.


Question: Where were a series of test shows held at?

Answer: Gramercy Theater

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. <hl> Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater , a sticky-floored rock club in Midtown Manhattan. <hl> Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the <hl> Gramercy Theater <hl>, a sticky-floored rock club in Midtown Manhattan. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the <hl> Gramercy Theater <hl> , a sticky-floored rock club in Midtown Manhattan.


Question: Where is the Gramercy Theater located?

Answer: Midtown Manhattan

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. <hl> Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in Midtown Manhattan . <hl> Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

But thematically, Mr. Slater said, he could understand why Mr. Lloyd Webber might relate to the material. “Everyone has gone through some period where they felt like they needed to break out of a category they had been put in and find their own voice,” he said. “That’s really what this show is about.” The composition of the musical (in which Alex Brightman plays the Dewey Finn character) happened quickly, between June and December of 2014. Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in <hl> Midtown Manhattan <hl>. Plans for a Broadway transfer were already in place — an unusually aggressive trajectory for a musical that never had an out-of-town tryout.

Auditions for its school-aged characters were held at the start of this year, and over the summer, a series of test shows were held at the Gramercy Theater, a sticky-floored rock club in <hl> Midtown Manhattan <hl> .


Question: Who wrote Prudence?

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

Answer: David Treuer

<hl> The poetics of damage permeates David Treuer ’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. <hl> On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

The poetics of damage permeates <hl> David Treuer <hl>’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

The poetics of damage permeates <hl> David Treuer <hl> ’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression.


Question: Prudence unites what kind of a perspective with moral rigor?

Answer: sociopolitical

<hl> The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. <hl> On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern <hl> sociopolitical <hl> perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?


Question: The author of Prudence believes that a lack of what is sad, deeply destructive, and irreversible?

Answer: bravery

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. <hl> On the evidence here, Treuer believes in bravery . <hl> Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in <hl> bravery <hl>. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

On the evidence here, Treuer believes in <hl> bravery <hl> .


Question: The author of Prudence believes that what type of personality trait can kill people?

Answer: Cowardice

Cowardice can kill people.

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. <hl> Cowardice can kill people. <hl> While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. <hl> Cowardice <hl> can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values honor. Who dares to take that kind of stance anymore?


Question: What does the author value, that is an uncommon stance nowadays?

Answer: honor

This author values honor .

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. <hl> This author values honor . <hl> Who dares to take that kind of stance anymore?

The poetics of damage permeates David Treuer’s elegantly bitter fourth novel, “Prudence,” which unites a distinctly modern sociopolitical perspective with a more old-fashioned moral rigor about the consequences of emotional cowardice, complicity and repression. On the evidence here, Treuer believes in bravery. Moreover, he believes that a lack of bravery isn’t just sad, it’s deeply destructive — and the destruction can’t be undone. Cowardice can kill people. While there’s much hope in this lyrical novel, as evidenced by the freedom with which it examines some of the more transgressive interstices of race, sexual orientation and gender, there’s also an obdurate insistence on taking responsibility, particularly if one is a man. Treuer’s perspective is bracingly tough. This author values <hl> honor <hl>. Who dares to take that kind of stance anymore?


Question: Where is the venue Spectrum?

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. (9 p.m., 121 Ludlow Street, second floor, spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

Answer: Lower East Side

This week night offers a couple of strong concert choices. <hl> On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side , for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. <hl> (9 p.m., 121 Ludlow Street, second floor, spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the <hl> Lower East Side <hl>, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. (9 p.m., 121 Ludlow Street, second floor, spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

On Sunday, you can head to Spectrum, a very cozy space on the <hl> Lower East Side <hl> , for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts.


Question: Who is performing on Sunday?

Answer: Morton Feldman’s late, visionary Piano and String Quartet,

This week night offers a couple of strong concert choices. <hl> On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. <hl> (9 p.m., 121 Ludlow Street, second floor, spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for <hl> Morton Feldman’s late, visionary Piano and String Quartet, <hl> featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. (9 p.m., 121 Ludlow Street, second floor, spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)


Question: What time is Morton Feldman's Piano and String Quartet performing at on Sunday?

Answer: 9 p.m.

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. <hl> ( 9 p.m. , 121 Ludlow Street, second floor, spectrumnyc.com.) <hl> And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. (<hl> 9 p.m. <hl>, 121 Ludlow Street, second floor, spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

( <hl> 9 p.m. <hl> , 121 Ludlow Street, second floor, spectrumnyc.com.)


Question: What is the address of Spectrum?

Answer: 121 Ludlow Street, second floor,

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. <hl> (9 p.m., 121 Ludlow Street, second floor, spectrumnyc.com.) <hl> And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)

This week night offers a couple of strong concert choices. On Sunday, you can head to Spectrum, a very cozy space on the Lower East Side, for Morton Feldman’s late, visionary Piano and String Quartet, featuring the pianist Joseph Branciforte and string players drawn from several ensembles: Christopher Otto, Pauline Kim Harris, John Pickford Richards and Mariel Roberts. (9 p.m., <hl> 121 Ludlow Street, second floor, <hl> spectrumnyc.com.) And on Thursday there’s the second installment in the Argento Chamber Ensemble’s Mahler as New York Contemporary series, which this time pairs the chamber arrangement of “Das Lied von der Erde” with recent works by Oliver Schneller and Jesse Jones. (7:30 p.m., Park Avenue Armory, 643 Park Avenue, at 67th Street, 212-933-5812, argentomusic.com.)