input: Much of Broadmoor's architecture is still Victorian, including the Grade 1 listed gatehouse, which has a clock tower. Following long-standing reports that the old buildings were unfit for purpose (for therapy or safety), planning permission was granted in 2012 for a PS242 million redevelopment, involving a new unit comprising 10 wards to adjoin the existing 6 wards of the modern Paddock Unit, resulting in total bed numbers of 234. Building company Kier reported in 2013 a sum of PS115m for the new unit of 162 beds, ready to accept patients by the start of 2017, and PS43m for a separate new medium secure unit for men nearby.[1][2][3][4][5] A new unit called the Paddock Centre already opened on 12 December 2005 to contain and treat patients classed as having a 'dangerous severe personality disorder' (DSPD). This was a new and much debated category invented on behalf of the UK government, based on an individual being considered a 'Grave and Immediate Danger' to the general public, and meeting some combination of criteria for personality disorders and/or high scores on the Hare Psychopathy Check list - Revised. The Paddock Centre was designed to eventually house 72 patients, but never opened more than four of its six 12-bedded wards. The Dept of Health and Ministry of Justice National Personality Disorder Strategy published in October 2011 concluded that the resources invested in the DSPD programme should instead be used in prison based treatment programmes and the DSPD service at Broadmoor was required to close by 31 March 2012. The patients were transferred either back to prison, on to medium secure units to continue treatment, on to the residual national DSPD service at the Peaks Unit in Rampton, or to elsewhere in Broadmoor in the Personality Disorder directorate. The Paddock now, in 2013, provides general admission wards and high dependency wards for both the mental illness and personality disorder directorates, and all 72 beds are in use.

Answer this question "Are there any other interesting aspects about this article?"
output: A new unit called the Paddock Centre already opened on 12 December 2005 to contain and treat patients classed as having a 'dangerous severe personality disorder' (DSPD).

input: The 1980s brought about significant changes for Hall and Oates. The pair felt that the biggest hindrance to their success was that their music was being filtered through outside producers, and that studio musicians were not familiar with their own tastes and thoughts. They also wished to capture the sound of New York City which, by then, had become their home. As a result, instead of recording in Los Angeles, as they had done previously, they decided to record at Electric Lady Studios in New York City, just five minutes away from their apartments, and began producing their own recordings with their touring band backing them in the studio. They also enlisted Hall's girlfriend Sara Allen (and also her younger sister Janna) as songwriting collaborators, as well as beginning a working relationship with Neil Kernon, an engineer on Voices who would work as co-producer on their succeeding two albums. The resulting album, Voices, was written, produced and arranged by Daryl Hall & John Oates in one month, according to their authorized biography Dangerous Dances (by Nick Tosches). The first two singles from the album charted fairly well, with "How Does It Feel to Be Back" charting at Number 30. The well-received cover of The Righteous Brothers' "You've Lost That Lovin' Feelin'" just missed the Top 10, peaking at Number 12, but spent 14 weeks in the Top 40. After the release of that song, Oates' contribution as the lead vocalist diminished on future releases. The third single "Kiss on My List" hit Number 1 in April 1981 and remained there for three weeks. The follow-up single "You Make My Dreams" reached Number 5 in July of that year. The other well-known song from Voices is the emotive ballad "Everytime You Go Away", with powerful lead vocals by Hall, who wrote it. British singer Paul Young had a Billboard Number 1 hit with a cover of the song in 1985. Though the Hall and Oates original (recorded in a Memphis-soul style) was never released as a single, it remains a fan favorite on the duo's greatest hits albums and was featured on their Apollo Theater album in 1985, and is frequently featured in their live set to this day.

Answer this question "What other singles were on the album?"
output: You Make My Dreams"

input: In his work On the Ruin and Conquest of Britain written c. 540, Gildas makes an allegorical condemnation of 5 British kings by likening them to the beasts of the Book of Revelation, 13-2: the lion, leopard, bear, and dragon, with the dragon supreme among them. He says that Maelgwn is the "dragon of the island", and goes on with a litany of moral accusations, in the process describing him almost as a regional high king over the other kings (the power-giving dragon of the Apocalypse). The Isle of Anglesey was the base of power of the kings of Gwynedd, so describing Maelgwn as the "dragon of the island" is appropriate. Gildas restricts his attention to the kings of Gwynedd (Maelgwn), Dyfed (Vortiporius), Penllyn (probable, as its king Cuneglasus/Cynlas appears in royal genealogies associated with the region), Damnonia/Alt Clud (Constantine), and the unknown region associated with Caninus. The Welsh kingdoms are all associated with the conquest of the Gaels by Cunedda, while Alt Clud had a long and ongoing relationship with Gwynedd and its kings. In the course of his condemnations, Gildas makes passing reference to the other beasts mentioned in the Apocalypse, such as the eagle, serpent, calf, and wolf. The reason for Gildas' disaffection for these individuals is unknown. He was selective in his choice of kings, as he had no comments concerning the kings of the other British kingdoms that were thriving at the time, such as Rheged, Gododdin, Elmet, Pengwern/Powys, or the kingdoms of modern-day southern England. That he chose only the kings associated with one king's pre-eminence (Maelgwn, the "dragon") suggests a reason other than his claim of moral outrage over personal depravity. Neither outrage nor a doctrinal dispute would seem to justify beginning the condemnation of the five kings with a personal attack against the mother of one of the kings, calling her an "unclean lioness".

Answer this question "Was there any speculation why he made this comments?"
output:
suggests a reason other than his claim of moral outrage over personal depravity.