We do not know exactly how the hijackers gained access to the cockpit; FAA rules required that the doors remain closed and locked during flight. Ong speculated that they had "jammed their way" in. Perhaps the terrorists stabbed the flight attendants to get a cockpit key, to force one of them to open the cockpit door, or to lure the captain or first officer out of the cockpit. Or the flight attendants may just have been in their way. At the same time or shortly thereafter, Atta-the only terrorist on board trained to fly a jet-would have moved to the cockpit from his business-class seat, possibly accompanied by Omari. As this was happening, passenger Daniel Lewin, who was seated in the row just behind Atta and Omari, was stabbed by one of the hijackers-probably Satam al Suqami, who was seated directly behind Lewin. Lewin had served four years as an officer in the Israeli military. He may have made an attempt to stop the hijackers in front of him, not realizing that another was sitting behind him. The hijackers quickly gained control and sprayed Mace, pepper spray, or some other irritant in the first-class cabin, in order to force the passengers and flight attendants toward the rear of the plane. They claimed they had a bomb. About five minutes after the hijacking began, Betty Ong contacted the American Airlines Southeastern Reservations Office in Cary, North Carolina, via an AT&T airphone to report an emergency aboard the flight. This was the first of several occasions on 9/11 when flight attendants took action outside the scope of their training, which emphasized that in a hijacking, they were to communicate with the cockpit crew. The emergency call lasted approximately 25 minutes, as Ong calmly and professionally relayed information about events taking place aboard the airplane to authorities on the ground. At 8:19, Ong reported:"The cockpit is not answering, somebody's stabbed in business class-and I think there's Mace-that we can't breathe-I don't know, I think we're getting hijacked." She then told of the stabbings of the two flight attendants. At 8:21, one of the American employees receiving Ong's call in North Carolina, Nydia Gonzalez, alerted the American Airlines operations center in Fort Worth, Texas, reaching Craig Marquis, the manager on duty. Marquis soon realized this was an emergency and instructed the airline's dispatcher responsible for the flight to contact the cockpit. At 8:23, the dispatcher tried unsuccessfully to contact the aircraft.

Question: "What did Betty Ong report on her emergency call?"

Response: "That the engine was malfunctioning"

A: no

Albrecht Durer (/'dU@r@r, 'djU@r@r/; German: ['albRect 'dy:Ra]; 21 May 1471 - 6 April 1528) was a painter, printmaker and theorist of the German Renaissance. Born in Nuremberg, Durer established his reputation and influence across Europe when he was still in his twenties, due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. His vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Durer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions.

Question: "Durer secured his reputation in Northern Europe by the knowledge of what specific artists?"

Response: "European"

A: no

The inhabited history of the Las Vegas Valley stretches to 23,000 b.c. , when much of the area was covered by a prehistoric lake. During this period, the indigenous people lived in caves, hunting the mammals that gathered at the shoreline. The landscape of the valley changed dramatically over the next 200 centuries. The glaciers feeding the lake melted away and the lake evaporated. Fossils tell an obscure story of man's slow and sporadic development. Around 3000 b.c. , native Archaic Indians began to develop a lasting hunting and gathering culture. By this time, the valley was in much the same geographic state as it exists in today, with one exceptionthe presence of artesian springs that bubbled to the surface in several areas. These springs fed a network of streams draining through the Las Vegas Wash to the Colorado River. The areas surrounding the springs were desert oases: sprawling collections of grasses, trees, and wildlife. Many springs lay in areas that would eventually become the center of the modern Las Vegas metropolis. For about 4000 years, the Archaics thrived in a culture that included many signs of early civilization. Signs of even more advancement appeared halfway through the first millennium a.d. , when the Anasazi Indians inhabited the valley. Far more progressive than the Archaics, the Anasazi utilized such formal agricultural techniques as irrigation to assist their harvest. This permitted the Anasazi to achieve a benchmark of advanced societythe ability to live in permanent shelters year-round without need to follow wildlife. Mysteriously, the Anasazi vanished from the valley around a.d.

Question: "What allowed the Anasazi to live in permanent shelters?"

Response: "Irrigation"

A:
yes