user: [Q]: Found the following article online, use it to answer the question: What is the ninja name of the middle brother?  Every year, 12-year old Samuel, 10-year old Jeffrey and 8-year old Michael Douglas visit their grandfather, Mori Tanaka at his cabin. Mori trains his grandchildren in the art of Ninjutsu. As the summer comes to an end, Mori gives each of them a new "ninja" name based on their personalities: 'Rocky', 'Colt', and 'Tum-Tum'.  Meanwhile, the boys' father, Sam Douglas, is an FBI agent who stages a sting operation to entrap Hugo Snyder in the sale of warheads. Snyder escapes the trap with the use of his own ninja henchmen. Snyder decides to test Mori's fighting skill. The boys ignore Mori's orders to stay in the house and aid by defeating two ninjas on their own. Snyder threatens Mori's family if he doesn't get Douglas off his back, and Mori chides the boys briefly for interfering in his personal affairs. When they return home, they find their father unenthusiastic to see what they had learned during their visit and more annoyed at their new names. Emily, a friend of Rocky's, compliments his new name and agrees to ride with them to school the next day. Snyder develops a plan to kidnap the boys to use them as leverage to get Douglas to back off. Since the FBI watches them, his assistant Brown contacts his nephew Fester and his buddies Hammer and Marcus to kidnap the boys. Due to Douglas and his FBI crew's presence, they are unable to capture the boys.
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[A]: Colt
input: Please answer the following: Found the following article online, use it to answer the question: WHat is the name of the person who becomes a hindrance to the patrol?  During the Japanese invasion of Burma in 1942, a seven-strong British sonic warfare (sonic deception) patrol takes refuge in a dilapidated hut at an abandoned tin mine in the Burmese jungle. Tension rises as they lose radio contact with their command force and learn that that they are cut off from their lines, having stumbled behind an advancing Japanese line. The plot thickens when a lone Japanese scout stumbles across the hut, and his fate becomes the squad's second dilemma. Johnstone grabs the soldier and tells Taff to kill the man with his bayonet. Taff is appalled as he views the soldier as a prisoner of war. Sergeant Mitchem, the man in command of the patrol, commands Johnstone to tie up the prisoner and instructs the group that they need to take the prisoner back to headquarters for interrogation. The men argue about the prisoner's destiny and tempers flare.  Mitchem places Bamforth in charge of the prisoner, which Bamford quickly gives the nickname Tojo. Through broken English the gruff Bamforth comes to realise that Tojo is just a soldier like himself. Johnstone keeps himself at a distance from Tojo and constantly portrays himself as a professional soldier born to fight and serve. Mitchem sends Macleish and Smudge to reconnoiter the area to see if there are any Japanese nearby. The two men encounter a small patrol and see it send to 2 soldiers to find Tojo. Knowing, this puts their patrol in danger, they trail the soldiers with a view to ambushing them. Mac manages to kill one of the men but Smudge is less successful and the remaining soldier escapes. They return to base to warn Mitchem and the patrol. Mitchem is now left facing a fresh dilemma, one which Johnstone spots immediately, he knows that Tojo no longer has any useful information and would be a hindrance to the patrol as they need to move fast. Johnstone steps forward to volunteer to kill Tojo but Mitchem accepts the responsibility himself.
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output: Tojo
Problem: Found the following article online, use it to answer the question: What was the last name of Holst's pupil?  Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".

A:

assistant: Joseph