Please answer this: The following article contains an answer for the question: What was the last name of the man that provided the secret letter the captain was carrying? , can you please find it? During the southern party's absence the relief ship Morning arrived, bringing fresh supplies. The expedition's organisers had assumed that the Discovery would be free from the ice in early 1903, enabling Scott to carry out further seaborne exploration and survey work before winter set in. It was intended that Discovery would return to New Zealand in March or April, then home to Britain via the Pacific, continuing its magnetic survey en route. Morning would provide any assistance that Scott might require during this period.This plan was frustrated, as Discovery remained firmly icebound. Markham had privately anticipated this, and Morning's captain, William Colbeck, was carrying a secret letter to Scott authorising another year in the ice. This now being inevitable, the relief ship provided an opportunity for some of the party to return home. Among these, against his will, was the convalescent Shackleton, who Scott decided "ought not to risk further hardships in his present state of health". Stories of a Scott-Shackleton rift date from this point, or from a supposed falling-out during the southern journey which had provoked an angry exchange of words. Some of these details were supplied by Armitage, whose relationship with Scott had broken down and who, after Scott, Wilson and Shackleton were all dead, chose to reveal details which tended to show Scott in a poor light. Other evidence indicates that Scott and Shackleton remained on generally good terms for some while; Shackleton met the expedition on its return home in 1904, and later wrote a very cordial letter to Scott.
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Answer: Scott
Problem: The following article contains an answer for the question: What is the name of the show that had "probably the largest audience" of any Gilbert and Sullivan premiere? , can you please find it? Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes. Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques. How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premiering that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in...

A: Thespis
Q: The following article contains an answer for the question: Who did Dewey interview on air? , can you please find it? The session, held the evening of July 5, proved entirely unfruitful until late in the night. As they were about to abort and go home, Presley took his guitar and launched into a 1946 blues number, Arthur Crudup's "That's All Right". Moore recalled, "All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool, too, and I started playing with them. Sam, I think, had the door to the control booth open ... he stuck his head out and said, 'What are you doing?' And we said, 'We don't know.' 'Well, back up,' he said, 'try to find a place to start, and do it again.'" Phillips quickly began taping; this was the sound he had been looking for. Three days later, popular Memphis DJ Dewey Phillips played "That's All Right" on his Red, Hot, and Blue show. Listeners began phoning in, eager to find out who the singer really was. The interest was such that Phillips played the record repeatedly during the remaining two hours of his show. Interviewing Presley on air, Phillips asked him what high school he attended in order to clarify his color for the many callers who had assumed that he was black. During the next few days, the trio recorded a bluegrass number, Bill Monroe's "Blue Moon of Kentucky", again in a distinctive style and employing a jury rigged echo effect that Sam Phillips dubbed "slapback". A single was pressed with "That's All Right" on the A side and "Blue Moon of Kentucky" on the reverse.
A:
Presley