Q: What was the last name of the person who opted to burn the sticks in the two heating furnaces of the House of Lords? Answer the above question based on the context below: Since medieval times the Exchequer had used tally sticks, pieces of carved, notched wood, normally willow, as part of their accounting procedures. The parliamentary historian Caroline Shenton has described the tally sticks as "roughly as long as the span of an index finger and thumb". These sticks were split in two so that the two sides to an agreement had a record of the situation. Once the purpose of each tally had come to an end, they were routinely destroyed. By the end of the eighteenth century the usefulness of the tally system had likewise come to an end, and a 1782 Act of Parliament stated that all records should be on paper, not tallies. The Act also abolished sinecure positions in the Exchequer, but a clause in the act ensured it could only take effect once the remaining sinecure-holders had died or retired. The final sinecure-holder died in 1826 and the act came into force, although it took until 1834 for the antiquated procedures to be replaced. The novelist Charles Dickens, in a speech to the Administrative Reform Association, described the retention of the tallies for so long as an "obstinate adherence to an obsolete custom"; he also mocked the bureaucratic steps needed to implement change from wood to paper. He said that "all the red tape in the country grew redder at the bare mention of this bold and original conception." By the time the replacement process had finished there were two cart-loads of old tally sticks awaiting disposal.In October 1834 Richard Weobley, the Clerk of Works, received instructions from Treasury officials to clear the old tally sticks while parliament was adjourned. He decided against giving the sticks away to parliamentary staff to use as firewood, and instead opted to burn them in the two heating furnaces of the House of Lords, directly below the peers' chambers. The furnaces had been designed to burn coalwhich gives off a high heat with little flameand not wood, which burns with a high flame. The flues of the furnaces ran up the walls of the basement in which...
A: Weobley

Q: What was the name of the person that conducted the Chesterfield Supper Club? Answer the above question based on the context below: Beginning on December 11, 1945, Stafford hosted the Tuesday and Thursday broadcasts of NBC musical variety radio program The Chesterfield Supper Club. On April 5, 1946, the entire cast, including Stafford and Perry Como, participated in the first commercial radio broadcast from an airplane. The initial plan was to use the stand-held microphones used in studios but when these proved to be problematic, the cast switched to hand-held microphones, which because of the plane's cabin pressure became difficult to hold. Three flights were made that day; a rehearsal in the afternoon, then two in the eveningone for the initial 6:00 pm broadcast and another at 10:00 pm for the West Coast broadcast.Stafford moved from New York to California in November 1946, continuing to host Chesterfield Supper Club from Hollywood. In 1948, she restricted her appearances on the show to Tuesdays, and Peggy Lee hosted the Thursday broadcasts. Stafford left the show when it was expanded to 30 minutes, making her final appearance on September 2, 1949. She returned to the program in 1954; it ended its run on NBC Radio the following year. During her time with Chesterfield Supper Club, Stafford revisited some of the folk music she had enjoyed as a child. Weston, her conductor on the programme, suggested using some of the folk music for the show. With her renewed interest in folk tunes came an interest in folklore; Stafford established a contest to award a prize to the best collection of American folklore submitted by a college student. The annual Jo Stafford Prize for American Folklore was handled by the American Folklore Society, with the first prize of $250 awarded in 1949.
A: Weston

Q: What is the last name of the composer that aroused religious philosophy interest in the man who was fascinated with Celtic languages? Answer the above question based on the context below: By April 1917 Heseltine had again tired of London life. He returned to Cornwall where he rented a small cottage near the Lawrences, and made a partial peace with the writer. By the summer of 1917, as Allied fortunes in the war stagnated, Heseltine's military exemption came under review; to forestall a possible conscription, in August 1917 he moved to Ireland, taking Puma, with whom he had decided he was, after all, in love.In Ireland Heseltine combined studies of early music with a fascination for Celtic languages, withdrawing for a two-month period to a remote island where Irish was spoken exclusively. Another preoccupation was an increasing fascination with magical and occult practices, an interest first awakened during his Oxford year and revived in Cornwall. A letter to Robert Nichols indicates that at this time he was "tamper[ing] ... with the science vulgarly known as Black Magic". To his former tutor Colin Taylor, Heseltine enthused about books "full of the most astounding wisdom and illumination"; these works included Eliphas Levi's History of Transcendental Magic, which includes procedures for the invocation of demons. These diversions did not prevent Heseltine from participating in Dublin's cultural life. He met W.B. Yeats, a fellow-enthusiast for the occult, and briefly considered writing an opera based on the 9th-century Celtic folk-tale of Liadain and Curithir. The composer Denis ApIvor has indicated that Heseltine's obsession with the occult was eventually replaced by his studies in religious philosophies, to which he was drawn through membership of a theosophist group in Dublin. Heseltine's interest in this field had originally been aroused by Kaikhosru Sorabji, the composer who had introduced him to the music of Bela Bartok.On 12 May 1918 Heseltine delivered a well-received illustrated lecture, "What Music Is", at Dublin's Abbey Theatre, which included musical excerpts from Bartok, the French composer Paul Ladmirault, and Van Dieren. Heseltine's championing of Van Dieren's music led in August...
A: Sorabji

Q: What is the full name of the person who learns the "Iron Hand" fighting style? Answer the above question based on the context below: After thief Alex Cardo gets caught and betrayed by his partner in crime John while stealing an ancient Jian in Thailand, he soon finds himself imprisoned and beaten. One of the guards, Demon, is particularly upset by Alex's appearance and tortures him whenever he gets the opportunity. Alex finds one friend and mentor in the jailhouse, Master Sun, who teaches him a superior fighting style called "Iron Hand". When a "best of the best kumite" is to take place, Demon gets an invitation. Now Master Sun and Alex need to find a way to let Alex take part in the kumite, too. The final fight pits Alex and Demon together. At first, and for a long time, Demon has the upper hand in terms of strength and fighting ability. When Alex is down, he takes one last look at Master Sun and uses the "Iron Hand" against his opponent, severely damaging and defeating Demon. Alex is the winner, and as part of deals previously made, Master Sun is freed from prison, and so is Alex.
A:
Alex Cardo