Read the following paragraph and extract the answer for the question: What is the alias of the person that is hit by her ex-husband? Charles Spotswoode's son Jimmy became involved with "the Canary", a conniving showgirl. The Canary, determined to force Jimmy to marry her so she can join the social elite, threatens to reveal that Jimmy was embezzling from his father. She turns down the elder Spotswoode's bribe to leave Jimmy alone. She telephones two men she has been blackmailing, Cleaver and Mannix, and demands one final generous gift from each of them by the next day. She makes the same request of "creepy" admirer Dr. Lindquist. Her ex-husband Tony Sheel eavesdrops and wants half, but she refuses to give him anything, even after he hits her. Cleaver, Mannix and Lindquist are all shown lurking about her apartment building late that night. Spotswoode visits her at her apartment around midnight, but cannot get her to change her mind. After he reaches the lobby of her building, he and another person hear screams from her place. They knock on the door, but she assures them that she is fine. The Canary is found strangled the next day. The coroner places the time of death around midnight. District Attorney Markham investigates, aided by Philo Vance (a close friend of Charles Spotswoode) and Police Sergeant Heath. After all the suspects are brought in for questioning, Vance asks Markham to keep them waiting for a few hours. Markham agrees. Vance subtly maneuvers Cleaver, Mannix, Lindquist and the two Spotswoodes into playing poker to pass the time so he can observe their personality traits. Only one shows the daring, imagination and discipline required for the crime; that man bluffs Vance, betting everything with just a pair of deuces. The suspects are then released. Sheel, who witnessed the murder while hiding in the closet, sends the killer several blackmail letters. He too is strangled. A pen found at the scene has Jimmy's name on it, so Heath arrests him for the murder. Jimmy then confesses to both murders, but Vance knows better.
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Answer: The Canary
Q: Read the following paragraph and extract the answer for the question: What year was the first published score of the piece that was completed in 24 days issued? The music for Messiah was completed in 24 days of swift composition. Having received Jennens's text some time after 10 July 1741, Handel began work on it on 22 August. His records show that he had completed Part I in outline by 28 August, Part II by 6 September and Part III by 12 September, followed by two days of "filling up" to produce the finished work on 14 September. The autograph score's 259 pages show some signs of haste such as blots, scratchings-out, unfilled bars and other uncorrected errors, but according to the music scholar Richard Luckett the number of errors is remarkably small in a document of this length. The original manuscript for Messiah is now held in the British Library's music collection. It is scored for 2 trumpets, timpani, 2 oboes, 2 violins, viola, and basso continuo (cello, double bass, and harpsichord). At the end of his manuscript Handel wrote the letters "SDG"Soli Deo Gloria, "To God alone the glory". This inscription, taken with the speed of composition, has encouraged belief in the apocryphal story that Handel wrote the music in a fervour of divine inspiration in which, as he wrote the "Hallelujah" chorus, "he saw all heaven before him". Burrows points out that many of Handel's operas, of comparable length and structure to Messiah, were composed within similar timescales between theatrical seasons. The effort of writing so much music in so short a time was not unusual for Handel and his contemporaries; Handel commenced his next oratorio, Samson, within a week of finishing Messiah, and completed his draft of this new work in a month. In accordance with his frequent practice when writing new works, Handel adapted existing compositions for use in Messiah, in this case drawing on two recently completed Italian duets and one written twenty years previously. Thus, Se tu non-lasci amore from 1722 became the basis of "O Death, where is thy sting?"; "His yoke is easy" and "And he shall purify" were drawn from Quel fior che alla'ride (July 1741), "Unto us a child is born" and "All we...
A: 1767
Read the following paragraph and extract the answer for the question: What was the first name of Durer's mother? After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Durer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 157374, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 163358 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Durer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Durer oeuvre". In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Durer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Durer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm...
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Answer:
Barbara