Question: Given the following context: Manchester has a notable place in the history of Marxism and left-wing politics; being the subject of Friedrich Engels' work The Condition of the Working Class in England in 1844; Engels spent much of his life in and around Manchester, and when Karl Marx visited Manchester, they met at Chetham's Library. The economics books Marx was reading at the time can be seen in the library, as can the window seat where Marx and Engels would meet. The first Trades Union Congress was held in Manchester (at the Mechanics' Institute, David Street), from 2 to 6 June 1868. Manchester was an important cradle of the Labour Party and the Suffragette Movement.At that time, it seemed a place in which anything could happennew industrial processes, new ways of thinking (the Manchester School, promoting free trade and laissez-faire), new classes or groups in society, new religious sects, and new forms of labour organisation. It attracted educated visitors from all parts of Britain and Europe. A saying capturing this sense of innovation survives today: "What Manchester does today, the rest of the world does tomorrow." Manchester's golden age was perhaps the last quarter of the 19th century. Many of the great public buildings (including Manchester Town Hall) date from then. The city's cosmopolitan atmosphere contributed to a vibrant culture, which included the Halle Orchestra. In 1889, when county councils were created in England, the municipal borough became a county borough with even greater autonomy. Although the Industrial Revolution brought wealth to the city, it also brought poverty and squalor to a large part of the population. Historian Simon Schama noted that "Manchester was the very best and the very worst taken to terrifying extremes, a new kind of city in the world; the chimneys of industrial suburbs greeting you with columns of smoke". An American visitor taken to Manchester's blackspots saw "wretched, defrauded, oppressed, crushed human nature, lying and bleeding fragments".The number of cotton mills in Manchester itself... answer the following question: What were five new things that were happening in Manchester at the time?
Answer: new ways of thinking

[Q]: Given the following context: In his first leading role Ben Mendelsohn plays Danny Clark, a bumbling eighteen-year-old guy. He knows what it takes to be cool and have some style, it is just that he seems to struggle to get there. Danny has enthusiasm and passion and only wants two things more than anything in the world. A Jaguar XJ6 and a date with the gorgeous Joanna Johnson (an early role for then 17-year-old Claudia Karvan). Get these and his life will be complete. Unfortunately for Danny, when he finally gets the courage up to ask Joanna out, he somehow manages to promise her a ride in his new Jaguar. She is not particularly impressed by cars, but still agrees to his invitation. The problem is, Danny does not own a Jaguar. His form of transport is his recently received birthday present - and it most certainly is not a Jaguar. His eccentric parents have decided to pass on their pride and joy to Danny for his use. Their 1963 Nissan Cedric has been in the family for years and is immaculate but extremely uncool. Danny is aghast at the thought of driving around in a car as dorky as a Cedric and, with the promise of a date with Joanna and the need for a Jaguar in a hurry, decides to trade in the old Nissan. He heads out to search the car yards to find his dream machine. answer the following question: What is the full name of the person who wants a date with a gorgeous girl?
****
[A]: Danny Clark

input: Please answer the following: Given the following context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment. When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand... answer the following question: What is the last name of the person who warned that other composers were interested in adapting La Tosca?
++++++++++
output:
Sardou