Question: Read the following paragraph and extract the answer for the question: What is the first name of the person who was thought to be insane to build way out there on the ragged edge of the city? The Monadnock was commissioned by Boston real estate developers Peter and Shepherd Brooks in the building boom following the Depression of 187379. The Brooks family, which had amassed a fortune in the shipping insurance business and had been investing in Chicago real estate since 1863, had retained Chicago property manager Owen F. Aldis to manage the construction of the seven-story Grannis Block on Dearborn Street in 1880. It was Aldis, one of two men Louis Sullivan credited with being "responsible for the modern office building", who convinced investors such as the Brooks brothers to build new skyscrapers in Chicago. By the end of the century, Aldis would create over 1,000,000 square feet (93,000 m2) of new office space and manage nearly one fifth of the office space in the Loop.Daniel Burnham and John Wellborn Root met as young draftsmen in the Chicago firm of Carter, Drake, and Wight in 1872 and left to form Burnham & Root the following year. At Aldis's urging, the Brooks brothers had retained the then-fledgling firm to design the Grannis Block, which was their first major commission. Burnham and Root would become the architects of choice for the Brooks family, for whom they would complete the first high-rise building in Chicago, the 10-story Montauk Building, in 1883, and the 11-story Rookery Building in 1888. The Great Chicago Fire of 1871 had destroyed a 4-mile (6.4 km) by 0.5-mile (0.80 km) swath of the city between the Chicago River and Lake Michigan, and subsequent commercial development expanded into the area far south of the main business district along the river that would come to be known as "the Loop". Between 1881 and 1885, Aldis bought a series of lots in the area on Peter Brooks' behalf, including a 70-by-200-foot (21 by 61 m) site on the corner of Jackson and Dearborn streets. The location was remote, yet attractive for several reasons. The construction of the Chicago Board of Trade Building in 1885 had made nearby LaSalle Street the city's prime financial district, driving up property...
Answer: Owen

Question: Read the following paragraph and extract the answer for the question: What is the profession of the person who goes to the dance with Jackie? Joy Linnett and her stepsister Jackie miss a flight home to Ohio, but the attractive Joy, accustomed to getting her way with men, flirts with pilot Stevie Wilson until he agrees to personally fly the two young women. At home, old beau Warren James comes calling and invites Jackie to a country club's dance. As soon as Joy emerges in a swimsuit, the smitten Warren not only neglects Jackie, he invites her sister to the dance. A quarrel ensues between the women's parents. Jackie's dad is outraged by the way his daughter is treated, but Joy's mom says he's just miffed that her daughter is more popular than his. Stevie calls out of the blue, giving Jackie an idea. She emulates her sister's behavior and wardrobe, persuading Stevie to accompany her to the dance. Once there, all the men get a look at the new Jackie and line up to dance with her, as sister Joy looks on, delighted. Now it is Warren who is neglected, so much so that he gets drunk and proposes marriage to both sisters. In the end, he comes to appreciate that Jackie is the one he really loves.
Answer: pilot

Question: Read the following paragraph and extract the answer for the question: What was critic Felix Tournachon describing when he said "antastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!"? Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres;...
Answer:
Bertin's hands