input: Please answer the following: The answer to the question: What is the full name of the person that thought Africa was too hot for fairies? is inside the article: In mid-1917 nine-year-old Frances Griffiths and her motherboth newly arrived in the UK from South Africawere staying with Frances' aunt, Elsie Wright's mother, in the village of Cottingley in West Yorkshire; Elsie was then 16 years old. The two girls often played together beside the beck (stream) at the bottom of the garden, much to their mothers' annoyance, because they frequently came back with wet feet and clothes. Frances and Elsie said they only went to the beck to see the fairies, and to prove it, Elsie borrowed her father's camera, a Midg quarter-plate. The girls returned about 30 minutes later, "triumphant".Elsie's father, Arthur, was a keen amateur photographer, and had set up his own darkroom. The picture on the photographic plate he developed showed Frances behind a bush in the foreground, on which four fairies appeared to be dancing. Knowing his daughter's artistic ability, and that she had spent some time working in a photographer's studio, he dismissed the figures as cardboard cutouts. Two months later the girls borrowed his camera again, and this time returned with a photograph of Elsie sitting on the lawn holding out her hand to a 1-foot-tall (30 cm) gnome. Exasperated by what he believed to be "nothing but a prank", and convinced that the girls must have tampered with his camera in some way, Arthur Wright refused to lend it to them again. His wife Polly, however, believed the photographs to be authentic. Towards the end of 1918, Frances sent a letter to Johanna Parvin, a friend in Cape Town, South Africa, where Frances had lived for most of her life, enclosing the photograph of herself with the fairies. On the back she wrote "It is funny, I never used to see them in Africa. It must be too hot for them there."The photographs became public in mid-1919, after Elsie's mother attended a meeting of the Theosophical Society in Bradford. The lecture that evening was on "fairy life", and at the end of the meeting Polly Wright showed the two fairy photographs taken by her daughter and niece to the..., can you guess it ?
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output: Frances Griffiths

input: Please answer the following: The answer to the question: What are the full names of the people who encounter Gantu after hearing a crash? is inside the article: The film starts out with ex-Captain Gantu on his new spaceship (his original got destroyed in the first film), being hired by a hamster-like alien named Dr. Jacques von Hamsterviel to retrieve the other 625 experiments. Meanwhile, on Earth, Stitch is still not fitting in and causes another disaster. Lilo Pelekai tries to encourage him by saying he's one-of-a-kind, comparing him to Frankenstein's monster. Naturally, that just makes him feel worse. Suddenly, a crash is heard from below. Running downstairs, the pair encounters Gantu, breaking into their home. In the ensuing chaos, Stitch thrusts his belly out at Gantu, only to be blasted into a net. Gantu finds and takes a blue pod with the number 625 on it before abducting Jumba for interrogation. Lilo and Stitch manage to take Jumba's ship to chase Gantu into space and engage him in battle, before being defeated and falling back towards Earth. Back at the house, Lilo, Stitch and Pleakley find the container Jumba was hiding. Pleakley realizes that these are the other 625 experiments, in dehydrated form. He warns them not to tell anyone or put the experiments in water. Deliberately disobeying Pleakley, Stitch and Lilo retrieve the container and hydrate Experiment 221, who promptly escapes. Meanwhile, Jumba is being held captive on the ship of Dr. Hamsterviel, who is surprisingly a small hamster/poodle/rabbit-like alien. Unable to intimidate Jumba, Hamsterviel activates Experiment 625, who has all of Stitch's powers, to attack him. While 625 has all of Stitch's powers, he is incredibly lazy, a terrible coward, and prioritizes in making sandwiches above all else., can you guess it ?
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output: Stitch

input: Please answer the following: The answer to the question: What is the name of the person that essentially sidestepped thematic interaction and kept sonata form only as an "outline"? is inside the article: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed..., can you guess it ?
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output:
Tchaikovsky