Problem: What are the first names of the people who are promised to become famous? Answer the above question based on the context below: Right before closing time Karen Kirsten and Jenny Johnsen, who work as waitresses at an Oslo night club, get an offer from the National Studios assistant director Jensen. He promises to make them both famous, and wants to give them screen test auditions. They accept the offer, and the very next day the girls show up at the film studio to try out for roles in the company's new production "Countess of Monte Cristo". There are two roles available: the countess herself and her maid. However, the director, Mr. Hansen, manages to insult the young women gravely, and they leave the studios in anger, taking one of the studio's fancy cars as their ride while still wearing the costumes from the production. They drive to the luxurious Hotel Trollheimen, and use the costumes to lure the management into thinking they really are a countess and her maid. On the outside they encounter army Lt. Paul Von Cram, who is so captivated by their appearance - especially Karen's - that he offers to carry their suitcases up to their hotel suite. Because of this the two women mistake Paul for a bellboy. Paul decides to cancel his imminent date with socialite woman Peg Manning, since he now has his eyes set on Karen. He then sends Karen a note at the hotel, asking her to meet "a lieutenant" at the hotel bar. Karen is intrigued by this and has no idea that it is Paul she is meeting. She makes a makeshift dress out of the curtains in the suite and goes down to meet the lieutenant. Arriving at the bar she instantly realises her earlier mistake. Jenny discovers that they have been listed as thieves and wanted refugees from the law in a newspaper article. In a desperate attempt to hide this from the people at the hotel she buys every available newspaper she can find.

A: Karen
Problem: Given the question: What is the first name of the person whose personal police battalion also took part in the killings? Answer the above question based on the context below: The Night of the Long Knives (German: Nacht der langen Messer ), or the Rohm Purge, also called Operation Hummingbird (German: Unternehmen Kolibri), was a purge that took place in Nazi Germany from June 30 to July 2, 1934, when Adolf Hitler, urged on by Hermann Goring and Heinrich Himmler, carried out a series of political extrajudicial executions intended to consolidate his hold on power in Germany, as well as to alleviate the concerns of the German military about the role of Ernst Rohm and the Sturmabteilung (SA), the Nazis' own mass paramilitary organization. Nazi propaganda presented the murders as a preventive measure against an alleged imminent coup by the SA under Rohm the so-called Rohm putsch. The primary instruments of Hitler's action, who carried out most of the killings, were the Schutzstaffel (SS) paramilitary force under Himmler and its Security Service (SD) under Reinhard Heydrich, and the Gestapo, the secret police, under Goring. Goring's personal police battalion also took part in the killings. Many of those killed in the purge were leaders of the SA, the best-known being Rohm himself, the SA's chief of staff and one of Hitler's longtime supporters and allies. Leading members of the leftist-leaning Strasserist faction of the Nazi Party, including its figurehead, Gregor Strasser, were also killed, as were establishment conservatives and anti-Nazis, such as former Chancellor Kurt von Schleicher and Bavarian politician Gustav Ritter von Kahr, who had suppressed Hitler's Munich Beer Hall Putsch in 1923. The murders of SA leaders were also intended to improve the image of the Hitler government with a German public that was increasingly critical of thuggish SA tactics.
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The answer is:
Hermann
[Q]: What is the specific musical key in which Messiah reaches its triumphant ending? Answer the above question based on the context below: Handel's music for Messiah is distinguished from most of his other oratorios by an orchestral restrainta quality which the musicologist Percy M. Young observes was not adopted by Mozart and other later arrangers of the music. The work begins quietly, with instrumental and solo movements preceding the first appearance of the chorus, whose entry in the low alto register is muted. A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in "Hallelujah" and the final chorus "Worthy is the Lamb". It is this rarity, says Young, that makes these brass interpolations particularly effective: "Increase them and the thrill is diminished". In "Glory to God", Handel marked the entry of the trumpets as da lontano e un poco piano, meaning "quietly, from afar"; his original intention had been to place the brass offstage (in disparte) at this point, to highlight the effect of distance. In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III" according to Luckett.Although Messiah is not in any particular key, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks as "an aspiration towards D major", the key musically associated with light and glory. As the oratorio moves forward with various shifts in key to reflect changes in mood, D major emerges at significant points, primarily the "trumpet" movements with their uplifting messages. It is the key in which the work reaches its triumphant ending. In the absence of a predominant key, other integrating elements have been proposed. For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth" as a unifying motif; this device most noticeably occurs in the first two notes of "I know that my Redeemer liveth" and on numerous other...
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[A]:
D major