[Q]: What is the full name of the person who reveals that a series of copper mines they built are worthless? Answer the above question based on the context below: In 2016, the United States is in a sustained economic depression. Industrial disasters, resource shortages, and gasoline prices at $37 per gallon have made railroads the primary mode of transportation, but even they are in disrepair. After a major accident on the Rio Norte line of the Taggart Transcontinental railroad, CEO James Taggart shirks responsibility. His sister Dagny Taggart, Vice-President in Charge of Operations, defies him by replacing the aging track with new rails made of Rearden Metal, which is claimed to be lighter yet stronger than steel. Dagny meets with its inventor, Hank Rearden, and they negotiate a deal they both admit serves their respective self-interests. Politician Wesley Mouchnominally Rearden's lobbyist in Washington, D.C.is part of a crowd that views heads of industry as persons who must be broken or tamed. James Taggart uses political influence to ensure that Taggart Transcontinental is designated the exclusive railroad for the state of Colorado. Dagny is confronted by Ellis Wyatt, a Colorado oil man angry to be forced to do business with Taggart Transcontinental. Dagny promises him that he will get the service he needs. Dagny encounters former lover Francisco d'Anconia, who presents a facade of a playboy grown bored with the pursuit of money. He reveals that a series of copper mines he built are worthless, costing his investors (including the Taggart railroad) millions. Rearden lives in a magnificent home with a wife and a brother who are happy to live off his effort, though they overtly disrespect it. Rearden's anniversary gift to his wife Lillian is a bracelet made from the first batch of Rearden Metal, but she considers it a garish symbol of Hank's egotism. At a dinner party, Dagny dares Lillian to exchange it for Dagny's diamond necklace, which she does.
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[A]: Francisco d'Anconia
input: Please answer the following: Where is the location where the booksellers suffer from racial profiling? Answer the above question based on the context below: BookWars is a creative documentary which is told in an unconventional, narrative style. The film opens with the narrator (who is also the film's director) driving out West along a desert highway, relating to the audience his previous experiences as a streetside bookseller in New York City. The entire documentary including the central events involving his experiences among the street booksellers in New York is thus "told" as a long conversation. The narrator describes his post-graduation years in New York, and how he ended up at one point virtually penniless. Driven by a desperate need to pay the rent, he resorts to wheeling his own books out to the street to try to sell them. He reveals that he was not only successful in making a significant amount of cash on that first day, but he has also met a variety of interesting and strange characters of the streets of New York including other street booksellers. A motley assortment of street booksellers on West 4th street, in Greenwich Village, New York City, are first introduced. Among them: "Slick" Rick Sherman, a semi-professional magician; Al Mappo, so named because he only sells maps and atlases; Emil, who says only he "escaped", though we do not know from where; and Pete Whitney: King of the booksellers, toad collector, and collage artist. BookWars next introduces another group of street booksellers who hawk their trade on nearby 6th Avenue. Mainly black and minority individuals, they ply books and magazines in parallel fashion to the nearby West 4th street booksellers, who are primarily white. The booksellers on 6th Avenue suffer greater exposure to the law, with many claiming this to be due to racial profiling. Some of the significant personalities that are introduced on 6th Avenue include: Marvin, always wearing his trademark black hat; and Ron, from Jamaica charismatic, streetwise and outspoken.
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output: 6th Avenue
Problem: What was the first name of the person who titled the work The Old Swimming Hole? Answer the above question based on the context below: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (18491928), Benjamin Fox (c. 1865 c. 1900), J. Laurie Wallace (18641953), Jesse Godley (18621889), Harry the dog (Eakins' Irish Setter, c. 188090), George Reynolds (c. 183989), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the workno shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast. The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scene d'ete, painted in 1869 by Frederic Bazille (184170). It is not unlikely that Eakins saw the painting at the Salon while...

A:
Susan