Please answer this: The answer to the question: What is the first name of the girl whose apartment is used for after-hour parties? is inside the article: Middle-class Princeton student Tom Townsend, an admirer of Charles Fourier, attends a debutante dress ball one evening on a whim. After the ball, a mix-up leads to his meeting a small group of young Upper East Side socialites known as the Sally Fowler Rat Pack, after the girl whose apartment they use for after-hours parties. Believing that they accidentally stole a taxi from Tom, they decide to invite him to their after-hours party, to prevent ill feelings. Tom decides to attend the party, and befriends several other attendees, including Nick Smith, a cynic who takes Tom under his wing; Audrey, a shy girl who enjoys Regency era literature and has a crush on Tom; and Charlie, an overly philosophical friend with an unrequited love for Audrey. Tom learns that he and the Rat Pack have some common friends, including his ex-girlfriend Serena Slocumb, with whom he remains infatuated. Under Nick's tutelage, Tom ingratiates himself to the Rat Pack and soon becomes a full-fledged member. Much of the film is composed of dialogues in which Tom and the Rat Pack discuss the nebulous social scene they occupy, including how they are coming of age just as the culture in which they were raised is ending, leaving them with uncertain social futures. During these discussions, Tom reveals that he, too, was raised wealthy, but that his father abandoned the family to marry another woman, leaving Tom and his mother with limited financial resources. As a result, Tom harbors a love-hate relationship with wealth and the upper class., can you guess it ?
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Answer: Sally
Problem: The answer to the question: What were the names of the two people who tried to get in touch with each other by telepathy one New Year's Eve, but both men fell asleep before midnight struck is inside the article: In 1951, with secret means of communications established, Wolters sent his first letter to Speer in five years. He suggested that Speer move ahead with his memoirs. In January 1953, Speer began work on his draft memoirs, and over the next year lengthy missives, sometimes written on tobacco wrappings or candy wrappers but most often on toilet paper, made their way to Wolters' office in Coesfeld. Marion Riesser, who had continued as Wolters' secretary as he began private architectural practice, transcribed these notes into as many as forty closely typed pages per missive, and the draft totalled 1,100 pages. Wolters objected that Speer called Hitler a criminal in the draft, and Speer presciently observed that he would likely lose a good many friends were the memoirs ever to be published. Wolters had come to believe that reports of Nazi genocide were exaggerated by a factor of at least ten, that Hitler had not been given credit for the things he did right and that Germany had been harshly treated by the Allies.In the mid-1950s, Wolters quarrelled with Kempf who effectively dropped out of the network for a number of years, adding to the burden on Wolters and Riesser. While Speer's pleas for his former associate and his former secretary to work together eventually brought about a healing of the breach, this was to some degree superficial as Kempf was aware that Wolters, even then, disagreed with Speer's opinions. Wolters questioned Speer's readiness to accept responsibility for the Nazi regime's excesses and did not believe Speer had anything to apologise for, though the strength of his feelings on this point was kept from Speerbut not from Kempf and Riesser.Wolters was tireless in his efforts on behalf of Speer and his family to such an extent that his son, Fritz, later expressed feelings of neglect. For Speer's fiftieth birthday in March 1955, Wolters gathered letters from many of Speer's friends and wartime associates, and saw to it that they made their way inside the walls of Spandau in time for..., can you guess it ?

A: Speer
Q: The answer to the question: What was the full name of the person who helped Liszt shape his ideas? is inside the article: Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought..., can you guess it ?
A:
Princess Carolyne zu Sayn-Wittgenstein