input question: Given the following context: Tom is sleeping near the fireplace, and Jerry carefully sneaks past him. He goes up onto the dinner table and tries to reach for the food, but Tom attempts to slice him with a knife and he retreats, running up the staircase. Tom pulls the carpet off the staircase to catch Jerry, but also pulls down a large upright piano. While Jerry gets out of the piano's path, the piano crushes Tom to death. Tom's spirit ascends to the "Heavenly Express", a steam train that sends dead cats to Heaven. Several cats are waiting to enter and the gatekeeper goes though their lives. The cats include Butch, who has lost a fight with a bulldog. Frankie, who was struck with a flat iron while singing on a backyard fence. Aloysius, who was run over and flattened by a steamroller. Even Fluff, Muff and Puff, a trio of kittens who were drowned after being thrown into a river. The gatekeeper allows them all through, as their deaths were untimely. However, he catches Tom trying to sneak past him to board the train and tells him to stand in line. The gatekeeper looks through his personal records and is disappointed by what he sees in it. Having learned that the main cause of Tom's death has been attributed to him persecuting "an innocent little mouse" all of his life and not from an accidental crushing of the piano, the gatekeeper refuses has entry to him for that action alone. He apologizes for this inconvenience, but the gatekeeper gives him a chance for a reprieve; should Tom have Jerry sign a certificate of forgiveness, he will be able to board the "Heavenly Express", which leaves in one hour. If he fails, Tom will be banished to hell where the hellhound devil awaits. answer the following question: Who must get a letter to enter the Heavenly Express????
output answer: Tom

Given the following context: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy. Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two. As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group. When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss. answer the following question: What are the last names of the people who form an unlikely friendship?
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Answer: Molina

Q: Given the following context: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but... answer the following question: What did Christgau name as the second-best album of the 1980s?
A: Of Human Feelings

Problem: Given the question: Given the following context: The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanovic's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todic observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanovic's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanovic's three best works,... answer the following question: What is the name of the painting that was well-received in Serbia?
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The answer is:
Migration of the Serbs