input: Please answer the following: The following article contains an answer for the question: What is the last name of the man who threatens Kane after he receives an evasive answer? , can you please find it? LAPD Officer Frank Dooley is framed for the theft of a television set by two corrupt detectives. He is dismissed from the force, but escapes criminal punishment. The court's next case features hapless defense attorney Norman Kane attempting to defend a white supremacist leader, who threatens him with death should Kane fail to keep him out of prison. Kane reveals his ineptitude and the death threat to the judge, who agrees to render a long sentence if Kane promises to leave law behind. Dooley and Kane meet when they both apply for work at Guard Dog Security, run by "Captain" Clarence O'Connell and part of a union represented by Klepper and Lazarus. Becoming licensed security guards after a single afternoon of training, Dooley and Kane are made partners by supervisor Maggie Cavanaugh and assigned to night duty at a pharmaceutical warehouse. Ordered to take a lunch break by senior guard Bruno, Kane happens upon an armed robbery of the warehouse and calls Frank for help, but they prove no match for the thieves. The next day, the pair are berated by O'Connell for their failure. While venting their anger toward O'Connell, Maggie reveals that she is his daughter. Dooley and Kane then attend a meeting of the union, where Kane's attempt to file a grievance against Guard Dog is quashed by union president Michael Carlino. Kane pointedly questions Carlino about how the union dues, adding to about $4 million per year, are spent. After Kane rejects an evasive answer from treasurer Lou Brackman, Carlino threatens Kane should he ever attend another union meeting.
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output: Carlino
Please answer this: The following article contains an answer for the question: What is the name of the person who, in his late years, reportedly got the appreciation he deserved from the general public? , can you please find it? Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well. In his memoirs, published in 2004, cellist Janos Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day. Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: "He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty. Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion: Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sevres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by...
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Answer: Szigeti
input question: The following article contains an answer for the question: What is the name of the person that towered above the columns of the church? , can you please find it? In the central panel the Virgin and Child are enthroned in a church nave within a columned basilica running on either side. The columns are painted using a variety of dark red, orange and grey pigments, a colour scheme which Peter Heath describes as lending to a "sense of airy silence". The throne is positioned on a dais, before a lavishly detailed oriental carpet lying on a similarly geometrically designed tiled floor. The arms of the canopied throne and the arches to either side contain carved or sculptured figures, including tiny representations of Isaac, and David and Goliath, although art historian Antje Maria Neuner reads this carving as showing Jephthah sacrificing his daughter. Mary wears a richly embroidered and as is typical for van Eyck, voluminous red robe, which effectively serves as a cloth of honour. The robe is placed over a blue square-cut underdress edged with a jewelled border. In van Eyck's Marian paintings, he almost always clothes her in red writes Pacht, which makes her seem to dominate the space. The Christ Child is naked and holds towards the donor a banderole adorned with a phrase from the Gospel of Matthew (11:29), DISCITE A ME, QUIA MITIS SUM ET HUMILIS CORDE ("Learn of me, for I am meek and lowly in heart"). Mary's presence in the church is symbolic; she and the child occupy the area where the altar would normally be situated. Like van Eyck's two other late Madonna portraits (Virgin and Child with Canon van der Paele of 1436 and Madonna in the Church of c. 143840), Mary is unrealistically large and out of proportion to her surroundings. This reflects the influence of 12th- and 13th-century Italian artists such as Cimabue and Giotto, who in turn drew on the tradition of monumental depictions of Mary from Byzantine icons. According to Lorne Campbell, Mary is presented as if about to "rise from her throne and advance into the same plane as St. Michael and St. Catherine, she would tower above them and also above the columns of the church." This idea is in keeping with van Eyck's...???
output answer:
Mary