input: Please answer the following: What is the full name of the person who works for Sam and Barry? Answer the above question based on the context below: Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman. Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties. Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence. When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work. When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.
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output: Patsy Douglas
Please answer this: What is the name of the works that Bennet's friend who he went on country walks with said was "three of Bennett's loveliest pictures"? Answer the above question based on the context below: In May 1836 Bennett travelled to Dusseldorf in the company of Davison to attend the Lower Rhenish Music Festival for the first performance of Mendelssohn's oratorio St Paul. Bennett's visit was enabled by a subsidy by the piano-making firm of John Broadwood & Sons. Inspired by his journey up the Rhine, Bennett began work on his overture The Naiads (Op. 15). After Bennett left for home, Mendelssohn wrote to their mutual friend, the English organist and composer Thomas Attwood, "I think him the most promising young musician I know, not only in your country but also here, and I am convinced if he does not become a very great musician, it is not God's will, but his own". After Bennett's first visit to Germany there followed three extended visits to work in Leipzig. He was there from October 1836 to June 1837, during which time he made his debut at the Gewandhaus as the soloist in his Third Piano Concerto with Mendelssohn conducting. He later conducted his Naiads overture. During this visit he also arranged the first cricket match ever played in Germany, ("as fitting a Yorkshireman" as the musicologist Percy M. Young comments). At this time Bennett wrote to Davison:[Mendelssohn] took me to his house and gave me the printed score of [his overture] 'Melusina', and afterwards we supped at the 'Hotel de Baviere', where all the musical clique feed ... The party consist[ed] of Mendelssohn, [Ferdinand] David, Stamity [sic] ... and a Mr. Schumann, a musical editor, who expected to see me a fat man with large black whiskers. Bennett had been at first slightly in awe of Mendelssohn, but no such formality ever attached to Bennett's friendship with Robert Schumann, with whom he went on long country walks by day and visited the local taverns by night. Each dedicated a large-scale piano work to the other: in August 1837 Schumann dedicated his Symphonic Studies to Bennett, who reciprocated the dedication a few weeks later with his Fantasie, Op. 16. Schumann was eloquently enthusiastic about Bennett's music; in 1837 he devoted...
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Answer: Op. 10 Musical Sketches
input question: What are the last names of the men depicted in the painting? 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...???
output answer:
Eakins