Read the following paragraph and extract the answer for the question: Who is consoled by Fr. Damien's presence? With the coming of more immigrants from Asia, cases of leprosy began to appear around the Hawaiian islands in the late 19th century. As it spread, a colony for the isolation and care of lepers was established on the isolated Kalaupapa peninsula on the norther side of the island of Molokai. The Hawaiian government, with support from the Catholic and other churches sent almost all lepers to the colony. The Catholic Bishop who is in charge of the places feels a need to send some priests there to administer last rites to people shortly before their deaths. Fr. Damien volunteers for the same and is sent to the island with the caution from the Bishop that he shall not touch any of the patients. Fr. Damien is welcomed at the island by a man who is a Lutheran who takes care of the provisions sent by the government to the island. The Lutheran points to a mountain and tells him that whoever tries to go beyond it is shot dead to prevent the spread of the disease. On his arrival Father finds that the little chapel in the island is not properly taken care of and is ruined. With help he restores the chapel. With God as his sole help he starts his work at Molokai. A boy who comes to the chapel volunteers to become the altar boy. The boy is the first person Fr. Damien touches. Near to the chapel Father meets a Protestant Englishman turned a patient who was once a medical assistant in Honolulu (a place near to Molokai). He finds it very difficult to adjust with the church but Fr. Damien's presence is some consolation to him. (He later dies and is buried in the Catholic cemetery). The Bishop who is so considerate relates with Damien's provincial that there is a report about the father describing him 'The Christian Hero' by the prime minister.
Ans: Protestant Englishman

Read the following paragraph and extract the answer for the question: What is the last name of the person who composed a religious-themed opera? In the 1960s, Axelrod worked as a producer and A&R executive for Capitol Records in Los Angeles. During this time, he began to conceive his own musical ideas, involving a fusion of baroque classical sounds, R&B rhythms, and spiritual themes. Challenged by what he described as a "new breed of record buyer ... more sophisticated in his thinking", he was one of several Los Angeles-based musical eccentrics during the late 1960s who wanted to expand on the mid-1960s studio experiments of Brian Wilson and George Martin. His first attempt at this creative vision was composing a religious-themed, psychedelic opera for the Electric Prunes, a local garage rock group. When the band found it too challenging to finish the recording, Axelrod enlisted studio musicians from the Wrecking Crew to complete the album, released as Mass in F Minor in 1968. The recording attracted both controversy and national fame for the producer.After the success of Mass in F Minor, Axelrod was asked by Capitol to record a similar album. He wanted to further capitalize on the experimental climate of popular music and chose to adapt works by English poet William Blake on an album. Blake musical settings were at the height of their popularity among musicians and composers. Numerous serious music composers had set his poems to music since the 1870s, and the practice was eventually adapted in other musical fields during the 20th century, including popular music, musical theatre, and the 1960s folk idiom. Axelrod, a self-professed "Blake freak", had been fascinated by Blake's painting and poetry since his late teens and frequently read the poems as an adult. He conceived Song of Innocence after he had bought an edition of Blake's complete poetry while working in Capitol's art department and considered the concept for a few years before Mass in F Minor. Axelrod was not sociable with colleagues, such as record executives who could have helped him professionally, and felt that he could identify with Blake; he considered the poet "very bad at making new friends".
Ans: Axelrod

Read the following paragraph and extract the answer for the question: In the city with 0.4% Native American origin, what percentage of residents speakers of other non Indo-European languages at home? According to the 2012-2016 American Community Survey (ACS), the racial makeup of the city was 65.7% Caucasian, 14.1% Asian, 7.0% of African origin, 6.6% Hispanic or Latino of any race, 0.4% Native American, 0.9% Pacific Islander, 0.2% other races, and 5.6% two or more races. According to the 2010 United States Census, Seattle had a population of 608,660 with a racial and ethnic composition as follows: White: 69.5% (Non-Hispanic Whites: 66.3%) Asian: 13.8% (4.1% Chinese, 2.6% Filipino, 2.2% Vietnamese, 1.3% Japanese, 1.1% Korean, 0.8% Indian, 0.3% Cambodian, 0.3% Laotian, 0.2% Pakistanis, 0.2% Indonesian, 0.2% Thai) Black or African American: 7.9% Hispanic or Latino (of any race): 6.6% (4.1% Mexican, 0.3% Puerto Rican, 0.2% Guatemalan, 0.2% Salvadoran, 0.2% Cuban) American Indian and Alaska Native: 0.8% Native Hawaiian and Other Pacific Islander: 0.4% Other race: 2.4% Two or more races: 5.1%Seattle's population historically has been predominantly white. The 2010 census showed that Seattle was one of the whitest big cities in the country, although its proportion of white residents has been gradually declining. In 1960, whites comprised 91.6% of the city's population, while in 2010 they comprised 69.5%. According to the 20062008 American Community Survey, approximately 78.9% of residents over the age of five spoke only English at home. Those who spoke Asian languages other than Indo-European languages made up 10.2% of the population, Spanish was spoken by 4.5% of the population, speakers of other Indo-European languages made up 3.9%, and speakers of other languages made up 2.5%.
Ans: 2.5%.