[Q]: This article: A dialect of English (West Country English), known as Bristolian, Bristolese, Brizzle or Bristle (after the publication of Derek Robson's "Krek Waiters peak Bristle") is spoken by longtime residents, who are known as Bristolians. Bristol natives have a rhotic accent, in which the post-vocalic r in "car" and "card" is pronounced (unlike in Received Pronunciation). The unique feature of this accent is the "Bristol (or terminal) l", in which l is appended to words ending in a or o. Whether this is a broad l or a w is a subject of debate, with "area" pronounced "areal" or "areaw". The ending of "Bristol" is another example of the Bristol l. Bristolians pronounce -a and -o at the end of a word as -aw (cinemaw). To non-natives, the pronunciation suggests an l after the vowel.Until recently Bristolese was characterised by retention of the second-person singular, as in the doggerel "Cassn't see what bist looking at? Cassn't see as well as couldst, casst? And if couldst, 'ouldn't, 'ouldst?" The West Saxon bist is used for the English "art", and children were admonished with "Thee and thou, the Welshman's cow". In Bristolese, as in French and German, the second-person singular was not used when speaking to a superior (except by the egalitarian Quakers). The pronoun "thee" is also used in the subject position ("What bist thee doing?"), and "I" or "he" in the object position ("Give he to I."). Linguist Stanley Ellis, who found that many dialect words in the Filton area were linked to aerospace work, described Bristolese as "a cranky, crazy, crab-apple tree of language and with the sharpest, juiciest flavour that I've heard for a long time". contains an answer for the question: What is the unique feature of a rhotic accent?, what is it ?
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[A]: the "Bristol (or terminal) l"

[Q]: This article: Holst was given a spectacular send-off. The conductor Adrian Boult recalled, "Just before the Armistice, Gustav Holst burst into my office: 'Adrian, the YMCA are sending me to Salonica quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets, and you've got to conduct'." There was a burst of activity to get things ready in time. The girls at St Paul's helped to copy out the orchestral parts, and the women of Morley and the St Paul's girls learned the choral part in the last movement.The performance was given on 29 September to an invited audience including Sir Henry Wood and most of the professional musicians in London. Five months later, when Holst was in Greece, Boult introduced The Planets to the general public, at a concert in February 1919; Holst sent him a long letter full of suggestions, but failed to convince him that the suite should be played in full. The conductor believed that about half an hour of such radically new music was all the public could absorb at first hearing, and he gave only five of the seven movements on that occasion.Holst enjoyed his time in Salonica, from where he was able to visit Athens, which greatly impressed him. His musical duties were wide-ranging, and even obliged him on occasion to play the violin in the local orchestra: "it was great fun, but I fear I was not of much use". He returned to England in June 1919. contains an answer for the question: What is the full name of the person who the YMCA is reportedly sending to Salonica quite soon?, what is it ?
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[A]: Gustav Holst

[Q]: This article: Kertesz emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancee Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jeno later emigrated to Argentina. Elizabeth Kertesz remained until her future husband was well enough established in Paris that they could marry. Kertesz was among numerous Hungarian artists who emigrated during these decades, including Francois Kollar, Robert Capa, Emeric Feher, Brassai, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period. Initially Kertesz took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertesz changed his first name to Andre, which he kept for the rest of his life. In Paris he found critical and commercial success. In 1927 Kertesz was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertesz had become connected with members of the growing Dada movement. Paul Dermee dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertesz was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertesz's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertesz and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertesz switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine... contains an answer for the question: What is the last name of the person who was dubbed "Brother Seeing Eye?", what is it ?
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[A]:
Kertesz