What photo was compared to the Marines raising the flag on Iwo Jima? Answer the above question based on the context below: A battle-hardened Huntley-Brinkley reporter later said that no military action he had witnessed had ever frightened or disturbed him as much as what he saw in Birmingham. Two out-of-town photographers in Birmingham that day were Charles Moore, who had previously worked with the Montgomery Advertiser and was now working for Life magazine, and Bill Hudson, with the Associated Press. Moore was a Marine combat photographer who was "jarred" and "sickened" by the use of children and what the Birmingham police and fire departments did to them. Moore was hit in the ankle by a brick meant for the police. He took several photos that were printed in Life. The first photo Moore shot that day showed three teenagers being hit by a water jet from a high-pressure firehose. It was titled "They Fight a Fire That Won't Go Out". A shorter version of the caption was later used as the title for Fred Shuttlesworth's biography. The Life photo became an "era-defining picture" and was compared to the photo of Marines raising the U.S. flag on Iwo Jima. Moore suspected that the film he shot "was likely to obliterate in the national psyche any notion of a 'good southerner'." Hudson remarked later that his only priorities that day were "making pictures and staying alive" and "not getting bit by a dog."Right in front of Hudson stepped Parker High School senior Walter Gadsden when a police officer grabbed the young man's sweater and a police dog charged him. Gadsden had been attending the demonstration as an observer. He was related to the editor of Birmingham's black newspaper, The Birmingham World, who strongly disapproved of King's leadership in the campaign. Gadsden was arrested for "parading without a permit", and after witnessing his arrest, Commissioner Connor remarked to the officer, "Why didn't you bring a meaner dog; this one is not the vicious one." Hudson's photo of Gadsden and the dog ran across three columns in the prominent position above the fold on the front page of The New York Times on May 4, 1963.
Ans: "They Fight a Fire That Won't Go Out"

What is the last name of the militia leader that the Patriarchin the painting is married to? Answer the above question based on the context below: The original oil painting measures 380 by 580 centimetres (150 by 230 in). It depicts Arsenije leading tens of thousands of Serbs into exile, riding a horse and flanked by a Serb flag. In direct reference to the Bible, the image is reminiscent to that of Moses leading the chosen people out of Egypt. The irony, Judah notes, is that the Patriarch is leading his people away from their promised land. The Patriarch and four other figures dominate the composition, staggering unevenly across the canvas as opposed to moving in a straight line. "They punctuate the foreground," Filipovitch-Robinson writes, "directing the eye through the diagonals and curves of their bodies and gesture to the next line of figures behind them. Each subsequent line leads to the next." All age groups are represented in the painting, and Jovanovic pays special attention to their facial details. Thousands of figures on horseback and on foot appear in the background before eventually receding into the horizon. The left background shows Serbian warriors pointing their lances at the sky while the right background shows lumber wagons carrying families into exile. At the right foreground, an old man herds his sheep. To the right of the Patriarch, a mother and her infant son sit atop a horse carrying their belongings. The woman is the young wife of militia leader Jovan Monasterlija and the child his son. A mustachioed warrior walks before them with swords fastened to his belt and a rifle resting against his shoulder, "striding purposefully into the future". The warrior's right arm is smeared with blood and bound by a white sling.
Ans: Monasterlija

What is the full name of the person that said they learned a lot from Martin Carthy? Answer the above question based on the context below: Twelve days later, Dylan made his first trip abroad. British TV director Philip Saville had heard Dylan perform in Greenwich Village, and invited him to take part in a BBC television drama: Madhouse on Castle Street. Dylan arrived in London on December 17. In the play, Dylan performed "Blowin' in the Wind" and two other songs. Dylan also immersed himself in the London folk scene, making contact with the Troubadour folk club organizer Anthea Joseph and folk singers Martin Carthy and Bob Davenport. "I ran into some people in England who really knew those [traditional English] songs," Dylan recalled in 1984. "Martin Carthy, another guy named [Bob] Davenport. Martin Carthy's incredible. I learned a lot of stuff from Martin."Carthy taught Dylan two English songs that would prove important for the Freewheelin' album. Carthy's arrangement of "Scarborough Fair" would be used by Dylan as the basis of his own composition, "Girl from the North Country". A 19th-century ballad commemorating the death of Sir John Franklin in 1847, "Lady Franklin's Lament", gave Dylan the melody for his composition "Bob Dylan's Dream". Both songs displayed Dylan's fast-growing ability to take traditional melodies and use them as a basis for highly personal songwriting.From England, Dylan traveled to Italy, and joined Albert Grossman, who was touring with his client Odetta. Dylan was also hoping to make contact with his girlfriend, Suze Rotolo, unaware that she had already left Italy and was on her way back to New York. Dylan worked on his new material, and when he returned to London, Martin Carthy received a surprise: "When he came back from Italy, he'd written 'Girl From the North Country'; he came down to the Troubadour and said, 'Hey, here's "Scarborough Fair"' and he started playing this thing."
Ans: Bob Dylan