[Q]: What is the full name of the person whose work with the Organization for a Better Rice County was detailed in the book, How the Rural Poor Got Power: Narrative of a Grassroots Organizer? Answer the above question based on the context below: Hubert Humphrey was a Minnesotan who became a nationally prominent politician. He first ran for mayor of Minneapolis in 1943, but lost the election to the Republican candidate by just a few thousand votes. As a Democrat, Humphrey recognized that his best chance for political success was to obtain the support of the Minnesota Farmer-Labor Party. Other members of the Farmer-Labor Party had been considering the idea, as encouraged by Franklin D. Roosevelt, but the merger only became reality after Humphrey traveled to Washington, D.C. to discuss the issue. Rather than simply absorbing the Farmer-Labor party, with its constituency of 200,000 voters, Humphrey suggested calling the party the Minnesota Democratic-Farmer-Labor Party. He was elected mayor of Minneapolis in 1945, and one of his first actions was to propose an ordinance making racial discrimination by employers subject to a fine. This ordinance was adopted in 1947, and although few fines were issued, the city's banks and department stores realized that public relations would improve by hiring blacks in increasing numbers. Humphrey delivered an impassioned speech at the 1948 Democratic National Convention encouraging the party to adopt a civil rights plank in their platform. He was elected to the United States Senate in 1948 and was re-elected in 1954 and 1960.In the early 1960s, the topic of civil rights was coming to national prominence with sit-ins and marches organized by Martin Luther King Jr. and other black leaders. In 1963, President John F. Kennedy sent a comprehensive civil rights bill to Congress, based largely on the ideas that Humphrey had been placing before the Senate for the previous fifteen years. The bill passed the House in early 1964, but passage through the Senate was more difficult, due to southern segregationists who filibustered for 75 days. Finally, in June 1964, the Civil Rights Act of 1964 became law. Humphrey called this his greatest achievement. Lyndon B. Johnson recruited Humphrey for his running mate in the 1964...
****
[A]: Paul Wellstone

[Q]: What is the first name of the king who occupied the "best bedchamber"? Answer the above question based on the context below: The plan of the rooms at Belton was passe for a grand house of its time. Following the Restoration and the influx of European ideas, it had become popular for large houses to follow the continental fashion of a suite of state rooms consisting of a withdrawing room, dressing room, and bedroom proceeding from either side of a central saloon or hall. These rooms were permanently reserved for use by a high ranking guest, such as a visiting monarch. While Belton does have a saloon at its centre, enfilades of state rooms of lessening grandeur do not flank it. The possible reason for this unusual layout is that, while the Brownlows possessed great wealth, their title was only a baronetcy, and their fortune was barely a century old. They would have been regarded as gentry, not aristocracy. As a result, building a suite of state rooms would have been in hope rather than anticipation of a royal guest. However, the lack of a fashionable and formal suite of state apartments coupled with the Brownlows' lack of social credentials did not prevent a visit from King William III to the newly completed house in 1695. The King occupied the "Best bedchamber", a large room with an adjoining closet, directly above the saloon, that led directly from the second floor Great Dining Chamber.This design followed the older style of having reception rooms and bedrooms scattered over the two main floors. The layout used followed Roger Pratt's theory that guest and family rooms should be quite separate. As a consequence of this philosophy, the family occupied the rooms on the first and second floors of the west and east wings, with the state rooms in the centre. The great staircase, designed to be grand and imposing, rose to the east side of the house, and formed part of the guest's state route from the Hall and Saloon on the first floor to the principal dining room and bedroom on the second.The principal entrance hall, reception and family bedrooms were placed on the ground and first floors above a low semi-basement containing service...
****
[A]: William

[Q]: What was the last year Lancaster created costumes and scenery? Answer the above question based on the context below: Lancaster's career designing for the theatre began and ended with Gilbert and Sullivan. His first costumes and scenery were for the Sadler's Wells Ballet's Pineapple Poll (1951), John Cranko's ballet with a story based on a Gilbert poem and music by Sullivan. His last were for the D'Oyly Carte Opera Company's revival of The Sorcerer (1973). In between, he designed more productions for the Royal Ballet, as well as for Glyndebourne Festival Opera, the Old Vic and the West End. It was a matter of mild regret to him that of the twenty plays, operas and ballets that he designed between the two, only one was for a thoroughly serious piece, Britten's Peter Grimes, for the Bulgarian National Opera in Sofia in 1964.Only two of Lancaster's theatre designs have remained in use in 21st-century productions, both by the Royal Ballet: Pineapple Poll and La fille mal gardee. In an article on the latter in 2016, Danielle Buckley wrote, "Lancaster's surrealist and stylized designs for Fille amplify the story's pantomime quality, and the exaggerated burlesque of its comedy but the backdrops of fields that roll into the distance, bundles of hay, dreamy skies and village cottages provide the idealized, pastoral context that the story needs". Buckley adds that Lancaster's designs have been criticised for locating the ballet in no particular time or place "except, that is, of a 1960s London view of idyllic country life".Lancaster's stated view was that stage sets and costumes should reflect reality, but "through a lens, magnifying and slightly over-emphasising everything which it reflects". Sir Geraint Evans commented on how Lancaster's designs helped the performer: "[His] design for Falstaff was superb: it gave me clues to understanding the character, and reflected that marvellous, subtle sense of humour which was present in all his work."
****
[A]:
1973