Given the following context:  John of Ephesus' account describes the events around the Christianization of Alodia in detail. As the southernmost of the three Nubian kingdoms, Alodia was the last to be converted to Christianity. According to John, the Alodian King was aware of the conversion of Nobadia in 543 and asked him to send a bishop who would also baptize his people. The request was granted in 580, leading to the baptism of the King, his family and the local nobility. Thus, Alodia became a part of the Christian world under the Coptic Patriarchate of Alexandria. After conversion, several pagan temples, such as the one in Musawwarat es-Sufra, were probably converted into churches. The extent and speed with which Christianity spread among the Alodian populace is uncertain. Despite the conversion of the nobility, it is likely that Christianization of the rural population would have proceeded slowly, if at all.Between 639 and 641, Muslim Arabs conquered Egypt from the Byzantine Empire. Makuria, which by this time had been unified with Nobadia, fended off two subsequent Muslim invasions, one in 641/642 and another in 652. In the aftermath, Makuria and the Arabs agreed to sign the Baqt, a peace treaty that included a yearly exchange of gifts and socioeconomic regulations between Arabs and Nubians. Alodia was explicitly mentioned in the treaty as not being affected by it. While the Arabs failed to conquer Nubia, they began to settle along the western coast of the Red Sea. They founded the port towns of Aydhab and Badi in the 7th century and Suakin, first mentioned in the 10th century. From the 9th century, they pushed further inland, settling among the Beja throughout the Eastern Desert. Arab influence would remain confined to the east of the Nile until the 14th century.  answer the following question:  Which kingdom had their king baptized in 580?
Ans: Alodia

Given the following context:  In October, MacDonald introduced Thomson to Dr. James MacCallum. A frequent visitor to the Ontario Society of Artists' (OSA) exhibitions, MacCallum was admitted to the Arts and Letters Club in January 1912. There, he met artists such as John William Beatty, Arthur Heming, MacDonald and Harris. MacCallum eventually persuaded Thomson to leave Rous and Mann and start a painting career. In October 1913, MacCallum introduced Thomson to A. Y. Jackson, later a founder of the Group of Seven. MacCallum recognized Thomson's and Jackson's talents and offered to cover their expenses for one year if they committed themselves to painting full time. MacCallum and Jackson both encouraged Thomson to "take up painting seriously, [but] he showed no enthusiasm. The chances of earning a livelihood by it did not appear to him promising. He was sensitive and independent, and feared he might become an object of patronage." MacCallum wrote that when he first saw Thomson's sketches, he recognized their "truthfulness, their feeling and their sympathy with the grim fascinating northland ... they made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places." He described Thomson's paintings as "dark, muddy in colour, tight and not wanting in technical defects". After Thomson's death, MacCallum helped preserve and advocate for his work.Thomson accepted MacCallum's offer under the same terms offered to Jackson. He travelled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to become a major source of inspiration. Regarding Algonquin Park, he wrote in a letter to MacCallum: "The best I can do does not do the place much justice in the way of beauty." He ventured to rural areas near Toronto and tried to capture the surrounding nature. He may have worked as a fire ranger on the Mattagami reserve. Addison and Little suggest that he guided fishing tours, although Hill finds this unlikely since Thomson had only spent a few...  answer the following question:  What is the full name of the person that claims they had been gripped by the North since they were eleven?
Ans: Dr. James MacCallum

Given the following context:  Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released June 20, 1966 on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. The album peaked at number nine on the Billboard 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.  answer the following question:  What are the first names of the three people who moved to the CBS studios in Nashville, Tennessee?
Ans: Robbie