Q: Given the following context:  For a few months following Peterloo it seemed to the authorities that the country was heading towards an armed rebellion. Encouraging them in that belief were two abortive uprisings, in Huddersfield and Burnley, during the autumn of 1819, and the discovery and foiling of the Cato Street conspiracy to blow up the cabinet that winter. By the end of the year, the government had introduced legislation, later known as the Six Acts, to suppress radical meetings and publications, and by the end of 1820 every significant working-class radical reformer was in jail; civil liberties had declined to an even lower level than they were before Peterloo. Historian Robert Reid has written that "it is not fanciful to compare the restricted freedoms of the British worker in the post-Peterloo period in the early nineteenth century with those of the black South African in the post-Sharpeville period of the late twentieth century."One direct consequence of Peterloo was the foundation of the Manchester Guardian newspaper in 1821, by the Little Circle group of non-conformist Manchester businessmen headed by John Edward Taylor, a witness to the massacre. The prospectus announcing the new publication proclaimed that it would "zealously enforce the principles of civil and religious Liberty ... warmly advocate the cause of Reform ... endeavour to assist in the diffusion of just principles of Political Economy and ... support, without reference to the party from which they emanate, all serviceable measures."Events such as the Pentrich rising, the March of the Blanketeers and the Spa Fields meeting, all serve to indicate the breadth, diversity and widespread geographical scale of the demand for economic and political reform at the time. Peterloo had no effect on the speed of reform, but in due course all but one of the reformers' demands, annual parliaments, were met. Following the Great Reform Act of 1832, the newly created Manchester parliamentary borough elected its first two MPs. Five candidates including William Cobbett stood, and...  answer the following question:  What is the full name of the man that said "With Peterloo, and the departure of Regency England, parliamentary reform had come of age."?
A: R J White

Question: Given the following context:  The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment. When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand...  answer the following question:  What is the last name of the person who begged to get someone's permission for their work to be made into an opera?
Answer: Puccini

Question: Given the following context:  Three 12-year-old kids discover a mummy in the basement of a "dead" man's house. It comes alive due to the conjunction of the moonlight during that time of the month. They are scared of him at first, but with time discover he is friendly, if clumsy and confused. The kids name the mummy Harold, and decide he will temporarily take up residence in one kid's bedroom. After paying a visit to their Halloween-obsessed friend, Bruce, they discover that if the mummy is not put back in his coffin before midnight on Halloween, the mummy will cease to exist. However, the sarcophagus is in the hands of the "dead" man, known as Mr. Kubat, who feigned his death to avoid paying his taxes. Upon finding out that the mummy has "escaped" from the coffin, he orders his henchmen to look for the mummy and bring it back in time, as he is selling it to an interested buyer. On top of that, there are a few other obstacles that follow by. For one thing, Harold's unusual appearance may attract unwanted attention as Halloween night draws closer. Meanwhile, they find out that Harold used to be in love with another mummy who comes alive at the end.  answer the following question:  What was the name of the person's house that the kids discovered the mummy in?
Answer:
Mr. Kubat