Given the following context:  Pat, a hotel switchboard operator and Peter a crane operator are a happy well meaning couple, however because of their different shifts during the day they have no time for each other. While he works during the day on the construction of Waterloo Bridge his patient wife works during the night on a hotel telephone exchange. One morning on his way to work, Peter goes on the London Underground train and spots what seems to be a murder being committed on at the open window of a building overlooking the tracks. Deciding to investigate this "crime" Peter and a policeman arrive at the residence. There they find out that the couple were in fact rehearsing an illusion. Zoltini is a bad tempered magician and his wife Vivienne is his assistant. The suspicious magician becomes sure that his wife is having an affair with Peter - every time he sees her with the handsome stranger. On another night Zoltini and Vivienne have an argument on the backstage - leading to him slapping her in the face. As a result, Vivienne leaves (while her husband performs on stage) and takes a taxi with Peter up to his crane. Furious with Vivienne for leaving during the 'vanishing women' sequence of their performance, Zoltini looks for his wife while Pat has been sacked from the hotel for not paying attention to her job.  answer the following question:  What two people don't have time for each other because of work hours?
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Answer: Pat


Given the following context:  Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible".  answer the following question:  What was the last name of Holst's pupil?
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Answer: Joseph


Given the following context:  On 13 June walruses attacked and damaged the kayaks, causing another stop for repairs. On 17 June, as they prepared to leave again, Nansen thought he heard a dog bark and went to investigate. He then heard voices, and a few minutes later encountered a human being. It was Frederick Jackson, who had organised his own expedition to Franz Josef Land after being rejected by Nansen, and had based his headquarters at Cape Flora on Northbrook Island, the southernmost island of the archipelago. Jackson's own account records that his first reaction to this sudden meeting was to assume the figure to be a shipwrecked sailor, perhaps from the expedition's supply ship Windward which was due to call that summer. As he approached, Jackson saw "a tall man, wearing a soft felt hat, loosely made, voluminous clothes and long shaggy hair and beard, all reeking with black grease". After a moment's awkward hesitation, Jackson recognised his visitor: "You are Nansen, aren't you?", and received the reply "Yes, I am Nansen."Johansen was rescued, and the pair taken to the base at Cape Flora, where they posed for photographs (in one instance re-enacting the Jackson–Nansen meeting) before taking baths and haircuts. Both men seemed in good health, despite their ordeal; Nansen had put on 21 pounds (9.5 kg) in weight since the start of the expedition, and Johansen 13 pounds (5.9 kg). In honour of his rescuer, Nansen named the island where he had wintered "Frederick Jackson Island". For the next six weeks Nansen had little to do but await the arrival of Windward, worrying that he might have to spend the winter at Cape Flora, and sometimes regretting that he and Johansen had not pressed on to Spitsbergen. Johansen noted in his journal that Nansen had changed from the overbearing personality of the Fram days, and was now subdued and polite, adamant that he would never undertake such a journey again. On 26 July Windward finally arrived; on 7 August, with Nansen and Johansen aboard, she sailed south and on 13 August reached Vardø. A batch of...  answer the following question:  What was the last name of the person who was rescued and had put on 13 pounds?
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Answer:
Johansen