What is the last name of the man who completes security guard training with the hapless defense attorney?  Answer the above question based on the context below:  LAPD Officer Frank Dooley is framed for the theft of a television set by two corrupt detectives. He is dismissed from the force, but escapes criminal punishment. The court's next case features hapless defense attorney Norman Kane attempting to defend a white supremacist leader, who threatens him with death should Kane fail to keep him out of prison. Kane reveals his ineptitude and the death threat to the judge, who agrees to render a long sentence if Kane promises to leave law behind. Dooley and Kane meet when they both apply for work at Guard Dog Security, run by "Captain" Clarence O'Connell and part of a union represented by Klepper and Lazarus. Becoming licensed security guards after a single afternoon of training, Dooley and Kane are made partners by supervisor Maggie Cavanaugh and assigned to night duty at a pharmaceutical warehouse. Ordered to take a lunch break by senior guard Bruno, Kane happens upon an armed robbery of the warehouse and calls Frank for help, but they prove no match for the thieves. The next day, the pair are berated by O'Connell for their failure. While venting their anger toward O'Connell, Maggie reveals that she is his daughter. Dooley and Kane then attend a meeting of the union, where Kane's attempt to file a grievance against Guard Dog is quashed by union president Michael Carlino. Kane pointedly questions Carlino about how the union dues, adding to about $4 million per year, are spent. After Kane rejects an evasive answer from treasurer Lou Brackman, Carlino threatens Kane should he ever attend another union meeting.
Ans: Dooley

What is the name of the painting that it is not unlikely that Eakins saw at the Salon while studying in Paris?  Answer the above question based on the context below:  Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast. The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while...
Ans: Scène d'été

What is the name of the person since whose death only Samson et Dalila has been regularly staged?  Answer the above question based on the context below:  Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...
Ans: Saint-Saëns