Q: Given the following context:  Tchaikovsky was born in 1840 in Votkinsk, a small town in present-day Udmurtia, formerly the Imperial Russian province of Vyatka. A precocious pupil, he began piano lessons at the age of five, and could read music as adeptly as his teacher within three years. However, his parents' passion for his musical talent soon cooled. In 1850, the family decided to send Tchaikovsky to the Imperial School of Jurisprudence in Saint Petersburg. This establishment mainly served the lesser nobility or gentry, and would prepare him for a career as a civil servant. As the minimum age for acceptance was 12, Tchaikovsky was sent by his family to board at the Imperial School of Jurisprudence's preparatory school in Saint Petersburg, 800 miles (1,300 km) from his family home in Alapayevsk. Once Tchaikovsky came of age for acceptance, he was transferred to the Imperial School of Jurisprudence to begin a seven-year course of studies.Music was not a priority at the School, but Tchaikovsky regularly attended the theater and the opera with other students. He was fond of works by Rossini, Bellini, Verdi and Mozart. Piano manufacturer Franz Becker made occasional visits to the School as a token music teacher. This was the only formal music instruction Tchaikovsky received there. From 1855 the composer's father, Ilya Tchaikovsky, funded private lessons with Rudolph Kündinger, a well-known piano teacher from Nuremberg, and questioned Kündinger about a musical career for his son. Kündinger replied that nothing suggested a potential composer or even a fine performer. Tchaikovsky was told to finish his course and then try for a post in the Ministry of Justice.Tchaikovsky graduated on May 25, 1859 with the rank of titular counselor, a low rung on the civil service ladder. On June 15, he was appointed to the Ministry of Justice in Saint Petersburg. Six months later he became a junior assistant and two months after that, a senior assistant. Tchaikovsky remained there for the rest of his three-year civil service career.In 1861, Tchaikovsky...  answer the following question:  What is the first name of the person who questioned Kündinger about a music career for his son?
A: Ilya

Q: Given the following context:  Jim Street, a former U.S. Navy SEAL and hot-shot cop from the Los Angeles Police Department and his SWAT team are sent to stop a gang of robbers who have taken over a bank. His high-tempered partner and close friend Brian Gamble disobeys an order to hold their position and engages the bank robbers, accidentally wounding a hostage in the process. Gamble and Street are demoted by Captain Fuller, the commander of the LAPD Metropolitan Division. Gamble quits the force following an intense argument with Fuller, and Street is taken off the team and sent to work in the "gun cage", where he looks after the gear and weaponry. Fuller offers Street the chance to return to SWAT by selling Gamble out, but he refuses, though people refuse to trust him as his decision was never made public.  Six months after the incident, the chief of police calls on Sergeant Daniel "Hondo" Harrelson, a former Marine Force Recon Sergeant  who fought in Vietnam, to help re-organize the SWAT platoon. Hondo puts together a diverse team, including himself, Street, Christina Sánchez, Deacon Kaye, TJ McCabe, and Michael Boxer. The team members train together, eventually forging bonds of friendship. As a result, their first mission to subdue an unstable gunman is a success.  answer the following question:  What is the full name of Brian's partner?
A: Jim Street

Q: Given the following context:  After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre". In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm...  answer the following question:  What is the last name of the subject of the painting that Hans Hieronymus Imhoff gave a lukewarm description for?
A:
Holper