Please answer this: What is the first name of the person who is mistaken as Mary Varden?  Answer the above question based on the context below:  At a St. Louis opera house in 1860, a singer in blackface named Jerry Barton, known as "King of the Minstrels", comes backstage and asks his sweetheart, Lettie Morgan, to elope. Lettie's Aunt Hortense, fearing that Barton is a fortune hunter, tells Lettie she is not the heiress she thought she was and that she has been living off her aunt's charity. With no fortune to hunt, Barton informs Lettie that an artist cannot be burdened with the responsibility of a wife. Outside the opera house, Lettie meets a chorus girl named Honey, who is preparing to leave with her theatrical troupe in a caravan heading West. When the troupe's producer mistakes Lettie for the star, she joins the group as "Mary Varden". The troupe's wagon train is escorted by Captain Tex Autry of the U.S. Cavalry and his singing plainsmen. The troupe misses the wagon train, however, and must travel alone. On their way to San Francisco, the caravan is ambushed by a gang of thieves. Tex and his men arrive on the scene and following a gunfight, the gang is chased off. After Tex saves Lettie from a runaway wagon, he comments on the foolishness of risking his men's lives for a bunch of "crazy showgirls". Angered by his insolence, Lettie decides to walk rather than ride with Tex. Eventually she gets tired and asks Tex if she can ride with him. The troupe arrives safely at Fort Henry, which is run by Colonel Seward.
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Answer: Lettie
Problem: What is the full name of the person that edited a number of Charles-Valentin Alkan's works?  Answer the above question based on the context below:  Charles-Valentin Alkan (French: [ʃaʁl valɑ̃tɛ̃ alkɑ̃]; 30 November 1813 – 29 March 1888) was a French-Jewish composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life. Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, including Eugène Delacroix and George Sand, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. During this period he published, among other works, his collections of large-scale studies in all the major keys (Op. 35) and all the minor keys (Op. 39). The latter includes his Symphony for Solo Piano (Op. 39, nos. 4–7) and Concerto for Solo Piano (Op. 39, nos. 8–10), which are often considered among his masterpieces and are of great musical and technical complexity. Alkan emerged from self-imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians. Alkan's attachment to his Jewish origins is displayed both in his life and his work. He was the first composer to incorporate Jewish melodies in art music. Fluent in Hebrew and Greek, he devoted much time to a complete new translation of the Bible into French. This work, like many of his musical compositions, is now lost. Alkan never married, but his presumed son Élie-Miriam Delaborde was, like Alkan, a virtuoso performer on both the piano and the pedal piano, and edited a number of the elder composer's works. Following his death (which according to persistent but unfounded legend was caused by a falling bookcase) Alkan's music became neglected,...

A: Élie-Miriam Delaborde
Q: What is the name of the work whose status as the decade's best pop album should not be in doubt?  Answer the above question based on the context below:  Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging...
A:
Is This It