The following article contains an answer for the question: What is the last name of the person who becomes ruthless toward their opponents? , can you please find it?   The movie begins with Huo Yuanjia fighting and defeating three Westerners: a British boxer, a Belgian lancer, and a Spanish fencer. While waiting for the fourth match to begin, Huo remembers his father Huo Endi teaching martial arts. The story is then told in an extended flashback. Watching his father fight, the young Yuanjia wants to participate, but his father is concerned about his asthma. Yuanjia sees his father in a match with Zhao, who dishonorably won by retaliating when Huo Endi held back a fatal blow. Humiliated by his father's defeat, Huo Yuanjia vows to regain the Huo family's honor and pride. He practices martial arts behind his father's back. As time goes by, Huo Yuanjia defeats several opponents (including Zhao's son) and becomes a famous martial artist in Tianjin. As he becomes successful, he grows arrogant and ruthless towards his opponents, unlike his late father who advocated showing mercy to opponents. This also leads to Huo gaining many followers and getting himself into financial trouble by spending his family's money on drinking and partying. When a rival martial arts master named Qin Lei injures one of his followers, Huo feels insulted and confronts Qin on his birthday, at a restaurant owned by Huo's childhood friend, Nong Jinsun. Failing to dissuade his friend from fighting and fed up with his ruthless behavior, Jinsun ends his friendship with Huo. The confrontation escalates into a fight that ends with Qin's death. Qin's godson seeks vengeance and kills Huo's mother and daughter. Huo goes to Qin's house, where Qin's godson admits to the murders before killing himself. Huo learns that it was his follower who had insulted and provoked Qin, which caused Qin to beat him.
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Answer: Yuanjia

Q: The following article contains an answer for the question: What is the title of that which, according to Colin Larkin, "turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture"? , can you please find it?   In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". It is regarded by journalists as having influenced the development of the counterculture of the 1960s. The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. Ian MacDonald wrote that the album's impact was cross-generational as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". He also said that in the context of 1967, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967.Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper had "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico, an album that contrasted sharply with the Beatles' message by "offer[ing] no escape", had become more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of...
A: Sgt. Pepper

The following article contains an answer for the question: What were the full names of the two people who were suspected of having a love affair during months of rehearsal? , can you please find it?   The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to Marie Roze, well known for previous triumphs at the Opéra-Comique, the Opéra and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to Célestine Galli-Marié, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal.The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the Covent Garden premiere of Les pêcheurs de perles. Jacques Bouhy, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's Faust and as Mozart's Figaro. Marguerite Chapuy, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's Theatre Royal, Drury Lane; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return.
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Answer:
Bizet