A friend asked me to answer this question: When did the Flying Boxcar crash land?, using the article: When an Amacore oil rig in the Gobi Desert of Mongolia proves unproductive, Captain Frank Towns and co-pilot A.J. are sent to shut down the operation and transport the crew (Amacore executive Ian, rig supervisor Kelly, Rodney, Davis, Liddle, Jeremy, Sammi, Rady, Kyle, Newman, and Dr. Gerber) out of the desert, along with a load of cargo from the site to be liquidated or redistributed to another site, causing the plane to be overweight.  However, en route to Beijing, a major dust storm disables one engine when Towns attempts a vertical climb with the overweight plane, forcing them to crash land their C-119 Flying Boxcar in an uncharted area of the Gobi Desert. Kyle falls to his death and the crash kills Dr. Gerber and Newman.  Their cargo consists of used parts and tools from the rig, the rig's crew, and Elliot, a hitchhiker.  When the dust storm ends, it becomes apparent that they are 200 miles off course with only a month's supply of water. Jeremy  (Kirk Jones) thinks about walking to get help, but Rady explains that July is the hottest month in the Gobi, and that he won't make it., what would be the answer ?
Ans: July

A friend asked me to answer this question: What are the names of the people that wrote the opera The Mikado?, using the article: By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as Maria Callas would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers. Colin Davis was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included Pizzetti's Murder in the Cathedral, Stravinsky's Oedipus rex, Richard Rodney Bennett's The Mines of Sulphur and more Janáček. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions: Oedipus rex, which was sung in Latin, and Monteverdi's L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe, on the day on which the Savoy operas came out of copyright and the D'Oyly Carte monopoly ended.  The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of The Mikado in May of the same year.The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing in a large West End theatre, such as its 1958 sell-out production of The Merry Widow that had transferred to the 2,351-seat London Coliseum for a summer season. Ten years later, the lease of the Coliseum became available.  Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968.  One of the company's last productions at the Islington theatre was..., what would be the answer ?
Ans: Gilbert

A friend asked me to answer this question: To whom is Millar referring when he observes that, positively, any comparisons undertaken would demonstrate his remarkable independence, his unfailing integrity and charm?, using the article: In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh – even risky – reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the ‘disguise’ of presenting the sitter in the guise of a classical goddess to protect against accusation of  salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth., what would be the answer ?
Ans: Wright