input: Please answer the following: Given the following context:  Wealthy Yemeni-American brothers Steve and Doug Butabi enjoy frequenting nightclubs, where they bob their heads in unison to Eurodance, a subgenre of dance music, and fail miserably at picking up women. Their goal is to party at the Roxbury, a fabled Los Angeles nightclub where they are continually denied entry by a hulking bouncer. By day, the brothers work at an artificial plant store owned by their wealthy father, Kamehl. They spend most of their time goofing off, daydreaming about opening a club as cool as the Roxbury together, and Doug using credit card transactions as an excuse to flirt with a card approval associate via telephone that he calls "Credit Vixen." The store shares a wall with a lighting emporium owned by Fred Sanderson. Mr. Butabi and Mr. Sanderson hope that Steve and Emily, Sanderson's daughter, will marry, uniting the families and the businesses to form the first plant-lamp emporium. After a day at the beach the brothers decide that night was to be the night they would finally get into the Roxbury. Returning home, Doug gets into a heated argument with their father about going out clubbing instead of staying home. Their father has planned a dinner party with Emily and her parents. The angered Mr. Butabi then refuses them access to their BMW car and their cell phones. They are given enormous cell phones by their mother, Barbara, and allowed use of the fake-plant store's delivery van, but they are immediately rejected once again by the doorman.  answer the following question:  What are the first names of the people who fail to pick up women?
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output: Steve


input: Please answer the following: Given the following context:  The film takes place during a 24-hour period. Henry Hackett is the metro editor of the New York Sun, a fictional New York City tabloid. He is a workaholic who loves his job, but the long hours and low pay are leading to discontent. He is at risk of experiencing the same fate as his editor-in-chief, Bernie White, who put his work first at the expense of his family. The paper's owner, Graham Keighley, faces dire financial straits, so he has Alicia Clark, the managing editor and Henry's nemesis, impose unpopular cutbacks. Henry's wife Martha, a fellow Sun reporter on leave and about to give birth, is fed up because Henry seems to have less and less time for her, and she really dislikes Alicia Clark. She urges him to seriously consider an offer to leave the Sun and become an assistant managing editor at the New York Sentinel, another fictional newspaper (based on The New York Times), which would mean more money, shorter hours, and more respectability, but might also be a bit boring for his tastes. Minor subplots involve Alicia, Bernie, and Sun columnist Michael McDougal. McDougal is threatened by an angry city official named Sandusky whom McDougal's column had been tormenting for the past several weeks. Their drunken confrontation in a bar (later in the film) leads to gunfire, which gets Alicia shot in the leg through the wall. Alicia, who is having an affair with Sun reporter Carl and has expensive tastes, schemes to get a raise in her salary. Bernie reveals to Henry that he has recently been diagnosed with prostate cancer, which causes him to spend time tracking down his estranged daughter Deanne White, in an attempt to reconcile before his time is up.  answer the following question:  What position at the paper would Henry be leaving if he went to work at the New York Sentinel?
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output: metro editor


input: Please answer the following: Given the following context:  The opening soprano solo in E major, "I know that my Redeemer liveth" is one of the few numbers in the oratorio that has remained unrevised from its original form. Its simple unison violin accompaniment and its consoling rhythms apparently brought tears to Burney's eyes. It is followed by a quiet chorus that leads to the bass's declamation in D major: "Behold, I tell you a mystery", then the long aria "The trumpet shall sound", marked pomposo ma non-allegro ("dignified but not fast"). Handel originally wrote this in da capo form, but shortened it to dal segno, probably before the first performance. The extended, characteristic trumpet tune that precedes and accompanies the voice is the only significant instrumental solo in the entire oratorio. Handel's awkward, repeated stressing of the fourth syllable of "incorruptible" may have been the source of the 18th-century poet William Shenstone's comment that he "could observe some parts in Messiah wherein Handel's judgements failed him; where the music was not equal, or was even opposite, to what the words required". After a brief solo recitative, the alto is joined by the tenor for the only duet in Handel's final version of the music, "O death, where is thy sting?"  The melody is adapted from Handel's 1722 cantata Se tu non-lasci amore, and is in Luckett's view the most successful of the Italian borrowings. The duet runs straight into the chorus "But thanks be to God".The reflective soprano solo "If God be for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. It ushers in the D major choral finale: "Worthy is the Lamb", leading to the apocalyptic "Amen" in which, says Hogwood, "the entry of the trumpets marks the final storming of heaven". Handel's first biographer, John Mainwaring, wrote in 1760 that this conclusion revealed the composer "rising still higher" than in "that vast effort of genius, the Hallelujah chorus". Young writes that the "Amen"  should, in the manner of Palestrina, "be delivered as though through the aisles and...  answer the following question:  What is the name of the person that wrote I know that my Redeemer liveth?
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output:
Handel