Q: What is the first name of the person whose voice Terry imitated?  Answer the above question based on the context below:  Songwriter Terry Trindale is attracted to Consuelo Croyden, a woman he sees nightly at a Palm Beach casino. He finally works up the courage to approach her and express his feelings, but she rebuffs his advances. When he later accrues a $3,200 gambling debt to her, Consuelo agrees to hire him as her secretary to work off what he owes her. One of Terry's duties is to assume the role of her fiancé in order to discourage the insistent attention of Tony Barling, to whom Consuelo once was engaged, and to keep her from succumbing to her former beau's charms. Tony refuses to believe she loves someone else, and, when he recognizes Terry from the casino, his suspicions are aroused, despite Terry's outward displays of affection for Consuelo. Tony convinces her to join him on a friend's yacht, but Terry reminds her of his responsibility, and keeps her from going. Four weeks later, Consuelo finds herself still saddled with Terry, who has refused to accompany his songwriting partner Chappie Champagne to New York City to promote their latest tune. Consuelo insists she no longer has any interest in Tony, and offers to cancel the rest of Terry's debt so he can join Chappie. Terry departs, and moments later, Consuelo receives a call from Tony and invites him to the house. Instead, it is Terry, who had disguised his voice, who arrives, and he berates Consuelo for her lack of self-control. Complications arise when Tony actually does arrive on the scene and finds Terry, wearing Consuelo's satin pajamas, in bed. When Terry refuses to admit the truth, an angered Tony departs for his hotel, Consuelo follows, and Terry is not far behind. The two men engage in a brawl, and eventually are arrested.
A: Tony

Q: What is the title of that which was exhibited at Messrs in 1905??  Answer the above question based on the context below:  In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velázquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history. Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror.
A: Rokeby Venus

Q: What is the name of the character who scolds Hector for fighting?  Answer the above question based on the context below:  Hector Villa is a young Mexican national and border-crossing migrant and worker with boxing abilities mirroring his late father's. He could perhaps be good if he learned to think along with his pummeling. Despite all of this, Hector is a hard worker on a Texas farm who does what he can to provide for his ailing mother which includes pulling in a few side dollars from small-time, illegal gambling fights. Tito, a "coyote" (a person who helps smuggle people across the border) spends his days as a snake catcher but at night, helps smuggle immigrants across the border. After winning a fight in a local mechanic's garage, Hector tries to get another fight but the entertainment is interrupted by Tito who scolds both Hector and the owner due to the fact that Tito could  get into more trouble for illegal gambling fights as if smuggling illegals across the border isn't enough. Corralled, Hector goes to change but is followed in by another illegal; Maria. It soon becomes known that they grew up together as kids and it also becomes apparent that Hector dislikes her (mostly because of her sarcastic teasing). Tito hands Hector medicine for his mother and the three head back to the farm where they all work. After settling all of the immigrants in, Maria goes into her own suite with Hector and makes herself at home despite Hector being less than welcoming. Hector then goes to his mother Rosa to give her the medicine but it becomes apparent that she is getting worse. Hector begs her to not go out to the fields the next day but she declines stating "No work, no pay". She scolds Hector for fighting to make money and reminds him that a fighter's lifestyle gave his father nothing. Maria walks in and gets reacquainted with Hector's mother who comments on how much she has grown  and how beautiful she has gotten after nine years apart.
A:
Rosa