The following article contains an answer for the question: What film was the fourth-highest grossing local film of 1989 in Australia? , can you please find it?   During a Fitzroy Football Club benefit concert with other Neighbours cast members, Minogue performed "I Got You Babe" as a duet with actor John Waters, and "The Loco-Motion" as an encore. She was subsequently signed to a recording contract with Mushroom Records in 1987. Her first single, "The Locomotion", spent seven weeks at number one on the Australian singles charts and became the country's highest-selling single in the 1980s. She received the ARIA Award for the year's highest-selling single. Its success resulted in Minogue travelling to England with Mushroom Records executive Gary Ashley to work with producers Stock, Aitken & Waterman. They knew little of Minogue and had forgotten that she was arriving; as a result, they wrote "I Should Be So Lucky" while she waited outside the studio. The song reached number one in the United Kingdom, Australia, Germany, Finland, Switzerland, Israel and Hong Kong. Minogue won her second consecutive ARIA Award for the year's highest-selling single, and received a "Special Achievement Award". Minogue's debut album, Kylie was released in July 1988. The album was a collection of dance-oriented pop tunes and spent more than a year on the UK Albums Chart, including several weeks at number one. The album went gold in the United States, and the single, "The Locomotion", reached number three on the US Billboard Hot 100 chart, and number one on the Canadian Singles Chart. The single "Got to Be Certain" became her third consecutive number one single on the Australian music charts. Later in the year, she left Neighbours to focus on her music career. Minogue also collaborated with Jason Donovan for the song "Especially for You", which peaked at number-one in the United Kingdom and in December 2014 sold its one millionth copy in the UK. Minogue was sometimes referred to as "the Singing Budgie" by her detractors over the coming years. In a review of the album Kylie for AllMusic, Chris True described the tunes as "standard, late-80s ... bubblegum", but added, "her cuteness makes these...
Ans: The Delinquents

The following article contains an answer for the question: What is the full name of the person who was described as "The last great Victorian"? , can you please find it?   Although Watts's plans for the memorial had envisaged names inscribed on the wall, in the event the memorial was designed to hold panels of hand-painted and glazed ceramic tiles. Watts was an acquaintance of William De Morgan, at that time one of the world's leading tile designers, and consequently found them easier and cheaper to obtain than engraved stone. The four initial memorial tablets, installed for the unveiling, each consisted of two large custom-made tiles, with each tablet costing £3 5s (about £360 as of 2019) to produce. Only four tablets were installed by the time of the unveiling ceremony, and Watts already had concerns about the potential costs of installing the 120 tablets envisaged in the memorial's design.Costs were allayed by using standard 6-inch (15 cm) tiles for the next set of tablets, reducing the costs to a more manageable £2 per tablet. In 1902, nine further tablets were installed, intermittently spaced along the central of the five rows, including the memorial to Alice Ayres for which Watts had lobbied. The subjects of the 13 initial tiles had been personally selected by Watts, who had for many years maintained a list of newspaper reports of heroic actions potentially worthy of recognition. However, by this time he was in his eighties and in increasingly poor health, and in January 1904 the vicar and churchwardens of St Botolph's Aldersgate formed the Humble Heroes Memorial Committee to oversee the completion of the project, agreeing to defer to Watts regarding additions to the memorial. Watts strenuously objected to the name, as "not being applicable to anything as splendid as heroic self-sacrifice", and the committee was renamed the "Heroic Self Sacrifice Memorial Committee".On 1 July 1904 George Frederic Watts died at New Little Holland House, aged 87. He was hailed "The last great Victorian", and a memorial service was held in St Paul's Cathedral, 300 yards (270 m) south of Postman's Park, on 7 July 1904.On 11 July 1904 Mary Watts wrote to the Heroic Self Sacrifice Memorial...
Ans: George Frederic Watts

The following article contains an answer for the question: What is the title of the work that reaches its triumphant ending in the key of D major? , can you please find it?   Handel's music for Messiah  is distinguished from most of his other oratorios by an orchestral restraint—a quality which the musicologist Percy M. Young observes was not adopted by Mozart and other later arrangers of the music. The work begins quietly, with instrumental and solo movements preceding the first appearance of the chorus, whose entry in the low alto register is muted. A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in "Hallelujah" and the final chorus "Worthy is the Lamb". It is this rarity, says Young, that makes these brass interpolations particularly effective: "Increase them and the thrill is diminished". In  "Glory to God", Handel marked the entry of the trumpets as da lontano e un poco piano, meaning "quietly, from afar"; his original intention had been to place the brass offstage (in disparte) at this point, to highlight the effect of distance.  In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III"  according to Luckett.Although Messiah is not in any particular key, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks as "an aspiration towards D major", the key musically associated with light and glory. As the oratorio moves forward with various shifts in key to reflect changes in mood, D major emerges at significant points, primarily the "trumpet" movements with their uplifting messages. It is the key in which the work reaches its triumphant ending. In the absence of a predominant key, other integrating elements have been proposed. For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth"  as a unifying motif; this device most noticeably occurs in the first two notes of "I know that my Redeemer liveth" and on numerous other...
Ans: Messiah