Q: What is the full name of the person who tells someone they are "nothing at all, just nothing"?  Answer the above question based on the context below:  En route to California to prospect for gold, ex-sheriff Hooker, professional gambler Fiske, and bounty hunter Luke Daly are forced to stop over in a tiny Mexican village by engine trouble on the ship they are taking. A desperate Leah Fuller hires the three men and local Vicente Madariaga, to rescue her husband, John, who is pinned under debris from a gold mine cave-in in hostile Apache territory. During the harrowing journey, Luke tries to force himself on Leah late one night, forcing Hooker to intervene. Leah tells Hooker that where her husband is trapped, once was a boom town, but a volcano eruption wiped it out, leaving only a church steeple and the mine uncovered by lava. The resident priest called it the "garden of evil". The Indians now consider the volcano sacred. The group then arrives at the mine. They find John unconscious, and they free him. Before John wakes up, Hooker sets the man's broken leg.  When John regains consciousness, he accuses Leah of using him to get gold. Hooker talks to Leah later, about what her husband said; after he tells her that he has spotted signs of Apaches nearby, she offers him and the others all the gold they have dug up to take her husband away that night, while she remains behind to make it look like they are all still there. The cynical Fiske unexpectedly offers to stay with her, but when he asks her what he is to her, she tells him, "you're nothing at all, just nothing."
A: Leah Fuller

Q: What year did the piece that premiered in Israel in 1962 premiere in Africa?  Answer the above question based on the context below:  In May 1962 A Child of Our Time received its Israel premiere in Tel Aviv. Tippett says that this performance was delayed because for a while there were local objections to the word "Jesus" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was "manifestly touched by the work his son's precipitate action 25 years earlier had inspired." The performance, by the Kol Yisrael Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. The Times report noted contrasting opinions from two leading Israeli newspapers. The correspondent for Haaretz had expressed disappointment: "Every tone is unoriginal, and the work repeats old effects in a most conventional manner". Conversely, according to the Times report, HaBoker's critic had "found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."Despite its successes in Europe A Child of Our Time did not reach the United States until 1965, when it was performed during the Aspen Music Festival, with the composer present. In his memoirs Tippett mentions another performance on that American tour, at a women's college in Baltimore, in which the male chorus and soloists were black Catholic ordinands from a local seminary. The first significant American presentations of the work came a decade later: at Cleveland in 1977 where Prince Charles, who was visiting, delayed his departure so that he could attend, and at Carnegie Hall, New York, where Colin Davis conducted the Boston Symphony Orchestra and the Tanglewood Festival Chorus. Reviewing this performance for The New York Times, Donal Henahan was unconvinced that the work's "sincerity and unimpeachable intentions add[ed] up to important music". The spirituals were sung with passion and fervour, but the rest was "reminiscent of a familiar pious sermon" in which the words were only intermittently intelligible....
A: 1975

Q: What is the last name of the person whose refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music?  Answer the above question based on the context below:  Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works. Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany. In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and...
A:
Bush