Question: Given the following context:  Every year, 12-year old Samuel, 10-year old Jeffrey and 8-year old Michael Douglas visit their grandfather, Mori Tanaka at his cabin. Mori trains his grandchildren in the art of Ninjutsu. As the summer comes to an end, Mori gives each of them a new "ninja" name based on their personalities: 'Rocky', 'Colt', and 'Tum-Tum'.  Meanwhile, the boys' father, Sam Douglas, is an FBI agent who stages a sting operation to entrap Hugo Snyder in the sale of warheads. Snyder escapes the trap with the use of his own ninja henchmen. Snyder decides to test Mori's fighting skill. The boys ignore Mori's orders to stay in the house and aid by defeating two ninjas on their own. Snyder threatens Mori's family if he doesn't get Douglas off his back, and Mori chides the boys briefly for interfering in his personal affairs. When they return home, they find their father unenthusiastic to see what they had learned during their visit and more annoyed at their new names. Emily, a friend of Rocky's, compliments his new name and agrees to ride with them to school the next day. Snyder develops a plan to kidnap the boys to use them as leverage to get Douglas to back off. Since the FBI watches them, his assistant Brown contacts his nephew Fester and his buddies Hammer and Marcus to kidnap the boys. Due to Douglas and his FBI crew's presence, they are unable to capture the boys.  answer the following question:  What is the ninja name of the middle brother?
Answer: Colt

Question: Given the following context:  Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:36–50. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying". By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of news—a witness—and hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance.  Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer.  According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or...  answer the following question:  What is the first name of the Magdalen who became associated with weeping and reading?
Answer: Mary

Question: Given the following context:  A diocesan return of 1563 recorded 145 households in the parish of New Sleaford, while the Compton Census (1676) reveals that New Sleaford had a Conformist population of 576 people, no "Papists", and 6 Non-conformists. There is a widely held local tradition that St Denys' was used during the English Civil War (1642–51) as a barracks for parliamentary troops  who destroyed the interior furnishings. The local historian Trollope stated that the soldiers looted the brass eagle lectern (last recorded in 1622), broke the stained glass windows and the organ, and stole valuables. Whether this damage occurred or not, repairs to the windows and roof were carried out in 1657, paid for by public subscription. Galleries were also added to the church in the 18th century: the south in 1758, west in 1772, and north in 1783–84. In 1772, Edward Evans, a ship's surgeon on HMS Egmont, donated £300 to replace the organ with one built by Samuel Green of London.For most of the 19th century, the Anglican community dominated Sleaford's civic bodies, including the Board of Guardians, who oversaw the workhouse, and the Local Board of Health. Dr Richard Yerburgh and his son, Richard, were vicars in 1809–51 and 1851–82 respectively and had family connections with the local builders Kirk and Parry; Yerburgh and Thomas Parry (one half of the firm) were on the Board of Guardians and were labelled members of a "family party" by opponents during the Board's 1870 elections (they were nonetheless re-elected). They and other local clergymen were key players in the establishment of National schools in Sleaford and Quarrington, which Kirk and Parry built. The Anglican congregation, at an estimated 700 to 800 people in 1851 (St Denys' had enough space for 743 people), was less than half of the size of the nonconformist community, which was probably larger than 2,000 and tended to flourish in poorer parts of the town.The 19th century also witnessed two major restorations to St Denys'. As the congregation expanded, the need for greater space was met...  answer the following question:  What is the name of the church whose electricity bill by 2011 was able to be covered by the fifty-four solar panels installed in 2008?
Answer:
St Denys'