Question: What culture would have called the bigfoot redwood statue Oh-mah?  Answer the above question based on the context below:  Animal tracker Ivan Marx opens by mentioning the film is the culmination of 10 years of research. He says that the Eskimos called the creature "bushman," the Colville Indians "Sasquatch," and the Hoopas "Om-mah," but is most commonly known as Bigfoot. Marx's brother-in-law takes him to the land of petrified wood, showing him rock carvings of creatures with big hands and feet. The carvings tell the story of the creature stealing children, causing a village to be abandoned. Marx finds large tracks in the snow and later a dead bear with similar tracks nearby. He finds strange hair between the bear's teeth and sets out to track the creature. He finds tracks in the mud beside a river and something moving nearby. He intends to inform others but rain washes the tracks away. Marx investigates tracks in several states only to find they're not bigfoot tracks. He visits the Oh-mah bigfoot redwood statue in northern California and the Oregon coast, continuing to search. Marx takes a job in Washington state to film a Cinnamon bear. While there, he films Bigfoot walking through a field. He mentions that his footage of Bigfoot has been questioned by science and used by others on lecture circuits to make money. Marx shows footage of an injured squirrel, goats eating dirt, and glaciers melting. He mentions the Trans-Alaska Pipeline and visits Yukon Frida, who paints pictures of Bigfoot. Marx travels above the Arctic circle, showing footage of the Northern lights while relating Bigfoot tales. He visits an Eskimo who promises he'll see Bigfoot. Later in the evening, he films what he describes "the shining eyes" of the creature, but when dawn comes, he says Bigfoot disappeared behind a rainbow. Marx shows footage of salmon spawning, geese migrating, caribou, and Alaska moose defending their territory. He searches from a plane and films a young Bigfoot near a river. He lands, but Bigfoot runs away.
Answer: the Hoopas

Question: What two things did Abu Sa'id not have when he died?  Answer the above question based on the context below:  In the 14th century, diplomatic contact continued between the Franks and the Mongols, until the Ilkhanate dissolved in the 1330s, and the ravages of the Black Death in Europe caused contact with the East to be severed. A few marital alliances between Christian rulers and the Mongols of the Golden Horde continued, such as when the Byzantine emperor Andronicus II gave daughters in marriage to Toqto'a (d. 1312) and later to his successor Uzbek (1312–1341).After Abu Sa'id, relations between Christian princes and the Ilkhanate became very sparse. Abu Sa'id died in 1335 with neither heir nor successor, and the Ilkhanate lost its status after his death, becoming a plethora of little kingdoms run by Mongols, Turks, and Persians.In 1336, an embassy to the French Pope Benedict XII in Avignon was sent by Toghun Temür, the last Yuan emperor in Dadu. The embassy was led by two Genoese travelers in the service of the Mongol emperor, who carried letters representing that the Mongols had been eight years (since Archbishop John of Montecorvino's death) without a spiritual guide, and earnestly desired one. Pope Benedict appointed four ecclesiastics as his legates to the khan's court. In 1338, a total of 50 ecclesiastics were sent by the pope to Peking, among them John of Marignolli, who returned to Avignon in 1353 with a letter from the Yuan emperor to Pope Innocent VI. But soon, the Han Chinese rose up and drove the Mongols out of China, establishing the Ming Dynasty in 1368. By 1369, all foreign influences, from Mongols to Christians, Manichaeans, and Buddhists, were expelled by the Ming Dynasty. In the early 15th century, Timur (Tamerlane) resumed relations with Europe, attempting to form an alliance against the Egyptian Mamluks and the Ottoman Empire, and engaged in communications with Charles VI of France and Henry III of Castile, but died in 1405.
Answer: heir

Question: What was the last year Boult taught at the Royal College of Music?  Answer the above question based on the context below:  Boult, unlike many of his contemporaries, preferred the traditional orchestral layout, with first violins on the conductor's left and the seconds on the right. Of the practice of grouping all the violins together on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves sound far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been blowing 'fit to burst' there is trouble for somebody." The trombonist Ray Premru wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level – 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From that first small class has come all the later formal training for conductors throughout Britain." In the 1930s Boult ran a series of "conferences for conductors" at his country house near Guildford, sometimes helped by Vaughan Williams who lived a few miles away. From 1962 to 1966 he again taught at the Royal College of Music. In later life, he made time for young conductors who sought his counsel.  Among those who studied with or were influenced by Boult were Colin Davis, James Loughran, Richard Hickox and Vernon...
Answer:
1966