Problem: Given the question: What is the last name of the person who arrived at the Albert Hall just as the performance of The Rite was ending?  Answer the above question based on the context below:  On 18 February 1914 The Rite received its first concert performance (the music without the ballet), in St Petersburg under Serge Koussevitzky. On 5 April that year, Stravinsky experienced for himself the popular success of The Rite as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers. The Rite had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when  Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing The Rite to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra.Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam; two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century".In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera The Marriage of Figaro, at Covent...
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The answer is:
Stravinsky
input question: Where did 500 ACS members met again on September 5 1926?  Answer the above question based on the context below:  The American Chemical Society (ACS) has used the Joseph Priestley House as a place to mark special celebrations. On July 31 and August 1, 1874, "seventy-seven chemists made a pilgrimage to the site to celebrate the centennial of chemistry". The date was chosen to mark the hundredth anniversary of Priestley's experiment producing oxygen by heating mercuric oxide with a magnifying lens and sunlight. These chemists came from 15 US states and the District of Columbia, Canada, and England, and their meeting at the house and a local school "is now recognized as the first National Chemistry Congress, and many ACS historians believe it led to ACS's formation two years later on April 6, 1876". On September 5, 1926, about 500 ACS members met again at the home to dedicate the small brick museum and to celebrate the meeting 50 years earlier (two survivors of that first meeting were present).Representatives of the ACS were present at the October 1970 dedication of the house as a museum. On April 25, 1974 around 400 chemists from the ACS Middle Atlantic Regional Meeting in Scranton came to visit the home. The Priestley Medal, the highest and oldest honor awarded by the ACS, was awarded to Paul Flory at the house that day. (A replica of the Priestley Medal is on display at the house.) On August 1, 1974—what has been labeled the bicentennial of the discovery of oxygen—over 500 chemists attending the third Biennial Conference on Chemical Education at State College traveled to the house to celebrate "Oxygen Day". In October 1976, the ACS celebrated its own centennial with a celebration in Northumberland. A 100-plus piece replica of Priestley's laboratory equipment, made by universities, corporations, and the Smithsonian Institution, was presented to the house for display. On April 13, 1983, ACS President Fred Basolo spoke at the house to celebrate Priestley's 250th birthday and as part of a first day of issue ceremony for the United States Postal Service's Joseph Priestley commemorative stamp. In 2001 the ACS again met at the...???
output answer: the Joseph Priestley House
Please answer this: To whom is Millar referring when he observes that, positively, any comparisons undertaken would demonstrate his remarkable independence, his unfailing integrity and charm?  Answer the above question based on the context below:  In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh – even risky – reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the ‘disguise’ of presenting the sitter in the guise of a classical goddess to protect against accusation of  salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth.
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Answer:
Wright