Question: Where does the man riding on a whale get a gift for Olive from?  Answer the above question based on the context below:  Popeye goes to see Olive Oyl, riding on a whale while singing his theme song. In the town, locals give Popeye dirty looks. One local tries to shoot Popeye, but because of Popeye's strength, the bullet hits Popeye on the back of his head, and hits the local who tried to shoot him. The local falls from the roof to the ground. He goes to a store named "Alla Kinda Flowers," where he requests a bouquet for Olive. After a while, a local gives Popeye a toothy while mocking him. To get even, Popeye smacks the local's teeth out, and they crunch together in his mouth. The scene then cuts to Olive, dancing in a tavern, entertaining everybody. Popeye walks in using the swinging old-style doors. Olive notices Popeye, patiently sitting at a table. Olive dances to Popeye. Popeye gives Olive her "bouquet" (which consists of only one flower) and Olive dances away with a leap. Olive's feet gets stuck into two spittoons. While Olive struggles to get out of the spittoons, Popeye is laughing. Olive, determined to get even, performs a fancy dance. Afterwards, the people in the tavern applaud to Olive's act. Bluto enters the tavern. He blasts his guns numerous times, forming a cloud. When the cloud clears, everyone is seen to have fled the tavern—all but Popeye. Bluto, noticing Popeye sitting calmly, goes over to him. A poster reading "$5000 REWARD ... BLUTO THE BANDIT" has Bluto's picture on it. The two Blutos notice each other. Popeye looks at the poster after Bluto, realizing Bluto is the bandit on the poster.
Answer: Alla Kinda Flowers

Question: What is the name of the person of whose work The Sydney Morning Herald's art writer said, "It often seems to me she's only got one tune, but it's a pretty good tune"?  Answer the above question based on the context below:  Oliver was not one to intellectualise her creativity: she preferred to talk about the process of creating her artworks rather than their meanings. Asked about how she approached her art, she stated: My work is about structure and order. It is a pursuit of a kind of logic: a formal, sculptural logic and poetic logic. It is a conceptual and physical process of building and taking away at the same time. I set out to strip the ideas and associations down to (physically and metaphorically) just the bones, exposing the life still held inside. While Oliver was reluctant to discuss meaning in her works, critics have identified recurring themes. Hannah Fink, like art critic John McDonald, noted that there is a pattern to the shapes and structures in Oliver's work. Fink described this as "a consistent vocabulary of elemental forms – the spiral, meander, loop and sphere – in a repertoire of signature archetypes". McDonald said that Nature is "omnipresent" and referred to them as organisms or their remains.Despite their organic appearance, Oliver's own view was that her work was not grounded in nature's structures.  Nevertheless, critics have identified the lifelike qualities of early pieces that resembled shells, claws or tails, or noted the apparent similarities to biological forms. McDonald commented that "For Oliver to deny nature is akin to Balthus saying there is nothing erotic about his paintings or Rothko claiming his works aren't abstract." Both major reviews of Oliver's work (Fenner's 1995 essay and Fink's 2002 journal article) draw attention to dualism and contradiction in the sculptures: Fenner describes them as "delicate and ephemeral, [yet] structurally robust and durable"; Fink sees them as "ethereal but solid, fluid yet rigid, open but closed".Oliver's sculptures are admired for their tactile nature, their aesthetics, and the technical skills demonstrated in their production. Particular works have been singled out for praise. A writer reviewing Vine in the Sydney Hilton admired how it "curls like a fairy...
Answer: Oliver

Question: What is the name of the person in whose apartment the Central Intelligence Agency placed hidden microphones?  Answer the above question based on the context below:  Makeba married Carmichael in March 1968; this caused her popularity in the US to decline markedly. Conservatives came to regard her as a militant and an extremist, an image which alienated much of her fanbase. Her performances were cancelled and her coverage in the press declined despite her efforts to portray her marriage as apolitical. White American audiences stopped supporting her, and the US government took an interest in her activities. The Central Intelligence Agency began following her, and placed hidden microphones in her apartment; the Federal Bureau of Investigation also placed her under surveillance. While she and her husband were travelling in the Bahamas, she was banned from returning to the US, and was refused a visa. As a result, the couple moved to Guinea, where Carmichael changed his name to Kwame Touré. Makeba did not return to the US until 1987.Guinea remained Makeba's home for the next 15 years, and she and her husband became close to President Ahmed Sékou Touré and his wife, Andrée. Touré wanted to create a new style of African music, and all musicians received a minimum wage if they practised for several hours every day. Makeba later stated that "I've never seen a country that did what Sékou Touré did for artists." After her rejection from the US she began to write music more directly critical of the US government's racial policies, recording and singing songs such as "Lumumba" in 1970, (referring to Patrice Lumumba, the assassinated Prime Minister of the Congo), and "Malcolm X" in 1974.
Answer: