nc33/multispan_quoref huggingface dataset:
"Sad Eyed Lady of the Lowlands"Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 15–16, "Sad Eyed Lady" eventually occupied the whole of side four of Blonde On Blonde. Critics have observed that "Lowlands" hints at "Lownds", and Dylan biographer Robert Shelton wrote that this was a "wedding song" for Sara Lownds, whom Dylan had married just three months earlier. In his paean to his wife, "Sara", written in 1975, Dylan amends history slightly to claim that he stayed "up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you".When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" However, in 1969, Dylan confessed to Rolling Stone's editor, Jann Wenner, "I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [laughs]."Heard by some listeners as a hymn to an other-worldly woman, for Shelton "her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic." Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers. Like the verses of William Blake's "Tyger", Dylan asks a series of questions about the "Sad Eyed Lady" but never supplies any answers.

Question: What was the last name of the person Dylan married?
Answer: Lownds
"Sad Eyed Lady of the Lowlands"Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 15–16, "Sad Eyed Lady" eventually occupied the whole of side four of Blonde On Blonde. Critics have observed that "Lowlands" hints at "Lownds", and Dylan biographer Robert Shelton wrote that this was a "wedding song" for Sara Lownds, whom Dylan had married just three months earlier. In his paean to his wife, "Sara", written in 1975, Dylan amends history slightly to claim that he stayed "up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you".When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" However, in 1969, Dylan confessed to Rolling Stone's editor, Jann Wenner, "I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [laughs]."Heard by some listeners as a hymn to an other-worldly woman, for Shelton "her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic." Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers. Like the verses of William Blake's "Tyger", Dylan asks a series of questions about the "Sad Eyed Lady" but never supplies any answers.

Question: What was the last name of the person who said Lowlands was a wedding song?
Answer: Shelton
"Sad Eyed Lady of the Lowlands"Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 15–16, "Sad Eyed Lady" eventually occupied the whole of side four of Blonde On Blonde. Critics have observed that "Lowlands" hints at "Lownds", and Dylan biographer Robert Shelton wrote that this was a "wedding song" for Sara Lownds, whom Dylan had married just three months earlier. In his paean to his wife, "Sara", written in 1975, Dylan amends history slightly to claim that he stayed "up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you".When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" However, in 1969, Dylan confessed to Rolling Stone's editor, Jann Wenner, "I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [laughs]."Heard by some listeners as a hymn to an other-worldly woman, for Shelton "her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic." Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers. Like the verses of William Blake's "Tyger", Dylan asks a series of questions about the "Sad Eyed Lady" but never supplies any answers.

Question: What was the full name of the person Dylan played Sad-Eyed Lady of the Lowlands for shortly after recording it?
Answer: Robert Shelton
"Sad Eyed Lady of the Lowlands"Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 15–16, "Sad Eyed Lady" eventually occupied the whole of side four of Blonde On Blonde. Critics have observed that "Lowlands" hints at "Lownds", and Dylan biographer Robert Shelton wrote that this was a "wedding song" for Sara Lownds, whom Dylan had married just three months earlier. In his paean to his wife, "Sara", written in 1975, Dylan amends history slightly to claim that he stayed "up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you".When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" However, in 1969, Dylan confessed to Rolling Stone's editor, Jann Wenner, "I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [laughs]."Heard by some listeners as a hymn to an other-worldly woman, for Shelton "her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic." Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers. Like the verses of William Blake's "Tyger", Dylan asks a series of questions about the "Sad Eyed Lady" but never supplies any answers.

Question: What does Dylan ask a series of questions about but never supplies the answers?
Answer: Sad Eyed Lady
Blonde on Blonde reached the Top 10 in both the US and UK album charts, and also spawned a number of hits that restored Dylan to the upper echelons of the singles charts. In August 1967, the album was certified as a gold disc.The album received generally favorable reviews. Pete Johnson in the Los Angeles Times wrote, "Dylan is a superbly eloquent writer of pop and folk songs with an unmatched ability to press complex ideas and iconoclastic philosophy into brief poetic lines and startling images." The editor of Crawdaddy!, Paul Williams, reviewed Blonde on Blonde in July 1966: "It is a cache of emotion, a well handled package of excellent music and better poetry, blended and meshed and ready to become part of your reality. Here is a man who will speak to you, a 1960s bard with electric lyre and color slides, but a truthful man with x-ray eyes you can look through if you want. All you have to do is listen."To accompany the songbook of Blonde on Blonde, Paul Nelson wrote an introduction stating, "The very title suggests the singularity and the duality we expect from Dylan. For Dylan's music of illusion and delusion—with the tramp as explorer and the clown as happy victim, where the greatest crimes are lifelessness and the inability to see oneself as a circus performer in the show of life—has always carried within it its own inherent tensions ... Dylan in the end truly UNDERSTANDS situations, and once one truly understands anything, there can no longer be anger, no longer be moralizing, but only humor and compassion, only pity."

Question: What is the last name of the person that created the top 10 album that was reviewed in July 1966 for Crawdaddy!?
Answer: Dylan
After the release of Pink Floyd's 1983 album The Final Cut, viewed by some as a de facto solo record by bassist and songwriter Roger Waters, the band members worked on solo projects. Guitarist David Gilmour expressed feelings about his strained relationship with Waters on his second solo album, About Face (1984), and finished the accompanying tour as Waters began touring to promote his debut solo album, The Pros and Cons of Hitch Hiking. Although both had enlisted a range of successful performers, including in Waters' case Eric Clapton, their solo acts attracted fewer fans than Pink Floyd; poor ticket sales forced Gilmour to cancel several concerts, and critic David Fricke felt that Waters' show was "a petulant echo, a transparent attempt to prove that Roger Waters was Pink Floyd". Waters returned to the US in March 1985 with a second tour, this time without the support of CBS Records, which had expressed its preference for a new Pink Floyd album; Waters criticised the corporation as "a machine".
After drummer Nick Mason attended one of Waters' London performances in 1985, he found he missed touring under the Pink Floyd name. His visit coincided with the release in August of his second solo album, Profiles, on which Gilmour sang. With a shared love of aviation, Mason and Gilmour were taking flying lessons and together bought a de Havilland Dove aeroplane. Gilmour was working on other collaborations, including a performance for Bryan Ferry at 1985's Live Aid concert, and co-produced the Dream Academy's self-titled debut album.In December 1985, Waters announced that he had left Pink Floyd, which he believed was "a spent force creatively". After the failure of his About Face tour, Gilmour hoped to continue with the Pink Floyd name. The threat of a lawsuit from Gilmour, Mason and CBS Records was meant to compel Waters to write and produce another Pink Floyd album with his bandmates, who had barely participated in making The Final Cut; Gilmour was especially critical of the album, labelling it "cheap filler" and "meandering rubbish". The lawsuit left Waters with only one other option: to formally resign from Pink Floyd to protect himself from a lawsuit that, he said, "would have wiped me out completely".According to Gilmour, "I told [Waters] before he left, 'If you go, man, we're carrying on. Make no bones about it, we would carry on', and Roger replied: 'You'll never fucking do it.'" Waters had written to EMI and Columbia declaring his intention to leave the group and asking them to release him from his contractual obligations. He also dispensed with the services of Pink Floyd manager Steve O'Rourke and employed Peter Rudge to manage his affairs. This left Gilmour and Mason, in their view, free to continue with the Pink Floyd name.

Question: What is the last name of the person that the guitarist expressed their feelings about on their second album?
Answer: Waters
After the release of Pink Floyd's 1983 album The Final Cut, viewed by some as a de facto solo record by bassist and songwriter Roger Waters, the band members worked on solo projects. Guitarist David Gilmour expressed feelings about his strained relationship with Waters on his second solo album, About Face (1984), and finished the accompanying tour as Waters began touring to promote his debut solo album, The Pros and Cons of Hitch Hiking. Although both had enlisted a range of successful performers, including in Waters' case Eric Clapton, their solo acts attracted fewer fans than Pink Floyd; poor ticket sales forced Gilmour to cancel several concerts, and critic David Fricke felt that Waters' show was "a petulant echo, a transparent attempt to prove that Roger Waters was Pink Floyd". Waters returned to the US in March 1985 with a second tour, this time without the support of CBS Records, which had expressed its preference for a new Pink Floyd album; Waters criticised the corporation as "a machine".
After drummer Nick Mason attended one of Waters' London performances in 1985, he found he missed touring under the Pink Floyd name. His visit coincided with the release in August of his second solo album, Profiles, on which Gilmour sang. With a shared love of aviation, Mason and Gilmour were taking flying lessons and together bought a de Havilland Dove aeroplane. Gilmour was working on other collaborations, including a performance for Bryan Ferry at 1985's Live Aid concert, and co-produced the Dream Academy's self-titled debut album.In December 1985, Waters announced that he had left Pink Floyd, which he believed was "a spent force creatively". After the failure of his About Face tour, Gilmour hoped to continue with the Pink Floyd name. The threat of a lawsuit from Gilmour, Mason and CBS Records was meant to compel Waters to write and produce another Pink Floyd album with his bandmates, who had barely participated in making The Final Cut; Gilmour was especially critical of the album, labelling it "cheap filler" and "meandering rubbish". The lawsuit left Waters with only one other option: to formally resign from Pink Floyd to protect himself from a lawsuit that, he said, "would have wiped me out completely".According to Gilmour, "I told [Waters] before he left, 'If you go, man, we're carrying on. Make no bones about it, we would carry on', and Roger replied: 'You'll never fucking do it.'" Waters had written to EMI and Columbia declaring his intention to leave the group and asking them to release him from his contractual obligations. He also dispensed with the services of Pink Floyd manager Steve O'Rourke and employed Peter Rudge to manage his affairs. This left Gilmour and Mason, in their view, free to continue with the Pink Floyd name.

Question: What is the last name of the performer that one critic referred to his performance as "a petulant echo"?
Answer: Waters
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the first name of the person who had turned down Waters' offer of a role on the development of his new solo album?
Answer: Bob
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the last name of the person Ezrin thought he could easily do their version of a Floyd record with?
Answer: Gilmour
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the first name of the person who arrived in England in mid-1986?
Answer: Bob
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person that owned the Hookend studio?
Answer: Gilmour
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person Jon Carin filled in for?
Answer: Waters
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person that had a solo album named Radio K.A.O.S?
Answer: Waters
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person that considered using Eric Stewart for a songwriter?
Answer: Gilmour
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person that considered using Roger McGough as a songwriter?
Answer: Gilmour
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person that used Anthony Moore as a songwriter?
Answer: Gilmour
In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.

Question: What is the name of the person that decided to make the material into a Pink FLoyd project?
Answer: Gilmour
The sessions were interrupted by the escalating disagreement between Waters and Pink Floyd over who had the rights to the Pink Floyd name. O'Rourke, believing that his contract with Waters had been terminated illegally, sued Waters for £25,000 of back-commission. In a late-1986 board meeting of Pink Floyd Music Ltd (Pink Floyd's clearing house for all financial transactions since 1973), Waters learnt that a bank account had been opened to deal exclusively with all monies related to "the new Pink Floyd project". He immediately applied to the High Court to prevent the Pink Floyd name from being used again, but his lawyers discovered that the partnership had never been formally confirmed. Waters returned to the High Court in an attempt to gain a veto over further use of the band's name. Gilmour's team responded by issuing a press release affirming that Pink Floyd would continue to exist; however, Gilmour told a Sunday Times reporter: "Roger is a dog in the manger and I'm going to fight him, no one else has claimed Pink Floyd was entirely them. Anybody who does is extremely arrogant."Waters twice visited Astoria, and with his wife had a meeting in August 1986 with Ezrin; Ezrin later suggested that he was being "checked out". As Waters was still a shareholder and director of Pink Floyd Music, he was able to block any decisions made by his former bandmates. Recording moved to Mayfair Studios in February 1987, and from February to March – under the terms of an agreement with Ezrin to record close to his home – to A&M Studios in Los Angeles: "It was fantastic because ... the lawyers couldn't call in the middle of recording unless they were calling in the middle of the night." The bitterness of the row between Waters and Pink Floyd was covered in a November 1987 issue of Rolling Stone, which became the magazine's best-selling issue of that year. The legal disputes were resolved out-of-court by the end of 1987.

Question: What was the name of the person who applied to the High Court?
Answer: Waters
The film opens with a news broadcast about a teenager named Jason Jackson being shot outside of the Monte Vista High School dance lock-in. Jason tells the story from the beginning, starting with him trying to get into the most popular dance clique in school, The Ranger$ (Langston Higgins, Julian Goins, and Dashawn Blanks). They say he has to pass the initiation of getting a pair of panties from one of the Sweet Gyrls by midnight. Jason then decides that he is going to attempt to get a pair of panties from his longtime crush Anastacia (Kristinia DeBarge during the school's lock-in.
Meanwhile, Day Day, one of the Ranger$ and Jason's older cousin owes Anastacia's eldest brother Junior $2,000 by midnight due to Day Day's father Darren telling Junior that Day Day would have his money after losing to him in a game of dominoes. In his English class, Jason gives Anastacia a poem he wrote about her after she forgets to do the homework assignment expect the teacher makes her read it in front of the class which everyone including Anastacia finds to be very great. After school is over, Anastacia gives Jason her number so they can write a song together sometime.
Another subplot of the film follows two police officers Officer P'eniss and Lagney, who are chasing down the New Boyz who are on their way to the lock-in but get caught with weed brownies and "grape juice", which Officer Lagney consumes.
At the school dance lock-in, Jason, Anastacia, the Ranger$, and Sweet Gyrls play "7 Minutes in Heaven", but when it is Jason and Anastacia's turn, she tells him that she already knows his plan and they decide to just stay friends. They later compete in a talent show to win $2,000 but when it comes to the Ranger$' performance, Jason finally beats his fear and raps to help them win the money. However, the Sweet Gyrls end up winning the prize money.

Question: Who lost a game of dominoes?
Answer: Day Day
The film opens with a news broadcast about a teenager named Jason Jackson being shot outside of the Monte Vista High School dance lock-in. Jason tells the story from the beginning, starting with him trying to get into the most popular dance clique in school, The Ranger$ (Langston Higgins, Julian Goins, and Dashawn Blanks). They say he has to pass the initiation of getting a pair of panties from one of the Sweet Gyrls by midnight. Jason then decides that he is going to attempt to get a pair of panties from his longtime crush Anastacia (Kristinia DeBarge during the school's lock-in.
Meanwhile, Day Day, one of the Ranger$ and Jason's older cousin owes Anastacia's eldest brother Junior $2,000 by midnight due to Day Day's father Darren telling Junior that Day Day would have his money after losing to him in a game of dominoes. In his English class, Jason gives Anastacia a poem he wrote about her after she forgets to do the homework assignment expect the teacher makes her read it in front of the class which everyone including Anastacia finds to be very great. After school is over, Anastacia gives Jason her number so they can write a song together sometime.
Another subplot of the film follows two police officers Officer P'eniss and Lagney, who are chasing down the New Boyz who are on their way to the lock-in but get caught with weed brownies and "grape juice", which Officer Lagney consumes.
At the school dance lock-in, Jason, Anastacia, the Ranger$, and Sweet Gyrls play "7 Minutes in Heaven", but when it is Jason and Anastacia's turn, she tells him that she already knows his plan and they decide to just stay friends. They later compete in a talent show to win $2,000 but when it comes to the Ranger$' performance, Jason finally beats his fear and raps to help them win the money. However, the Sweet Gyrls end up winning the prize money.

Question: Whose writing does the teacher think is great?
Answer: Jason
In 2004, Broadway diva Kylie Swanson opened the musical The Haunting of the Opera (a reference to real-life musical The Phantom of the Opera) to a packed audience. However, that same night, she was murdered backstage by an unknown assailant wearing the mask of the play's villain, Opera Ghost. 10 years later in the present-day, Kylie's children Camilla and Buddy have grown up raised by Roger McCall, a former lover of Kylie's and the producer of a musical theater summer camp on the brink of bankruptcy. When Camilla hears that the camp will be producing a kabuki version of The Haunting of the Opera, she decides that she will sneak into auditions one way or another. She manages to convince a camper overseeing the auditions, Joel Hopton, to let her in and Camilla easily impresses the stage director Artie and wins the lead role of Sofia - much to Buddy's dismay.
As the opening day grows closer and closer, Camilla discovers that Artie will only let her perform on opening day as long as she provides him with sexual favors. He emotionally blackmails her by playing her off of Liz Silver, a camper that will do anything to perform on opening night. Camilla tries to ward off Artie's attentions by only making out with him, which disgusts Joel - whom Camilla has largely ignored since the audition. The night before the performance, Artie gives Camilla an ultimatum: either she sleeps with him or he gives the opening night performance to Liz. Camilla initially acquiesces to Artie's overtures, but decides at the last minute that she can't go through with it. After she leaves, Artie is brutally murdered by someone wearing the Opera Ghost mask, but Roger tells everyone that Artie died by car accident. Unwilling to potentially lose a visit from important Broadway agent Victor Brady, who is only willing to watch the performance if Camilla is performing, Roger manages to persuade everyone to perform opening night as planned.

Question: What is the first name of the person that sneaks into auditions at summer camp?
Answer: Camilla
In 2004, Broadway diva Kylie Swanson opened the musical The Haunting of the Opera (a reference to real-life musical The Phantom of the Opera) to a packed audience. However, that same night, she was murdered backstage by an unknown assailant wearing the mask of the play's villain, Opera Ghost. 10 years later in the present-day, Kylie's children Camilla and Buddy have grown up raised by Roger McCall, a former lover of Kylie's and the producer of a musical theater summer camp on the brink of bankruptcy. When Camilla hears that the camp will be producing a kabuki version of The Haunting of the Opera, she decides that she will sneak into auditions one way or another. She manages to convince a camper overseeing the auditions, Joel Hopton, to let her in and Camilla easily impresses the stage director Artie and wins the lead role of Sofia - much to Buddy's dismay.
As the opening day grows closer and closer, Camilla discovers that Artie will only let her perform on opening day as long as she provides him with sexual favors. He emotionally blackmails her by playing her off of Liz Silver, a camper that will do anything to perform on opening night. Camilla tries to ward off Artie's attentions by only making out with him, which disgusts Joel - whom Camilla has largely ignored since the audition. The night before the performance, Artie gives Camilla an ultimatum: either she sleeps with him or he gives the opening night performance to Liz. Camilla initially acquiesces to Artie's overtures, but decides at the last minute that she can't go through with it. After she leaves, Artie is brutally murdered by someone wearing the Opera Ghost mask, but Roger tells everyone that Artie died by car accident. Unwilling to potentially lose a visit from important Broadway agent Victor Brady, who is only willing to watch the performance if Camilla is performing, Roger manages to persuade everyone to perform opening night as planned.

Question: What is the first name of the person that persuades the person overseeing camp auditions in order to gain entrance?
Answer: Camilla
In 2004, Broadway diva Kylie Swanson opened the musical The Haunting of the Opera (a reference to real-life musical The Phantom of the Opera) to a packed audience. However, that same night, she was murdered backstage by an unknown assailant wearing the mask of the play's villain, Opera Ghost. 10 years later in the present-day, Kylie's children Camilla and Buddy have grown up raised by Roger McCall, a former lover of Kylie's and the producer of a musical theater summer camp on the brink of bankruptcy. When Camilla hears that the camp will be producing a kabuki version of The Haunting of the Opera, she decides that she will sneak into auditions one way or another. She manages to convince a camper overseeing the auditions, Joel Hopton, to let her in and Camilla easily impresses the stage director Artie and wins the lead role of Sofia - much to Buddy's dismay.
As the opening day grows closer and closer, Camilla discovers that Artie will only let her perform on opening day as long as she provides him with sexual favors. He emotionally blackmails her by playing her off of Liz Silver, a camper that will do anything to perform on opening night. Camilla tries to ward off Artie's attentions by only making out with him, which disgusts Joel - whom Camilla has largely ignored since the audition. The night before the performance, Artie gives Camilla an ultimatum: either she sleeps with him or he gives the opening night performance to Liz. Camilla initially acquiesces to Artie's overtures, but decides at the last minute that she can't go through with it. After she leaves, Artie is brutally murdered by someone wearing the Opera Ghost mask, but Roger tells everyone that Artie died by car accident. Unwilling to potentially lose a visit from important Broadway agent Victor Brady, who is only willing to watch the performance if Camilla is performing, Roger manages to persuade everyone to perform opening night as planned.

Question: What is the first name of the person that is blackmailed emotionally?
Answer: Camilla
In 2004, Broadway diva Kylie Swanson opened the musical The Haunting of the Opera (a reference to real-life musical The Phantom of the Opera) to a packed audience. However, that same night, she was murdered backstage by an unknown assailant wearing the mask of the play's villain, Opera Ghost. 10 years later in the present-day, Kylie's children Camilla and Buddy have grown up raised by Roger McCall, a former lover of Kylie's and the producer of a musical theater summer camp on the brink of bankruptcy. When Camilla hears that the camp will be producing a kabuki version of The Haunting of the Opera, she decides that she will sneak into auditions one way or another. She manages to convince a camper overseeing the auditions, Joel Hopton, to let her in and Camilla easily impresses the stage director Artie and wins the lead role of Sofia - much to Buddy's dismay.
As the opening day grows closer and closer, Camilla discovers that Artie will only let her perform on opening day as long as she provides him with sexual favors. He emotionally blackmails her by playing her off of Liz Silver, a camper that will do anything to perform on opening night. Camilla tries to ward off Artie's attentions by only making out with him, which disgusts Joel - whom Camilla has largely ignored since the audition. The night before the performance, Artie gives Camilla an ultimatum: either she sleeps with him or he gives the opening night performance to Liz. Camilla initially acquiesces to Artie's overtures, but decides at the last minute that she can't go through with it. After she leaves, Artie is brutally murdered by someone wearing the Opera Ghost mask, but Roger tells everyone that Artie died by car accident. Unwilling to potentially lose a visit from important Broadway agent Victor Brady, who is only willing to watch the performance if Camilla is performing, Roger manages to persuade everyone to perform opening night as planned.

Question: What is the first name of the person that threatens to give the opening night lead role to Liz?
Answer: Artie
In 2004, Broadway diva Kylie Swanson opened the musical The Haunting of the Opera (a reference to real-life musical The Phantom of the Opera) to a packed audience. However, that same night, she was murdered backstage by an unknown assailant wearing the mask of the play's villain, Opera Ghost. 10 years later in the present-day, Kylie's children Camilla and Buddy have grown up raised by Roger McCall, a former lover of Kylie's and the producer of a musical theater summer camp on the brink of bankruptcy. When Camilla hears that the camp will be producing a kabuki version of The Haunting of the Opera, she decides that she will sneak into auditions one way or another. She manages to convince a camper overseeing the auditions, Joel Hopton, to let her in and Camilla easily impresses the stage director Artie and wins the lead role of Sofia - much to Buddy's dismay.
As the opening day grows closer and closer, Camilla discovers that Artie will only let her perform on opening day as long as she provides him with sexual favors. He emotionally blackmails her by playing her off of Liz Silver, a camper that will do anything to perform on opening night. Camilla tries to ward off Artie's attentions by only making out with him, which disgusts Joel - whom Camilla has largely ignored since the audition. The night before the performance, Artie gives Camilla an ultimatum: either she sleeps with him or he gives the opening night performance to Liz. Camilla initially acquiesces to Artie's overtures, but decides at the last minute that she can't go through with it. After she leaves, Artie is brutally murdered by someone wearing the Opera Ghost mask, but Roger tells everyone that Artie died by car accident. Unwilling to potentially lose a visit from important Broadway agent Victor Brady, who is only willing to watch the performance if Camilla is performing, Roger manages to persuade everyone to perform opening night as planned.

Question: What is the first name of the person that leaves just before Artie is killed?
Answer: Camilla
Kurtwood Smith plays Myron Castleman, an everyman stuck in a loop that forces him to constantly relive the same hour of his life over and over, being the only person aware of this. During one loop, he discovers that a scientist named Nathan Rosenbluth has predicted an event that matches his experience. Castleman calls him and explains what is going on, however, Rosenbluth is highly skeptical of his claims. Over the next loops, Myron struggles to get into contact with Rosenbluth again, and in the process becomes frustrated to the point of screaming at his secretary and throwing his suitcase into traffic. Eventually, he does manage to talk to Rosenbluth, who initially dismisses Myron as crazy until Myron describes the transition as the scientist had predicted (including the phrase "Consciousness is an independent variable," which is central to Rosenbluth's theories). The professor sadly informs Castleman that there is nothing that can be done, causing Myron to become hysterical and shoot himself. There is a brief pause until Myron finds himself back at the beginning of the loop, realizing that he is trapped for eternity.

Question: What is the full name of the person who discovers a scientist who has predicted an event that match their experience?
Answer: Myron Castleman