user: input: Please answer the following: The answer to the question: What is the last name of the person who was almost shot after being identified? is inside the article: Fowzi Nejad was the only gunman to survive the SAS assault. After being identified, he was dragged away by an SAS trooper, who allegedly intended to take him back into the building and shoot him. The soldier reportedly changed his mind when it was pointed out to him that the raid was being broadcast on live television. It later emerged that the footage from the back of the embassy was coming from a wireless camera placed in the window of a flat overlooking the embassy. The camera had been installed by ITN technicians, who had posed as guests of a local resident in order to get past the police cordon, which had been in place since the beginning of the siege. Nejad was arrested, and was eventually tried, convicted, and sentenced to life imprisonment for his role in the siege. He became eligible for parole in 2005. As a foreign national, he would normally have been immediately deported to his home country but Article 3 of the European Convention on Human Rights, incorporated into British law by the Human Rights Act 1998, has been held by the European Court of Human Rights to prohibit deportation in cases where the person concerned would be likely to be tortured or executed in his home country. Nejad was eventually paroled in 2008 and granted leave to remain in the UK, but was not given political asylum. The Home Office released a statement, saying "We do not give refugee status to convicted terrorists. Our aim is to deport people as quickly as possible but the law requires us to first obtain assurances that the person being returned will not face certain death". After 27 years in prison, Nejad was deemed no longer to be a threat to society, but Trevor Lock wrote to the Home Office to oppose his release. Because it is accepted by the British government that he would be executed or tortured, he cannot be deported to Iran under the Human Rights Act 1998. He now lives in Peckham, south London, having assumed another identity., can you guess it ?
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output: Nejad


input: Please answer the following: The answer to the question: What is the name of the group that "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound"? is inside the article: Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album..., can you guess it ?
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output: Stereolab


input: Please answer the following: The answer to the question: What was the next album released by The Mothers of Invention after We're Only in It for the Money? is inside the article: The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song Tomorrow Never Knows. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met..., can you guess it ?
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output:

assistant: Cruising with Ruben & the Jets