user: [Q]: Whose album was "received with a lot of head scratching?"  Answer the above question based on the context below:  During the latter half of 2002, Sasha collaborated with big beat artist Junkie XL on the single "Breezer". Junkie XL, along with Charlie May, also assisted Sasha on his second album of original material, Airdrawndagger.  Airdrawndagger took several years to produce due to Sasha's desire for the album to be "as near to perfection as possible."  That March, Sasha suffered a perforated eardrum in a traffic accident, further delaying the album's production. Though the accident temporarily impaired his hearing, he drew inspiration for the album from his ordeal.  Airdrawndagger was finally released, in August 2002, to much fanfare. However, the album was "received with a lot of head scratching", according to Sasha, which he attributed to its unexpected mix of genres. The album did not feature the heavier "club sound" of Sasha's previous mix albums, bearing a closer resemblance to ambient music.  Airdrawndagger generally received favorable reviews, though critics noted that it was not as consistent and well produced as his DJ mixes. Sasha himself described it as "a selfish, slightly self-indulgent record", though he maintains that he is "happy with it to this day".  Some critics, however, called it "sleepy"; E!Online described it as being "more in league with Yanni than Moby".  To encourage listeners' interest, Sasha held an amateur remix contest for the album's single, "Wavy Gravy".  Due to the contest's success, Sasha released all the tracks from Airdrawndagger on his website, so that fans could download and create their own versions.After the release of Airdrawndagger, Sasha took the young DJ James Zabiela "under his wing". He introduced Zabiela to the CDJ1000 turntable, and signed Zabiela to the Excession talent agency.  The two toured the United States together, which extended Sasha's influence to already-popular American DJs such as Kimball Collins. In 2004, Sasha signed with Global Underground to produce another mix album. However, he found the process of creating a standard mix album unrewarding, and decided...
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[A]: Sasha


[Q]: What is the first name of the person who had a no-stockpiling policy?  Answer the above question based on the context below:  After Shackleton left with the James Caird, Frank Wild took command of the Elephant Island party, some of whom were in a low state, physically or mentally: Lewis Rickinson had suffered a suspected heart attack; Perce Blackborow was unable to walk, due to frostbitten feet; Hubert Hudson was depressed. The priority for the party was a permanent shelter against the rapidly approaching southern winter. On the suggestion of George Marston and Lionel Greenstreet, a hut—nicknamed the "Snuggery"—was improvised by upturning the two boats and placing them on low stone walls, to provide around five feet (1.5 m) of headroom. By means of canvas and other materials the structure was made into a crude but effective shelter.Wild initially estimated that they would have to wait one month for rescue, and refused to allow long-term stockpiling of seal and penguin meat because this, in his view, was defeatist. This policy led to sharp disagreements with Thomas Orde-Lees, who was not a popular man and whose presence apparently did little to improve the morale of his companions, unless it was by way of being the butt of their jokes.As the weeks extended well beyond his initial optimistic forecast, Wild established and maintained routines and activities to relieve the tedium. A permanent lookout was kept for the arrival of the rescue ship, cooking and housekeeping rotas were established, and there were hunting trips for seal and penguin. Concerts were held on Saturdays and anniversaries were celebrated, but there were growing feelings of despondency as time passed with no sign of the ship. The toes on Blackborow's left foot became gangrenous from frostbite and, on 15 June, had to be amputated by surgeons Alexander Macklin and James McIlroy in the candle-lit hut. Using the very last of the chloroform in their medical supplies, the whole procedure took 55 minutes and was a complete success.By 23 August, it seemed that Wild's no-stockpiling policy had failed. The surrounding sea was dense with pack ice that would halt any rescue ship,...
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[A]: Frank


[Q]: What is the name of the work in which the end is a descriptive tomb scene?  Answer the above question based on the context below:  A composer may also respond to a text by expanding a choral symphony beyond the normal bounds of the symphonic genre. This is evident in the unusual orchestration and stage directions Berlioz prepared for his Roméo et Juliette. This piece is actually in seven movements, and calls for an intermission after the fourth movement – the "Queen Mab Scherzo" – to remove the harps from the stage and bring on the chorus of Capulets for the funeral march that follows. Berlioz biographer D. Kern Holoman observed that, "as Berlioz saw it, the work is simply Beethovenian in design, with the narrative elements overlain. Its core approaches a five-movement symphony with the choral finale and, as in the [Symphonie] Fantastique, both a scherzo and a march.... The 'extra' movements are thus the introduction with its potpourri of subsections and the descriptive tomb scene [at the end of the work]."Mahler expanded the Beethovenian model for programmatic as well as symphonic reasons in his Second Symphony, the "Resurrection", the vocal fourth movement, "Urlicht", bridging the childlike faith of the third movement with the ideological tension Mahler seeks to resolve in the finale. He then abandoned this pattern for his Third Symphony, as two movements for voices and orchestra follow three purely instrumental ones before the finale returns to instruments alone. Like Mahler, Havergal Brian expanded the Beethovenian model, but on a much larger scale and with far larger orchestral and choral forces, in his Symphony No. 1 "The Gothic". Written between 1919 and 1927, the symphony was inspired by Goethe's Faust and Gothic cathedral architecture. The Brian First is in two parts. The first consists of three instrumental movements; the second, also in three movements and over an hour in length, is a Latin setting of the Te Deum.
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[A]:

assistant: Roméo et Juliette