A friend asked me to answer this question: What is the full name of the person who had a love/hate relationship with LA?, using the article: "City of Angels" was written by lead vocalist Jared Leto, who also produced the song with Steve Lillywhite. The latter had previously worked with Thirty Seconds to Mars on the production of the band's third studio album, This Is War (2009). The song was engineered by Jamie Reed Schefman and mixed by Serban Ghenea. John Hanes engineered it for mixing at Mixstar Studios in Virginia Beach, Virginia. It was recorded at The International Centre for the Advancement of the Arts and Sciences of Sound in Los Angeles, California and mastered by Howie Weinberg and Dan Gerbarg at Howie Weinberg Mastering. Thirty Seconds to Mars unveiled six songs from their fourth studio album Love, Lust, Faith and Dreams, including "City of Angels", during a preview held at the Electric Lady Studios in New York City on March 14, 2013. Shannon Leto revealed that it was the oldest song written for the album and took a long time to make.While writing the song, Leto was influenced by the culture of Los Angeles and inspired by his relationship with it. He explained that pursuing his creative ambitions in Los Angeles had led to a "love/hate relationship" with the city. Leto told Interview magazine, "the song is about people coming to the City of Angels to live their dreams and to make their dreams their reality. It's about how the other people they've met in the city have helped themyou know, a group of people all kind of joining together into a community of outsiders, of mavericks, of freaks, of artists. It's about coming to a place to do something different and something special.", what would be the answer ?
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Answer: Jared Leto
Q: A friend asked me to answer this question: What are the names of the people that J.M. Barrie yelled at?, using the article: Peter Banning is a successful corporate lawyer living in San Francisco. Though he loves his family, his workaholic lifestyle causes him to spend little time with his wife, Moira, and children, 12-year-old Jack and 7-year-old Maggie, and even miss Jack's Little League Baseball game, which is straining his relationships with them. They fly to London to visit Moira's grandmother, Wendy Darling. Wendy is ostensibly the true creator of the Peter Pan stories, with J. M. Barrie, her childhood neighbor, merely having transcribed the tales. During their stay, Peter angrily yells at the children when their playing disturbs his important call, leading to an audacious argument with Moira, who throws his cellphone out of the window. Peter, Moira and Wendy go out to a charity dinner honoring Wendy's long life of charitable service to orphans. Upon their return, they discover the house has been ransacked and the children have been abducted. A cryptic ransom note, signed Captain James Hook, has been pinned to the playroom door with a dagger. Wendy confesses to Peter that the stories of Peter Pan are true and that Peter himself is Pan, having lost all of his childhood memories when he fell in love with Moira. In disbelief, he gets drunk up in the playroom, but Tinker Bell appears and takes him to Neverland to rescue his children from Hook., what would be the answer ?
A: Jack
A friend asked me to answer this question: What is the first name of the subject enveloped by a "throne room" as if it were a "carrying case"?, using the article: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pacht describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type perhaps best known through Giotto's Ognissanti Madonna (c. 1310) and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 143436, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling..., what would be the answer ?
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Answer:
Mary