[Q]: This article: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided'... contains an answer for the question: What is the first name of the person who said he had "Never have I seen four cows more anxious to be led around by their nose rings?", what is it ?
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[A]: Steve

[Q]: This article: Monument 6 is a zoomorph sculpture discovered during the construction of the road that passes the site. It was moved to the Museo Nacional de Arqueologia y Etnologia in Guatemala City. The sculpture is just over 1 metre (39 in) in height and is 1.5 metres (59 in) wide. It is a boulder carved into the form of an animal head, probably that of a toad, and is likely to date to the Late Preclassic.Monument 7 is a damaged sculpture in the form of a giant head. It stands 0.58 metres (23 in) and was found in the first half of the 20th century on the site of the electricity generator of the Santa Margarita plantation and moved close to the administration office. The sculpture has a large, flat face with prominent eyebrows. Its style is very similar to that of a monument found at Kaminaljuyu in the highlands.Monument 8 is found on the west side of Structure 12. It is a zoomorphic sculpture of a monster with feline characteristics disgorging a small anthropomorphic figure from its mouth.Monument 9 is a local style sculpture representing an owl.Monument 10 is another monument that was moved from its original location; it was moved to the estate of the Santa Margarita plantation and the place where it was originally found is unknown. It is about 0.5 metres (20 in) high and 0.4 metres (16 in) wide. This is a damaged sculpture representing a kneeling captive with the arms tied. Monument 66 is a local style sculpture of a crocodilian head that may date to the Middle Preclassic. It is located to the west of Structure 12.Monument 67 is a badly eroded Olmec-style sculpture showing a figure emerging from the mouth of a jaguar, with one hand raised and gripping a staff. Traces of a helmet are visible. It is located to the west of Structure 12 and dates to the Middle Preclassic.Monument 68 is a local style sculpture of a toad located on the west side of Structure 12. It is believed to date to the Middle Preclassic.Monument 69 is a potbelly monument dating to the Late Preclassic.Monument 70 is a local style sculpture of a frog or... contains an answer for the question: How many inches wide is Monument 10?, what is it ?
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[A]: 16

[Q]: This article: At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Maori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in... contains an answer for the question: What is the first name of the person described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types"?, what is it ?
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[A]:
Barbara