input: Please answer the following: Who rebuffs one of his team? Answer the above question based on the context below: John, an ambitious young police officer, is sent undercover to join a violent football firm associated with the fictitious club Shadwell Town to track down the 'generals' - the shadowy figures who orchestrate the violence. His team of four gradually ingratiate themselves into the lives of The Dogs, the nickname that Shadwell's fans give themselves. The main site for this is The Rock, a public house around which The Dogs' lives revolve. Gradually, the hard drinking and hard fighting macho culture - where Saturday's match and Saturday's fight are all that matters - prove strangely irresistible to John and he slowly finds himself becoming one of the thugs he has been sent to entrap. His relationships with his wife, his superiors and even his team become strained. Eventually his wife returns to her parents' house and rebuffs his attempted reconciliation. The police operation is abruptly wound up for budgeting reasons, just as it seems John is making progress in identifying those who pull the strings. The closing sequence shows a shaven-headed John taking part in a racist march, having become nothing more than a neo-nazi fascist. One of his team approaches him to try to help him, but is rebuffed. John says that he is, again, working undercover. There is a degree of ambiguity, and it might be that he is working undercover, though it may also be that he has become deluded and has merely mired himself in an even less pleasant world. His fascist chanting at the very end makes it clear that whatever the truth, John is unable to prevent himself from sinking into his character.
++++++++++
output: John
Please answer this: What is the name of the group that received favourable reviews for their album War? Answer the above question based on the context below: After the October Tour, U2 decamped to a rented cottage in Howth, where they lived, wrote new songs, and rehearsed for their third album, War. Significant musical breakthroughs were achieved by the Edge in August 1982 during a two-week period of independent songwriting, while the other band members vacationed and Bono honeymooned with his wife Ali. From September to November, the group recorded War at Windmill Lane Studios. Lillywhite, who had a policy of not working with an artist more than twice, was convinced by the group to return as their producer for a third time. The recording sessions featured contributions from violinist Steve Wickham and the female singers of Kid Creole and the Coconuts. For the first time, Mullen agreed to play drums to a click track to keep time. After completing the album, U2 undertook a short tour of Western Europe in December. War's lead single, "New Year's Day", was released on 1 January 1983. It reached number 10 in the UK and became the group's first hit outside of Europe; in the US, it received extensive radio coverage and peaked at number 53. Resolving their doubts of the October period, U2 released War in February. Critically, the album received favourable reviews, although a few UK reviewers were critical of it. Nonetheless, it was the band's first commercial success, debuting at number one in the UK, while reaching number 12 in the US. War's sincerity and "rugged" guitar were intentionally at odds with the trendier synthpop of the time. A record on which the band "turned pacifism itself into a crusade", War was lyrically more political than their first two records, focusing on the physical and emotional effects of warfare. The album included the protest song "Sunday Bloody Sunday", in which Bono lyrically tried to contrast the events of the 1972 Bloody Sunday shooting with Easter Sunday. Other songs from the record addressed topics such as nuclear proliferation ("Seconds") and the Polish Solidarity movement ("New Year's Day"). War was U2's first record to feature...
++++++++
Answer: U2
Problem: What is the full name of the character who reconciles with his wife after revealing that he is no longer paralyzed? Answer the above question based on the context below: Lady Patricia, a London socialite engaged to another aristocrat, shocks her father and social class by marrying the poor Italian violinist Paul Gherardi. Countess Olga Balakireff, a vamp who likes to fool around with men below her station, takes an interest in Gherardi, as well. Unbeknownst to Patricia, Balakireff uses her influence to make Paul famous and, in return, ensnares him in an affair. The double strain of fame and deceit causes Paul to suffer a collapse at Balakireff's house. Dr. Pomeroy is sent for, who happens to be one of Patricia's former lovers. He has Paul taken home, where Patricia quickly uncovers the facts. The couple separate. While Dr. Pomeroy ardently courts Patricia, Paul cohabits with Balakireff in the South of France, until she has had her fun and leaves him. Paul then suffers a paralytic attack. Patricia and Dr. Pomeroy take Paul to a surgeon for an operation, and Patricia stays at her husband's side to nurse him back to health. After a month, Paul still seems not to have made any progress and accuses Patricia of wanting to leave him for Thompson. The moment after Thompson and Patricia have said goodbye forever because she won't leave a paralyzed husband, Paul reveals to his wife that he has, in fact, fully recovered, and the two are reconciled.

A: Paul Gherardi
input question: What was the name of the musical director that lead the 1958 production of The Merry Widow? Answer the above question based on the context below: By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as Maria Callas would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers. Colin Davis was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included Pizzetti's Murder in the Cathedral, Stravinsky's Oedipus rex, Richard Rodney Bennett's The Mines of Sulphur and more Janacek. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions: Oedipus rex, which was sung in Latin, and Monteverdi's L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe, on the day on which the Savoy operas came out of copyright and the D'Oyly Carte monopoly ended. The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of The Mikado in May of the same year.The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing in a large West End theatre, such as its 1958 sell-out production of The Merry Widow that had transferred to the 2,351-seat London Coliseum for a summer season. Ten years later, the lease of the Coliseum became available. Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968. One of the company's last productions at the Islington theatre was...???
output answer:
Gibson