Q: A friend asked me to answer this question: What band is from Stockton?, using the article: The music on Slay Tracks was written entirely by Malkmus, and he stated his influences on the record included Chrome, Swell Maps, and The Fall. The songs on the EP drew comparisons to the likes of R.E.M., Pixies, and Sonic Youth by Stephen Thomas Erlewine and Heather Phares of AllMusic. Radio static and noise are prominently used on the EP, techniques which are characteristic of the lo-fi and noise pop genres that Pavement are frequently associated with. According to Malkmus, "We decided to use static as the third instrument. .... It was pretty exciting to be so experimental." Young played drums on "Box Elder" and "Price Yeah!", and frequently improvised. Malkmus played drums on "Maybe Maybe", while both Malkmus and Kannberg drummed on "She Believes"."You're Killing Me", the longest song on the EP at three minutes and 20 seconds, is an example of the impact punk rock had on Pavement. The song features fuzz effects, repetitive lyrics, and no percussion or drums. "Box Elder", an ironic song about someone wanting to move to Box Elder, Montana, was considered by Gerard Cosloy to be an example of Malkmus's "honest, direct, and simplistic" lyrical style, and features greater influence from pop music than the rest of the EP. "Maybe Maybe" features distorted guitars and indiscernible vocals, and "Price Yeah!" has a sound typical of hardcore punk. The band's hometown of Stockton inspired the band's lyrics and sound. Malkmus stated that "There's something empty about Stockton. I wanted to convey that in our music." Malkmus told Melody Maker in 1992 that "Pavement was originally a pathetic effort by us to do something to escape the terminal boredom we were experiencing in Stockton.", what would be the answer ?
A: Pavement
Question: A friend asked me to answer this question: What is the last name of the composer who acknowledged Trois Morceaux for harmonium as his first piece of mature work?, using the article: In 1848, at the age of thirteen, Saint-Saens was admitted to the Paris Conservatoire, France's foremost music academy. The director, Daniel Auber, had succeeded Luigi Cherubini in 1842, and brought a more relaxed regime than that of his martinet predecessor, though the curriculum remained conservative. Students, even outstanding pianists like Saint-Saens, were encouraged to specialise in organ studies, because a career as a church organist was seen to offer more opportunities than that of a solo pianist. His organ professor was Francois Benoist, whom Saint-Saens considered a mediocre organist but a first-rate teacher; his pupils included Adolphe Adam, Cesar Franck, Charles Alkan, Louis Lefebure-Wely and Georges Bizet. In 1851 Saint-Saens won the Conservatoire's top prize for organists, and in the same year he began formal composition studies. His professor was a protege of Cherubini, Fromental Halevy, whose pupils included Charles Gounod and Bizet.Saint-Saens's student compositions included a symphony in A major (1850) and a choral piece, Les Djinns (1850), after an eponymous poem by Victor Hugo. He competed for France's premier musical award, the Prix de Rome, in 1852 but was unsuccessful. Auber believed that the prize should have gone to Saint-Saens, considering him to have more promise than the winner, Leonce Cohen, who made little mark during the rest of his career. In the same year Saint-Saens had greater success in a competition organised by the Societe Sainte-Cecile, Paris, with his Ode a Sainte-Cecile, for which the judges unanimously voted him the first prize. The first piece the composer acknowledged as a mature work and gave an opus number was Trois Morceaux for harmonium (1852)., what would be the answer ?
Answer: Saint-Saens
Question: A friend asked me to answer this question: What is the last name of the person who served as the founder and Honorary Director of the Institute of Archaeology in London?, using the article: Sir Robert Eric Mortimer Wheeler (10 September 1890 22 July 1976) was a British archaeologist and officer in the British Army. Over the course of his career, he served as Director of both the National Museum of Wales and London Museum, Director-General of the Archaeological Survey of India, and the founder and Honorary Director of the Institute of Archaeology in London, in addition to writing twenty-four books on archaeological subjects. Born in Glasgow to a middle-class family, Wheeler was raised largely in Yorkshire before relocating to London in his teenage years. After studying classics at University College London (UCL), he began working professionally in archaeology, specialising in the Romano-British period. During World War I he volunteered for service in the Royal Artillery, being stationed on the Western Front, where he rose to the rank of major and was awarded the Military Cross. Returning to Britain, he obtained his doctorate from UCL before taking on a position at the National Museum of Wales, first as Keeper of Archaeology and then as Director, during which time he oversaw excavation at the Roman forts of Segontium, Y Gaer, and Isca Augusta with the aid of his first wife, Tessa Wheeler. Influenced by the archaeologist Augustus Pitt Rivers, Wheeler argued that excavation and the recording of stratigraphic context required an increasingly scientific and methodical approach, developing the "Wheeler method". In 1926, he was appointed Keeper of the London Museum; there, he oversaw a reorganisation of the collection, successfully lobbied for increased funding, and began lecturing at UCL. In 1934, he established the Institute of Archaeology as part of the federal University of London, adopting the position of Honorary Director. In this period, he oversaw excavations of the Roman sites at Lydney Park and Verulamium and the Iron Age hill fort of Maiden Castle. During World War II, he re-joined the Armed Forces and rose to the rank of brigadier, serving in the North African Campaign and then the Allied..., what would be the answer ?
Answer:
Wheeler