Given the following context: The postwar period also saw the beginning of Bush's 20-year involvement with grand opera, a genre in which, although he achieved little commercial recognition, he was retrospectively hailed by critics as a master of British opera second only to Britten. His first venture, Wat Tyler, was written in a form which Bush thought acceptable to the general British public; it was not his choice, he wrote, that the opera and its successors all found their initial audiences in East Germany. When eventually staged in Britain in 1974 the opera, although well received at Sadler's Wells, seemed somewhat old-fashioned; Philip Hope-Wallace in The Guardian thought the ending degenerated into "a choral union cantata", and found the music pleasant but not especially memorable. Bush's three other major operas were all characterised by their use of "local" music: Northumbrian folk-song in the case of Men of Blackmoor, Guyanese songs and dances in The Sugar Reapers, and American folk music in Joe Hill the last-named used in a manner reminiscent of Kurt Weill and the German opera with which Bush had become familiar in the early 1930s.The extent to which Bush's music changed substantially after the war was addressed by Meirion Bowen, reviewing a Bush concert in the 1980s. Bowen noted a distinct contrast between early and late works, the former showing primarily the influences of Ireland and of Bush's European contacts, while in the later pieces the idiom was "often overtly folklike and Vaughan Williams-ish". In general Bush's late works continued to show all the hallmarks of his postwar oeuvre: vigour, clarity of tone and masterful use of counterpoint. The Lascaux symphony, written when he was 83, is the composer's final major orchestral statement, and addresses deep philosophical issues relating to the origins and destiny of mankind. answer the following question: What is the last name of the person whose final major orchestral statement was written when he was 83?
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Answer: Bush

Q: Given the following context: When not working with Toto, Lukather has participated in numerous side projects including playing with jazz fusion band Los Lobotomys and with other session musicians, and touring with Larry Carlton, Joe Satriani, Steve Vai, and others. Lukather was a long-time member of the band Los Lobotomys, a collaboration of session musicians including jazz and be-bop player David "Creatchy" Garfield and Toto drummer Jeff Porcaro, replaced after his death by Simon Phillips, who also replaced Porcaro in Toto. Los Lobotomys formed in the mid-1980s and played regular shows in the Los Angeles area, often inviting whatever session musicians happened to be available and in the area. They recorded an album under the Los Lobotomys name in 1989, and the band was heavily involved in the recording of Lukather's Candyman. Los Lobotomys recorded a live album in 2004 comprising several tracks from Candyman and from the 1989 album.In 1998, Lukather received an invitation to tour Japan with fellow guitarist Larry Carlton after Japanese promoters requested that Carlton's annual tours each be different from the last. Lukather and Carlton exchanged some recorded material and decided that a collaboration would be interesting. Lukather was flattered by the invitation to tour with Carlton, citing him as his favorite guitarist. Lukather speaks highly of their stage efforts, although the two were admittedly outside their normal realm of work. He stated in an interview that "you can hear us having fun on the recordyou can hear the smiles on our faces." After several shows, the duo realized that they should record their collaboration even if just for their own use. Guitarist and producer Steve Vai heard one of the subsequent recordings and expressed interest in releasing it under his Favored Nations label, also home to such artists as Eric Johnson and Dweezil Zappa. Vai and Lukather mixed and produced the recording, which is said to be a mixture of jazz, blues, and fusion music. The resulting album, No Substitutions: Live in Osaka, won a 2001... answer the following question: Who was the owner of the label Favored Nations?
A: Steve Vai

Given the following context: While Stafford was still working for Dorsey, Johnny Mercer told her, "Some day I'm going to have my own record company, and you're going to record for me." She subsequently became the first solo artist signed to Capitol after leaving the Pied Pipers in 1944. A key figure in helping Stafford to develop her solo career was Mike Nidorf, an agent who first heard her as a member of the Pied Pipers while he was serving as a Captain with the United States Army. Having previously discovered artists such as Glenn Miller, Artie Shaw, and Woody Herman, Nidorf was impressed by Stafford's voice, and contacted her when he was demobilized in 1944. After she agreed to let him represent her, he encouraged her to reduce her weight and arranged a string of engagements that raised her profile, and confidence.The success of Stafford's solo career led to a demand for personal appearances, and from February 1945 she embarked on a six-month residency at New York's La Martinique nightclub. Her performance was well-receivedan article in the July 1945 edition of Band Leaders magazine described it as "sensational"but Stafford did not enjoy singing before live audiences, and it was the only nightclub venue she ever played. Speaking about her discomfort with live performances, Stafford told a 1996 interview with The New Yorker's Nancy Franklin, "I'm basically a singer, period, and I think I'm really lousy up in front of an audienceit's just not me."Stafford's tenure with the United Service Organizations (USO) during World War IIwhich often saw her perform for soldiers stationed in the U.S.led to her acquiring the nickname "G.I. Jo". On returning from the Pacific theater, a veteran told Stafford that the Japanese would play her records on loudspeakers in an attempt to make the U.S. troops homesick enough to surrender. She replied personally to all the letters she received from servicemen. Stafford was a favorite of many servicemen during both World War II and the Korean War; her recordings received extensive airplay on the American... answer the following question: What two wars was Stafford a favorite of many of the servicemen?
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Answer:
World War II