[Q]: What is the last name of the person whom people had no reason to believe would not continue after his Seventh Symphony? Answer the above question based on the context below: Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945. Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schneevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since...
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[A]: Sibelius

[Q]: What was the full name of the member of the Wiggles that was replaced the an understudy? Answer the above question based on the context below: The Wiggles are an Australian children's music group formed in Sydney, New South Wales, in 1991. Since 2013, the group members are Anthony Field, Lachlan Gillespie, Simon Pryce, and Emma Watkins. The original members were Field, Phillip Wilcher, Murray Cook, Greg Page, and Jeff Fatt. Wilcher left the group after their first album. Page retired in 2006 due to ill health and was replaced by understudy Sam Moran, but returned in 2012, replacing Moran. At the end of 2012, Page, Cook, and Fatt retired, and were replaced by Gillespie, Pryce, and Watkins. Cook and Fatt retained their shareholding in the group and all three continued to have input into its creative and production aspects. Field and Fatt were members of the Australian pop band The Cockroaches in the 1980s, and Cook was a member of several bands before meeting Field and Page at Macquarie University, where they were studying to become pre-school teachers. In 1991, Field was inspired to create an album of children's music based upon concepts of early childhood education, and enlisted Cook, Page, and Fatt to assist him. They began touring to promote the album, and became so successful, they quit their teaching jobs to perform full-time. The group augmented their act with animal characters Dorothy the Dinosaur, Henry the Octopus, and Wags the Dog, as well as the character Captain Feathersword, played by Paul Paddick since 1993. They travelled with a small group of dancers, which later grew into a larger troupe. The group's DVDs, CDs, and television programs have been produced independently since their inception. Their high point came in the early 2000s, after they broke into the American market. The group was formally consolidated in 2005. They were listed at the top of Business Review Weekly's top-earning Australian entertainers four years in a row, and earned A$45 million in 2009. In 2011, the worldwide recession hit The Wiggles, as it had done for many Australian entertainers; they earned $28 million, but they still appeared second on BRW's list...
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[A]: Greg Page

[Q]: The influence of what can be seen as in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein? Answer the above question based on the context below: The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Leon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait. Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Felix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Edouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Riviere.
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[A]: Bertin portrait

[Q]: What is the name of the bridges that the ground was dry for their construction? Answer the above question based on the context below: Lake Burley Griffin is crossed by Commonwealth Avenue Bridge (310 metres or 1,020 feet), Kings Avenue Bridge (270 metres or 890 feet) and a roadway over Scrivener Dam. The two bridges were constructed before the lake was filled, and replaced wooden structures. Site testing for both the Commonwealth Avenue and Kings Avenue bridges took place during late 1959 to early 1960. The construction of the Kings Avenue Bridge began in 1960, followed by Commonwealth Avenue Bridge the year after. Fortunately for the builders, Canberra was in a drought and the ground remained dry during construction. Both bridges use post-tensioned concrete, reinforced with rustproof steel cables.Both bridges are made of concrete and steel and are dual-carriageway; Commonwealth Avenue has three lanes in each direction while Kings Avenue has two. Instead of traditional lamp post lighting, Kings Avenue Bridge was illuminated by a series of fluorescent tubes on the handrails, a concept known as "integral lighting". The design was deemed a success, so it was introduced to the Commonwealth Avenue Bridge also. Both structures won awards from the Illumination Engineering Society.Kings Avenue Bridge opened on 10 March 1962. Prime Minister Menzies unlocked a ceremonial chain before the motorcade and pageant crossed the lake in front of a large crowd. Commonwealth Avenue Bridge opened in 1963 without an official ceremony. Menzies called it "the finest building in the national capital".
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[A]:
Kings Avenue Bridge