[Q]: Found the following article online, use it to answer the question: What prairies' surface is covered only three to seven months of the year? Two kinds of wet prairies thrive in the Everglades: marl and water-marsh community. Wet prairies are slightly elevated like sawgrass marshes, but contain abundant plant diversity. Marl prairies are located where marl covers limestone that may protrude as pinnacles or erode into solution holes: depressions formed by the same processes that create sinkholes. Solution holes, however, do not meet the water table; they are filled with rain water. The surface is covered only three to seven months of the year, but the water is usually just 4 inches (10 cm) deep. Marl is created by layers of periphyton loosely attached to the limestone, and forms a grey or white crumbly mud when it dries. When flooded, the marl can support a variety of water plants, and dwarf cypresses may grow for hundreds of years though not exceed 10 feet (3.0 m) in height. Solution holes may remain flooded even when the prairies are dry, and they support aquatic invertebrates such as crayfish and snails, as well as larval amphibians which feed young wading birds. Where the predominant soil is peat, a water-marsh community exists. Its hydroperiod is longer than the marl prairie, although its plants are less diverse. These regions tend to be on the border between sloughs and sawgrass marshes. Alligators have created an ecological niche in wet prairies; they dig at low spots with their claws and snouts and create ponds free of vegetation that remain submerged throughout the dry season. Alligator holes are integral to the survival of aquatic invertebrates, turtles, fish, small mammals, and birds during extended drought periods. Alligators feed upon animals that visit the hole.
****
[A]: Marl prairies
input: Please answer the following: Found the following article online, use it to answer the question: What is the name of the tour that was the band's first experience playing large stadiums? In 1975, Pink Floyd bought a three-storey group of church halls at 35 Britannia Row in Islington and began converting the building into a recording studio and storage space. In 1976, they recorded their tenth album, Animals, in their newly finished 24-track studio. The concept of Animals originated with Waters, loosely based on George Orwell's political fable, Animal Farm. The album's lyrics described different classes of society as dogs, pigs, and sheep. Hipgnosis received credit for the packaging of Animals; however, Waters designed the final concept, choosing an image of the ageing Battersea Power Station, over which they superimposed an image of a pig.The division of royalties was a source of conflict between band members, who earned royalties on a per-song basis. Although Gilmour was largely responsible for "Dogs", which took up almost the entire first side of the album, he received less than Waters, who contributed the much shorter two-part "Pigs on the Wing". Wright commented: "It was partly my fault because I didn't push my material ... but Dave did have something to offer, and only managed to get a couple of things on there." Mason recalled: "Roger was in full flow with the ideas, but he was really keeping Dave down, and frustrating him deliberately." Gilmour, distracted by the birth of his first child, contributed little else toward the album. Similarly, neither Mason nor Wright contributed much toward Animals; Wright had marital problems, and his relationship with Waters was also suffering. Animals is the first Pink Floyd album that does not include a writing credit for Wright, who commented: "Animals ... wasn't a fun record to make ... this was when Roger really started to believe that he was the sole writer for the band ... that it was only because of him that [we] were still going ... when he started to develop his ego trips, the person he would have his conflicts with would be me."Released in January 1977, the album peaked on the UK chart at number two, and the US chart at number three. NME...
++++++++++
output: In the Flesh
Please answer this: Found the following article online, use it to answer the question: What are the first names of the people who arrived at the unfinished house? In Reno, Nevada, Roslyn Tabor is a 30-year-old woman who has just filed for a quickie six-week divorce from her inattentive husband Raymond. After leaving the Washoe County Courthouse, Roslyn ignores Raymond's attempts to talk to her, and meets with her best local friend and landlord, Isabelle Steers, who is also a divorcee. Isabelle takes Roslyn to a bar at Harrah's Reno for drinks to let the reality of her divorce sink in. While there, they meet an aging cowboy named Gaylord 'Gay' Langland and his tow truck driver friend Guido. They invite Roslyn and Isabelle to Guido's old house in the Nevada country to help her forget about the divorce, after Gay tells Roslyn that he is also divorced. They arrive at the unfinished house Guido built for his late wife, who died several years earlier during childbirth. They drink and dance. Roslyn has too much to drink, so Gay drives her home to Reno. Eventually, Roslyn and Gay move into Guido's half-finished house and start to work on it. One day after breakfast, Gay tells Roslyn how he wishes he were more of a father to his own children, whom he has not seen for some years. Later that afternoon, Roslyn and Gay argue when Gay states his intention to find and kill the rabbits which have been eating the vegetable garden they planted outside Guido's house.
++++++++
Answer: Roslyn
Problem: Found the following article online, use it to answer the question: What is the first name of the person who highlighted the melody of "Sleep Talk"? Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but...

A:
Gary