Q: What are the last names of the two people who Palmer said were obvious influences to Curtis? Answer the above question based on the context below: Curtis was the band's sole lyricist, and he typically composed his lyrics in a notebook, independently of the eventual music to evolve. The music itself was largely written by Sumner and Hook as the group jammed during rehearsals. Curtis's imagery and word choice often referenced "coldness, pressure, darkness, crisis, failure, collapse, loss of control". In 1979, NME journalist Paul Rambali wrote, "The themes of Joy Division's music are sorrowful, painful and sometimes deeply sad." Music journalist Jon Savage wrote that "Curtis's great lyrical achievement was to capture the underlying reality of a society in turmoil, and to make it both universal and personal," while noting that "the lyrics reflected, in mood and approach, his interest in romantic and science-fiction literature." Critic Robert Palmer wrote that William S. Burroughs and J. G. Ballard were "obvious influences" to Curtis, and Morris also remembered the singer reading T. S. Eliot. Deborah Curtis also remembered Curtis reading works by writers such as Fyodor Dostoevsky, Friedrich Nietzsche, Jean-Paul Sartre, Franz Kafka, and Hermann Hesse.Curtis was unwilling to explain the meaning behind his lyrics and Joy Division releases were absent of any lyric sheets. He told the fanzine Printed Noise, "We haven't got a message really; the lyrics are open to interpretation. They're multidimensional. You can read into them what you like." The other Joy Division members have said that at the time, they paid little attention to the contents of Curtis' lyrics. In a 1987 interview with Option, Morris said that they "just thought the songs were sort of sympathetic and more uplifting than depressing. But everyone's got their own opinion." Deborah Curtis recalled that only with the release of Closer did many who were close to the singer realise "[h]is intentions and feelings were all there within the lyrics". The surviving members regret not seeing the warning signs in Curtis's lyrics. Morris said that "it was only after Ian died that we sat down and listened to the...
A: Burroughs
Question: What is the last name of the person whose first venture was written in a form which Bush thought acceptable to the general British public? Answer the above question based on the context below: 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: Bush
Question: What is the first name of the person who described Hope a study in contradictions? Answer the above question based on the context below: Despite the steep decline in Watts's popularity, Hope continued to hold a place in popular culture, and there remained those who considered it a major work. When the Tate Gallery held an exhibition of its Watts holdings in 1954, trade unionist and left-wing M.P. Percy Collick urged "Labour stalwarts" to attend the exhibition, supposedly privately recounting that he had recently met a Viennese Jewish woman who during "the terrors of the Nazi War" had drawn "renewed faith and hope" from her photographic copy. Meanwhile, an influential 1959 sermon by Martin Luther King Jr., now known as Shattered Dreams, took Hope as a symbol of frustrated ambition and the knowledge that few people live to see their wishes fulfilled, arguing that "shattered dreams are a hallmark of our mortal life", and against retreating into either apathetic cynicism, a fatalistic belief in God's will or escapist fantasy in response to failure.Myths continued to grow about supposed beliefs in the redemptive powers of Hope, and in the 1970s a rumour began spread that after Israel defeated Egypt in the Six-Day War, the Egyptian government issued copies of it to its troops. There is no evidence this took place, and the story is likely to stem from the fact that in early 1974, shortly after the Yom Kippur War between Israel and Egypt, the image of Hope appeared on Jordanian postage stamps. Likewise, it is regularly claimed that Nelson Mandela kept a print of Hope in his cell on Robben Island, a claim for which there is no evidence.In 1990 Barack Obama, at the time a student at Harvard Law School, attended a sermon at the Trinity United Church of Christ preached by Jeremiah Wright. Taking the Books of Samuel as a starting point, Wright explained that he had studied Watts's Hope in the 1950s, and had rediscovered the painting when Dr Frederick G. Sampson delivered a lecture on it in the late 1980s (Sampson described it as "a study in contradictions"), before discussing the image's significance in the modern world.
Answer:
Frederick