[Q]: The following article contains an answer for the question: What is the full name of the character who threatens to burn down a family home? , can you please find it? Connie Wyatt is a restless 15-year-old who is anxious to explore the pleasures of her sexual awakening. Before she enters her sophomore year in high school, she spends the summer moping around her family farm house. She suffers from her mother's put-downs, while hearing nothing but praise for her older sister, June. Her father somehow manages to float around the family tensions. She also helps paint the cottage, just as her mother constantly demands her to. Connie passes the time cruising the local shopping mall with her friends and flirting with boys. When an actual date leads to heavy petting, however, she flees from the boy's car. At a hamburger joint, an older man confides to her, "I'm watching you!" and proves it soon after. One afternoon, her mother and June warn Connie to be careful with her flirting, and she is left alone in the house, while her family goes to a barbecue. Later, as Connie is playing around the house, a man who calls himself Arnold Friend approaches her in a 1960s convertible with that name painted on it and identifies himself as "A. Friend". He dresses and acts like James Dean, and name-drops several teenybopper acts, even though he is much older than she is. He comes off very kind and friendly, but a bit suspicious, alternating between talking to her in a warm, seductive voice and shouting insults to his fellow car passenger when he asks Arnold if he should "pull out the phone," possibly to keep her from calling the police. Arnold tells Connie about how he has been watching her and that he knows all about her, recounting the details about her family's barbecue plans with amazing accuracy. He then starts talking about how he could be her lover. She starts to get scared and tells him to go, but he coerces her into going with him, threatening to burn down the house, while his friend remains at the house, supposedly to watch over it while they are gone.
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[A]: Arnold Friend
input: Please answer the following: The following article contains an answer for the question: Who reiterated that the States Department would not attempt to establish a relationship of domination over the princely states? , can you please find it? By far the most significant factor that led to the princes' decision to accede to India was the policy of the Congress and, in particular, of Patel and Menon. The Congress' stated position was that the princely states were not sovereign entities, and as such could not opt to be independent notwithstanding the end of paramountcy. The princely states must therefore accede to either India or Pakistan. In July 1946, Nehru pointedly observed that no princely state could prevail militarily against the army of independent India. In January 1947, he said that independent India would not accept the divine right of kings, and in May 1947, he declared that any princely state which refused to join the Constituent Assembly would be treated as an enemy state. Other Congress leaders, such as C. Rajagopalachari, argued that as paramountcy "came into being as a fact and not by agreement", it would necessarily pass to the government of independent India, as the successor of the British.Patel and Menon, who were charged with the actual job of negotiating with the princes, took a more conciliatory approach than Nehru. The official policy statement of the Government of India made by Patel on 5 July 1947 made no threats. Instead, it emphasised the unity of India and the common interests of the princes and independent India, reassured them about the Congress' intentions, and invited them to join independent India "to make laws sitting together as friends than to make treaties as aliens". He reiterated that the States Department would not attempt to establish a relationship of domination over the princely states. Unlike the Political Department of the British Government, it would not be an instrument of paramountcy, but a medium whereby business could be conducted between the states and India as equals.
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output: Patel
Problem: The following article contains an answer for the question: What is the title of the album M.I.A. described as being about "exploring our faults and flaws" and being proud of them? , can you please find it? M.I.A. opted to sing, as opposed to rap, on several tracks on the album, telling Rolling Stone in early 2010 that she wished to produce something different from her previous album, which had "more emphasis on production". In a January 2010 interview with NME she spoke of being inspired by the film Food, Inc. and described the album as being about "exploring our faults and flaws" and being proud of them. The closing track, "Space", which was reportedly recorded using an iPhone app, is a ballad which Mikael Wood, writing in Billboard, described as "dreamy" and "sound[ing] like a Sega Genesis practicing its pillow talk". In contrast, Greg Kot of the Chicago Tribune described "Lovalot" as sounding "like it was recorded in a dank alley, the singer's voice reverberating amid percussion that sounds like doors creaking and rats scurrying across garbage cans". "XXXO" draws its inspiration from M.I.A.'s "cheesy pop side", and is based on the theme of the creation of a sex symbol. "Teqkilla" is the only track to address her relationship with Bronfman, through a reference to Seagram, the company owned by his family. "It Takes a Muscle" is a cover version of a track originally recorded in 1982 by Dutch group Spectral Display, and is performed in a reggae style.The opening track "The Message", featuring a male lead vocalist, parodies the words of the traditional song "Dem Bones" to link Google to "the government". Kitty Empire wrote in The Observer that these conspiratorial government connections to Google and the thoughts of Dzhennet Abdurakhmanova, the Russian teenager who bombed Moscow's tube system in revenge for the death of her husband, were inner-world issues pondered in "Lovalot" with "a mixture of nonsense rhyme, militant posturing and pop-cultural free-flow; her London glottal stop mischievously turns 'I love a lot' into 'I love Allah' ". Ann Powers in the Los Angeles Times said that "M.I.A. turns a call to action into a scared girl's nervous tic. Synths click out a jittery, jagged background. The song doesn't...

A:
Maya