Q: This article: John Doubleday (about 1798 25 January 1856) was a British craftsperson, restorer, and dealer in antiquities who was employed by the British Museum for the last 20 years of his life. He undertook several duties for the museum, not least as a witness in criminal trials, but was primarily their specialist restorer, perhaps the first person to hold the position. He is best known for his 1845 restoration of the severely-damaged Roman Portland Vase, an accomplishment that places him at the forefront of his profession at the time. While at the British Museum, Doubleday also dealt in copies of coins, medals, and ancient seals. His casts in coloured sulphur and in white metal of works in both national and private collections, allowed smaller collections to hold copies at a fraction of the price that the originals would command. Thousands of his copies entered the collections of institutions and individuals. Yet the accuracy he achieved led to confusion with the originals; after his death he was labelled a forger, but with the caveat that "[w]hether he did copies with the intention of deceiving collectors or not is open to doubt".Little is known about Doubleday's upbringing or personal life. Several sources describe him as an American, including the 1851 United Kingdom census, which records him as a New York-born British subject. An obituary noted that he worked at a printer's shop for more than 20 years during his youth, which gave him the experience of casting type that he would employ in his later career as a copyist. Doubleday's early life, family, and education are otherwise unknown. He died in 1856, leaving a wife and five daughters, all English; the eldest child was born around 1833. contains an answer for the question: What is the last name of the person who is best known for his 1845 restoration of the severely-damaged Roman Portland Vase?, what is it ?
A: Doubleday

Question: This article: During the 1913 Ballets Russes season in Paris, Monteux conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; Monteux thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds". The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. Monteux had been appalled when Stravinsky first played the score at the piano: I decided then and there that the symphonies of Beethoven and Brahms were the only music for me, not the music of this crazy Russian. ... My one desire was to flee that room and find a quiet corner in which to rest my aching head. Then [Diaghilev] turned to me and with a smile said, "This is a masterpiece, Monteux, which will completely revolutionize music and make you famous, because you are going to conduct it." And, of course, I did. Despite his initial reaction, Monteux worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Theatre des Champs-Elysees to cope with the unfamiliar and difficult music Monteux held seventeen rehearsals, an unusually large number. Monteux's real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now." However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". contains an answer for the question: What is the name of the conductor that performed The Rite of Spring for 50 years?, what is it ?
Answer: Monteux

[Q]: This article: Though she did not again win the Sulman, she was successful in having works hung in that competition on many occasions, including the 1946, 1947, 1948 and 1950 shows. Bellette continued to paint classical scenes, and around 1950 produced the work Chorus without Iphigenia. Purchased by the National Gallery of Australia in 1976, this oil painting shows five figures, "posed like statues in a tableau vivant, [and who] possess a kind of erotic energy". Anne Gray, the National Gallery's curator, interpreted the scene chosen by Bellette: Although nothing is happening in this image, we associate the figures with tragedy, with death and mourning with the classical reference in the painting's title. Iphigenia, Agamemnon's daughter, gave her life for her country when the goddess Artemis asked for it in exchange for favourable winds so that the Greek ships could sail to Troy. Bellette's melancholic painting might be supposed to portray Iphigenia's friends mourning her death. In 1951, Bellette came second in the Commonwealth Jubilee Art Competition, behind the young Jeffrey Smart. The following year, she won a competitive exhibition sponsored by Metro Goldwyn Mayer, with Girl With Still Life.Although Haefliger never critiqued his wife's exhibitions, others occasionally stepped in to provide reviews in the Herald. Describing her 1950 exhibition at the Macquarie Galleries, one critic considered it "one of the most stimulating and refreshing that has been seen here for a long time" and that "She paints with a strong, sombre palette and her forms are sculptured with great decision. She uses paint sensuously and passionately, as paint, not as so many contemporary Australians do, as mere colour".Two years later, the same reviewer, attending another of the artist's solo Sydney shows, observed that Bellette: contains an answer for the question: Who never critiqued Bellette's exhibitions?, what is it ?
****
[A]: Haefliger

Question: This article: In 1995, following a long break, U2 contributed "Hold Me, Thrill Me, Kiss Me, Kill Me" to the soundtrack album of the film Batman Forever. The song was a hit, reaching number one in Australia and Ireland, number two in the UK, and number 16 in the US. In November, the band released an experimental album called Original Soundtracks 1, a collaboration with Brian Eno, who contributed as a full songwriting partner and performer. Due to his participation and the record's highly experimental nature, the band chose to release it under the moniker "Passengers" to distinguish it from U2's conventional albums. Mullen said of the release: "There's a thin line between interesting music and self-indulgence. We crossed it on the Passengers record." It was commercially unnoticed by U2 standards and it received generally mixed reviews. The single "Miss Sarajevo" (featuring Luciano Pavarotti) was among Bono's favourite U2 songs.U2 began work on their next studio album, Pop, in mid-1995, holding recording sessions with Nellee Hooper, Flood, and Howie B. The band mixed the contrasting influences of each producer into their music, in particular Howie B's experiences with electronica and dance music. Mullen was sidelined due to back surgery in November, prompting the other band members to take different approaches to songwriting, such as programming drum loops and playing to samples provided by Howie B. Upon Mullen's return in February 1996, the group began re-working much of their material but struggled to complete songs, causing them to miss their mid-year deadline to complete the record. Further complicating matters, the band allowed manager Paul McGuinness to book their 19971998 PopMart Tour with the album still in progress; Bono called it "the worst decision U2 ever made". Rushed to complete the album, the band delayed its release date a second time from the 1996 holiday season to March 1997, cutting into tour rehearsal time. Even with the additional recording time, U2 worked up to the last minute to complete songs. contains an answer for the question: What is the full name of U2's manager?, what is it ?
Answer:
Paul McGuinness