Question: What is the answer for the question: Who was given money in order for the reporter to conduct her interview? from the following article ? Ambitious, up-and-coming reporter Nina Dunham interviews an underage video chat-room stripper named Kyle. Kyle, a runaway, works for a man named Harvey in a "house" with other chat-room strippers. However, after the interview achieves some prominence, the FBI demands that she reveal the address of the house so that they can shut down the operation. Since she has paid Kyle in order to make initial contact, she may have broken the law. As a result, police and her employer also put pressure on her to cooperate. Nina wants to save him from the business, yet fears losing his trust in the process. Kyle reluctantly gives her the address, but Harvey is tipped off and the entire household flees. Nina follows them to a motel where they're staying and asks Kyle to leave with her. Kyle is willing to do so at first, but when Nina is hesitant to guarantee him safe haven in her home, he refuses. Harvey watches them argue, then slaps Nina. The entire group of chat-room strippers leave and Nina drives away in tears.
Answer: Kyle

Question: What is the answer for the question: What was the full name of the photographer for the cover of Sgt. Pepper? from the following article ? Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Right next to the Beatles are wax sculptures of the bandmembers in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP.
Answer: Michael Cooper

Question: What is the answer for the question: What is the first name of the subject whose monumental stature reflects a tradition reaching back to an Italo-Byzantine type? from the following article ? Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pacht describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type perhaps best known through Giotto's Ognissanti Madonna (c. 1310) and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 143436, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling...
Answer:
Mary