[Q]: Read the following paragraph and extract the answer for the question: In what city did the band that got their original name from a David Bowie song perform when they debuted their new name in 1978? On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed 35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August...
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[A]: Manchester
input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the last name of the person who sometimes changes the lyrics to the song to amuse himself? "Touch Me I'm Sick" has a straightforward garage punk structure with a simple repeating power chord riff played at a high tempo. This is accompanied by a blunt bass line and frenetic drumming. The song's dirty sound was produced using an Electro-Harmonix Big Muff distortion pedal, which is augmented by a second guitar providing more distortion. Music writer Brian J. Barr referred to this noisy sound as "the sonic equivalent of an amplified comb scraping against paper".Critics have noted a Stooges influence in "Touch Me I'm Sick", typical of Mudhoney's early material. Turner said: "In retrospect, it's The Yardbirds' 'Happenings Ten Years Time Ago' by way of The Stooges' 'Sick of You'. At the time I was trying for the stuttering R&B guitar of The Nights and Days." The song is also reminiscent of the hardcore punk of Black Flag. In his book Loser: The Real Seattle Music Story, Clark Humphrey accuses the song of being a copy of "The Witch" by The Sonics. The band have dismissed this claim, and questioned the writer's knowledge of music.Arm's lyrics, according to critic Steve Huey, are a rant about "disease, self-loathing, angst, and dirty sex". In an essay called "'Touch Me I'm Sick': Contagion as Critique in Punk and Performance Art", Catherine J. Creswell suggests that some of the lyrics refer to AIDS. According to Creswell, "In declaring 'Well, I'm diseased and I don't mind' and changing the final refrain to 'Fuck Me, I'm Sick!' the speaker declares himself to be the viral, 'AIDS-bearing,' 'polluting' person of contemporary fantasy". Creswell, who also believes the song parodies the theme of seduction in contemporary rock music, points to lyrics that refer to impotence ("If you don't come, if you don't come, if you don't come, you'll die alone!") and violent possession or forcing ("I'll make you love me till the day you die!"). However, Arm says that he had not put much thought into the lyrics; while performing the song in concerts, he sometimes changes them to amuse himself.Another feature of "Touch Me I'm...
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output: Arm
Problem: Read the following paragraph and extract the answer for the question: What is the last name of the person who approached the distinguished baritone, Roy? Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character". Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses. By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che faro ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association...

A:
Ferrier