Problem: What was the full name of the drummer for Tin Machine? Answer the above question based on the context below: Bowie shelved his solo career in 1989, retreating to the relative anonymity of band membership for the first time since the early 1970s. A hard-rocking quartet, Tin Machine came into being after Bowie began to work experimentally with guitarist Reeves Gabrels. The line-up was completed by Tony and Hunt Sales, whom Bowie had known since the late 1970s for their contribution, on bass and drums respectively, to Iggy Pop's 1977 album Lust for Life. Although he intended Tin Machine to operate as a democracy, Bowie dominated, both in songwriting and in decision-making. The band's album debut, Tin Machine (1989), was initially popular, though its politicised lyrics did not find universal approval: Bowie described one song as "a simplistic, naive, radical, laying-it-down about the emergence of Neo-Nazis"; in the view of biographer Christopher Sandford, "It took nerve to denounce drugs, fascism and TV ... in terms that reached the literary level of a comic book." EMI complained of "lyrics that preach" as well as "repetitive tunes" and "minimalist or no production". The album nevertheless reached No. 3 and went gold in the UK.Tin Machine's first world tour was a commercial success, but there was growing reluctanceamong fans and critics aliketo accept Bowie's presentation as merely a band member. A series of Tin Machine singles failed to chart, and Bowie, after a disagreement with EMI, left the label. Like his audience and his critics, Bowie himself became increasingly disaffected with his role as just one member of a band. Tin Machine began work on a second album, but Bowie put the venture on hold and made a return to solo work. Performing his early hits during the seven-month Sound+Vision Tour, he found commercial success and acclaim once again.In October 1990, a decade after his divorce from Angie, Bowie and Somali-born supermodel Iman were introduced by a mutual friend. Bowie recalled, "I was naming the children the night we met ... it was absolutely immediate." They married in 1992. Tin Machine resumed work the...

A: Hunt Sales
Problem: Given the question: Who abandons ARmida? Answer the above question based on the context below: (English: "Armida abandoned") After the rejection of Licori, Monteverdi did not immediately turn his attention to Armida. Instead, he went to Parma, having been commissioned to provide musical entertainments for the marriage celebrations of the youthful Duke Odoardo Farnese of Parma and Margherita de' Medici. He spent several weeks in Parma working on these; nevertheless, on 18 December 1627 he was able to tell Striggio that the music for Armida had been completed and was being copied. In the relevant section of Tasso's poem, the enchantress Armida lures the noble Rinaldo to her enchanted island. Two knights arrive to persuade Rinaldo to return to his duty, while Armida pleads with him to stay, or if he must depart, to allow her to be at his side in battle. When he refuses and abandons her, Armida curses him before falling insensible.Carter indicates several structural similarities to Il combattimento; both works require three voices, one of which acts as the narrator. Despite these similarities, Armida abbandonata, unlike the earlier work, is generally considered by scholars of Monteverdi to be an opera, although Denis Stevens, translator of Monteverdi's letters, has termed it a "parergon" (subsidiary work) to Il Combattimento.Plans for Armida's performance were, however, cancelled when Duke Vincenzo died at the end of December 1627. On 4 February 1628, Striggio was still asking for a copy of Armida, perhaps to use in connection with the next duke's coronation. Monteverdi promised to send him one, but there is no confirmation that he did so. No trace of the music has been found, though Tomlinson has deduced some of its likely characteristics from Monteverdi's correspondence, including extensive use of the stile concitato effect. Although there is no record that Armida was ever performed in Mantua, Stevens has mooted the possibility that it may have been staged in Venice in 1628, since Monteverdi's reply to Striggio's February letter indicates that the work was in the hands of Girolamo Mocenigo, a wealthy...
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The answer is:
Rinaldo
[Q]: What is the last name of the person who met many of the significant figures in European music? Answer the above question based on the context below: Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 20 February 1961) was an Australian-born composer, arranger and pianist who lived in the United States from 1914 on and became a citizen in 1918. In the course of a long and innovative career, he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racial or anti-Semitic terms. In 1914, Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and in Australia. He served briefly as a bandsman in the United States Army during the First World War through 191718, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year...
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[A]:
Grainger