[Q]: What was the last name of the person who said Nuffield was a hodge-podge from the start? Answer the above question based on the context below: Writing in 1952, after the first section of the buildings was complete, J. M. Richards, the editor of the Architectural Review, said that Nuffield was "a large-scale example of period-style architecture which has no justification whatever on grounds of consideration for the neighbours and represents missed opportunity of a really tragic kind". As the site was away from the "ancient colleges" of the city centre and in an area of "undistinguished nineteenth century commercial building", there had been a "rare opportunity" of building something "belonging ... to the twentieth century, and of showing that Oxford does not live only in the past". He said that the "compromise between contemporary needs and what is imagined to be the English collegiate tradition is quite unworthy of the educational enterprise the new foundation represents". He was, however, "thankful" that the building used smooth-faced stone "in the proper Oxford style" rather than rubble facing, which he said had been used elsewhere in Oxford "with extraordinarily unpleasing results".The architectural correspondent of The Times wrote that the architecture of the college was incongruous it was "remarkable" that a college with connections to modern industry should be looking backwards in this way. "That a college devoted to modern scientific studies should be dressed up [in the style of an antique Cotswold manor house] has already been the subject of puzzled comment by many foreign visitors to Oxford." Writing in The Observer, Patience Gray also disliked the college's design, referring to the "Cotswold dementia" of the architecture, and the college's "pokey windows and grotesque sugarloaf tower." The chapel was described by the travel writer Jan Morris as "one of the sweetest little sanctuaries in Oxford"; "very simple, almost stern" with a contrast between the black and white pews and the "rich colour" of the stained glass. However, she said that whilst Oxford colleges change in style over time as buildings are added or altered, "Nuffield was a...
****
[A]: Morris
input: Please answer the following: What are the first names of the people who asked the Talbot family to "write down a list of the songs that Connie would sing at her birthday party?" Answer the above question based on the context below: Connie Talbot entered the public eye appearing, aged six, on the first series of the reality programme Britain's Got Talent, reaching the final. After briefly recording with Sony BMG, Talbot was signed to Rainbow Recording Company, an offshoot of the label Rhythm Riders made specifically for her. To produce Over the Rainbow, Talbot worked with John Arnison, then-manager to Gabrielle and Billy Ocean, and Marc Marot, a former managing director of Island Records. It was produced and mixed by Simon Hill and Rob May. A recording schedule was worked out so that Talbot could continue with her normal school activities while recording the album in her aunt Vicky's spare bedroom, which her mother described as "a better solution" than the one offered by Sony BMG, "which has not robbed her of her childhood". Talbot said that "it was just amazing that we could do it in my auntie's house". Arnison and Marot asked the Talbot family to "write down a list of the songs that Connie would sing at her birthday party" to help choose the track listing, and then "thought long and hard" about including more adult songs on the album. Talbot herself insisted that they should.The final version of Over the Rainbow was recorded at Olympic Studios, on 12 October 2007. Arnison described the recording process by saying that Talbot "hadn't sung nursery rhymes; she'd always sung classic tracks. So it was actually quite an easy task to make the record". The album was released on 26 November 2007, with an initial pressing of 50,000 copies. However, an additional 120,000 had to be created after the album sold out in a matter of days.Over the Rainbow was re-released on 18 June 2008, with the new version being made available for pre-order in May. The re-release featured three new tracks to replace the Christmas-themed songs on the original album. The new tracks were made available from Talbot's official website so that those who bought the original need not buy the re-release. Talbot's cover of Bob Marley's "Three Little Birds" was released as a...
++++++++++
output: Marc
Problem: What other Williams song did the Rolling Stone writer compare the song made about Paddington Bear to? Answer the above question based on the context below: "Shine" is a reggae pop and ska song that lasts three minutes and 24 seconds. It is composed in the key of E minor using common time and a moderately fast tempo of 140 beats per minute. Instrumentation is provided by strings, horns, a guitar, and a piano, to create what Music Times' Carolyn Menyes described as a "crawling beat". March Robisch of Thought Catalog described the single as having "that ska quality that made No Doubt so successful". Digital Spy's Lewis Corner and Amy Davidson wrote that it is a "ska-flecked romp of pumped-up foghorns and plodding brass". A writer from Capital XTRA described it as having a "mellow beat", while Rolling Stone's Daniel Sannwald wrote it has a "party-vibe production".During the track, Stefani's vocal range spans from the low note of D3 to the high note of A4. Williams equated Stefani's tone to that of a "child whisperer" due to her ability to make music that appeals to children. The lyrics are about Paddington Bear and his travels; Rolling Stone called it "a pop-reggae allegory about a bear with an identity crisis". The song opens with Stefani singing the first verse and Williams joining in the chorus, the lyrics including "When you're trying to get home / When you don't wanna be alone / Look at yourself in the mirror / That's your way home". The hook features Stefani repeatedly singing "Shine!" and Williams screaming "Hey!". Andy Morris from Gigwise noted the lyrics, "So we're in a strange new land in Paddington station / But you end up in good hands in the fancy British nation" and "that bear with the red hat", as obvious references to Paddington. According to Sannwald, the lyrics include "Pharrell's 'Happy"-ish 'Everybody is the same inside' bridge" that allows the song to appeal to both children and their parents "without sounding overly patronizing". "Shine" ends with Williams singing in the falsetto register.When discussing the development of the single with MTV News, Stefani said that she initially disagreed with Williams' approach to the lyrics. Williams was...

A:
Happy