Question: What is the the full name of the person that Paolina takes their money? Answer the above question based on the context below: Safecracker Dom Hemingway is released after spending 12 years in prison and seeks payment for refusing to rat out his boss Ivan Fontaine. He reunites with his best friend Dickie and they travel to Fontaine's villa in the French countryside. Dom flirts with Fontaine's Romanian girlfriend Paolina and becomes angry that he spent 12 years in jail for Fontaine. He begins to mock Fontaine and storms out. At dinner, he apologises and Fontaine presents Dom with 750,000. They spend the night partying with two girls, one of whom, Melody strikes up a conversation with Dom. When the group go driving in Fontaine's car, they crash into another car. While unconscious, Dom has a vision of Paolina asking for his money. He wakes up, resuscitates Melody, and finds Fontaine impaled on the car's fender. Melody tells Dom that, because he saved her, he shall gain good luck when he least expects it. Dom and Dickie head back to the mansion, where they find Paolina has taken Dom's money, but they see her leaving in a car. Dom runs through the forest and into the road, where he is almost hit by Paolina. She asks him if she strikes him as a woman who wants to be poor, and drives away.
Answer: Dom Hemingway
[Q]: What is the last name of the art critic that lived near the couple when the moved to Hampstead? Answer the above question based on the context below: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (192829), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein. 1928 saw Moore's first solo exhibition, held at the Warren Gallery in London. In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to UkrainianPolish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire. Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to Americasome of whom would later commission works from Moore.
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[A]: Read
input: Please answer the following: What was the name of the person Nirvana approached to remix the album? Answer the above question based on the context below: After the recording sessions were completed, Nirvana sent unmastered tapes of the album to several individuals, including the president of DGC's parent company Geffen Records Ed Rosenblatt and the group's management company Gold Mountain. When asked about the feedback he received, Cobain told Michael Azerrad, "The grown-ups don't like it." He said he was told his songwriting was "not up to par", the sound was "unlistenable", and that there was uncertainty that mainstream radio would welcome the sound of Albini's production. There were few people at Geffen or Gold Mountain who wanted the band to record with Albini to begin with, and Cobain felt he was receiving an unstated message to scrap the sessions and start all over again. Cobain was upset and said to Azerrad, "I should just re-record this record and do the same thing we did last year because we sold out last yearthere's no reason to try and redeem ourselves as artists at this point. I can't help myselfI'm just putting out a record I would like to listen to at home." However, a number of the group's friends liked the album, and by April 1993, Nirvana was intent on releasing In Utero as it was. According to Cobain, "Of course, they want another Nevermind, but I'd rather die than do that. This is exactly the kind of record I would buy as a fan, that I would enjoy owning."The band members began to have doubts about the record's sound. During this time, Cobain admitted, "The first time I played it at home, I knew there was something wrong. The whole first week I wasn't really interested in listening to it at all, and that usually doesn't happen. I got no emotion from it, I was just numb." The group concluded that the bass and lyrics were inaudible and approached Albini to remix the album. The producer declined; as he recalled, "[Cobain] wanted to make a record that he could slam down on the table and say, 'Listen, I know this is good, and I know your concerns about it are meaningless, so go with it.' And I don't think he felt he had that yet...
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output: Albini
input: Please answer the following: What is the last name of the person who viewed WWI as a conflict waged by competing imperialists to the detriment of Europe's working class? Answer the above question based on the context below: Vere Gordon Childe (14 April 1892 19 October 1957) was an Australian archaeologist who specialized in the study of European prehistory. He spent most of his life in the United Kingdom, working as an academic for the University of Edinburgh and then the Institute of Archaeology, London, and wrote twenty-six books during his career. Initially an early proponent of culture-historical archaeology, he later became the first exponent of Marxist archaeology in the Western world. Born in Sydney to a middle-class English migrant family, Childe studied classics at the University of Sydney before moving to England to study classical archaeology at the University of Oxford. There, he embraced the socialist movement and campaigned against the First World War, viewing it as a conflict waged by competing imperialists to the detriment of Europe's working class. Returning to Australia in 1917, he was prevented from working in academia because of his socialist activism, instead working for the Labor Party as the private secretary of the politician John Storey. Growing critical of Labor, he wrote an analysis of their policies and joined the far-left Industrial Workers of the World. Emigrating to London in 1921, he became librarian of the Royal Anthropological Institute and journeyed across Europe to pursue his research into the continent's prehistory, publishing his findings in academic papers and books. In doing so he introduced the continental European concept of an archaeological culturethe idea that a recurring assemblage of artefacts demarcates a distinct cultural groupto the British archaeological community.
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output:
Childe