input: Please answer the following: Given the following context: The band members grew uncomfortable with their success, with much of the burden of Pearl Jam's popularity falling on frontman Vedder. While Pearl Jam received four awards at the 1993 MTV Video Music Awards for its video for "Jeremy", including Video of the Year and Best Group Video, the band refused to make a video for "Black" in spite of pressure from the label. This action began a trend of the band refusing to make videos for its songs. Vedder felt that the concept of music videos robbed listeners from creating their own interpretations of the song, stating that "Before music videos first came out, you'd listen to a song with headphones on, sitting in a beanbag chair with your eyes closed, and you'd come up with your own visions, these things that came from within. Then all of a sudden, sometimes even the very first time you heard a song, it was with these visual images attached, and it robbed you of any form of self-expression." The United States Department of Justice was investigating the company's practices at the time and asked the band to create a memorandum of its experiences with the company. Band members Gossard and Ament testified at a subcommittee investigation on June 30, 1994 in Washington, D.C. Pearl Jam alleged that Ticketmaster used anti-competitive and monopolistic practices to gouge fans. After Pearl Jam's testimony before Congress, Congressman Dingell (D-Mich.) wrote a bill requiring full disclosure to prevent Ticketmaster from burying escalating service fees. Pearl Jam's manager said he was gratified that Congress recognized the problem as a national issue. answer the following question: What company was Pearl Jam asked to to create a memorandum of its experiences with it?
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output: Ticketmaster

input: Please answer the following: Given the following context: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well. In his memoirs, published in 2004, cellist Janos Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day. Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: "He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty. Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion: Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sevres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by... answer the following question: What jury was the respected musician a part of before his death in 1973?
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output: City of London Carl Flesch Concours

input: Please answer the following: Given the following context: Brownhills is represented by three tiers of government, Walsall Borough Council ("local"), UK Parliament ("national"), and European Parliament ("Europe"). The Brownhills District established in 1877 remained in existence until 1894 when it was superseded by Brownhills Urban District. In 1966 the Urban District merged with that of Aldridge to form the Aldridge-Brownhills Urban District, in accordance with a recommendation of the Local Government Commission for England. This in turn was amalgamated in 1974, under the Local Government Act 1972, into the newly formed Metropolitan Borough of Walsall, under whose jurisdiction the area remains to this day. As a result of this amalgamation Brownhills also became part of the West Midlands county, having previously been part of Staffordshire. Today Brownhills constitutes a ward within the Borough of Walsall and has three seats on the Borough Council. As at the 2008 local elections two of these seats were held by the Conservative Party and one by Labour.Wendy Morton, representing the Conservative Party, has been the Member of Parliament for the constituency of Aldridge-Brownhills since 2015. Before the creation of the Aldridge-Brownhills seat in 1974, the town had been part of the Walsall North constituency since 1955, when it had been transferred from the now-defunct Cannock constituency.Brownhills is part of the Walsall council counting area of the West Midlands European Parliament constituency, which elects six MEPs. In the 2009 election the Conservatives gained 26.8% of the vote in this counting area, ahead of UKIP 24.5% and Labour with 18.9%. answer the following question: What county did the district with three tiers of government become a part of after the 1974 amalgamation?
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output: West Midlands

input: Please answer the following: Given the following context: The Netherlands provided William Bruce with many of his influences. He was in the Low Countries at a time when Italian Classicism was the height of fashion, and similarities have been observed between Bruce's work, particularly Holyroodhouse, and such buildings as the Amsterdam City Hall (164865), the work of Jacob van Campen, and Maastricht's City Hall (165964), by Pieter Post. Alexander Bruce had married a Dutch woman with family ties to the House of Orange, and it seems likely that he provided links to the Dutch artisans who worked on some of Bruce's projects.Bruce was certainly familiar with northern France, and in 1663 he made a further "foreign journey" at the behest of Lauderdale, although his itinerary is unknown. Whether by visit or through studying engravings, he knew several notable French houses including Vaux-le-Vicomte, Blerancourt, and the Chateau de Balleroy, the last the work of French architect Francois Mansart. These modern French designs, incorporating features then unknown in Scotland, such as the double-pile of major rooms in two enfilades, ranged back-to-back, were also influential on Bruce's designs.English influence is also visible in his work. His country houses took the compact Anglo-Dutch type as their model, as introduced into England by Hugh May and Sir Roger Pratt, but with Continental detailing, such as the rustication on the facade at Mertoun. Roger Pratt's Coleshill House of 1660 is often cited as a model for Bruce's Kinross House. Konrad Ottenheym concludes that Bruce employed an "international style", which was fashionable in France, Holland, and England, and that he was pivotal in disseminating this style in Scotland. answer the following question: What is the full name of the person whose country houses took the compact Anglo-Dutch type as their model?
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output:
William Bruce