Given the following context: Good Girl Gone Bad received generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 72 based on 17 reviews. Uncut called it a "shiny, trans-atlantic blend of Europop vim, R&B grit and Caribbean bounce." Andy Kellman of AllMusic deemed it quintessential pop music and said each of its tracks was a potential hit. Quentin B. Huff of PopMatters praised the album, describing it as "more raw, perhaps edgier and more risque" than Rihanna's previous material. Kelefa Sanneh of The New York Times wrote that the album "sounds as if it were scientifically engineered to deliver hits". Peter Robinson of The Observer commended her collaborators for "masking her own shortcomings" and commented that, "While Rihanna lacks her peers' charisma, she's a great vessel for exhilarating mainstream pop." Pitchfork Media's Tom Breihan found the album varied and satisfying. Neil Drumming of Entertainment Weekly felt that, although it "goes bad when Rihanna tries her hand at treacly ballads and glum sentiment", at times Good Girl Gone Bad is a "thrilling throwback to more than a decade ago, when upstart producers haphazardly mashed R&B with hip-hop to create chunky jeep anthems such as Mary J. Blige's 'Real Love'."In a mixed review, Rodney Dugue of The Village Voice felt that the album "never settles on a sound" and only cited its three Timbaland-produced songs as highlights. Although he found the ballads to be improvements from Rihanna's previous albums, Slant Magazine's Sal Cinquemani criticized the lyrics, particularly those written by Justin Timberlake, as an "Achilles' high heel for Rihanna". Alex Macpherson of The Guardian found Rihanna to be "ill-suited" for its dance-pop songs and stated, "The gimmicky samples and pounding beats bury her personality, and the summery reggae of her first two albums is sorely missed." Robert Christgau of MSN Music cited "Umbrella" as a "choice cut", indicating "a good song on... answer the following question: What is the full name of the critic who believed "Umbrella" was a "choice cut" on the album that had an average score of 72?
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Answer: Robert Christgau

Given the following context: In turn-of-the-century Oakland, California, the teenaged Myrtle McKinley is expected to follow high school by attending a San Francisco business college. Instead, she takes a job performing with a traveling vaudeville troupe, where she meets and falls in love with singer-dancer Frank Burt. Frank proposes they marry and also entertain on stage together as an act, which proves very popular. Myrtle retires from show business after giving birth to daughters Iris and Mikie, while her husband goes on tour with another partner. A few years later, less successful now, Frank persuades his wife to return to the stage. The girls are cared for by their grandmother as their parents leave town for months at a time. Iris and Mikie are school girls when they are given a trip to Boston to see their parents. Iris meets a well-to-do young man, Bob Clarkman, and is permitted to attend an exclusive boarding school there. She is embarrassed by her parents' profession, however, and mortified at what the reaction will be from Bob and all of her new school friends when they learn that her parents are performing nearby. Myrtle and Frank take matters into their own hands, arranging with the school to have all of the students attend a show. To her great relief, Iris is delighted when her classmates adore her parents' sophisticated act. By the time she's out of school and ready to marry, Iris wants to go into show business herself. answer the following question: What is the last name of the person who retires from show business?
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Answer: McKinley

Given the following context: Late one night at the Russell Square station in the London Underground, university students Patricia and her American exchange student boyfriend Alex find an unconscious man collapsed on the stairwell. Fearing the man may be diabetic, Patricia checks his wallet and finds a card that reads James Manfred, OBE. Alex and Patricia inform a police officer about Manfred, Alex and the officer return to the stairwell to Alex's surprise find that Manfred has vanished. Inspector Calhoun is assigned to look into the disappearance. Calhoun antagonistically questions Alex, who asserts the man was a drunk, and suggests he and Patricia robbed the man. While discussing the case of the missing Manfred, Calhoun's colleague tells him about the history of the London Underground, particularly the Victorian railway workers who constructed the tunnels under dire conditions, and an urban legend that a group of descendants who survived an 1892 cave-in still live below ground in an abandoned section of the tunnels. Meanwhile, one of the last surviving members of a family of these railway workers watches his female companion die; they have survived in the underground by resorting to cannibalism of the railway patrons. In an empty chamber, Manfred's body lies, mutilated. The man laments the woman's death, as he is now left in complete solitude. The man goes into a rage and brutally murders three Underground maintenance workers in, taking one to his lair. Calhoun remains suspicious of Alex and Patricia, and calls Alex in for repeated interrogations. After seeing a film one night, Alex and Patricia take a train home and get off at Holborn station. While de-boarding, Patricia realizes she forgot her textbooks on the train. Alex attempts to retrieve them, but the doors close before he can exit; just as the train leaves, Patricia yells through the window that she will meet him at home. Once the train exits the platform, Patricia is attacked by the cannibal man and incapacitated. answer the following question: What is the first name of the person that Patricia yells to?
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Answer:
Alex