Please answer this: What is the answer for the question: Stone from what chapel was used in the building of St George's Church? from the following article ? A middle Saxon pendant dating from 601700 AD was discovered in a field in Little Thetford in 1952. This 3-centimetre (1.18 in) diameter by 1-centimetre (0.39 in) thick pendant, made from rock-crystal, gold, garnet, and amethyst coloured-glass, has been worked in a lathe. The workmanship is not of a high standard. thelberht of Kent was said to have built a church at Cratendune around 600 AD, about a mile from what is now Ely Cathedral. In 673 AD, thelthryth considered restoring this church, thought to have been destroyed by Penda of Mercia, but instead made what is now Ely Cathedral the site of her monastery. An early Anglo-Saxon cemetery, used at some point between 4101065 AD, was uncovered around 1945 near Little Thetford (52.376N, 0.2375E), and was thought to be this lost village of Cratendune. A deserted Saxon settlement, 4101065 AD, examined in 1999 in Ely, may also be a candidate for this lost site of worship. Little Thetford means little public or people's fordOld English lytel Thiutforda (c. 972) and Liteltedford [sic] (1086)compare with Thetford, NorfolkOld English Theodford (late 9th century) and Tedfort (1086). The online Domesday Book records the settlement under the name Liteltetford [sic]. The first written evidence that Ely Abbey had inherited the Little Thetford lands was in the 12th-century chronicle, Liber Eliensis. The will of lfwaru (d. 1007), an Anglo-Saxon noblewoman, granted estates in Cambridgeshire and Norfolk to the Abbey, which included "... that land at Thetford and fisheries around those marshes". In 1110, Hervey le Breton, Bishop of Ely, granted the manor to William Brito, his Archdeacon and also his nephew. Chapel Hill in the village, near the river, commemorates the site of Harrimere Chapel, used since 1381. Some of the stone from this chapel, dismantled in 1571, was used in the building of St George's Church. By 1539, the Little Thetford manor and its estates contained arable land, pasture, gardens, and orchards. In the mid-16th century, the antiquary William Bowyer...
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Answer: Harrimere Chapel
Problem: What is the answer for the question: What is the first name of the person whose sound, according to Considine, isn't defined by her voice so much as by the way her voice is framed by the propulsive production of Jam and Lewis? from the following article ? Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminineand, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feministspin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s...

A: Janet
Q: What is the answer for the question: What is the alias of the person who owns "Transmat Records?" from the following article ? Detroit techno is an offshoot of Chicago house music which developed in the early and mid-1980s. One of the earliest hits was "Big Fun" by Inner City. Detroit techno developed as the DJ The Electrifying Mojo did his radio program, which fused eclectic sounds into the signature Detroit techno sound. This sound, also influenced by European electronica (Kraftwerk, Art of Noise), Japanese synthpop (Yellow Magic Orchestra), early B-boy (breakdancing) Hip-Hop (Man Parrish, Soul Sonic Force) and Italo disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson, known as the Belleville Three. Derrick May a.k.a. "MAYDAY" and Thomas Barnett released "Nude Photo" in 1987 on May's label "Transmat Records", which helped start the Detroit techno music scene. This record was played on Chicago's Hot Mix 5 Radio DJ mix show and in Chicago clubs. A year later, Transmat released "Strings of Life". Transmat Records also released such as 1988's "Wiggin". As well, Derrick May had releases on Kool Kat Records and many remixes for underground and mainstream recording artists. Kevin Saunderson's company KMS Records contributed many releases that were as much house music as they were techno. These tracks were well received in Chicago and played on Chicago radio and in clubs.Blake Baxter's 1986 recording, "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", "The Sound / How to Play our Music" and "the Groove that Won't Stop" and a remix of "Grooving Without a Doubt". In 1988, as house music became more popular among general audiences, Kevin Saunderson's group Inner City with Paris Gray released the 1988 hits "Big Fun" and "Good Life", which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989, KMS had another hit release of "Rock to the Beat" which was a theme in Chicago dance clubs.The...
A:
MAYDAY