input question: This article: By the 1920s, Baylis concluded that the Old Vic no longer sufficed to house both her theatre and her opera companies. She noticed the empty and derelict Sadler's Wells theatre in Rosebery Avenue, Islington, on the other side of London from the Old Vic. She sought to run it in tandem with her existing theatre.Baylis made a public appeal for funds in 1925. With the help of the Carnegie Trust and many others, she acquired the freehold of Sadler's Wells. Work started on the site in 1926. By Christmas 1930, a completely new 1,640-seat theatre was ready for occupation. The first production there, a fortnight's run from 6 January 1931, was Shakespeare's Twelfth Night. The first opera, given on 20 January, was Carmen. Eighteen operas were staged during the first season.The new theatre was more expensive to run than the Old Vic, as a larger orchestra and more singers were needed, and box office receipts were at first inadequate. In 1932, the Birmingham Post commented that the Vic-Wells opera performances did not reach the standards of the Vic-Wells Shakespeare productions. Baylis strove to improve operatic standards, while at the same time fending off attempts by Sir Thomas Beecham to absorb the opera company into a joint enterprise with Covent Garden, where he was in command. At first, the apparent financial security of the offer appeared attractive, but friends and advisers such as Edward J. Dent and Clive Carey convinced Bayliss that it was not in the interests of her regular audience. This view received strong support from the press; The Times wrote: The Old Vic began by offering opera of some sort to people who hardly knew what the word meant ... under a wise, fostering guidance it has gradually worked upwards ...Any kind of amalgamation which made it the poor relation of the 'Grand' season would be disastrous. contains an answer for the question: What is the name of the existing theatre Baylis sought to run in tandem with Sadler's Wells theatre?, what is it ????
output answer: Old Vic

input question: This article: A Gainesville, Florida auto upholsterer George Gattling, played by Paul Giamatti, is a man out of place in the world and out of place in his own skin. Gattling attempts to transcend his mundane life by training a wild red-tailed hawk. He owns University Custom Auto Shop and is the disgruntled patriarch of his family: his divorced sister, Precious, and her 20-year-old autistic son, Fred. He's also the unwitting case study of a "life-gone-wrong" for Betty, a young psychology student who works in the auto shop. Gattling dreams of capturing and training hawks. It is an ancient art that requires precision (you only have a few days to succeed) and extremes (only through practically killing yourself and the bird are you brought together). It is the obsession he shares with Fred. In the quiet pre-dawn tracking of the birds, Gattling feels like a man temporarily freed from the absurdity of civilized life. After several years of failed attempts, George and his nephew Fred capture the most magnificent bird they have ever seenthe red-tailed hawk. That night, Fred dies in a freak accident, drowning in his water bed. Grief-stricken, George sees his only chance to survive tied together with this bird. He becomes determined to tame her meaning that he will not eat or sleep, nor will she, until it's all over. At his weakest moment, he locks himself into a battle of wills with the only creature on earth that would rather die than succumb. To the rest of the world, it appears George has gone mad; the closer he gets to achieving success, the crazier his family thinks he's become. Betty is the only one who realizes that George must take himself to the bottom to truly be saved. She watches as George is released into a world where the senses are awakened and emotions are uncheckeda world where one can see and feel the "blood of things". contains an answer for the question: What is the first name of the person who watches as George is released into the world where he can feel the blood of things?, what is it ????
output answer: Betty

input question: This article: With their love of the Beach Boys and late 1960s bubblegum pop, the Ramones paved the way to what became known as pop punk. In the late 1970s, UK bands such as Buzzcocks and the Undertones combined pop-style tunes and lyrical themes with punk's speed and chaotic edge. In the early 1980s, some of the leading bands in Southern California's hardcore punk rock scene emphasized a more melodic approach than was typical of their peers. According to music journalist Ben Myers, Bad Religion "layered their pissed off, politicized sound with the smoothest of harmonies"; Descendents "wrote almost surfy, Beach Boys-inspired songs about girls and food and being young(ish)". Epitaph Records, founded by Brett Gurewitz of Bad Religion, was the base for many future pop punk bands. Bands that fused punk with light-hearted pop melodies, such as the Queers and Screeching Weasel, began appearing around the country, in turn influencing bands like Green Day and the Offspring, who brought pop punk wide popularity and major record sales. Bands such as the Vandals and Guttermouth developed a style blending pop melodies with humorous and offensive lyrics. Eventually, the geographically large Midwest U.S. punk scene, anchored largely in places like Chicago and Minneapolis, would spawn bands like Dillinger Four who would take a catchy, hooky pop-punk approach and reinfuse it with some of punk's earlier grit and fury, creating a distinctive punk rock sound with a regional tag. This particular substrate still maintains an identity today. The mainstream pop punk of latter-day bands such as Blink-182 is criticized by many punk rock devotees; in critic Christine Di Bella's words, "It's punk taken to its most accessible point, a point where it barely reflects its lineage at all, except in the three-chord song structures." contains an answer for the question: What bands were inspired by the light-hearted pop punk fusion bands?, what is it ????
output answer:
the Offspring