Problem: What is the answer for the question: What is the first name of the person who used a Fender Stratocaster during the recording of the Help! from the following article ? When Harrison joined the Quarrymen in 1958 his main guitar was a Hofner President Acoustic, which he soon traded for a Hofner Club 40 model. His first solid-body electric guitar was a Czech-built Jolana Futurama/Grazioso. The guitars he used on early recordings were mainly Gretsch models, played through a Vox amplifier, including a Gretsch Duo Jet that he bought secondhand in 1961, and posed with on the album cover for Cloud Nine. He also bought a Gretsch Tennessean and a Gretsch Country Gentleman, which he played on "She Loves You", and during the Beatles' 1964 appearance on The Ed Sullivan Show. In 1963 he bought a Rickenbacker 425 Fireglo, and in 1964 he acquired a Rickenbacker 360/12 guitar, which was the second of its kind to be manufactured. Harrison obtained his first Fender Stratocaster in 1965 and first used it during the recording of the Help! album that February; he also used it when recording Rubber Soul later that year, most notably on the song "Nowhere Man".In early 1966 Harrison and Lennon each purchased Epiphone Casinos, which they used on Revolver. Harrison also used a Gibson J-160E and a Gibson SG Standard while recording the album. He later painted his Stratocaster in a psychedelic design that included the word "Bebopalula" above the pickguard and the guitar's nickname, "Rocky", on the headstock. He played this guitar in the Magical Mystery Tour film and throughout his solo career. In July 1968, Clapton gave him a Gibson Les Paul, which Harrison nicknamed "Lucy". Around this time, he obtained a Gibson Jumbo J-200 acoustic guitar, which he subsequently gave to Dylan to use at the 1969 Isle of Wight Festival. In late 1968 Fender Musical Instruments Corporation gave Harrison a custom-made Fender Telecaster Rosewood prototype, made especially for him by Philip Kubicki. In August 2017, Fender released a "Limited Edition George Harrison Rosewood Telecaster" modelled after a Telecaster that Roger Rossmeisl originally created for Harrison.

A: George

Problem: What is the answer for the question: What is the first initial of the person who didn't believe the story that Cocteau gave about the group taking a cab? from the following article ? At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Monteux believed that the trouble began when the two factions began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejectedpossibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. The unrest receded significantly during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.Among the more hostile press reviews was that of Le Figaro's critic, Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand, Gustav Linor, writing in the leading theatrical magazine Comoedia, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic Michel-Dimitri Calvocoressi, who...

A: M.

Problem: What is the answer for the question: Who does the drifter have a sweetly burgeoning relationship with? from the following article ? Zac is a lonely, highly strung city trader on the edge of a psychological breakdown. He has lost everythinghis job, his girlfriend Eva (Sophia Di Martino from "Flowers") and, most devastatingly, his weird and wayward younger sister Alice, the only family he had left. Alice is now a missing person, having disappeared on a narrow boat trip along with her kindred drifter and boyfriend Toby. Zac becomes increasingly frustrated with the futile attempts of the police to find them and, eventually, decides to take matters into his own inexpert hands by starting a terribly executed video blog and scouring the dark canals of the UK in a desperate, perhaps even deluded search for clues. Struggling for information and fast losing hope, Zac reflects on his past and the difficult relationship he had with Alice. Wracked with guilt and regret, his sanity starts to unravel as he fights with memories of her in the weeks leading up to her disappearance. As he remembers her sweetly burgeoning relationship with the mysterious Toby, however, he begins to wonder if there may in fact be a grander, wilder, much stranger explanation for their disappearance.

A: Alice

Problem: What is the answer for the question: What is the full name of the person Vergil rejected as the ruler of a post-Roman empire? from the following article ? The end of the Middle Ages brought with it a waning of interest in King Arthur. Although Malory's English version of the great French romances was popular, there were increasing attacks upon the truthfulness of the historical framework of the Arthurian romances established since Geoffrey of Monmouth's time and thus the legitimacy of the whole Matter of Britain. So, for example, the 16th-century humanist scholar Polydore Vergil famously rejected the claim that Arthur was the ruler of a post-Roman empire, found throughout the post-Galfridian medieval "chronicle tradition", to the horror of Welsh and English antiquarians. Social changes associated with the end of the medieval period and the Renaissance also conspired to rob the character of Arthur and his associated legend of some of their power to enthrall audiences, with the result that 1634 saw the last printing of Malory's Le Morte d'Arthur for nearly 200 years. King Arthur and the Arthurian legend were not entirely abandoned, but until the early 19th century the material was taken less seriously and was often used simply as a vehicle for allegories of 17th- and 18th-century politics. Thus Richard Blackmore's epics Prince Arthur (1695) and King Arthur (1697) feature Arthur as an allegory for the struggles of William III against James II. Similarly, the most popular Arthurian tale throughout this period seems to have been that of Tom Thumb, which was told first through chapbooks and later through the political plays of Henry Fielding; although the action is clearly set in Arthurian Britain, the treatment is humorous and Arthur appears as a primarily comedic version of his romance character. John Dryden's masque King Arthur is still performed, largely thanks to Henry Purcell's music, though seldom unabridged.

A:
King Arthur