input question: The following article contains an answer for the question: What was the full name of the person that gave Single Ladies an acoustic feel? , can you please find it? Singers and bands of various genres have covered the song in their own style. Scottish band Marmaduke Duke performed a cover version in April 2009 on BBC Radio 1's Live Lounge show. In October 2009, it was released on Radio 1's Live Lounge Volume 4, a compilation of Live Lounge recordings. Australian singer Stan Walker sang a jazzier version of the song on the seventh series of Australian Idol in October 2009. The same year, elementary school group PS22 chorus covered "Single Ladies" and "Halo" (2009) during Billboard's annual Women In Music luncheon held at The Pierre in New York City. In her short-lived Broadway revue "All About Me" in March 2010, Dame Edna Everage performed a version of the song with backup dancers Gregory Butler and Jon-Paul Mateo. It was also covered by Jeff Tweedy and British singer-songwriter Alan Pownall. According to Simon Vozick-Levinson of Entertainment Weekly, Tweedy sang only a few bars; he gave "Single Ladies" an acoustic feel and recited the rest of the song's lyrics. He performed the hand movements that Beyonce and her dancers do in the song's video. Pomplamoose, an American indie music duo consisting of Jack Conte and Nataly Dawn, recorded a cover of "Single Ladies" on video, which makes use of split screens to show Dawn on vocals and Conte playing the instruments. Inspired by the avant-garde Dogme 95 movement in cinema, Conte began to record songs on video as a quick way to create "organic and raw" music. They chose "Single Ladies" as they believed that it would help them grow their audience.???
output answer: Jeff Tweedy
The following article contains an answer for the question: Who saves Jake Rainer from the icy lake? , can you please find it? Tim Warden, a boy with autism, has supposedly witnessed his parents' double murder. Jake Rainer, a former child psychiatrist turned therapist, is called on to probe the child's mind in order to solve the case. The psychological drama is provided by the fact that not even Jake can entice Tim to communicate what he has or has not seen regarding the crime. Tim's sister, Sylvie, is protective of him. She eventually warms to Jake's efforts, but is concerned when she learns he was implicated in the suicide of another young child who was under his care. Jake gradually befriends Tim. At first, Jake thinks that Tim is trying to communicate by cutting up playing cards, but Sylvie reveals that Tim is good at mimicking voices. Jake is able to trigger Tim's memory so that Tim mimics the voices he heard on the night of the murder by using the trigger phrase "God Damn," which were the first words Tim heard from the murder. He attempts to piece together the chronology of the murder, suspecting that Tim interrupted a fight between his parents and an intruder. Sheriff Mitch Rivers threatens to use drugs to get Tim to talk about the murder and Dr. Rene Harlinger successfully hypnotizes Tim into breaking down a locked door. The police chief, seeing this as proof of Tim's strength, concludes that Tim was the murderer, after finding photographs showing that Tim's father was molesting him. That night, Sylvie plans to take Tim away and attempts to convince Jake to run away with them. She fails, and instead paralyzes Jake and throws him into an icy lake to drown him. Tim mimics the police chief's voice over the phone to lure Sylvie to the police station and pulls Jake out of the lake while she is away.
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Answer: Tim Warden
Problem: Given the question: The following article contains an answer for the question: What is the name of the album that Christgau believes to be "dated in the sense that it speaks with unusually specific eloquence of a single point in history"? , can you please find it? Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs the so-called "godfather" of punk rock journalism said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980....
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The answer is:
Sgt. Pepper