input question: Found the following article online, use it to answer the question: What is the last name of the person whose look Jones reportedly liked? In August 1975, Rhodes spotted nineteen-year-old Kings Road habitue John Lydon wearing a Pink Floyd T-shirt with the words I Hate handwritten above the band's name and holes scratched through the eyes. Reports vary at this point: the same day, or soon after, either Rhodes or McLaren asked Lydon to come to a nearby pub in the evening to meet Jones and Cook. According to Jones, "He came in with green hair. I thought he had a really interesting face. I liked his look. He had his 'I Hate Pink Floyd' T-shirt on, and it was held together with safety pins. John had something special, but when he started talking he was a real arseholebut smart." When the pub closed, the group moved on to Sex, where Lydon, who had given little thought to singing, was convinced to improvise along to Alice Cooper's "I'm Eighteen" on the shop jukebox. Though the performance drove the band members to laughter, McLaren convinced them to start rehearsing with Lydon.Lydon later described the social context in which the band came together: Early Seventies Britain was a very depressing place. It was completely run-down, there was trash on the streets, total unemploymentjust about everybody was on strike. Everybody was brought up with an education system that told you point blank that if you came from the wrong side of the tracks...then you had no hope in hell and no career prospects at all. Out of that came pretentious moi and the Sex Pistols and then a whole bunch of copycat wankers after us. Their first gig was arranged by Matlock, who was studying at Saint Martins College. The band played at the school on 6 November 1975, in support of a pub rock group called Bazooka Joe, arranging to use their amps and drums. The Sex Pistols performed several cover songs, including the Who's "Substitute", the Small Faces' "Whatcha Gonna Do About It", and "(I'm Not Your) Steppin' Stone", made famous by the Monkees; according to observers, they were unexceptional musically aside from being extremely loud. Before the Pistols could play the few original...???
output answer: Lydon
Found the following article online, use it to answer the question: What is the last name of the person who starts turning party guests into vampires? It is Halloween in the small town of Pitchford Cove located somewhere in New England, and five high school friends, Phil, Mary, Mitch, Vinnie, and Melissa, plan on making it a night they will never forget. They steal outfits from the town's historic museum and come upon other old artifacts, including an old trunk encasing a paper scroll which contains an ancient curse. When Melissa, latent sorceress, recites the curse at the local cemetery, things take a turn for the worse. The town's dead, led by Melissa's great-great-great-great-grandmother Lucinda Cavender, a witch who was put to death 300 years earlier, rise up from their graves and roam the town. As Melissa, Vinnie, Mitch, and Mary enjoy themselves at their annual Halloween costume party, Phil encounters a mysterious girl, named Sandra "Sandy" Matthews, dressed in a vintage 1950's cheerleader outfit, who warns him that the whole town is in danger. Meanwhile, Lucinda and the various undead crash the costume party. At first, nobody pays much attention to them since everyone is in costume. However, Lucinda begins turning the party guests into vampires, starting with her great-great-great-great-granddaughter Melissa. When Sandy discovers that Phil and his friends recited the ancient spell in the cemetery, they realize that the whole town is being overrun by the living dead and decide to team up to break the curse. The only way to do so is to find the Grenville Spirit Ring inside the grave of a witch-hunter Nathaniel Grenville - who, coincidentally, was Phil's great-great-great-great-grandfather and slave owner of Lucinda Cavender, her arch-nemesis - and use it to undo the curse. Phil and "good ghost" Sandy must restore the town to normal by midnight before it is too late and the curse becomes permanent.
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Answer: Cavender
Problem: Given the question: Found the following article online, use it to answer the question: What is the name of the album whose lack of critical favour in the UK was reportedly such that it had become "the most underrated album of all time"? 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