[Q]: The following article contains an answer for the question: What is the first name of the person who highlighted the melody of "Sleep Talk"? , can you please find it? Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but...
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[A]: Gary

[Q]: The following article contains an answer for the question: What is the full name of the creator of the style that is thought to be the first to descend from the one reported in a journal in 1849? , can you please find it? Hachijo-daiko (, trans. "Hachijo-style taiko") is a taiko tradition originating on the island of Hachijo-jima. Two styles of Hachijo-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijo-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijo-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one. The first style of Hachijo-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byoshi (, "lower beat"), provides the underlying beat. The other player, called the uwa-byoshi (, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijo-daiko is called shin-daiko (, "new taiko"), which differs from Kumaoji-daiko in multiple ways. For instance, while the lead and accompanying roles are still present, shin-daiko...
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[A]: Okuyama Kumaoji

[Q]: The following article contains an answer for the question: What are the first names of the married couple who fights? , can you please find it? The film takes place in two different times: the present and 11 years earlier. The two plot lines are told in parallel through flashbacks. In 2002, software engineer Alan Russell moves into a new house with his wife Marie, 10-year-old son Tim, and 12-year-old daughter Kaylie. Alan purchases an antique mirror to decorate his office. Unbeknownst to them, the mirror supernaturally induces hallucinations. Marie is haunted by visions of her own body decaying, while Alan is seduced by a ghostly woman named Marisol, who has mirrors in place of eyes. Over time, the parents become psychotic; Alan isolates himself in his office, and Marie becomes withdrawn and paranoid. All of the plants in the house die, and the family dog disappears after being shut in the office with the mirror. After Kaylie sees Alan with Marisol, she tells her mother, and the parents fight. One night, Marie goes insane and attempts to kill her children, but Alan locks her away. When the family runs out of food, the children realize that their father is under the influence of the mirror, so Kaylie goes to seek help from their mother, and finds her chained to the wall, acting like an animal. Kaylie and Tim try going to their neighbors for help, but the neighbors disbelieve their stories. When Kaylie attempts to use the phone, she discovers that all of her phone calls are answered by the same man.
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[A]:
Alan