input: Please answer the following: Given the following context: The village symbol is the Briarcliff Rose, a more brightly colored offshoot of the American Beauty rose. Since 2006, the Briarcliff Rose has been used on village street signs. The Briarcliff Manor Garden Club, which also uses the Briarcliff rose as their symbol, was established in 1956. One of its primary functions is in planting, maintaining, and improving public gardens and grounds.Briarcliff Manor has groups in several Scouting organizations, including Cub Scout Pack 6 and Boy Scout Troop 18. Pack 6 became the first Cub Scout pack in the village at its establishment in 1968; by 2002 it had over 70 cubs in 12 dens. The village's first Boy Scout troop was Troop 1 Briarcliff, founded before 1919. Sources cite Bill Buffman as the first Scoutmaster and John Hersey as the troop's first Eagle Scout. The first Girl Scout troop in the village was founded in 1917 by Louise Miller and Mrs. Alfred Jones, and the first Brownie troop was founded in 1929.The Briarcliff Manor Community Bonfire is a winter holiday event at Law Park, hosted by the village and the Briarcliff Friends of the Arts, involving live music (primarily seasonal and holiday songs), refreshments, and craft projects for children. Another annual community event is the Memorial Day parade, a tradition in Briarcliff Manor for more than fifty years. Before the parade begins, the Municipal Building's bell is rung to commemorate firefighters who have died in the previous year; the parade ends at the village's war memorial in Law Park, where wreaths are laid on the monument. The holiday has been celebrated in the village since the early 1900s, though initially involving large family picnics, with parades reserved for the Fourth of July. answer the following question: What is the name of the village in which the first Girl Scout troop was founded in 1917 by Louise Miller and Mrs. Alfred Jones?
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output: Briarcliff Manor

input: Please answer the following: Given the following context: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan... answer the following question: What is the first name of the person whose relationship with Dylan also provided an important emotional dynamic in the composition of the Freewheelin' album?
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output: Suze

input: Please answer the following: Given the following context: The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song Tomorrow Never Knows. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met... answer the following question: What album cover parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band?
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output:
We're Only in It for the Money