Found the following article online, use it to answer the question: What is the first name of the person who described Living in a Giant Candle Winking at God as "self-consciously musically written and less sample-based?" After two more EPs on Kompakt, the Orb (now composed of only Paterson and Fehlmann) released Okie Dokie It's The Orb on Kompakt, which featured new material in addition to tweaked versions of their previous Kompakt output. By this stage, Allmusic observed, Thomas Fehlmann had become the primary creative figure in the Orb, "inhibiting Alex Paterson's whimsical impulses". Because of this, Okie Dokie was considerably more focused and less "goofy" than Cydonia and Bicycles & Tricycles. Fehlmann's trademark hypnotic loops and delays made him the centre of Okie Dokie production and, according to Pitchfork Media, made it "difficult to say where [Paterson] is in the picture". The Orb's releases with Kompakt gained them back much of their musical credibility with the press and showed that they could "age gracefully".In August 2006, the founders of the Orb - Paterson and Cauty - released Living in a Giant Candle Winking at God, their debut album as the Transit Kings with Guy Pratt and Pratt's associate, Dom Beken. The album featured appearances from Smiths' guitarist Johnny Marr and comedian Simon Day. Beken described Living in a Giant Candle Winking at God as "self-consciously musically written and less sample-based" compared to the members' previous work. Living had been in production since 2001, but due to members' other obligations, it was delayed for several years. The album received mixed critical reactions, with reviewers such as The Sun comparing the album favourably to the music of DJ Shadow and Royksopp while other publications, such as The Times, called it "Orb-lite" and proclaimed it to be "Deep Forest-style sludge". Soon after the album's release, Cauty left the Transit Kings on "extended leave", leaving the project in indefinite limbo. Paterson and Beken reunited in 2008 as High Frequency Bandwidth, an ambient hip hop group on the Malicious Damage label.
Ans: Dom

Found the following article online, use it to answer the question: What is the last name of the part owner of the brand that made decisions by consensus that got a A$20 million payout when he left? Despite Anthony Field's expressed dislike of the term, preferring to refer to it as "preserving the good name of The Wiggles", the group has stressed the importance of their brand and were protective of it. They remained as independent as possible, and retained full creative control and ownership of every aspect of their business. As Field stated, The Wiggles Pty Ltd was "not your regular 'corporate culture'". They made decisions by consensus and made business decisions based upon their experience as performers and their knowledge of early childhood education. They made careful decisions regarding their endorsements of toys and other products, and avoided over-extending their brand by only licensing products that correlated with their image. They had high expectations regarding the behaviour and attitude of everyone associated with the group.The Wiggles became formally consolidated in 2005. The group's board of directors consisted of the original three members, Paul Field, who has been general manager of operations since the group was formed and their manager since the mid-1990s, and Mike Conway, who had worked for Ernst & Young in England and become their general manager in 2001. In 2009, the Australian rock band AC/DC knocked The Wiggles, who earned A$45 million, from the top of Business Review Weekly's (BRW) list of top entertainment earners for the first time in four years. In 2011, the worldwide recession hit The Wiggles, as it had done for many Australian entertainers; they earned A$28 million, but they still appeared second on the BRW's list that year. By 2012, founding members Anthony Field, Cook, and Fatt retained 30% ownership of their brand, and Paul Field and Conway each owned 5%. It was reported that as part owner of The Wiggles, Page was given a A$20 million payout when he left the group in 2006. Other ventures of The Wiggles Pty Ltd included franchising their concept to South America, Taiwan, and other countries, opening "Wiggles World" sections in theme parks, and online offerings.
Ans: Page

Found the following article online, use it to answer the question: What are the full names of the people who could not coordinate their schedules? Aaliyah began recording the album in 1998. She recorded a few songs, including two with longtime collaborator Timbaland, before working on Romeo Must Die. In 1999, while working on the record in New York City, Aaliyah called and asked Trent Reznor, one of her musical idols, to produce a song, but they could not coordinate their schedules. She intended to finish the album by the end of 2000 and resumed its recording while filming in Australia for Queen of the Damned (2002), as she shot her part for the film during the day and recorded songs at night. She said in an interview for Billboard, "there were nights when I didn't go into the studioI was too tired. On the weekends, I always made it." Jomo Hankerson, Blackground president and Aaliyah's cousin, said that he had to "bribe the producers", who did not want to "go halfway around the world!" He added that they ultimately had "a beautiful time ... making hot music".Most of the album's songs were recorded at either Sony Studios in New York City or Sing Sing Studios in Melbourne, including "Loose Rap", which was done at both studios. Aaliyah recorded "More Than a Woman" at Manhattan Center Studios, "U Got Nerve" at Soundtracks Studios in New York City, "We Need a Resolution" at Westlake Studios, and "I Care 4 U" at Magic Mix Studios and Music Grinder Studios in Los Angeles. She had first recorded "I Care 4 U", written by past collaborator Missy Elliott, in 1996 for One in a Million, but scrapped it after that album's completion. Aaliyah worked with Blackground Records' in-house crew of musicians, songwriters, and producers, including novice producers Bud'da, J. Dub, Rapture, and Eric Seats. Music manager Jimmy Henchman, a friend of Aaliyah's manager Barry Hankerson, helped coordinate the record's production and arranged for the producers and writers to work with the singer.
Ans: Aaliyah