Question: What is the name of the label that came after Zappa discontinued his old one in 1973? Answer the above question based on the context below: Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner Bros. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 197375 band". Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of Zappa's life.
Answer: DiscReet Records
[Q]: Who walks out on Brian because of his skin color? Answer the above question based on the context below: Kenya McQueen is a successful, single African American woman who has sacrificed romance in order to pursue a career as a certified public accountant. Her obsessive compulsive desire for perfection and control has manifested itself in the bland, monochromatic decor of her new home and the rigid rules she follows in her personal life. Urged to loosen up by her friends, Kenya accepts a blind date with landscape architect Brian Kelly arranged by her co-worker Leah Cahan, who is in the process of planning the kind of wedding Kenya wants herself. The two meet at Starbucks, and she is surprised to discover Brian is white. She quickly excuses herself and leaves. The two unexpectedly meet again at a party at Leah's parents' home, where Brian landscaped the grounds. Impressed with his work, Kenya decides to hire him to renovate her unkempt backyard garden. As time passes, their employer-employee relationship evolves into a friendship and then love. Although Brian is helping her feel more comfortable about her living environment, Kenya finds it difficult to dismiss her reservations about their romance. The opinions of her girlfriends Cheryl, Nedra, and Suzette, her upper class parents Joyce and Edmond, and her womanizing younger brother Nelson begin to have a deleterious effect and Brian's unwillingness to discuss issues of color drives them apart.
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[A]: Kenya McQueen
input: Please answer the following: Who later trains the tomboy? Answer the above question based on the context below: In the year 1978, Gracie Bowen, a 15-year-old tomboy who lives in South Orange, New Jersey, is crazy about soccer, as are her three brothers and their former soccer star father. Although Gracie wants to join her brothers and neighbor Kyle in the nightly practices her father runs, she is discouraged by everyone except her older brother, Johnny. Johnny, Gracie and Kyle attend Columbia High School, where Johnny is the captain and star player for the varsity soccer team. After missing a shot at the end of a game, the despondent Johnny drives off with a friend's car and dies in a traffic accident. Struggling with grief, Gracie decides that she wants to replace her brother on the team. Her father does not believe that girls should play soccer, telling her she is neither tough nor talented enough. Her mother is a nurse who lacks the competitive drive of the rest of her family and fears for Gracie's safety. Her mother later tells Gracie that she would have liked to become a surgeon, but that option had not been available to her as a woman. Rejected and depressed, Gracie begins to rebel; she stops doing her schoolwork, is caught cheating on an exam, and experiments with wild and self-destructive behavior. She is finally caught by her father almost having sex with a guy she met near the docks after telling her friend, "I want to do something that I've never done before." This serves as a wake-up call for her parents, particularly her father. He quits his job to work with her on her soccer training.
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output: her father
input: Please answer the following: What were the names of the three symphonic poems written by Smetana? Answer the above question based on the context below: Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven, Mendelssohn, Weber and Berlioz before producing his Triumphal Symphony of 1853. Though this is dismissed by Rosa Newmarch as "an epithalamium for a Habsburg Prince", Smetana's biographer Brian Large identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in 1882, without the "triumphal" tag, under Adolf Cech. The piece is now sometimes called the Festive Symphony. Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, (Richard III, Wallenstein's Camp and Hakon Jarl), works that transformed Smetana from a composer primarily of salon pieces to a modern neo-Romantic, capable of handling large-scale forces and demonstrating the latest musical concepts. From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning Ma vlast in 1872. In his introduction to the Collected Edition Score, Frantisek Bartol brackets Ma vlast with the opera Libuse as "direct symbols of [the] consummating national struggle". Ma vlast is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech...
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output:
Wallenstein's Camp