Q: Found the following article online, use it to answer the question: What are the first names of the people whose work "brought to life the charm that Paddington represents? "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
A: Pharrell
Question: Found the following article online, use it to answer the question: Which animal disguised himself second? The story opens when the fox is seen sneaking from atop a hill down to a farm. As he is walking, he narrates the story to the viewer. His first line is like: "As the last light went out, I knew my chance had come, to get at those chickens". After his first attempt and fail at stealing the chickens and being caught by the watch dog, he decides a different approach. To gain the friendship and trust of the bulldog, the fox shaves his tail and pretends to be a hard-luck terrier looking for a place to live. Unbeknown to the fox, The bulldog instantly sees through the fox's ploy but acts as though he's fooled. He agrees to share his home with the fox. At night, the fox sneaks into the chicken coop to steal one of the hens. The dog disguises himself as a huge chicken, which the greedy fox takes, and when the bulldog reveals himself beneath the disguise, the fox bolts and runs to a highway, where he hitches a ride on a passing truck, not noticing that the truck belongs to a fox furrier company.
Answer: bulldog
[Q]: Found the following article online, use it to answer the question: What is the opening movement in Messiah, one of the few to remain unrevised, which is followed by a quiet chorus that leads to the bass's declamation in D major? The opening soprano solo in E major, "I know that my Redeemer liveth" is one of the few numbers in the oratorio that has remained unrevised from its original form. Its simple unison violin accompaniment and its consoling rhythms apparently brought tears to Burney's eyes. It is followed by a quiet chorus that leads to the bass's declamation in D major: "Behold, I tell you a mystery", then the long aria "The trumpet shall sound", marked pomposo ma non-allegro ("dignified but not fast"). Handel originally wrote this in da capo form, but shortened it to dal segno, probably before the first performance. The extended, characteristic trumpet tune that precedes and accompanies the voice is the only significant instrumental solo in the entire oratorio. Handel's awkward, repeated stressing of the fourth syllable of "incorruptible" may have been the source of the 18th-century poet William Shenstone's comment that he "could observe some parts in Messiah wherein Handel's judgements failed him; where the music was not equal, or was even opposite, to what the words required". After a brief solo recitative, the alto is joined by the tenor for the only duet in Handel's final version of the music, "O death, where is thy sting?" The melody is adapted from Handel's 1722 cantata Se tu non-lasci amore, and is in Luckett's view the most successful of the Italian borrowings. The duet runs straight into the chorus "But thanks be to God".The reflective soprano solo "If God be for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. It ushers in the D major choral finale: "Worthy is the Lamb", leading to the apocalyptic "Amen" in which, says Hogwood, "the entry of the trumpets marks the final storming of heaven". Handel's first biographer, John Mainwaring, wrote in 1760 that this conclusion revealed the composer "rising still higher" than in "that vast effort of genius, the Hallelujah chorus". Young writes that the "Amen" should, in the manner of Palestrina, "be delivered as though through the aisles and...
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[A]: soprano solo in E major
Question: Found the following article online, use it to answer the question: What is the full name of the conductor that claimed the artist who was a catalyst for rock and roll was "the greatest cultural force in the twentieth century"? Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed originsrepeatedly affirmed by Presleyrock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everythingmusic, language, clothes. It's a whole new social revolutionthe sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail". On the 25th anniversary...
Answer:
Leonard Bernstein