Please answer this: The answer to the question: What was the full name of the person Lennon become involved with in a protest? is inside the article: In 1970, Lennon and Ono went through primal therapy with Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London. Lennon's debut solo album, John Lennon/Plastic Ono Band (1970), was received with praise by many music critics, but its highly personal lyrics and stark sound limited its commercial performance. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." The album featured the song "Mother", in which Lennon confronted his feelings of childhood rejection, and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which, due to the lyric "you're still fucking peasants", fell foul of broadcasters. In January 1971, Tariq Ali expressed his revolutionary political views when he interviewed Lennon, who immediately responded by writing "Power to the People". In his lyrics to the song, Lennon reversed the non-confrontational approach he had espoused in "Revolution", although he later disowned the message, saying that it was borne out of guilt and a desire for approval from radicals such as Ali. Lennon became involved with Ali in a protest against the prosecution of Oz magazine for alleged obscenity. Lennon denounced the proceedings as "disgusting fascism", and he and Ono (as Elastic Oz Band) released the single "God Save Us/Do the Oz" and joined marches in support of the magazine. Eager for a major commercial success, Lennon adopted a more accessible sound for his next album, Imagine (1971). Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant". The album's title track later became an anthem for anti-war movements, while the song "How Do You Sleep?" was a musical attack on McCartney in response..., can you guess it ?
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Answer: Tariq Ali
Problem: The answer to the question: What's the full name of the person that the automobile hits? is inside the article: Bitter war widow Janet Ames seeks out the five soldiers for whom her husband gave his life by falling on a hand grenade during the Battle of the Bulge. While crossing a city street to find the first, she is struck and knocked unconscious by an automobile. The police find no identification on her, only a list of names. One recognizes the last name on her list, Smithfield "Smitty" Cobb, a reporter recently fired for alcoholism, and contacts Smitty. When Smitty sees the list, he realizes who she must be. He goes to see her at the hospital, and finds her in a wheelchair, unable to walk. As the doctor can find no physical reason for the paralysis, he schedules an appointment with a psychiatrist. Smitty decides to treat her himself. He introduces himself as a friend of her husband David (though not as one of the men he saved), and wheels her into a private room. She explains her mission: to see if any of the men were worth David's sacrifice, making it perfectly clear that she has already made up her mind. After a nurse gives her a sedative, Smitty accuses her of wallowing in self-pity, then tries to get Janet to change her mind by describing each of the men. He is so vivid that Janet can see and talk to them. The first man she interacts with is nightclub bouncer Joe Burton. He and his singer girlfriend Katie dream of building a house. Joe constructs a model of it from a deck of cards. Exasperated by their unrealistic aspirations, Janet blows the cards down., can you guess it ?

A: Janet Ames
Q: The answer to the question: What is the first name of the person who, with Brown, said that Tchaikovsky's process builds momentum and adds intense drama? is inside the article: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed..., can you guess it ?
A:
Hans