[Q]: A friend asked me to answer this question: What is the full name of the person that said "if this doesn't get you right in the heart, you'd better see a vet"?, using the article: Critical analysis of Beiderbecke's work during his lifetime was sparse. Surprisingly, his innovative playing initially received greater attention and appreciation among European critics than those in the country of his birth. The British music trade magazine "Melody Maker" published a number of reviews of his recordings and assessments of his cornet playing. In the April 1927 issue, bandleader Fred Elizalde stated: "Bix Bidlebeck (sic) is considered by Red Nichols himself and every other trumpet player in the States, for that matter, as the greatest trumpet player of all time". The magazine's editor, Edgar Jackson, was equally fulsome in his praise: "Bix has a heart as big as your head, which shines through his playing with the warmth of the sun's rays" (September 1927 issue); "The next sixteen bars are a trumpet solo by Bix, and if this doesn't get you right in the heart, you'd better see a vet." In Blackboard Jungle, a 1955 film starring Glenn Ford and Sidney Poitier, Beiderbecke's music is briefly featured, but as a symbol of cultural conservatism in a nation on the cusp of the rock and roll revolution. Brendan Wolfe, the author of Finding Bix, spoke of Beiderbecke's lasting influence on Davenport, Iowa: "His name and face are still a huge part of the city's identity. There's an annual Bix Beiderbecke Memorial Jazz Festival, and a Bix 7 road race with tens of thousands of runners, Bix T-shirts, bumper stickers, bobble-head dolls, the whole works." In 1971, on the 40th anniversary of Beiderbecke's death, the Bix Beiderbecke Memorial Jazz Festival was founded in Davenport, Iowa, to honor the musician. In 1974, Sudhalter and Evans published their biography, Bix: Man and Legend, which was nominated for a National Book Award. In 1977, the Beiderbecke childhood home at 1934 Grand Avenue in Davenport was added to the National Register of Historic Places."Bix: 'Ain't None of Them Play Like Him Yet", a 1981 film documentary on Beiderbecke's life directed and produced by Brigitte Berman, featured interviews with..., what would be the answer ?
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[A]: Edgar Jackson
input: Please answer the following: A friend asked me to answer this question: What is the name of the person who would have revised L'Arianna more thoroughly had he more time?, using the article: Despite the positive reception accorded to L'Arianna at its premiere, the duke did not request a second showing, as he had with L'Orfeo the previous year". The next hint of a performance of L'Arianna is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the celebration for the Duchess Caterina's birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of L'Arianna.There is some evidence to suggest a possible performance in Dubrovnik, in or some time after 1620; a Croatian translation of the libretto was published in Ancona in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new Teatro San Cassiano opened with a performance of L'Andromeda by Francesco Manelli. The popularity of this and other works led to more theatres converting their facilities for opera; L'Arianna was chosen to inaugurate the Teatro San Moise as an opera house during the 163940 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at St Mark's Basilica since 1613. The dedication in the revised and republished..., what would be the answer ?
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output: Monteverdi
Problem: A friend asked me to answer this question: What are the last names of the people who co-produced Mellon Collie and the Infinite Sadness?, using the article: The Smashing Pumpkins' distinctive sound up until Adore involved layering numerous guitar tracks onto a song during the recording process, a tactic that Mellon Collie and the Infinite Sadness coproducer Flood called the "Pumpkin guitar overdub army." Although there were a lot of overdubbed parts on Gish, Corgan began to really explore the possibilities of overdubbing with Siamese Dream; Corgan has stated that "Soma" alone contains up to 40 overdubbed guitar parts. While Corgan knew many of the songs would be difficult or impossible to replicate from their recorded versions in concert (in fact, some songs were drastically altered for live performance), he has explained the use of overdubbing by posing the question "When you are faced with making a permanent recorded representation of a song, why not endow it with the grandest possible vision?" This use of multilayered sounds was inspired by Corgan's love of 1970s popular artists & bands such as: David Bowie, Cheap Trick, Queen, Boston, and the Electric Light Orchestra, as well as shoegaze, a British alternative rock style of the late 1980s and early 1990s that relied on swirling layers of guitar noise for effect. Mellon Collie coproducer Alan Moulder was originally hired to mix Siamese Dream because Corgan was a fan of his work producing shoegaze bands such as My Bloody Valentine, Ride, and Slowdive.Like many contemporary alternative bands, the Smashing Pumpkins utilized shifts in song dynamics, going from quiet to loud and vice versa. Husker Du's seminal album Zen Arcade demonstrated to the band how they could place gentler material against more aggressive fare, and Corgan made such shifts in dynamics central to the pursuit of his grand musical ambitions. Corgan said he liked the idea of creating his own alternative universe through sound that essentially tells the listener, "Welcome to Pumpkin Land, this is what it sounds like on Planet Pumpkin." This emphasis on atmosphere carried through to Adore (described as "arcane night music" in prerelease promotion)..., what would be the answer ?

A:
Moulder