Question: A friend asked me to answer this question: What is the last name of the person whose refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music?, using the article: Alan Dudley Bush (22 December 1900 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works. Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany. In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and..., what would be the answer ?
Answer: Bush
[Q]: A friend asked me to answer this question: How does the woman that tries to seduce the bellboy know the criminal attorney?, using the article: Prominent criminal attorney Amos Strickland checks into the Lost Caverns Resort Hotel. His murdered body is later discovered by the bellboy, Freddie Phillips, who is implicated in the crime. Casey Edwards, the house detective, tries to clear Freddie, but Inspector Wellman and Sgt. Stone keep him in custody at his hotel room 'on the state'. Strickland's secretary Gregory Millford and seven of Strickland's former clients happen to be at the resort, and they are all suspects. These former clients are Swami Talpur, Angela Gordon, Mrs. Hargreave, T. Hanley Brooks, Lawrence Crandall, Mrs. Grimsby and Mike Relia. The bodies of Relia and the secretary Gregory Millford are found in Freddie's closet, and he and Casey try to move them and hide them. The former clients gather for a meeting and decide that they must conceal their pasts and that Freddie must take the blame for the three murders. They trick Freddie into signing a confession, and then want him dead. Angela tries to seduce him, but the police stop her when they fear she's poisoned the champagne, then the Swami attempts to hypnotize him into committing suicide but his stupidity saves him., what would be the answer ?
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[A]: former client
input: Please answer the following: A friend asked me to answer this question: What is the name of the album whose standing mysteriously failed to improve even with the band's Britpop-era revival?, using the article: Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs the so-called "godfather" of punk rock journalism said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980...., what would be the answer ?
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output:
Sgt. Pepper