Please answer this: Read the following paragraph and extract the answer for the question: What is the last name of the person who was educated at Westminster School in London? Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult (18531950), and his wife Katharine Florence nee Barman (d. 1927). Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade; Cedric and his family had "a Liberal Unitarian outlook on public affairs" with a history of philanthropy. When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted mostly by Hans Richter. He was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, and Richard Strauss. His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend.At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but later switched to music, in which his mentor was the musical academic and conductor Hugh Allen. Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend. In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, and the effect of music made without apparent effort. These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, and all his life he remained a member of the Leander Club.
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Answer: Boult

Please answer this: Read the following paragraph and extract the answer for the question: What is the name of the two songs that many music critics compare? "Deja Vu" debuted to mixed and positive reviews among critics. Mike Joseph of the international webzine PopMatters' believed that it was "fantastic to hear Beyonce singing her lungs out over a full-bodied groove featuring live instruments". Spence D. of IGN Music, a multimedia news and reviews website, complimented Jerkins' bass-laden groove, writing that it brought the track to perfection. Describing "Deja Vu" as a magnificent song, Caroline Sullivan of The Guardian complimented Beyonce and Jay-Z collaboration calling it "feverish as pre-watershed pop gets". She added that even though when Jay-Z is not physically present, he manages to bring out something formidable in Beyonce that evokes "the young, feral Tina Turner". Bernard Zuel The Sydney Morning Herald praised the assertiveness with which Beyonce delivers her lines and considered buying "Deja Vu" as worthwhile.Several other music critics have compared "Deja Vu" to Beyonce's 2003 single, "Crazy in Love", the lead single of her debut album. According to Gail Mitchell of Billboard magazine, the song is viewed by many as a sequel to "Crazy in Love". Jason King of the Vibe magazine deemed the song as "cloned from the DNA of the raucous 'Crazy in Love'" while Thomas Inskeep of Stylus Magazine referred to it as "'Crazy in Love' lite". Some reviewers, however, were negative to the parallels drawn between the two songs. Andy Kellman of AllMusic, an online music database, wrote that "['Deja Vu'] "had the audacity to not be as monstrous as 'Crazy in Love'", referring to the commercial success the latter experienced in 2003. The internet-based publication Pitchfork's writer Ryan Dombal claimed that "this time [Beyonce] out-bolds the beat".Sasha Frere-Jones of The New Yorker deemed the lyrics as a "perplexing view of memory", while Chris Richards of The Washington Post characterized Beyonce as a "love-dazed girlfriend" in the song. Jody Rosen of the Entertainment Weekly referred to "Deja Vu" as an "oddly flat" choice as a lead single. Jaime Gill of Yahoo! Music...
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Answer: Crazy in Love

Please answer this: Read the following paragraph and extract the answer for the question: What is the full name of the person who expressed that "In the sixties rock and roll began to think of itself as an 'art form'"? 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....
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Answer:
Lester Bangs