[Q]: Given the following context: The album cover features a photograph of Dylan with Suze Rotolo. It was taken in February 1963a few weeks after Rotolo had returned from Italyby CBS staff photographer Don Hunstein at the corner of Jones Street and West 4th Street in the West Village, New York City, close to the apartment where the couple lived at the time. In 2008, Rotolo described the circumstances surrounding the famous photo to The New York Times: "He wore a very thin jacket, because image was all. Our apartment was always cold, so I had a sweater on, plus I borrowed one of his big, bulky sweaters. On top of that I put on a coat. So I felt like an Italian sausage. Every time I look at that picture, I think I look fat." In her memoir, A Freewheelin' Time, Rotolo analyzed the significance of the cover art: It is one of those cultural markers that influenced the look of album covers precisely because of its casual down-home spontaneity and sensibility. Most album covers were carefully staged and controlled, to terrific effect on the Blue Note jazz album covers ... and to not-so great-effect on the perfectly posed and clean-cut pop and folk albums. Whoever was responsible for choosing that particular photograph for The Freewheelin' Bob Dylan really had an eye for a new look. Critic Janet Maslin summed up the iconic impact of the cover as "a photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging".The cover photo is recreated in the 2001 Tom Cruise film Vanilla Sky. answer the following question: What are the full names of the two people who are featured in the photograph taken in February 1963?
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[A]: Bob Dylan

input: Please answer the following: Given the following context: Andre Kertesz (French: [kts]; 2 July 1894 28 September 1985), born Kertesz Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertesz never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertesz pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertesz stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success. Due to German persecution of the Jews and the threat of World War II, Kertesz decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period. answer the following question: What is the original name of the person who briefly served in World War I?
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output: Kertesz Andor

Problem: Given the following context: In 1956 Walton sold his London house and took up full-time residence on Ischia. He built a hilltop house at Forio and called it La Mortella. Susana Walton created a magnificent garden there. Walton's other works of the 1950s include the music for a fourth Shakespeare film, Olivier's Richard III, and the Cello Concerto (1956), written for Gregor Piatigorsky, who gave the premiere in January 1957 with the Boston Symphony Orchestra and the conductor Charles Munch. Some critics felt that the concerto was old-fashioned; Peter Heyworth wrote that there was little in the work that would have startled an audience in the year the Titanic met its iceberg (1912). It has nevertheless entered the regular repertoire, performed by Paul Tortelier, Yo-Yo Ma, Lynn Harrell and Pierre Fournier among others. In 1966 Walton successfully underwent surgery for lung cancer. Until then he had been an inveterate pipe-smoker, but after the operation he never smoked again. While he was convalescing, he worked on a one-act comic opera, The Bear, which was premiered at Britten's Aldeburgh Festival, in June 1966, and enthusiastically received. Walton had become so used to being written off by music critics that he felt "there must be something wrong when the worms turned on some praise." Walton received the Order of Merit in 1967, the fourth composer to be so honoured, after Elgar, Vaughan Williams and Britten.Walton's orchestral works of the 1960s include his Second Symphony (1960), Variations on a Theme by Hindemith (1963), Capriccio burlesco (1968), and Improvisations on an Impromptu of Benjamin Britten (1969). His song cycles from this period were composed for Peter Pears (Anon. in Love, 1960) and Schwarzkopf (A Song for the Lord Mayor's Table, 1962). He was commissioned to compose a score for the 1969 film Battle of Britain, but the film company rejected most of his score, replacing it with music by Ron Goodwin. A concert suite of Walton's score was published and recorded after Walton's death. After his experience over Battle of... answer the following question: What specific decade is referred to as the period from which his song cycles were composed for Peter Pears and Schwarzkopf?

A:
1960s