input: Please answer the following: The following article contains an answer for the question: What is the real name of the person who honed the finished songs in collaboration with other writer-producers? , can you please find it? In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on...
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output: Mathangi "Maya" Arulpragasam

input: Please answer the following: The following article contains an answer for the question: What is the full name of the person who is controlled with a voodoo doll? , can you please find it? News anchor Barry Baron discovers that a drug smuggling ring is operating out of the building where he works, and is chased down and eventually shot dead by the drug dealers. His co-anchor, Dulcie Niles finds Barry's body, calls the police and prepares to film the investigation, but before the police can arrive Barry's body is stolen by the building's cleaner, Chafuka, who uses her voodoo powers to reanimate Barry's corpse as a zombie, allowing her to take over Barry's luxury apartment. In order to keep up appearances, Chafuka has Barry, who is otherwise unable to speak, continue performing his news broadcasts by controlling him with a voodoo doll, while Dulcie continues to investigate the drug ring with the help of incompetent police detective Jordan Penrose. Meanwhile, the head of the drug ring, Nolan sees one of Barry's news broadcasts and assumes that his henchmen bungled Barry's murder, and sends them to finish the job off. When they arrive at the station however, they end up being killed in a series of mishaps, and Chafuka turns them into more zombies. On seeing his zombified former henchmen, Nolan panics and takes refuge with the station's owner, Alex Cavanaugh, who it turns out is the mastermind behind the drug ring. He takes Dulcie and Jordan hostage and has Nolan drive them to safety, while Barry, Chafuka and the zombie henchmen give chase. During the course of the chase Dulcie and Jordan are rescued, and then Nolan loses control of the car, with both he and Cavanaugh being killed in the resulting crash. Chafuka turns Cavanaugh and Nolan into zombies and then takes full control of the station, with Barry continuing as lead anchor after his original personality fully returns, and Jordan quitting the police to become the station's head of security, with the zombie Nolan and his henchmen becoming security guards.
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output: Barry Baron

input: Please answer the following: The following article contains an answer for the question: What is the name of the album that reportedly suffered more than any Beatles record from the long fall-out after punk? , can you please find it? 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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output:
Sgt. Pepper