Question: Given the following context: In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project. answer the following question: What is the first name of the person who had turned down Waters' offer of a role on the development of his new solo album?
Answer: Bob

[Q]: Given the following context: In 2016, the United States is in a sustained economic depression. Industrial disasters, resource shortages, and gasoline prices at $37 per gallon have made railroads the primary mode of transportation, but even they are in disrepair. After a major accident on the Rio Norte line of the Taggart Transcontinental railroad, CEO James Taggart shirks responsibility. His sister Dagny Taggart, Vice-President in Charge of Operations, defies him by replacing the aging track with new rails made of Rearden Metal, which is claimed to be lighter yet stronger than steel. Dagny meets with its inventor, Hank Rearden, and they negotiate a deal they both admit serves their respective self-interests. Politician Wesley Mouchnominally Rearden's lobbyist in Washington, D.C.is part of a crowd that views heads of industry as persons who must be broken or tamed. James Taggart uses political influence to ensure that Taggart Transcontinental is designated the exclusive railroad for the state of Colorado. Dagny is confronted by Ellis Wyatt, a Colorado oil man angry to be forced to do business with Taggart Transcontinental. Dagny promises him that he will get the service he needs. Dagny encounters former lover Francisco d'Anconia, who presents a facade of a playboy grown bored with the pursuit of money. He reveals that a series of copper mines he built are worthless, costing his investors (including the Taggart railroad) millions. Rearden lives in a magnificent home with a wife and a brother who are happy to live off his effort, though they overtly disrespect it. Rearden's anniversary gift to his wife Lillian is a bracelet made from the first batch of Rearden Metal, but she considers it a garish symbol of Hank's egotism. At a dinner party, Dagny dares Lillian to exchange it for Dagny's diamond necklace, which she does. answer the following question: What is the full name of the person who costs their investors millions?
****
[A]: Francisco d'Anconia

input: Please answer the following: Given the following context: John, an ambitious young police officer, is sent undercover to join a violent football firm associated with the fictitious club Shadwell Town to track down the 'generals' - the shadowy figures who orchestrate the violence. His team of four gradually ingratiate themselves into the lives of The Dogs, the nickname that Shadwell's fans give themselves. The main site for this is The Rock, a public house around which The Dogs' lives revolve. Gradually, the hard drinking and hard fighting macho culture - where Saturday's match and Saturday's fight are all that matters - prove strangely irresistible to John and he slowly finds himself becoming one of the thugs he has been sent to entrap. His relationships with his wife, his superiors and even his team become strained. Eventually his wife returns to her parents' house and rebuffs his attempted reconciliation. The police operation is abruptly wound up for budgeting reasons, just as it seems John is making progress in identifying those who pull the strings. The closing sequence shows a shaven-headed John taking part in a racist march, having become nothing more than a neo-nazi fascist. One of his team approaches him to try to help him, but is rebuffed. John says that he is, again, working undercover. There is a degree of ambiguity, and it might be that he is working undercover, though it may also be that he has become deluded and has merely mired himself in an even less pleasant world. His fascist chanting at the very end makes it clear that whatever the truth, John is unable to prevent himself from sinking into his character. answer the following question: Whose relationship with their superiors becomes strained?
++++++++++
output: John

input: Please answer the following: Given the following context: Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". According to Geoff Emerick, the Beatles' recording engineer, the "major difference" between the two albums was that, with Sgt. Pepper, there was no absolute deadline for completion. Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" made prominent use of Mellotron, a keyboard instrument on which the keys triggered tape-recordings of a variety of instruments, enabling its user to play keyboard parts using those voices."Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the... answer the following question: Who explained that the songs on the album were not designed to be performed live?
++++++++++
output:
Martin