Problem: Found the following article online, use it to answer the question: What is the first name of the person who believes the song parodies the theme of seduction in contemporary rock music? "Touch Me I'm Sick" has a straightforward garage punk structure with a simple repeating power chord riff played at a high tempo. This is accompanied by a blunt bass line and frenetic drumming. The song's dirty sound was produced using an Electro-Harmonix Big Muff distortion pedal, which is augmented by a second guitar providing more distortion. Music writer Brian J. Barr referred to this noisy sound as "the sonic equivalent of an amplified comb scraping against paper".Critics have noted a Stooges influence in "Touch Me I'm Sick", typical of Mudhoney's early material. Turner said: "In retrospect, it's The Yardbirds' 'Happenings Ten Years Time Ago' by way of The Stooges' 'Sick of You'. At the time I was trying for the stuttering R&B guitar of The Nights and Days." The song is also reminiscent of the hardcore punk of Black Flag. In his book Loser: The Real Seattle Music Story, Clark Humphrey accuses the song of being a copy of "The Witch" by The Sonics. The band have dismissed this claim, and questioned the writer's knowledge of music.Arm's lyrics, according to critic Steve Huey, are a rant about "disease, self-loathing, angst, and dirty sex". In an essay called "'Touch Me I'm Sick': Contagion as Critique in Punk and Performance Art", Catherine J. Creswell suggests that some of the lyrics refer to AIDS. According to Creswell, "In declaring 'Well, I'm diseased and I don't mind' and changing the final refrain to 'Fuck Me, I'm Sick!' the speaker declares himself to be the viral, 'AIDS-bearing,' 'polluting' person of contemporary fantasy". Creswell, who also believes the song parodies the theme of seduction in contemporary rock music, points to lyrics that refer to impotence ("If you don't come, if you don't come, if you don't come, you'll die alone!") and violent possession or forcing ("I'll make you love me till the day you die!"). However, Arm says that he had not put much thought into the lyrics; while performing the song in concerts, he sometimes changes them to amuse himself.Another feature of "Touch Me I'm...

A: Catherine
Problem: Given the question: Found the following article online, use it to answer the question: What is the first name of the person who released Volume 9 of his Bootleg Series in October 2010? On October 18, 2010, Dylan released Volume 9 of his Bootleg Series, The Witmark Demos. This comprised 47 demo recordings of songs taped between 1962 and 1964 for Dylan's earliest music publishers: Leeds Music in 1962, and Witmark Music from 1962 to 1964. One reviewer described the set as "a hearty glimpse of young Bob Dylan changing the music business, and the world, one note at a time." The critical aggregator website Metacritic awarded the album a Metascore of 86, indicating "universal acclaim". In the same week, Sony Legacy released Bob Dylan: The Original Mono Recordings, a box set that for the first time presented Dylan's eight earliest albums, from Bob Dylan (1962) to John Wesley Harding (1967), in their original mono mix in the CD format. The CDs were housed in miniature facsimiles of the original album covers, replete with original liner notes. The set was accompanied by a booklet featuring an essay by music critic Greil Marcus.On April 12, 2011, Legacy Recordings released Bob Dylan in Concert Brandeis University 1963, taped at Brandeis University on May 10, 1963, two weeks prior to the release of The Freewheelin' Bob Dylan. The tape was discovered in the archive of music writer Ralph J. Gleason, and the recording carries liner notes by Michael Gray, who says it captures Dylan "from way back when Kennedy was President and the Beatles hadn't yet reached America. It reveals him not at any Big Moment but giving a performance like his folk club sets of the period... This is the last live performance we have of Bob Dylan before he becomes a star."The extent to which his work was studied at an academic level was demonstrated on Dylan's 70th birthday on May 24, 2011, when three universities organized symposia on his work. The University of Mainz, the University of Vienna, and the University of Bristol invited literary critics and cultural historians to give papers on aspects of Dylan's work. Other events, including tribute bands, discussions and simple singalongs, took place around the world, as reported...
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The answer is:
Bob
[Q]: Found the following article online, use it to answer the question: What is the first name of the person who explains that musicians' girlfriends were routinely described as "chicks?" Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan...
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[A]:
Suze