Question: Found the following article online, use it to answer the question: What was the name of the person who grew bored of the Guide Course? In the interim came The Beatles, a double LP commonly known as the White Album for its virtually featureless cover. Creative inspiration for the album came from a new direction: without Epstein's guiding presence, the group had briefly turned to Maharishi Mahesh Yogi as their guru. At his ashram in Rishikesh, India, a "Guide Course" scheduled for three months marked one of their most prolific periods, yielding numerous songs including a majority of the 30 included on the album. However, Starr left after only ten days, likening it to Butlins, and McCartney eventually grew bored and departed a month later. For Lennon and Harrison, creativity turned to questioning when an electronics technician known as Magic Alex suggested that the Maharishi was attempting to manipulate them. When he alleged that the Maharishi had made sexual advances to women attendees, a persuaded Lennon left abruptly just two months into the course, bringing an unconvinced Harrison and the remainder of the group's entourage with him. In anger, Lennon wrote a scathing song titled "Maharishi", renamed "Sexy Sadie" to avoid potential legal issues. McCartney said, "We made a mistake. We thought there was more to him than there was."During recording sessions for the White Album, which stretched from late May to mid-October 1968, relations between the Beatles grew openly divisive. Starr quit for two weeks, and McCartney took over the drum kit for "Back in the U.S.S.R." (on which Harrison and Lennon drummed as well) and "Dear Prudence". Lennon had lost interest in collaborating with McCartney, whose contribution "Ob-La-Di, Ob-La-Da" he scorned as "granny music shit". Tensions were further aggravated by Lennon's romantic preoccupation with avant-garde artist Yoko Ono, whom he insisted on bringing to the sessions despite the group's well-established understanding that girlfriends were not allowed in the studio. Describing the double album, Lennon later said: "Every track is an individual track; there isn't any Beatle music on it. [It's] John and the...
Answer: McCartney
[Q]: Found the following article online, use it to answer the question: Who considered Bizet to be "penniless, left-wing, anti-religious and Bohemian"? Not long after Fromental Halevy's death in 1862, Bizet had been approached on behalf of Mme. Halevy about completing his old tutor's unfinished opera Noe. Although no action was taken at that time, Bizet remained on friendly terms with the Halevy family. Fromental had left two daughters; the elder, Esther, died in 1864, an event which so traumatised Mme. Halevy that she could not tolerate the company of her younger daughter Genevieve, who from the age of 15 lived with other family members. It is unclear when Genevieve and Bizet became emotionally attached, but in October 1867, he informed Galabert: "I have met an adorable girl whom I love! In two years she will be my wife!" The pair became engaged, although the Halevy family initially disallowed the match. According to Bizet they considered him an unsuitable catch: "penniless, left-wing, anti-religious and Bohemian", which Dean observes are odd grounds of objection from "a family bristling with artists and eccentrics". By summer 1869, their objections had been overcome, and the wedding took place on 3 June 1869. Ludovic Halevy wrote in his journal: "Bizet has spirit and talent. He should succeed".As a belated homage to his late father-in-law, Bizet took up the Noe manuscript and completed it. Parts of his moribund Vasco da Gama and Ivan IV were incorporated into the score, but a projected production at the Theatre Lyrique failed to materialise when Carvalho's company finally went bankrupt, and Noe remained unperformed until 1885. Bizet's marriage was initially happy, but was affected by Genevieve's nervous instability (inherited from both her parents), her difficult relations with her mother and by Mme. Halevy's interference in the couple's affairs. Despite this, Bizet kept on good terms with his mother-in-law and maintained an extensive correspondence with her. In the year following the marriage, he considered plans for at least half a dozen new operas and began to sketch the music for two of them: Clarissa Harlowe based on Samuel Richardson's novel...
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[A]: the Halevy family
input: Please answer the following: Found the following article online, use it to answer the question: What is the belief that has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece? The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded...
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output:
that the donor may have been a Genoese merchant