[Q]: The answer to the question: What were the names of the two companies Zappa moved on to? is inside the article: Though it reached No. 130 on the Billboard chart, Freak Out! was neither a major commercial nor critical success when it was first released in the United States. Many listeners were convinced that the album was drug-inspired, and interpreted the album's title as slang for a bad LSD trip. The album made the Mothers of Invention immediate underground darlings with a strong counter-cultural following. In The Real Frank Zappa Book, Zappa quotes a negative review of the album by Pete Johnson of the Los Angeles Times, who wrote: I guess you might call it surrealistic paintings set to music. Not content to record just two sides of musical gibberish, the MOI devote four full sides to their type of "artistry". If anyone owns this album, perhaps he can tell me what in hell is going on ... The Mothers of Invention, a talented but warped quintet, have fathered an album poetically entitled Freak Out, which could be the greatest stimulus to the aspirin industry since the income tax. The album developed a major cult following in the United States by the time MGM/Verve had been merged into a division of PolyGram in 1972. At that time many MGM/Verve releases including Freak Out! were prematurely deleted in an attempt to keep the struggling company financially solvent. Zappa had already moved on to his own companies Bizarre Records and Straight Records which were distributed by Warner Bros. Records. Freak Out! was initially more successful in Europe and quickly influenced many English rock musicians. According to David Fricke, the album was a major influence on the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as The Beatles' Freak Out! Zappa criticized the Beatles, as he felt they were "only in it for the money".Freak Out! was honored with the Grammy Hall of Fame Award in 1999, ranked at number 243 on Rolling Stone magazine's list of the "500 Greatest Albums of All Time" in 2003, and featured in the 2006 book 1001 Albums You Must Hear Before You Die. The album..., can you guess it ?
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[A]: Straight Records
input: Please answer the following: The answer to the question: What is the last name of the person who failed to find a wide audience during his lifetime? is inside the article: Nicholas Rodney Drake (19 June 1948 25 November 1974) was an English singer-songwriter and musician known for his acoustic guitar-based songs. He failed to find a wide audience during his lifetime, but his work has since achieved wider recognition.Drake signed to Island Records when he was 20, while a student at the University of Cambridge, and released his debut album, Five Leaves Left, in 1969. By 1972, he had recorded two more albums, Bryter Layter and Pink Moon. Neither sold more than 5,000 copies on initial release. His reluctance to perform live or give interviews contributed to his lack of commercial success. No footage of the adult Drake has been released, only still photographs.Drake is believed to have suffered from depression, reflected in his lyrics. After making Pink Moon, he withdrew from performance and recording, retreating to his parents' home in rural Warwickshire. At the age of 26, Drake died from an overdose of approximately 30 amitriptyline pills, a prescribed antidepressant. His cause of death was determined as suicide.The 1979 release of the retrospective album Fruit Tree triggered a reassessment of Drake's music. By the mid-1980s, he was credited as an influence by such artists as Robert Smith, David Sylvian, and Peter Buck. In 1985, the Dream Academy reached the UK and US charts with "Life in a Northern Town", a song written for and dedicated to Drake. By the early 1990s, he had come to represent a "doomed romantic" musician in the UK music press. The first Drake biography was published in 1997, followed in 1998 by the documentary film A Stranger Among Us. In 1999, his song "Pink Moon" was used in a Volkswagen commercial, resulting in an increase in his U.S. album sales. By 2014, more than 2.4 million Nick Drake albums had been sold in the UK and the US., can you guess it ?
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output: Drake
Problem: The answer to the question: What is the first name of the person who enabled so many other talents to thrive? is inside the article: In 1982, at Elder's instigation, Harewood appointed David Pountney director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year. Peter Jonas succeeded Harewood as managing director. The 1980s leadership team of Elder, Pountney and Jonas became known as the "Powerhouse", initiated a new era of "director's opera". The three of them favoured productions described, contrastingly, by Elder as "groundbreaking, risky, probing and theatrically effective", and by the director Nicholas Hytner as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." Directors who did not, in Harewood's phrase, "want to splash paint in the face of the public" were sidelined. A 1980s audience survey showed that the two things that ENO audiences most disliked were poor diction and the extremes of "director's opera". In the Grove Dictionary of Music and Musicians, Barry Millington has described the 'Powerhouse' style as "arresting images of dislocated reality, an inexhaustible repertory of stage contrivances, a determination to explore the social and psychological issues latent in the works, and above all an abundant sense of theatricality." As examples, Millington mentioned Rusalka (1983), with its Edwardian nursery setting and Freudian undertones, and Hansel and Gretel (1987), its dream pantomime peopled by fantasy figures from the children's imagination ... Lady Macbeth of the Mtsensk District (1987) and Wozzeck (1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement. Poor average box-office sales led to a financial crisis, exacerbated by backstage industrial relations problems. After 1983, the company ceased touring to other British venues. Assessing the achievements of the 'Powerhouse' years, Tom Sutcliffe wrote in The Musical Times: ENO is not second best to Covent Garden. It is different, more theatrical, less vocal. ... The ENO now follows a policy like Covent Garden's in the..., can you guess it ?

A:
David