[Q]: Read the following paragraph and extract the answer for the question: What was that last name of the person who gave Is This It a perfect 10 review? Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire themthey remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five...
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[A]: Robinson

[Q]: Read the following paragraph and extract the answer for the question: Why does Amy agree to be a surrogate mother? Amy Winslow is an art student majoring in painting, who is all by her own. Her mother died when she was a child and her father is not around. As a student she has financial problems, so she is surprised when the couple Joan and Stuart Quinn (Connie Sellecca and David Dukes) decide to take her in their house for a small amount of rent. Little does Amy know that Joan is following her every step through secret cameras, and that she has a hidden agenda for her. Initially, Amy is very content living with the Quinns, believing that she has found the family she has never had. When she loses the university's financial aide through an administration error, Joan immediately steps in to take care of her. They both drink a large amount of wine, and then Joan announces that because she is infertile, they are looking for a surrogate mother. She then tells Amy that they feel that she is the perfect candidate. Amy is flattered, and next day discusses the situation with her friendly teacher Eric Shaw. She then agrees when the Quinns propose to pay for her college fees if she helps them out. When Amy is a few months pregnant, Joan starts to show strange behavior. Amy feels smothered by Joan's overbearing attitude, feeling that she is being treated like a ten-year-old child. Her oil painting being taken away, Amy looks for it in the basement, only to find old baby clothes. Joan catches her, and becomes furious, scaring Amy away. She later tries to explain the situation by saying that she was pregnant four years ago, though had a miscarriage. Amy does not believe her story, though Eric - who was already 'warned' by Joan that Amy might act paranoid - tells her to focus on her painting, not on the Quinns.
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[A]: the Quinns propose to pay for her college fees

[Q]: Read the following paragraph and extract the answer for the question: What form became the primary motif of Moore's sculpture? After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brancusi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing...
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[A]:
the Chac Mool