input: Please answer the following: Found the following article online, use it to answer the question: What record do the children that Conroy teaches play back to him? The story follows a young teacher, Pat Conroy (played by Jon Voight), in 1969 assigned to isolated "Yamacraw Island" (Daufuskie Island) off the coast of South Carolina and populated mostly by poor black families. He finds out that the children as well as the adults have been isolated from the rest of the world and speak a dialect called Gullah, with "Conrack" of the novel's title being the best they can do to pronounce his last name. The school has only two rooms for all grades combined, with the Principal teaching grades one through four and Conroy teaching the higher grades. Conroy discovers that the students aren't taught much and will have little hope of making a life in the larger world. Conroy tries to teach them about the outside world but comes into conflict both with the principal and Mr. Skeffington, the superintendent. He teaches them how to brush their teeth, who Babe Ruth is, and has the children listen to music, including Flight of the Bumblebee and Beethoven's Fifth Symphony. He explains that the when Beethoven wrote the Fifth Symphony, he was writing about "what death would sound like". He is also astounded they've never even heard of Halloween, and he decides to take them to Beaufort on the mainland to go trick-or-treating, which the superintendent has forbidden. He also must overcome parental fears of "the river." As a result, he's fired. As he leaves the island for the last time, the children come out to see him leave, all of them lined up on a rickety bridge. As he is about to leave by boat, one of the students then begins playing a record, which is the beginning movement of Beethoven's Fifth Symphony. This film was shot in and around Brunswick, Georgia and used pupils from C.B. Greer Elementary school as the cast of students.
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output: Beethoven's Fifth Symphony
Please answer this: Found the following article online, use it to answer the question: Who referred to their guitars as "automatic guitars"? Although Sylvain said Rundgren was not an interfering producer, he occasionally involved himself to improve a take. Sylvain recalled moments when Rundgren went into the isolation booth with Nolan when he struggled keeping a beat and drummed out beats on a cowbell for him to use as a click track. During another session, he stopped a take and walked out of the control room to plug in Kane's bass cabinet. Scoppa, who paid afternoon visits to the studio, overheard Rundgren say, "Yeah, that's all you needed. Okay, let's try it again!", and ultimately found the exchange funny and indicative of Rundgren's opinion of the band: "Todd was such a 'musician' while they were just getting by on attitude and energy. But as disdainful as he appeared to be at some points he got the job done really well." Rundgren felt Johansen's wild singing often sounded screamed or drunken but were eloquent in the sense that Johansen demonstrated a "propensity to incorporate certain cultural references into the music", particularly on "Personality Crisis". While recording the song, Johansen walked back into the control room and asked Rundgren if his vocals sounded "ludicrous enough".Because the New York Dolls had little money, Sylvain and Thunders played the austerely designed and affordable Gibson Les Paul Junior guitars on the record. They jokingly referred to them as "automatic guitars" due to their limited sound shaping features. To amplify their guitars, they ran a Marshall Plexi standalone amplifier through the speaker cabinets of a Fender Dual Showman, and occasionally used a Fender Twin Reverb. Some songs were embellished with additional instruments, including Buddy Bowser's brassy saxophone on "Lonely Planet Boy". Johansen sang into distorted guitar pickups for additional vocals and overdubbed them into the song. He also played an Asian gong for "Vietnamese Baby" and harmonica on "Pills". For "Personality Crisis", Sylvain originally played on The Record Plant's Yamaha grand piano before Rundgren added his own piano flourishes to...
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Answer: Thunders
input question: Found the following article online, use it to answer the question: What was the name of the person Harrison refused to allow to participate in events? In 1970, Lennon and Ono went through primal therapy with Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London. Lennon's debut solo album, John Lennon/Plastic Ono Band (1970), was received with praise by many music critics, but its highly personal lyrics and stark sound limited its commercial performance. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." The album featured the song "Mother", in which Lennon confronted his feelings of childhood rejection, and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which, due to the lyric "you're still fucking peasants", fell foul of broadcasters. In January 1971, Tariq Ali expressed his revolutionary political views when he interviewed Lennon, who immediately responded by writing "Power to the People". In his lyrics to the song, Lennon reversed the non-confrontational approach he had espoused in "Revolution", although he later disowned the message, saying that it was borne out of guilt and a desire for approval from radicals such as Ali. Lennon became involved with Ali in a protest against the prosecution of Oz magazine for alleged obscenity. Lennon denounced the proceedings as "disgusting fascism", and he and Ono (as Elastic Oz Band) released the single "God Save Us/Do the Oz" and joined marches in support of the magazine. Eager for a major commercial success, Lennon adopted a more accessible sound for his next album, Imagine (1971). Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant". The album's title track later became an anthem for anti-war movements, while the song "How Do You Sleep?" was a musical attack on McCartney in response...???
output answer:
Ono