[Q]: The answer to the question: What is the first name of the person who had an images of being a sex symbol? is inside the article: Presley's physical attractiveness and sexual appeal were widely acknowledged. "He was once beautiful, astonishingly beautiful", in the words of critic Mark Feeney. Television director Steve Binder, no fan of Presley's music before he oversaw the '68 Comeback Special, reported, "I'm straight as an arrow and I got to tell you, you stop, whether you're male or female, to look at him. He was that good looking. And if you never knew he was a superstar, it wouldn't make any difference; if he'd walked in the room, you'd know somebody special was in your presence." His performance style, as much as his physical beauty, was responsible for Presley's eroticized image. Writing in 1970, critic George Melly described him as "the master of the sexual simile, treating his guitar as both phallus and girl". In his Presley obituary, Lester Bangs credited him as "the man who brought overt blatant vulgar sexual frenzy to the popular arts in America". Ed Sullivan's declaration that he perceived a soda bottle in Presley's trousers was echoed by rumors involving a similarly positioned toilet roll tube or lead bar.While Presley was marketed as an icon of heterosexuality, some cultural critics have argued that his image was ambiguous. In 1959, Sight and Sound's Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal". Brett Farmer places the "orgasmic gyrations" of the title dance sequence in Jailhouse Rock within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image". In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."Reinforcing Presley's image as a sex symbol were the reports of his dalliances with various Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of..., can you guess it ?
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[A]: Elvis

[Q]: The answer to the question: What is the first name of the person who considers Judas Priest's Sad Wings of Destiny the best metal album of all time? is inside the article: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Akerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Akerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Akerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Akerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodiesany of which are subject to savage punctuations of death metal fury at any given moment." Akerfeldt commented on the diversity of Opeth's music: I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music...., can you guess it ?
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[A]: Mikael

[Q]: The answer to the question: What is the full name of the person that participated in a song-writing project turn band in 2003 with the Silverchair member? is inside the article: In 2000, while also working with Silverchair, Johns and Mac released an internet-only EP, I Can't Believe It's Not Rock. In mid-2003, during Silverchair's hiatus, the pair re-united and formed The Dissociatives, releasing a self-titled album in April 2004. The duo provided the theme music for the popular ABC-TV music quiz show Spicks and Specks as a reworking of the Bee Gees' 1966 hit of the same name. Johns also collaborated with then-wife Natalie Imbruglia on her Counting Down the Days album, released in April 2005.Joannou worked with blues-rock group The Mess Hall; he co-produced with Matt Lovell their six-track extended play, Feeling Sideways, which was released in May 2003. The album was nominated for the ARIA Award for 'Best Independent Release' in 2003. Joannou and Lovell co-produced The Mess Hall's studio album, Notes from a Ceiling which was issued in June 2005. Joannou and Lovell received a nomination at the ARIA Music Awards of 2005 for 'Producer of the Year'. In 2003, Gillies formed Tambalane with Wes Carr, initially as a song-writing project, they released a self-titled album in 2005 and toured Australia.The 2004 Boxing Day tsunami resulted in the WaveAid fund-raising concert held in January 2005: Silverchair performed to help raise funds for aid organisations working in disaster affected areas. As a result of WaveAid the band decided to resume working together. Gillies explained the band's reunion as due to a special "chemistry" between band members, telling The Sydney Morning Herald, "It only took us 15 years, but recently we've realised, 'We've really got something special and we should just go for it.'", can you guess it ?
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[A]:
Wes Carr