Question: What is first name of the person who gave Prince's Minneapolis sound a distinctly feminine spin? Answer the above question based on the context below: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminineand, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feministspin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s...
Answer: Janet
[Q]: What is the first name of the person whose sound Tom Verlaine did not approve of? Answer the above question based on the context below: By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.
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[A]: Brian
input: Please answer the following: What was restored by Nigel Williams in 19881989? Answer the above question based on the context below: The highlight of Doubleday's career came after 7 February 1845 when a young man, who later admitted having spent the prior week "indulging in intemperance", smashed the Portland Vase, an example of Roman cameo glass and among the most famous glass items in the world, into hundreds of pieces. After his selection for the restoration, Doubleday commissioned a watercolour painting of the fragments by Thomas H. Shepherd. No account of his restoration survives, but on 1 May he discussed it in front of the Society of Antiquaries of London, and by 10 September he had glued the vase whole again. Only 37 small splinters, most from the interior or thickness of the vase, were left out; the cameo base disc, which was found to be a modern replacement, was set aside for separate display. A new base disc of plain glass, with a polished exterior and matte interior, was diamond-engraved "Broke Feby 7th 1845 Restored Sept 10th 1845 By John Doubleday". The British Museum awarded Doubleday an additional 25 (equivalent to 2,500 in 2016) for his work.At the time the restoration was termed "masterly" and Doubleday was lauded by The Gentleman's Magazine for demonstrating "skilful ingenuity" and "cleverness ... sufficient to establish his immortality as the prince of restorers". In 2006 William Andrew Oddy, a former keeper of conservation at the museum, noted that the achievement "must rank him in the forefront of the craftsmen-restorers of his time." Doubleday's restoration would remain for more than 100 years until the adhesive grew increasingly discoloured. The vase was next restored by J. W. R. Axtell in 19481949, and then by Nigel Williams in 19881989.
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output:
Portland Vase