Question: The following article contains an answer for the question: What is the title of the album whose sound and imagery M.I.A. described as capturing a "digital ruckus"? , can you please find it? M.I.A. opted to sing, as opposed to rap, on several tracks on the album, telling Rolling Stone in early 2010 that she wished to produce something different from her previous album, which had "more emphasis on production". In a January 2010 interview with NME she spoke of being inspired by the film Food, Inc. and described the album as being about "exploring our faults and flaws" and being proud of them. The closing track, "Space", which was reportedly recorded using an iPhone app, is a ballad which Mikael Wood, writing in Billboard, described as "dreamy" and "sound[ing] like a Sega Genesis practicing its pillow talk". In contrast, Greg Kot of the Chicago Tribune described "Lovalot" as sounding "like it was recorded in a dank alley, the singer's voice reverberating amid percussion that sounds like doors creaking and rats scurrying across garbage cans". "XXXO" draws its inspiration from M.I.A.'s "cheesy pop side", and is based on the theme of the creation of a sex symbol. "Teqkilla" is the only track to address her relationship with Bronfman, through a reference to Seagram, the company owned by his family. "It Takes a Muscle" is a cover version of a track originally recorded in 1982 by Dutch group Spectral Display, and is performed in a reggae style.The opening track "The Message", featuring a male lead vocalist, parodies the words of the traditional song "Dem Bones" to link Google to "the government". Kitty Empire wrote in The Observer that these conspiratorial government connections to Google and the thoughts of Dzhennet Abdurakhmanova, the Russian teenager who bombed Moscow's tube system in revenge for the death of her husband, were inner-world issues pondered in "Lovalot" with "a mixture of nonsense rhyme, militant posturing and pop-cultural free-flow; her London glottal stop mischievously turns 'I love a lot' into 'I love Allah' ". Ann Powers in the Los Angeles Times said that "M.I.A. turns a call to action into a scared girl's nervous tic. Synths click out a jittery, jagged background. The song doesn't...
Answer: Maya

Question: The following article contains an answer for the question: What is the full name of the person that became a full Royal Academician in 1828? , can you please find it? William Etty (17871849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship in 1805 moved to London to become an artist. In January 1807 he was admitted to the Royal Academy Schools as a probationer, and in July of that year became a student of renowned portrait painter Thomas Lawrence, studying under him for a year.Strongly influenced by the works of Titian and Rubens, Etty became famous for painting nude figures in biblical, literary and mythological settings. He became well-respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Many of his peers greatly admired his work, and in February 1828 he defeated John Constable by 18 votes to five to become a full Royal Academician, at the time the highest honour available to an artist.Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 depicted nude figures. While some nude paintings by foreign artists existed in private collections in England, the country had no tradition of nude painting and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice.Etty was the first British artist to specialise in the nude, and the prurient reaction of the lower classes to these paintings caused concern throughout the 19th century. Although his portraits of male nudes were generally well received, many critics condemned his recurrent depictions of female nudity as indecent.
Answer: William Etty

Question: The following article contains an answer for the question: What is the name of the person who wrote in January 1946, "I believe as before in your lucky star"? , can you please find it? Wolters did not attend the Nuremberg trial (he later described it as a "victor's court" and as a "show trial") but wrote to Speer in January 1946, during the trial: "I stand by you in misfortune as in the good days. I believe as before in your lucky star." On August 10, as the trial approached its conclusion, Speer, anticipating the likelihood of a death sentence, wrote to Wolters asking him to "collect my work together for later ages and to recount much of my life. I think it will be honored one day." Despite his forebodings, Speer did not receive the death sentence, but on October 1, 1946, was given a sentence of twenty years in prison, and on July 18, 1947, was transferred to Spandau Prison to serve it.Wolters and longtime Speer secretary Annemarie Kempf, while not permitted direct communication with Speer in Spandau, did what they could to help his family and carry out the requests Speer put in letters to his wifethe only written communication officially allowed Speer. Beginning in 1948, Speer had the services of a sympathetic Dutch orderly to smuggle mail. In 1949, Wolters opened a special bank account for Speer, the Schulgeldkonto or "School Fund Account", and began fundraising among those architects and industrialists who had benefited from Speer's activities during the war. At first the funds were used only to support Speer's family, but as the amounts grew and Speer's family became increasingly able to support itself, the money was used for everything from vacations for Speer's Spandau conduit, Toni Proost, to bribes for those who might be able to secure Speer's release. Once Speer became aware of the existence of the fund, he would often send detailed instructions about what to do with the money. Wolters raised a total of DM158,000 for Speer over the final seventeen years of his sentence.
Answer:
Wolters