Problem: Read the following paragraph and extract the answer for the question: What was the name of the track that issued as the closing track for Sunflower Smiley Smile became the first in a three-part series of lo-fi Beach Boys albums (preceding Wild Honey and Friends) and the first in a seven-year string of under-performing Beach Boys albums (ending with the 1974 compilation Endless Summer). The Smile era is generally viewed as the ending of the Beach Boys' most artistically creative period, and the point after which Brian began relinquishing his hold as the group's creative leader. After Smiley Smile, Carl took Brian's place as the most musically dominant member, and Brian would not be credited as producer for another Beach Boys album until 1976's 15 Big Ones. Journalist Brian Chidester designed the nominal "Bedroom Tapes" label as a catch-all term for the work produced by Wilson in between his "full retreat as leader of the Beach Boys [in mid 1968] ... following a brief stint in a mental institution" and his admittance under Eugene Landy's 24-hour therapy in late 1975. By 1969, Wilson was increasingly known for his reclusiveness, and could be found managing a health food store in West Hollywood called the Radiant Radish.Much of the group's recordings from 1967 to 1970 continued the pattern of sparse instrumentation, a more relaxed ensemble, and a seeming inattention to production quality. Harrison opined that this experimental songwriting and production phase lasted until Sunflower (1970), after which their albums "contain a mixture of middle-of-the-road music entirely consonant with pop style during the early 1970s with a few oddities that proved that the desire to push beyond conventional boundaries was not dead".After Smile was cancelled, some of its tracks continued to trickle out in later releases, often as filler songs to offset Brian's unwillingness to contribute. "Cool, Cool Water", an outtake from Smiley Smile and Wild Honey sessions, was partially rerecorded and issued as the closing track for Sunflower. When The Smile Sessions box set was released in 2011, co-producer Mark Linett acknowledged that "there's things that some people think should...

A: Cool, Cool Water
Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the last name of the person who began a series of commercial recordings that continued at a varying rate for the rest of his working life? After it became clear that Boult would have to leave the BBC, Thomas Russell, the managing director of the London Philharmonic Orchestra (LPO), offered him the post of principal conductor of the LPO in succession to Eduard van Beinum. In the 1930s the LPO had flourished, but since Beecham's departure in 1940, it had struggled to survive. Boult was well known to the orchestra, having been among the musicians who came to its aid in 1940. He took over as chief conductor of the LPO in June 1950, immediately after leaving the BBC, and threw himself into the task of rebuilding it. In the early years of his conductorship, the finances of the LPO were perilous, and Boult subsidised the orchestra from his own funds for some time. The need to earn money obliged the orchestra to play many more concerts than its rivals. In the 194950 season, the LPO gave 248 concerts, compared with 55 by the BBC Symphony Orchestra, 103 by the London Symphony Orchestra, and 32 apiece by the Philharmonia and Royal Philharmonic orchestras. Although he had worked extensively in the studio for the BBC, Boult had, up to this point, recorded only a part of his large repertoire for the gramophone. With the LPO he began a series of commercial recordings that continued at a varying rate for the rest of his working life. Their first recordings together were Elgar's Falstaff, Mahler's Lieder eines fahrenden Gesellen with the mezzo Blanche Thebom, and Beethoven's First Symphony. The work of the new team was greeted with approval by the reviewers. Of the Elgar, The Gramophone wrote, "I have heard no other conductor approach [Boult's] performance. ... His newly adopted orchestra responds admirably". In The Manchester Guardian, Neville Cardus wrote, "Nobody is better able than Sir Adrian Boult to expound the subtly mingled contents of this master work."In January 1951 Boult and the LPO made a tour of Germany, described by Kennedy as "gruelling", with 12 concerts on 12 successive days. The symphonies they played were Beethoven's Seventh, Haydn's...
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The answer is:
Boult
[Q]: Read the following paragraph and extract the answer for the question: What is the first name of the person who agreed to her mother's proposal that she travel to Italy to study art? Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan...
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[A]:
Suze