Please answer this: Read the following paragraph and extract the answer for the question: What is the name of the person that began performing in local clubs and coffee houses around London? On returning to England, Drake moved into his sister's flat in Hampstead, London, before enrolling at Fitzwilliam College, Cambridge University that October to study English Literature. His tutors found him bright but unenthusiastic and unwilling to apply himself. His biographer, Trevor Dann, notes that he had difficulty connecting with staff and fellow students, and that matriculation photographs from this time portray a sullen young man. Cambridge placed emphasis on its rugby and cricket teams, yet by this time Drake had lost interest in sport, preferring to stay in his college room smoking cannabis, and listening to and playing music. According to fellow student Brian Wells, "they were the rugger buggers and we were the cool people smoking dope".In September 1967, Drake met Robert Kirby, a music student who went on to orchestrate many of the string and woodwind arrangements for Drake's first two albums. By this time, Drake had discovered the British and American folk music scenes, and was influenced by performers such as Bob Dylan, Donovan, Van Morrison, Josh White and Phil Ochs. He began performing in local clubs and coffee houses around London, and in February 1968, while playing support to Country Joe and the Fish at the Roundhouse in Camden Town, made an impression on Ashley Hutchings, bass player with Fairport Convention. Hutchings recalls being impressed by Drake's guitar skill, but even more so by his image: "He looked like a star. He looked wonderful, he seemed to be 7 ft [tall]." Hutchings introduced Drake to the 25-year-old American producer Joe Boyd, owner of the production and management company Witchseason Productions. The company was, at the time, licensed to Island Records, and Boyd, who had discovered Fairport Convention and introduced John Martyn and the Incredible String Band to a mainstream audience, was a significant and respected figure on the UK folk scene. He and Drake formed an immediate bond, and Boyd acted as a mentor to Drake throughout his career. Impressed by a four-track demo...
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Answer: Drake
Problem: Read the following paragraph and extract the answer for the question: What's the name of the person that meets their mother in Jerusalem? The book is partly autobiographical. It follows the adventures of a group of people the narrator Laurie, the eccentric Dorothea ffoulkes-Corbett (otherwise Aunt Dot), her High Anglican clergyman friend Father Hugh Chantry-Pigg (who keeps his collection of sacred relics in his pockets) travelling from Istanbul (or Constantinople as Fr. Chantry-Pigg would have it) to Trebizond. A Turkish feminist doctor attracted to Anglicanism acts as a foil to the main characters. On the way, they meet magicians, Turkish policemen and juvenile British travel-writers, and observe the BBC and Billy Graham on tour. Aunt Dot proposes to emancipate the women of Turkey by converting them to Anglicanism and popularising the bathing hat, while Laurie has more worldly preoccupations. Historical references (British Christianity since the Dissolution of the Monasteries, nineteenth-century travellers to the Ottoman Empire, the First World War, the Fourth Crusade, St. Paul's third missionary journey, Troy) abound. The geographical canvas is enlarged with the two senior characters eloping to the Soviet Union and the heroine meeting her lover in Turkey, and then her semi-estranged mother in Jerusalem. The final chapters raise multiple issues such as the souls of animals, and culminate in a fatal accident and its aftermath. At another level the book, against its Anglo-Catholic backdrop, deals with the conflict between Laurie's attraction to Christianity and her adulterous love for a married man. This was a problem Macaulay had faced in her own life, having had an affair with the married novelist and former Roman Catholic priest Gerald O'Donovan (18711942) from 1920 until his death. The book's opening sentence is,"Take my camel, dear", said my Aunt Dot, as she climbed down from this animal on her return from High Mass.

A: Laurie
Q: Read the following paragraph and extract the answer for the question: What is the first name of the person who painted at least two further versions of Hope for private sale? Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold. Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale. As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display. Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now...
A:
George