input question: I have a test where I am given the following article, what is an answer for the question: What is the name of the piece Tchaikovsky sent to Balakriev to conduct in Saint Petersburg? ? In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards meand I feel a great weakness for you"....???
output answer: Fatum

I have a test where I am given the following article, what is an answer for the question: What is the nickname of the person who sells sex slaves? ? Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution. The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat. As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies. When the racket is disclosed, Lucky moves on to the business of pimping young women into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization. His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down. Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death. We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay.
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Answer: Lucky

Problem: Given the question: I have a test where I am given the following article, what is an answer for the question: What is the first name of the person whose sound, according to Considine, isn't defined by her voice so much as by the way her voice is framed by the propulsive production of Jam and Lewis? ? 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...
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The answer is:
Janet