Q: What is the answer for the question: What amplifiers did the Beatles replaced with special Vox amplifiers designed for them? from the following article ? Almost as soon as they returned home, the Beatles faced a fierce backlash from US religious and social conservatives (as well as the Ku Klux Klan) over a comment Lennon had made in a March interview with British reporter Maureen Cleave. "Christianity will go," Lennon had said. "It will vanish and shrink. I needn't argue about that; I'm right and I will be proved right. ... Jesus was alright but his disciples were thick and ordinary. It's them twisting it that ruins it for me." The comment went virtually unnoticed in England, but when US teenage fan magazine Datebook printed it five months later on the eve of the group's August US tour it sparked a controversy with Christians in the American "Bible Belt". The Vatican issued a protest, and bans on Beatles' records were imposed by Spanish and Dutch stations and South Africa's national broadcasting service. Epstein accused Datebook of having taken Lennon's words out of context; at a press conference Lennon pointed out, "If I'd said television was more popular than Jesus, I might have got away with it." Lennon claimed that he was referring to how other people viewed their success, but at the prompting of reporters, he concluded: "If you want me to apologise, if that will make you happy, then okay, I'm sorry."As preparations were made for the US tour, the Beatles knew that their music would hardly be heard. Having originally used Vox AC30 amplifiers, they later acquired more powerful 100-watt amplifiers, specially designed by Vox for them as they moved into larger venues in 1964, but these were still inadequate. Struggling to compete with the volume of sound generated by screaming fans, the band had grown increasingly bored with the routine of performing live. Recognising that their shows were no longer about the music, they decided to make the August tour their last. Rubber Soul had marked a major step forward; Revolver, released in August 1966 a week before the Beatles' final tour, marked another. Pitchfork's Scott Plagenhoef identifies it as "the sound of a...
A: Vox AC30
Question: What is the answer for the question: What is the full name of the person that Josh pretends to be? from the following article ? Josh and Dinah Barkley (Fred Astaire and Ginger Rogers) are a husband-and-wife musical comedy team at the peak of their careers. After finishing a new show, Dinah meets serious French playwright Jacques Pierre Barredout, who suggests that Dinah should take up dramatic acting. Dinah tries to keep the suggestion a secret from Josh, but when he finally discovers Dinah hiding a script for Jacques' new show from him, the couple splits up. Their good friend, acerbic composer Ezra Miller tries to trick them back together again, but fails. When Josh secretly watches Dinah's rehearsals for Barredout's new play and sees how she is struggling, he calls her up and pretends to be the Frenchman, giving her notes that help her to understand her part, the young Sarah Bernhardt. As the result, Dinah gives a brilliant performance. After the show, she accidentally learns that her late-night mentor was Josh and not Barredout, so she rushes to Josh's apartment and the two reconcile.
Answer: Jacques Pierre Barredout
[Q]: What is the answer for the question: What is the last name of the person that demands payments from Jimmy Shoeshine? from the following article ? Wellman Anthony Santee is a former race car driver who has turned to a life of crime since the death of his mother. Santee and his friend Eddie Turner bend the law for profit by hauling exotic stolen cars. Santee's latest assignment is to transport such goods across the desert, but a Highway Patrol officer pulls him over. Turner tries to reason with the cop but then a pair of cops named Frank Severance and Jack "Rudy" Rudisill show up. There is a gun battle in which Turner is killed, and Santee is wounded. Severance murders the highway patrolman and pins it on Santee. After recovering in a prison hospital, Santee escapes during transfer to the fictional San Gorgonio Penitentiary in order to escape another murder attempt on him by Severance and takes a hostage named Rita Marrick, not suspecting that she's a cop, while Rita keeps her identity a secret from Santee. Rita's partner Michael Agnos leads the search for Santee and Rita. As Santee eludes capture with the help of Eddie's widow and child, Severance and Rudisill home in on the investigation. Rita's sole escape attempt fails and nearly forces Santee to shoot law enforcers, as she begins harboring doubts about Santee's guilt. Santee releases Rita and invades Severance's home, forcing his wife Esther to provide the phone number of former associate Jimmy Shoeshine, from whom he demands payments due to him and Eddie. There Santee is rejoined by Rita, who finds evidence in the house supporting his claims, and they escape, barely evading gun blasts from Esther and a highway patrolman.
****
[A]: Santee
Question: What is the answer for the question: What is the name of the album whose "dozen good songs" Christgau states are perhaps "too precisely performed"? from the following article ? Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs the so-called "godfather" of punk rock journalism said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980....
Answer:
Sgt. Pepper