A friend asked me to answer this question: What is the first name of the person whose scale is attributed as the mistake of a relatively immature painter?, using the article: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pacht describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type perhaps best known through Giotto's Ognissanti Madonna (c. 1310) and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 143436, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling..., what would be the answer ?
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Answer: Mary

A friend asked me to answer this question: How old was Presley when he made his first recording?, using the article: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act: The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons. As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.", what would be the answer ?
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Answer: 19

A friend asked me to answer this question: What is the name of the song for which, at its climax, Cooper would break free of a straitjacket and hurl it into the audience?, using the article: "Caught in a Dream" was released as a single backed with "Hallowed Be My Name" on April 27, 1971; it peaked in the US at No.94. The group supported the album with extensive touring. "Ballad of Dwight Fry" was a dramatized set piece in the live show, featuring an actress dressed as a nurse who dragged Cooper offstage and brought him back on straitjacketed in time for the second verse's "Sleepin' don't come very easy / In a strait white vest". At the song's climax, Cooper would break free of the straitjacket and hurl it into the audience. The Love It to Death tour of 1971 featured an electric chair in the earliest staged executions of the singer. These executions were to become an attraction of the band's shows, which became progressively more flamboyant; the shows in the Billion Dollar Babies tour of 1973 concluded with Cooper's execution by prop guillotine. The Love It to Death tour grossed so much the band bought a forty-two room mansion from Ann-Margret in Greenwich, Connecticut, which was to be its home base for the next few years.The album garnered mixed reviews. Billboard called the album "artfully absurd third-generation rock" and the group "the first stars of future rock". John Mendelsohn gave the album a favorable review in Rolling Stone, writing that it "represents at least a modest oasis in the desert of dreary blue-jeaned aloofness served up in concert by most American rock-and-rollers". However, referring to "Black Juju" he also said that "the one bummer on this album is so loud a bummer that it may threaten to neutralize the ingratiating effect" of the other tracks. Robert Christgau wrote in The Village Voice, "The singles ('Caught in a Dream' and 'I'm Eighteen') are fantastic, but the album is freighted with post-psychedelic garbage, the kind of thing that's done better by the heavy metal kids down the block."The band saw its popularity rise over the next several albums. Killer followed in November 1971 and reached No.21 on the US charts, and the band finally topped those charts in..., what would be the answer ?
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Answer:
Ballad of Dwight Fry