[Q]: A friend asked me to answer this question: What is the real name of the person who approached Caribbean girls in clubs to see if they would provide vocals for songs?, using the article: In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on..., what would be the answer ?
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[A]: Mathangi "Maya" Arulpragasam

[Q]: A friend asked me to answer this question: Whose publisher was named Friedrich Kistner?, using the article: On Bennett's return to London he took up a teaching post at the RAM which he held until 1858. During his second long stay in Germany, from October 1838 to March 1839, he played his Fourth Piano Concerto (Op. 19, in F minor) and the Wood Nymphs Overture, Op. 20. Returning to England, he wrote to his Leipzig publisher Friedrich Kistner in 1840, bemoaning the difference between England and Germany (and hoping that a German would redress the situation): You know what a dreadful place England is for music; and in London I have nobody who I can talk to about such things, all the people are mad with [Sigismond] Thalberg and [Johann] Strauss [I], and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that Prince Albert ... will do something to improve our taste. On Bennett's third trip, from January to March 1842, in which he also visited Kassel, Dresden and Berlin, he played his Caprice for piano and orchestra, Op. 22, in Leipzig. Despite his then-pessimistic view of music in England, Bennett missed his chance to establish himself in Germany. The musicologist Nicholas Temperley writes One might guess that the early loss of both parents produced in Bennett an exceptionally intense need for reassurance and encouragement. England could not provide this for a native composer in his time. He found it temporarily in German musical circles; yet, when the opportunity came to claim his earned place as a leader in German music, he was not quite bold enough to grasp it., what would be the answer ?
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[A]: Bennett's

[Q]: A friend asked me to answer this question: What is the last name of the person who formally described bird specimens in 1827?, using the article: English jeweller and naturalist William Bullock and his son travelled to Mexico soon after its independence, spending six months in 1823 collecting archeological artifacts and many bird and fish species new to science. The bird specimens were given to naturalist William John Swainson, their countryman, to formally describe, which he did in 1827. Among these was the red warbler, which was assigned to the genus Setophaga, as Setophaga rubra. Over the next half century, other authorities moved it to Cardellina, with the red-faced warbler, and to the widespread tropical warbler genus Basileuterus, as well as to the Old World warbler genus Sylvia and the Old World tit genus Parus. In 1873, English naturalists Philip Lutley Sclater and Osbert Salvin moved the species to the genus Ergaticus, where it remained for more than a century.The red warbler forms a superspecies with the pink-headed warbler of Chiapas and Guatemala. Despite their disjunct ranges and considerably different plumages, the two have sometimes been considered conspecific. Conversely, it has also been suggested that the red warbler should be split into a northern gray-eared species (C. melanauris) and a southern white-eared species (C. rubra). A comprehensive 2010 paper by Irby Lovette and colleagues analysing mitochondrial and nuclear DNA of the New World warblers found that the red and pink-headed warblers are each others' closest relative and that their common ancestor diverged from a lineage that gave rise to the red-faced warbler. The authors recommended moving the red and pink-headed warblers to the genus Cardellina, a suggestion which has been adopted by the International Ornithologists' Union (IOC).There are three subspecies, which differ slightly in appearance: C. r. rubra, described by Swainson in 1827, has white ear patches and is found from southern Jalisco and southern Hidalgo to Oaxaca., what would be the answer ?
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[A]:
Swainson