[Q]: I have a test where I am given the following article, what is an answer for the question: What is the last name of the first African recording artist to win a Grammy Award? ? Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskjold Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, "for outstanding services to peace and international understanding". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage a Miriam Makeba and curated by Beninoise singer-songwriter and activist Angelique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurismaki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage. In 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the "Miriam Makebaplein".
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[A]: Makeba

[Q]: I have a test where I am given the following article, what is an answer for the question: Who is trying to keep his inheritance? ? Six friends, Christian, Elizabeth, Piper, Kate, Adam, and Benjamin, play a game which consists of "yes" and "no" questions that are to be answered anonymously. Once the cards are shuffled, the questions are read aloud and answered by another participant of the game. The questions are deeply personal, covering topics such as sex and incest. Some of the questions posed included "would you sleep with a relative?" and "would you have sex with a minor?" A year later, the group all meet again at Christian's and Elizabeth's new mansion for a New Year's Eve dinner. The night goes well until the electricity powers out and a package arrives at the door containing six cards; written on them are the words, "prostitute, infidel, homosexual, rapist and hypocrite". These words are associated with the questions that were posed during the Taboo game that they played the previous year. Horrified by the package, Elizabeth decides to get more wine to alleviate everyone's concerns. Adam, whose question was, "would you have sex with a minor", follows Elizabeth to the wine cellar and accuses her of arranging the delivery of the package. Elizabeth runs upstairs and tells her friends that she was attacked by Adam. When Christian and Elizabeth go back to the cellar, they find Adam with a knife to lodged in his stomach and the word "rapist" attached to the knife which was used to stab him The couple joins the rest of the group downstairs. Piper, in her drunken state, brings up Christian's father's past affair with a prostitute. Once he impregnates her, he vanishes after his family discovers his infidelity. Piper then questions Benjamin's sexuality. He reveals that he is dating Kate to show his parents that he is not gay in order to keep his inheritance. Shortly after, as Elizabeth and Christian go to a room to speak privately, they discover Benjamin in their bathtub, killed via electrocution with the "homosexual" card beside the tub.
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[A]: Benjamin

[Q]: 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 Short says bears Holst's unmistakable imprint? ? Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his Fugal Overture of 1922 for full orchestra and the neo-classical Fugal Concerto of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 Terzetto for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work. Of the Choral Symphony completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera, At the Boar's Head (1924), is based on tavern scenes from Shakespeare's Henry IV, Parts 1 and 2. The music, which is largely derived from old English melodies gleaned from Cecil Sharp and other collections, has pace and verve; the contemporary critic Harvey Grace discounted the lack of originality, a facet which he said "can be shown no less convincingly by a composer's handling of material than by its invention".Egdon Heath (1927) was Holst's first major orchestral work after The Planets. Matthews summarises the music as "elusive and unpredictable [with] three main elements: a pulseless wandering melody [for strings], a sad brass processional, and restless music for strings and oboe." The mysterious dance towards the end is, says Matthews, "the strangest moment in a strange work". Richard Greene in Music & Letters describes the piece as "a larghetto dance in a siciliano rhythm with a simple, stepwise, rocking melody", but lacking the power of The Planets and, at times, monotonous to the listener. A more popular success was A Moorside Suite for brass band, written as a test piece for the National Brass Band Festival championships of 1928. While written within the traditions of north-country brass-band music, the suite, Short says, bears Holst's unmistakable imprint, "from the skipping 6/8 of the opening Scherzo, to the vigorous melodic fourths of the concluding March, the intervening...
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[A]:
A Moorside Suite