[Q]: What was the name of the last album that Lovering appeared on?  Answer the above question based on the context below:  Following the Pixies' breakup, Lovering drummed with several artists, including Nitzer Ebb, but turned down an invitation to join the Foo Fighters. Lovering then joined Santiago's band The Martinis, appearing on their song "Free" on the soundtrack of Empire Records. However, he soon left the band to become a touring drummer for Cracker. Lovering moved from band to band, drumming with Tanya Donelly's group on 1997's Lovesongs for Underdogs and with Boston band Eeenie Meenie. After facing difficulty finding new work, Lovering gave up the drums and moved into a rented house that banned drumming.Towards the end of the 1990s, Lovering's friend Grant-Lee Phillips took him to a magic convention. Lovering was very impressed by some of the illusions, and later said "I had to learn how to do it". Mutual friend Carl Grasso invited them to a show at the Magic Castle, a magic-oriented nightclub in Los Angeles. There Lovering met Possum Dixon frontman Rob Zabrecky, and the pair soon became friends. Zabrecky convinced Lovering to apply for a performers' membership to the Magic Castle. After gaining his membership, Lovering reinvented himself as "The Scientific Phenomenalist". His act combined his electrical engineering knowledge with his stage performance experience. His decision to pursue a career in magic was influenced by the fact that as a musician, he "couldn't top the Pixies".As the Scientific Phenomentalist, Lovering performs science and physics experiments in a lab coat while on stage. He shuns traditional magic tricks, and prefers "things that are more mental, using mental powers". He later explained: "It's all kind of upbeat, really weird physics experiments that you'll never see. [...] I'd rather have them [the audience] going 'Is it [magic] or isn't it?' rather than 'It's all science' or 'It's all magic'. So I do kinda weird things that other magicians don't do". Lovering cites sleight-of-hand artist Ricky Jay, mind reader Max Maven and Eugene Burger as influences on his technique. His performances often involve...
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[A]: The Smitten Sessions


[Q]: What state did Adam Hall's family move from?  Answer the above question based on the context below:  In April 1967, the office of Marvin Kramer, a Jewish civil rights lawyer in Indianola, Mississippi, is bombed by the Ku Klux Klan, killing Kramer's five-year-old twin boys and leading to the amputation of Kramer's legs and his later suicide.  Klansman Sam Cayhall is tried for murder in the bombing, and is eventually convicted and sentenced to die in the gas chamber at the Mississippi State Penitentiary.  Twenty-nine years later, in 1996, Adam Hall, a young attorney at the Chicago law firm of Kravitz and Bane, seeks assignment to the firm's pro bono representation of Cayhall in the last weeks before his scheduled execution.  Adam is Sam Cayhall's grandson, his family having since moved away from the South and changed their name, haunted and shamed by Cayhall's crime.  Adam is motivated to take the case in a search for some understanding of the dark secrets of his family, which prompted the suicide of Adam's father the year Sam was sentenced to death (and whose body Adam found as a child).
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[A]: Mississippi


[Q]: What is the name of the specific interior room that is described as a Chinese-style saloon enhanced by Queen Mary?  Answer the above question based on the context below:  Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle époque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state...
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[A]:
Centre Room