Please answer this: Given the following context:  In 1999, Aaliyah landed her first film role in Romeo Must Die, released March 22, 2000. Aaliyah starred opposite martial artist Jet Li, playing a couple who fall in love amid their warring families. It grossed US$18.6 million in its first weekend, ranking number two at the box office. Aaliyah purposely stayed away from reviews of the film to "make it easier on" herself, but she heard "that people were able to get into me, which is what I wanted." In contrast, some critics felt there was no chemistry between her and Jet Li, as well as viewing the film was too simplistic. This was echoed by Elvis Mitchell of The New York Times, who wrote that while Aaliyah was "a natural" and the film was conceived as a spotlight for both her and Li, "they have so little chemistry together you'd think they're putting out a fire instead of shooting off sparks. Her role was well received by Glen Oliver by IGN who liked that she did not portray her character "as a victimized female" but instead "as a strong female who does not come across as an over-the-top Women's Right Advocate." In addition to acting, Aaliyah served as an executive producer of the film's soundtrack, where she contributed four songs. "Try Again" was released as a single from the soundtrack; the song topped the Billboard Hot 100, making Aaliyah the first artist to top the chart based solely on airplay; this led the song to be released in a 12" vinyl and 7" single. The music video won the Best Female Video and Best Video from a Film awards at the 2000 MTV Video Music Awards. It also earned her a Grammy Award nomination for Best Female R&B Vocalist. The soundtrack went on to sell 1.5 million copies in the United States.  answer the following question:  What is the title of the single that earned Aaliyah a Grammy Award nomination for Best Female R&B Vocalist?
++++++++
Answer: Try Again

Problem: Given the following context:  The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed...  answer the following question:  What is the full name of the person whose use of oboe and trumpet flourishes are criticized by Arnold?

A: Nikolaus Harnoncourt

Q: Given the following context:  John Doubleday (about 1798 – 25 January 1856) was a British craftsperson, restorer, and dealer in antiquities who was employed by the British Museum for the last 20 years of his life. He undertook several duties for the museum, not least as a witness in criminal trials, but was primarily their specialist restorer, perhaps the first person to hold the position. He is best known for his 1845 restoration of the severely-damaged Roman Portland Vase, an accomplishment that places him at the forefront of his profession at the time. While at the British Museum, Doubleday also dealt in copies of coins, medals, and ancient seals. His casts in coloured sulphur and in white metal of works in both national and private collections, allowed smaller collections to hold copies at a fraction of the price that the originals would command. Thousands of his copies entered the collections of institutions and individuals. Yet the accuracy he achieved led to confusion with the originals; after his death he was labelled a forger, but with the caveat that "[w]hether he did copies with the intention of deceiving collectors or not is open to doubt".Little is known about Doubleday's upbringing or personal life. Several sources describe him as an American, including the 1851 United Kingdom census, which records him as a New York-born British subject. An obituary noted that he worked at a printer's shop for more than 20 years during his youth, which gave him the experience of casting type that he would employ in his later career as a copyist. Doubleday's early life, family, and education are otherwise unknown. He died in 1856, leaving a wife and five daughters, all English; the eldest child was born around 1833.  answer the following question:  What is the full name of the person who dealt in copies of coins, medals, and ancient seals?
A:
John Doubleday