Problem: Read the following paragraph and extract the answer for the question: What is the first name of the person who set up his own business at 230 Pine Street in Philadelphia?  James Barton Longacre was born on a farm in Delaware County, Pennsylvania, on August 11, 1794.  His mother Sarah (Barton) Longacre died early in his life; his father, Peter Longacre, was the descendant of early Swedish settlers of North America.  When Peter Longacre remarried, his son found the home life intolerable, and James Longacre left home at the age of 12, seeking work in the nearby city of Philadelphia.  He apprenticed himself at a bookstore; the owner, John E. Watson, took the boy into his family.  Over the following years, Longacre worked in the bookstore, but Watson realized that the boy's skill was in portraiture.  Watson granted Longacre a release from his apprenticeship in 1813 so that he could follow an artistic muse, but the two remained close, and Watson would often sell Longacre's works.Longacre became apprenticed to George Murray, principal in the engraving firm Murray, Draper, Fairman & Co. at 47 Sansom Street in Philadelphia.  This business derived from the firm established by the Philadelphia Mint's first chief engraver, Robert Scot.  Longacre remained at the Murray firm until 1819; his major work there was portraits of George Washington, Thomas Jefferson, and John Hancock which were placed on a facsimile of the Declaration of Independence by publisher John Binns; the work cost Binns a total of $9,000 (equal to $147,307 today). Also employed at the Murray firm from 1816 was the man who would be Longacre's predecessor as chief engraver, Christian Gobrecht. Longacre's work at the company gave him a good reputation as an engraver skilled in rendering other artists' paintings as a printed engraving, and in 1819, he set up his own business at 230 Pine Street in Philadelphia.Longacre's first important commission were plates for S.F. Bradford's Encyclopedia in 1820; an engraving of General Andrew Jackson by Longacre based on a portrait by Thomas Sully achieved wide sales. Longacre then agreed to engrave illustrations for Joseph and John Sanderson's Biographies of the Signers of the Declaration...

A: James


Problem: Read the following paragraph and extract the answer for the question: What was the last name of the person who wanted to treat Lennon and Ono longer but they felt no need to continue?  In 1970, Lennon and Ono went through primal therapy with Arthur Janov in Los Angeles, California. Designed to release emotional pain from early childhood, the therapy entailed two half-days a week with Janov for four months; he had wanted to treat the couple for longer, but they felt no need to continue and returned to London. Lennon's debut solo album, John Lennon/Plastic Ono Band (1970), was received with praise by many music critics, but its highly personal lyrics and stark sound limited its commercial performance. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." The album featured the song "Mother", in which Lennon confronted his feelings of childhood rejection, and the Dylanesque "Working Class Hero", a bitter attack against the bourgeois social system which, due to the lyric "you're still fucking peasants", fell foul of broadcasters. In January 1971, Tariq Ali expressed his revolutionary political views when he interviewed Lennon, who immediately responded by writing "Power to the People". In his lyrics to the song, Lennon reversed the non-confrontational approach he had espoused in "Revolution", although he later disowned the message, saying that it was borne out of guilt and a desire for approval from radicals such as Ali. Lennon became involved with Ali in a protest against the prosecution of Oz magazine for alleged obscenity. Lennon denounced the proceedings as "disgusting fascism", and he and Ono (as Elastic Oz Band) released the single "God Save Us/Do the Oz" and joined marches in support of the magazine. Eager for a major commercial success, Lennon adopted a more accessible sound for his next album, Imagine (1971). Rolling Stone reported that "it contains a substantial portion of good music" but warned of the possibility that "his posturings will soon seem not merely dull but irrelevant". The album's title track later became an anthem for anti-war movements, while the song "How Do You Sleep?" was a musical attack on McCartney in response...

A: Janov


Problem: Read the following paragraph and extract the answer for the question: What are the names of the two people who formed the supergroup?  During Tool's post-Ænima hiatus to deal with their legal issues, Keenan began working with Billy Howerdel, Tool's guitar tech through the Ænima tour, on a different project. The supergroup they formed, A Perfect Circle, began performing in 1999 and released its first album Mer de Noms in 2000. They released a successful follow-up in 2003 titled Thirteenth Step, a reference to twelve-step programs (many of the songs were written from the perspective of recovery). Both albums were eventually certified platinum. Their subsequent 2004 album, eMOTIVe, was primarily composed of covers, except for the singles "Counting Bodies Like Sheep to the Rhythm of the War Drums"—a song inspired by "Pet" that was originally released on Thirteenth Step—and "Passive". Keenan later characterized the record as a political album with which he "tested the waters" and was subsequently "crucified" for it because of the content. It was certified gold the month after its release. That same year they released the DVD and CD set entitled aMOTION, which was certified platinum within a month of its release. Howerdel reported in a May 2006 interview with MTV that the supergroup's work was concluded for the time being. After more than two years since the band's last release, Keenan was asked about the status of A Perfect Circle during an interview with Revolver. He stated: The real problem with running Tool and A Perfect Circle at the same time was they both operate the same way. They're both live touring bands with a label, still working under the old contract mentality. So I thought it was time to let A Perfect Circle go for now and let Billy explore himself. It's tough for a guy who went from being a guitar tech [for Tool] to being in a band with a pretentious, famous singer and having to live in that shadow. It was important for Billy to go and do his own thing and really explore his own sound and let people hear what he has to say and how he would do it on his own, and then we'll get back and do some A Perfect Circle stuff.

A:
Billy Howerdel