Given the following context:  The story focuses on four 19-year-old friends: Joanne, Cassandra, Shannon and Kerrys. They all meet one other at a diner, where they see Dillon and Smoothy. Unbeknownst to Dillon, Shannon has a crush on him. As the police turn up, Dillon and Smoothy run off and Dillon accidentally drops a stolen diamond into Cassandra's bag. The four girls then walk out and go their separate ways home. First, the story focuses on Shannon: she walks into her home just as her mother is leaving her father. She loses her temper and runs away, going to Jo's home, who has to rush to work, telling her she does not have time to talk. Jo calls Shannon over to the supermarket where she works, but tells her to leave as soon as she arrives. When she refuses, Dillon kisses Jo, upsetting Shannon, whom he asked out earlier in the day, so she grabs a Pringles tube from the shop and runs away. After getting drunk at a bar, she goes to a tunnel where she sprays graffiti on the wall, is attacked by a gang and then taken in by Kelly, who saved her. Shannon realizes that Kelly seems to be looking for the Pringles. This is later confirmed when she finds out that she is searching for "15 diamonds". One is already in Cassandra's bag and the rest are in the can that fell out of Shannon's bag in the tunnel. She escapes by knocking Kelly out with the bathroom door. She finds the diamonds by going back to where she was attacked, and leaves a message informing Jo about them. Later, Shannon tracks down her mother and accuses her of not caring about her, especially when she forced her to get an abortion. Her story ends with her holding the diamonds above a bridge, suggesting she is about to commit suicide. Jo, Cassandra and Kerrys appear to threaten Shannon into handing the diamonds over.  answer the following question:  Who grabs a Pringles tube from the shop and runs away?
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Answer: Shannon


Given the following context:  On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928–29), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.  In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Ukrainian–Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire. Irina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as "a nest of gentle artists"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America—some of whom would later commission works from Moore.  answer the following question:  What was the name of the person Irina married?
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Answer: Moore


Given the following context:  In 1973, Ray Davies dived headlong into the theatrical style, beginning with the rock opera Preservation, a sprawling chronicle of social revolution, and a more ambitious outgrowth of the earlier Village Green Preservation Society ethos. In conjunction with the Preservation project, the Kinks' line-up was expanded to include a horn section and female backup singers, essentially reconfiguring the group as a theatrical troupe.Ray Davies' marital problems during this period began to affect the band adversely, particularly after his wife, Rasa, took their children and left him in June 1973. Davies became depressed; during a July gig at White City Stadium he told the audience he was "fucking sick of the whole thing", and was retiring. He subsequently collapsed after a drug overdose and was taken to hospital. With Ray Davies in a seemingly critical condition, plans were discussed for Dave to continue as frontman in a worst-case scenario. Ray recovered from his illness as well as his depression, but throughout the remainder of the Kinks' theatrical incarnation the band's output remained uneven, and their already fading popularity declined even more. John Dalton later commented that when Davies "decided to work again ... I don't think he was totally better, and he's been a different person ever since."Preservation Act 1 (1973) and Preservation Act 2 (1974) received generally poor reviews. The story on the albums involved an anti-hero called Mr Flash, and his rival and enemy Mr Black (played by Dave Davies during live shows), an ultra-purist and corporatist. Preservation Act 2 was the first album recorded at Konk Studio; from this point forward, virtually every Kinks studio recording was produced by Ray Davies at Konk.  The band embarked on an ambitious US tour throughout late 1974, adapting the Preservation story for stage. Musicologist Eric Weisbard: "[Ray] Davies expanded the Kinks into a road troupe of perhaps a dozen costumed actors, singers and horn players. ... Smoother and tighter than on record, Preservation...  answer the following question:  What two things expanded the Kink's line-up?
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Answer:
female backup