Q: The following article contains an answer for the question: What is the full name of the person that taught Bush interpretive dance? , can you please find it?   Bush attended St Joseph's Convent Grammar School, a Catholic girls' school in nearby Abbey Wood which, in 1975, after she had left, became part of St Mary's and St Joseph's School in Sidcup. During this time her family produced a demo tape with over 50 of her compositions, which was turned down by record labels. Pink Floyd guitarist David Gilmour received the demo from Ricky Hopper, a mutual friend of Gilmour and the Bush family. Impressed, Gilmour helped the sixteen-year-old Bush record a more professional demo tape. Three tracks in total were recorded and paid for by Gilmour. The tape was produced by Gilmour's friend Andrew Powell, who went on to produce Bush's first two albums, and sound engineer Geoff Emerick, who had worked with the Beatles. The tape was sent to EMI executive Terry Slater, who signed her.The British record industry was reaching a point of stagnation. Progressive rock was very popular and visually oriented rock performers were growing in popularity, thus record labels looking for the next big thing were considering experimental acts. Bush was put on retainer for two years by Bob Mercer, managing director of EMI group-repertoire division. According to Mercer, he felt Bush's material was good enough to release, but felt that if the album failed it would be demoralising and if it was successful Bush was too young to handle it. However, in a 1987 interview, Gilmour disputed this version of events, blaming EMI for initially using "wrong" producers. After the contract signing, EMI gave her a large advance, which she used to enroll in interpretive dance classes taught by Lindsay Kemp, a former teacher of David Bowie, and mime training with Adam Darius. For the first two years of her contract, Bush spent more time on school work than recording. She left school after doing her mock A-levels and having gained ten GCE O-Level qualifications.Bush wrote and made demos of almost 200 songs, some of which circulated as bootlegs known as the Phoenix Recordings. From March to August 1977, she fronted the...
A: Lindsay Kemp

Q: The following article contains an answer for the question: Who picks up the hitchhiker? , can you please find it?   Cooper and Durazno knock out a truck driver and steal his rig. They take it back to a shop where it is repainted and the numbers are filed. In it they find a truckload of carburetors. Cooper abandons Durazno at a gas station and sets out as an independent driver of the yellow Peterbilt. He picks up a hitchhiker but refuses to also give a ride to the man's accompanying woman and dog. At a diner the two notice the Duke of Interstate 40 (Hector Elizondo) eating at another table. Cooper asks him about his rig, which annoys the Duke. Cooper and the hitchhiker watch Samson and Delilah at a drive-in as Cooper discusses professions he's considered as a means to make money and how he reads the almanac so that he can be learning and earning money at the same time. Cooper visits a shopkeeper and attempts to earn money by either selling some of the stolen carburetors or hustling work as an independent hauler but is turned down because the shopkeeper works with the wholesalers. The hitchhiker finds several prospective customers in the meantime and they pack the already-full truck with tiles and live chickens to be hauled, stealing food and supplies from other trucks. They visit the place where Cooper says his wife lives but she is not there. They are pulled over by a policeman and Cooper lies that he recently returned from the war to get the officer to let him go quickly without checking the contents of the truck. During the night Cooper takes Benzedrine to stay awake while driving.
A: Cooper

Q: The following article contains an answer for the question: What is the last name of the person who often approached a canvas without having a clear idea of what might emerge? , can you please find it?   The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces,...
A:
Bacon