Read the following paragraph and extract the answer for the question: What publication did the lead singer of band that got a budget of $40,000 tell that the album was them "...trying to remain somewhat grungy"?  Recording sessions for the album began on October 31, 1988, at Downtown Recorders in Boston, Massachusetts, at the time a professional 24-track studio. 4AD allowed the Pixies a budget of $40,000, excluding producer's fees. This was a modest sum for a 1980s major label album; however, it quadrupled the amount spent on the band's previous album, Surfer Rosa. Along with Norton, two assistant recording engineers and two second assistants were assigned to the project. The sessions lasted three weeks, concluding on November 23, with "nearly a song a day" being recorded.Production and mixing began on November 28. The band relocated to Carriage House Studios, a residential studio in Stamford, Connecticut, to oversee production and record further tracks. Norton recruited Steve Haigler as mixing engineer, whom he had worked with at Fort Apache Studios. During production, Haigler and Norton added layers of guitars and vocals to songs, including overdubbed guitars on "Debaser" and double tracking vocals on "Wave of Mutilation". During the recordings, Norton advised Francis to alter several songs; a noted example being "There Goes My Gun" which was originally intended as a much faster Hüsker Dü-style song. However, at Norton's advice, Francis slowed down the tempo.Norton's suggestions were not always welcome, and several instances of advice to add verses and increase track length contributed to the front man's building frustration. Eventually, Francis took Norton to a record store, where he handed him a copy of Buddy Holly's Greatest Hits, in which most of the songs are about two minutes long. He told Norton, "If it's good enough for Buddy Holly ..." In a  Rolling Stone interview, Francis later recalled that "this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy". Production continued until December 12, 1988, with Norton and Haigler adding extra effects, including gated reverb to the mix. The master tapes were then sent for final post-production later that month.
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Answer: Rolling Stone

Q: Read the following paragraph and extract the answer for the question: What is the first name of the person whose first operatic masterpiece was Agrippina?  Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI. Handel composed Agrippina at the end of a three-year sojourn in Italy. It premiered in Venice at the Teatro San Giovanni Grisostomo on 26 December 1709. It proved an immediate success and an unprecedented series of 27 consecutive performances followed. Observers praised  the quality of the music—much of which, in keeping with the contemporary custom, had been borrowed and adapted from other works, including the works of other composers. Despite the evident public enthusiasm for the work, Handel did not promote further stagings. There were occasional productions in the years following its premiere but Handel's operas, including Agrippina, fell out of fashion in the mid-18th century. In the 20th century Agrippina was revived in Germany and premiered in Britain and America. Performances of the work have become ever more common, with innovative stagings at the New York City Opera and the London Coliseum in 2007. Modern critical opinion is that Agrippina is Handel's first operatic masterpiece, full of freshness and musical invention which have made it one of the most popular operas of the ongoing Handel revival.
A: George

Read the following paragraph and extract the answer for the question: What is the last of the person who was in dire need of money, but felt no inspiration to compose and was convinced that his works would never sell to an American audience?  Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Béla Bartók, Ernest Bloch, and Eugène Ysaÿe, along with lesser-known composers such as David Diamond and Hamilton Harty. The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music. Szigeti was also the dedicatee of the first of Eugène Ysaÿe's Six Sonatas for Solo Violin; in fact, Ysaÿe's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Béla Bartók. The first piece Bartók dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltán Székely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartók: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartók had both fled to the United States to escape the war in Europe, Bartók's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would...
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Answer:
Bartók