Problem: Given the question: Given the following context:  As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to...  answer the following question:  What is the last name of the person who was often harshly self-critical during the period of his early works?
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The answer is:
Bacon


Problem: Given the question: Given the following context:  In 1945, on a Pacific island, Sam Gifford is busted from platoon sergeant to private and reprimanded by his battalion commander for striking an officer. Because he had earned a Silver Star, he is given a choice of being sentenced to the United States Disciplinary Barracks in Leavenworth or transferred to George Company, a de facto punishment company assigned to a dangerous area of the front lines. Gifford chooses the punishment company, which is commanded by Captain Grimes, a former First Sergeant. Captain Grimes insists everyone call him "Waco", wears no rank insignia and forbids military salutes lest he become a target for snipers.  Everyone in George Company hates Waco except for some pre-war regular army comrades-in-arms Millard and Swanson, who act as Waco's personal bodyguards.  Impressed by Gifford's combat record, Waco offers him a membership in his private circle as a radio operator. This ends when Gifford beats up Swanson for making suggestive remarks about his wife's photograph. Waco burns the photograph. The incident triggers flashbacks in which Sam relives the path that brought him to this purgatory.  answer the following question:  What was real Waco's name?
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The answer is:
Captain Grimes


Problem: Given the question: Given the following context:  To create the material for Highway 61 Revisited, Dylan spent a month writing in his new home in the Byrdcliffe artists' colony of Woodstock in upstate New York. When he returned to Studio A on July 29, he was backed by the same musicians with Harvey Brooks on bass replacing Joe Macho and his producer had changed from Tom Wilson to Bob Johnston.  Their first session together was devoted to three songs. After recording several takes each of "Tombstone Blues", "It Takes a Lot to Laugh" and "Positively 4th Street", masters were successfully recorded. "Tombstone Blues" and "It Takes a Lot to Laugh" were included in the final album, but "Positively 4th Street" was issued as a single-only release. At the close of the July 29 session, Dylan attempted to record "Desolation Row", accompanied by Al Kooper on electric guitar and Harvey Brooks on bass. There was no drummer, as the drummer had gone home. This electric version was eventually released in 2005, on The Bootleg Series Vol. 7.On July 30, Dylan and his band returned to Studio A and recorded three songs. A master take of "From a Buick 6" was recorded and later included on the final album, but most of the session was devoted to "Can You Please Crawl Out Your Window?" Dylan was unsatisfied with the results and set the song aside for a later date; it was eventually re-recorded with the Hawks in October.After Dylan and Kooper spent the weekend in Woodstock writing chord charts for the songs, sessions resumed at Studio A on August 2. "Highway 61 Revisited", "Just Like Tom Thumb's Blues", "Queen Jane Approximately", and "Ballad of a Thin Man" were recorded successfully and masters were selected for the album.One final session was held on August 4, again at Studio A. Most of the session was devoted to completing "Desolation Row". Johnston has related that Nashville musician Charlie McCoy was visiting New York, and he invited McCoy to play guitar at the session. According to some sources, seven takes of "Desolation Row" were recorded, and takes six and seven were spliced...  answer the following question:  What is the name of the person who was backed by the same musicians when he returned to Studio A on July 29?
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The answer is:
Dylan