Given the following context:  Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980....  answer the following question:  What is the name of the album that reportedly suffered more than any Beatles record from the long fall-out after punk?
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Answer: Sgt. Pepper


Given the following context:  The story begins when Heidi, a little five-year-old girl, is brought up to the Swiss Alps by her Aunt Dete, who took care of the little girl ever since the passing of her two parents. Dete leaves Heidi with her grandfather, who lives alone up in the mountains, and though at first the old man refuses, Dete insists and he finally agrees to take her in but sends Dete away discourteously. Heidi's sweet, innocent nature slowly wins the heart of her grandfather and they soon grow fond of each other. Heidi wonders about every aspect of her new life in the mountains and has questions about all sorts of things. She befriends Peter, a young boy slightly older than she, whose job it is to lead the many goats up to the mountains every day. However, just as Heidi decides that she could never love anything more than life up in the mountains, Dete returns to take her away from her grandfather and to the city of Frankfurt in Germany, where she expects the girl to serve as a companion for the Sessemann's invalid daughter Clara. Though she misses her grandfather and the goats dearly, once in Frankfurt, Heidi becomes the best of friends with Clara and is saddened by her inability to walk. After many conflicts with Madam Rottenmeier, the strict care-taker at the Sesseman's, at her birthday party, Clara gives Heidi what she thinks she wants most: a train ticket to Switzerland, to her grandfather and old friends. Another surprise awaits Heidi and her grandfather as Clara and her grandmother come to visit them up at their home in the mountains.  answer the following question:  Who misses her grandfather?
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Answer: Heidi


Given the following context:  The cartoon opens with a live action sequence of Cab Calloway and his orchestra performing an instrumental rendition of "St. James Infirmary". Then Betty Boop gets into a fight with her strict, Yiddish speaking, Jewish parents, and as a result, runs away from home with her boyfriend Bimbo, and sings excerpts of the Harry Von Tilzer song "They Always Pick on Me" (1911) and the song "Mean to Me" (1929). Betty and Bimbo end up in a cave with a walrus, which has Cab Calloway's voice, who sings "Minnie the Moocher" and dances to the melancholy song. Calloway is joined in the performance by various ghosts, goblins, skeletons, and other frightening things. Betty and Bimbo are subjected to skeletons drinking at a bar; ghost prisoners sitting in electric chairs; a cat with empty eye-sockets feeding her equally empty-eyed kittens; and so on. Betty and Bimbo both change their minds about running away and rush back home with every ghost right behind them. Betty makes it safely back to her home and hides under the blankets of her bed. As she shakes in terror, the note she earlier wrote to her parents tears, leaving "Home Sweet Home" on it. The film ends with Calloway performing the instrumental "Vine Street Blues".  answer the following question:  Who sings "Minnie the Moocher"?
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Answer:
a walrus