input: Please answer the following: What are the last names of the two individuals for whose time at the studio Creation Records was unable to pay the bill?  Answer the above question based on the context below:  The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, "We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top." On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: "Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, "I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out." Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, "It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'."Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as "Ill-informed hysteria." Although Alan McGee was still positive about...
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output: Butcher


input: Please answer the following: What is the full name of the character into whose custody Maisie is released?  Answer the above question based on the context below:  Overworked World War II riveter Maisie Ravier becomes irritable and starts involuntarily winking at people, so the factory's doctor prescribes a two-week vacation with pay. She runs into her friend and bandleader Tommy Cutter, who wants her to sing for two weeks in Reno. When she goes to the bus station, she encounters Sergeant Bill Fullerton, who is also going to Reno. He wants to stop his wealthy wife, Gloria, from divorcing him. When his leave is canceled because his unit is relocating, he begs Maisie to deliver a letter to Gloria in person. In Reno, blackjack dealer "Flip" Hennahan knows where Gloria is staying and drives Maisie to the isolated resort. However, Maisie is fooled into believing that Gloria's private secretary, "Wini" Ashbourne, is Gloria. Wini and Gloria's business manager, Roger Pelham, want the divorce to go through for their own (never explained) reasons. They get J. E. Clave to forge another letter to give Gloria the impression that Bill only married her for her money. In between her blossoming romance with Flip, Maisie discovers she has been duped and sets out to get evidence to convince Gloria that she is being manipulated. She obtains a blotter on which Clave practiced his forgery, but Clave finds out and the crooked trio retrieve the evidence and burn it. Meanwhile, the confused Flip starts thinking that Maisie is having a nervous breakdown. When Bill telephones Maisie, she strongly urges him to come to Reno before it is too late. Meanwhile, she enlists love-smitten hotel bellboy Jerry into helping kidnap Gloria. She gets caught, but Flip convinces the police that Maisie is not in her right mind and has her released into his custody. When Bill shows up, however, Maisie rushes off with him to the courthouse, where husband and wife are reunited and everything is sorted out.
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output: "Flip" Hennahan


input: Please answer the following: What is the last name of the person whose death at the height of her fame and was a shock to the musical world?  Answer the above question based on the context below:  Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death. The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts. In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United...
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output:
Ferrier