[Q]: Given the following context:  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...  answer the following question:  What are the last names of the two individuals for whose time at the studio Creation Records was unable to pay the bill?
****
[A]: Butcher

input: Please answer the following: Given the following context:  During the spring of 1990, Anjali Dutt was hired to replace Moulder, who had left to work with the bands Shakespears Sister and Ride. Dutt assisted in the recording of vocals and several guitar tracks. During this period, the band recorded in various studios, often spending a single day at a studio before deciding it was unsuitable. In May 1990, My Bloody Valentine settled on Protocol in Holloway as their primary location, and work began in earnest on the album, as well as a second EP titled Tremolo. Like Glider, Tremolo contained a song—"To Here Knows When"—that later appeared on Loveless. The band stopped recording during the summer of 1990 to tour in support of the release of Glider. When Moulder returned to the project in August, he was surprised by how little work had been completed. By that point, Creation was concerned by how much the album was costing. Moulder left again in March 1991 to work for the the Jesus and Mary Chain. In an interview with Select, Shields explained the stop-start nature of his recording, using "When You Sleep" as an example:We recorded the drums in September '89. The guitar was done in December. The bass was done in April. 1990 we're in, now. Then nothing happens for a year really." So it doesn't have vocals at this stage? "No." Does it have words? "No." Does it even have a title? "No. It has a song number. 'Song 12' it was called. And… I'm trying to remember… the melody line was done in '91. The vocals were '91. There were huge gaps though. Months and months of not touching songs. Years. I used to forget what tunings I'd used.  answer the following question:  What band was Anjali Dutt hired by?
++++++++++
output: My Bloody Valentine

Please answer this: Given the following context:  The film takes place over a summer by the seaside and follows three girls through a summer that will change their lives. The story is told by Keira St. George, a girl who is trying to decide what to do with her life. She constantly throws away her college letter without reading it, but her father always retrieves it, annoying her more. Her two best friends are Glory Lorraine a beautiful but somewhat bitchy girl obsessed with marriage, and Lisa MacDougall, an awkward, born-again, religious girl who is obsessed with sex. Glory babysits for Keith Clark and his wife, who works the night shift four times a week. Keith is a 32-year-old husband and father, who loves to ride his motorcycle, gamble with friends and smoke pot. One afternoon, Keira talks to Gordon Gruber, who is a bit slow, trying to get information from him about Keith, who has taken Gruber under his wing. Gruber tells Keira about the pot growing in Keith's backyard. That night, Keira and Lisa decide to take some of Keith's pot. While leaving, they hear what sounds like Keith and his wife having sex. Sex crazed Lisa decides to take a closer look. When Kiera joins her, the two discover that Keith isn't with his wife but with Glory! Later that night, Glory arrives at the bonfire. Keira and Lisa tell Glory about seeing her with Keith. Glory defends her actions, saying she loves Keith and he loves her. The next day, while Keira works at the food stand, Glory tells her more about Keith and her relationship with him. Wheels begin to turn in Keira's head, and after debating with herself, she decides to go to Keith's. He thinks she wants to buy pot, but she tells him she will "babysit" too. She convinces him to let her in. He tells her he's married and she's half his age, but it is obvious both are attracted to each other. She leads Keith into the bedroom.  answer the following question:  What is the first name of the person who thinks a visitor is there to buy pot?
++++++++
Answer: Keith

Problem: Given the following context:  The territorial call of the Australian raven is a slow, high ah-ah-aaaah with the last note drawn out. It uses this call to communicate with other Australian ravens in the area. When giving this call, the species has a horizontal posture, holding its head forward and body parallel to the ground, while perched on a prominent position. It ruffles its hackles and lowers its tail, and sometimes holds its beak open between calls. In contrast, the little raven and forest raven hold their bodies in an upright posture. This call becomes louder if trespassers encroach upon the Australian raven's territory. The five Australian species are very difficult to tell apart, with the call being the easiest way to do so, although the drawing-out of the final note—long held to be solely recorded for the Australian raven—has been recorded for the other species and is hence not diagnostic.The volume, pitch, tempo and order of notes can be changed depending on the message the Australian raven intends to convey. There is a variety of contact calls: a pair often makes a low murmuring sound when preening each other while roosting, and members of a flock carry on with a quiet chattering while at rest. Birds make a call and answer sequence if temporarily out of sight of one another while foraging. Birds in flocks make a single high-pitched caa while flying over another territory as a transit call to signify they are just passing through. An Australian raven will give a longer caa with a downward inflection to signify its return to the nest to its mate.  answer the following question:  What animals' flock makes a call and answer in sequence?

A:
Australian raven