Please answer this: What is the first name of the person who co-produced Notes from a Ceiling with Joannou?  Answer the above question based on the context below:  In 2000, while also working with Silverchair, Johns and Mac released an internet-only EP, I Can't Believe It's Not Rock. In mid-2003, during Silverchair's hiatus, the pair re-united and formed The Dissociatives, releasing a self-titled album in April 2004. The duo provided the theme music for the popular ABC-TV music quiz show Spicks and Specks – as a reworking of the Bee Gees' 1966 hit of the same name. Johns also collaborated with then-wife Natalie Imbruglia on her Counting Down the Days album, released in April 2005.Joannou worked with blues-rock group The Mess Hall; he co-produced – with Matt Lovell – their six-track extended play, Feeling Sideways, which was released in May 2003. The album was nominated for the ARIA Award for 'Best Independent Release' in 2003. Joannou and Lovell co-produced The Mess Hall's studio album, Notes from a Ceiling which was issued in June 2005. Joannou and Lovell received a nomination at the ARIA Music Awards of 2005 for 'Producer of the Year'. In 2003, Gillies formed Tambalane with Wes Carr, initially as a song-writing project, they released a self-titled album in 2005 and toured Australia.The 2004 Boxing Day tsunami resulted in the WaveAid fund-raising concert held in January 2005: Silverchair performed to help raise funds for aid organisations working in disaster affected areas. As a result of WaveAid the band decided to resume working together. Gillies explained the band's reunion as due to a special "chemistry" between band members, telling The Sydney Morning Herald, "It only took us 15 years, but recently we've realised, 'We've really got something special and we should just go for it.'"
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Answer: Matt


Please answer this: What to the punk rocker's friends steal?  Answer the above question based on the context below:  In the Mojave Desert, a policeman pulls over a 1964 Chevrolet Malibu driven by Dr. J. Frank Parnell. The policeman opens the trunk, sees a blinding flash of white light, and is instantly vaporized, leaving only his boots behind. Otto Maddox, a young punk rocker in L.A., is fired from his job as a supermarket stock clerk. His girlfriend leaves him for his best friend. Depressed and broke, Otto is wandering the streets when a man named Bud drives up and offers him $25 to drive a car out of the neighborhood. Otto follows Bud in the car to the Helping Hand Acceptance Corporation, where he learns that the car he drove was being repossessed. He refuses to join Bud as a "repo man," and goes to his parents' house. He learns that his burned-out ex-hippie parents have donated the money they promised him for finishing school to a crooked televangelist. He decides to take the repo job. After repossessing a flashy red Cadillac, Otto sees a girl named Leila running down the street. He gives her a ride to her workplace, the United Fruitcake Outlet. On the way, Leila shows Otto pictures of aliens that she says are in the trunk of a Chevy Malibu. She claims that they are dangerous because of the radiation that they emit. Meanwhile, Helping Hand is offered a $20,000 bounty notice for the Malibu. Most assume that the car is drug-related, because the bounty is so far above the actual value of the car. Parnell arrives in L.A. driving the Malibu, but he is unable to meet his waiting UFO compatriots because of a team of government agents led by a woman with a metal hand. When Parnell pulls into a gas station, Helping Hand's competitors, the Rodriguez brothers, take the Malibu. They stop for sodas because the car's trunk is so hot. While they are out of the car, a trio of Otto's punk friends, who are on a crime spree, steal the Malibu.
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Answer: the Malibu


Please answer this: What is the name of the journalist who referred to the college that was built with smooth-faced stone as having "Cotswold dementia"?  Answer the above question based on the context below:  Writing in 1952, after the first section of the buildings was complete, J. M. Richards, the editor of the Architectural Review, said that Nuffield was "a large-scale example of period-style architecture which has no justification whatever on grounds of consideration for the neighbours and represents missed opportunity of a really tragic kind". As the site was away from the "ancient colleges" of the city centre and in an area of "undistinguished nineteenth century commercial building", there had been a "rare opportunity" of building something "belonging ... to the twentieth century, and of showing that Oxford does not live only in the past". He said that the "compromise between contemporary needs and what is imagined to be the English collegiate tradition is quite unworthy of the educational enterprise the new foundation represents". He was, however, "thankful" that the building used smooth-faced stone "in the proper Oxford style" rather than rubble facing, which he said had been used elsewhere in Oxford "with extraordinarily unpleasing results".The architectural correspondent of The Times wrote that the architecture of the college was incongruous – it was "remarkable" that a college with connections to modern industry should be looking backwards in this way.  "That a college devoted to modern scientific studies should be dressed up [in the style of an antique Cotswold manor house] has already been the subject of puzzled comment by many foreign visitors to Oxford." Writing in The Observer, Patience Gray also disliked the college's design, referring to the "Cotswold dementia" of the architecture, and the college's "pokey windows and grotesque sugarloaf tower." The chapel was described by the travel writer Jan Morris as "one of the sweetest little sanctuaries in Oxford"; "very simple, almost stern" with a contrast between the black and white pews and the "rich colour" of the stained glass. However, she said that whilst Oxford colleges change in style over time as buildings are added or altered, "Nuffield was a...
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Answer:
Patience Gray