Given the following context:  Kellie Loder (born 1988) is an independent singer-songwriter from Newfoundland, Canada. She has released two Contemporary Christian music (CCM) albums: The Way in 2009 and Imperfections & Directions in 2010. With a voice that St. John's-based newspaper The Telegram has described as "powerful yet serene and soulful", she has been nominated for awards at the annual MusicNL awards in Newfoundland, as well as at the Juno Awards, Canada's top music prizes. In 2017 she released Boxes, which was a break with her earlier work. It is a pre-release of parts of her upcoming album, Monster.In 2018 she released The Benefit of The Doubt.  She describes it as a "transitional" album, moving "from a Juno-nominated Contemporary Christian artist to embodying a contemporary folk/pop singer/songwriter's aesthetic."  She has also taken on increased control of production.  She coproduced eight of its ten tracks.A new single, "Fearless", is a soundtrack to an IMAX trailer. Loder wrote her first song at age 16 about a cousin who had died in a traffic accident. She was studying nursing at the Grenfell Campus of Memorial University of Newfoundland when she released The Way in August 2009. Also that year, she won a talent-search contest hosted by YC Newfoundland, a Christian youth conference, and, as part of the award, was given time with music professionals who helped her with Imperfections & Directions, which was released at the 2010 YC Newfoundland. Loder's nursing studies hampered her ability to showcase Imperfections & Directions by touring. Loder was nominated as Female Artist of the Year at the 2010 MusicNL awards, and then as Gospel Artist of the Year in 2011. Imperfections & Directions was nominated as Contemporary Christian/Gospel Album of the Year at the 2012 Juno Awards.  answer the following question:  What is the last name of the person who released Boxes in 2017?
Ans: Loder

Given the following context:  Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed...  answer the following question:  What is the last name of the person who sidestepped thematic interaction and kept sonata form only as an "outline?"
Ans: Tchaikovsky

Given the following context:  Tom is chasing Jerry around Mammy Two Shoes, while she is yelling out confusing instructions on where to chase Jerry. She has a broom ready to hit Jerry but instead she bungles things by clumsily hitting Tom on the head causing the cat to forget who he is and believing he is a mouse like Jerry, except he's rude. Tom terrorizes Two Shoes by shaking the chair, causing her to fall off it, before she quickly flees from the deranged cat. Jerry then overhears the terrified Two Shoes on the phone talking to a doctor about Tom. She hears from the Doctor that Tom is suffering from amnesia - a term she doesn't understand. Seeing Tom approaching her with mischief on his mind, Two Shoes has to cut her phone conversation short before she can find out more details about Tom's current illness. The hapless housemaid begs Tom to leave her alone and attempts to evade him by walking away on stilts. Tom mischievously pulls the stilts from under her, causing Two Shoes to fall down with an enormous crash, silencing her. The deranged feline then runs back into the mouse hole and break Jerry's bed, Jerry finds Tom even more annoying as a 'rodent' than as a cat, and so plots to bring him back.  answer the following question:  Who does Mammy cut her phone conversation short with?
Ans: the Doctor

Given the following context:  Following the Pixies' breakup, Lovering drummed with several artists, including Nitzer Ebb, but turned down an invitation to join the Foo Fighters. Lovering then joined Santiago's band The Martinis, appearing on their song "Free" on the soundtrack of Empire Records. However, he soon left the band to become a touring drummer for Cracker. Lovering moved from band to band, drumming with Tanya Donelly's group on 1997's Lovesongs for Underdogs and with Boston band Eeenie Meenie. After facing difficulty finding new work, Lovering gave up the drums and moved into a rented house that banned drumming.Towards the end of the 1990s, Lovering's friend Grant-Lee Phillips took him to a magic convention. Lovering was very impressed by some of the illusions, and later said "I had to learn how to do it". Mutual friend Carl Grasso invited them to a show at the Magic Castle, a magic-oriented nightclub in Los Angeles. There Lovering met Possum Dixon frontman Rob Zabrecky, and the pair soon became friends. Zabrecky convinced Lovering to apply for a performers' membership to the Magic Castle. After gaining his membership, Lovering reinvented himself as "The Scientific Phenomenalist". His act combined his electrical engineering knowledge with his stage performance experience. His decision to pursue a career in magic was influenced by the fact that as a musician, he "couldn't top the Pixies".As the Scientific Phenomentalist, Lovering performs science and physics experiments in a lab coat while on stage. He shuns traditional magic tricks, and prefers "things that are more mental, using mental powers". He later explained: "It's all kind of upbeat, really weird physics experiments that you'll never see. [...] I'd rather have them [the audience] going 'Is it [magic] or isn't it?' rather than 'It's all science' or 'It's all magic'. So I do kinda weird things that other magicians don't do". Lovering cites sleight-of-hand artist Ricky Jay, mind reader Max Maven and Eugene Burger as influences on his technique. His performances often involve...  answer the following question:  What is the name of the person that Carl Grasso invited to the Magic Castle?
Ans: Lovering