Problem: Given the following context:  Like his predecessor Rafael Kubelík, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 1965–66 and 1966–67 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti – a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless,...  answer the following question:  What was the full name of the person that Sir David Webster persuaded to stay with the Covent Garden?

A: Georg Solti


Problem: Given the following context:  In Britain, further experiments in the genre boosted its appeal. House and rave clubs such as Lakota and Cream emerged across Britain, hosting house and dance scene events. The 'chilling out' concept developed in Britain with ambient house albums such as The KLF's Chill Out and Analogue Bubblebath by Aphex Twin. The Godskitchen superclub brand also began in the midst of the early 90's rave scene. After initially hosting small nights in Cambridge and Northampton, the associated events scaled up in Milton Keynes, Birmingham and Leeds. A new indie dance scene also emerged in the 90's. In New York, bands such as Deee-Lite furthered house's international influence. Two distinctive tracks from this era were the Orb's "Little Fluffy Clouds" (with a distinctive vocal sample from Rickie Lee Jones) and the Happy Mondays' "Wrote for Luck" ("WFL") which was transformed into a dance hit by Vince Clarke. The late Robert Miles also produced house tracks such as "One and One" with Maria Nayler, "Fable" and his biggest hit, "Children". In England, one of the few licensed venues was The Eclipse, which attracted people from up and down the country as it was open until the early hours. Due to the lack of licensed, legal dance event venues, house music promoters began organising illegal events in unused warehouses, aeroplane hangars and in the countryside. The Criminal Justice and Public Order Act 1994 was a government attempt to ban large rave dance events featuring music with "repetitive beats", due to law enforcement allegations that these events were associated with illegal club drugs. There were a number of "Kill the Bill" demonstrations by rave and electronic dance music fans. The Spiral Tribe dance event at Castle Morten was the last of these illegal raves, as the bill, which became law, in November 1994, made unauthorised house music dance events illegal in the UK. Despite the new law, the music continued to grow and change, as typified by Leftfield with "Release the Pressure", which introduced dub and reggae into the...  answer the following question:  What is the name of the actual bill that was the subject of the number of "Kill the Bill" demonstrations held by rave and electronic dance music fans?

A: Criminal Justice and Public Order Act 1994


Problem: Given the following context:  Anthony is a man with an American father and a deceased Japanese mother living and working in Tokyo. One day his son is run over and killed by Yatsu, this film's version of "The Metal Fetishist". Shortly afterward Anthony begins to transform into metal. He discovers that the work of his scientist father may be the key to his transformation. In his father's house he discovers a secret room with files and papers detailing the Tetsuo Project as a way to turn people into androids. He also learns that his father met his mother while they each researched the project. Anthony's wife arrives but before she sees her transformed husband a S.W.A.T. team arrives and she is taken hostage. Anthony's transformation finishes its hold and he defeats the S.W.A.T. team with bullets fired from his body, but refrains from killing them. The severely injured team is extracted, but then killed by Yatsu.  answer the following question:  Who loses a son to "The Metal Fetishist"?

A: Anthony


Problem: Given the following context:  The composer's response to his denunciation was the Fifth Symphony of 1937, which was musically more conservative than his earlier works. Premiered on 21 November 1937 in Leningrad, it was a phenomenal success. The Fifth brought many to tears and welling emotions. Later, Shostakovich's purported memoir, Testimony, stated: "I'll never believe that a man who understood nothing could feel the Fifth Symphony. Of course they understood, they understood what was happening around them and they understood what the Fifth was about."The success put Shostakovich in good standing once again. Music critics and the authorities alike, including those who had earlier accused Shostakovich of formalism, claimed that he had learned from his mistakes and become a true Soviet artist. In a newspaper article published under Shostakovich's name, the Fifth Symphony was characterized as "A Soviet artist's creative response to just criticism." The composer Dmitry Kabalevsky, who had been among those who disassociated themselves from Shostakovich when the Pravda article was published, praised the Fifth Symphony and congratulated Shostakovich for "not having given in to the seductive temptations of his previous 'erroneous' ways."It was also at this time that Shostakovich composed the first of his string quartets. His chamber works allowed him to experiment and express ideas that would have been unacceptable in his more public symphonies. In September 1937 he began to teach composition at the Leningrad Conservatory, which provided some financial security but interfered with his creative work.  answer the following question:  What is the name of the person that taught composition at the Leningrad Conservatory?

A:
Shostakovich