input question: The following article contains an answer for the question: What did the Mendip District Council reject building until 2006? , can you please find it?   By the end of the medieval period a complex body of customary law had come into existence dealing with the four "Mendip mineries". That the medieval control was in the hands of the monastic foundations may indicate some continuity of tenure of large-scale holdings, focused on the mines, from the Roman period.William Wilberforce's visit to Cheddar in 1789, during which he saw the poor circumstances of the locals, inspired Hannah More to begin her work improving the conditions of the Mendip miners and agricultural workers. Under her influence, schools were built and children were formally instructed in reading and Christian doctrine. Between 1770 and 1813 some 7,300 ha (18,000 acres) of land on the hills were enclosed, mainly with dry stone walls that today form a key part of the landscape. In 2006 funding was obtained to maintain and improve the walls, which had steadily deteriorated over the years. Over 300 "Mendip Motor Cars" were built by an engineering works based in Chewton Mendip in the years immediately before and after World War I. In World War II a bombing decoy was constructed on top of Black Down at Beacon Batch in an attempt to confuse bombers aiming to damage the city of Bristol, and piles of stones (known as cairns) were created to prevent enemy aircraft using the hilltop as a landing site.In the 1960s, the tallest mast in the region at 293 metres (961 ft) above ground level, the Mendip UHF television transmitter, was installed on Pen Hill near Wells, one of the highest points of the Mendips. The transmitter's antenna rises to almost 589 metres (1,932 ft) above sea level. Since 2003, arguments have raged over plans to erect a wind turbine near Chewton Mendip. The proposal was initially rejected by Mendip District Council, which enjoyed the support of a range of local groups and organisations, on the grounds that the environmental impact on the edge of the AONB outweighed the nominal amount of electricity which would be generated. In April 2006, however, a planning enquiry gave Ecotricity...???
output answer: wind turbine

The following article contains an answer for the question: What type of instrument did McBurney point out was a haunting sound that punctuated the Kije music? , can you please find it?   Despite his lack of experience in composing film music, Prokofiev began his Kijé score confidently, later writing: "I somehow had no doubts whatever about the musical language for the film". He told the producers, "What is important to me is the era, the internal meaning of each event, the personality of each hero", and warned them not to expect mere musical "illustrations". He attended rehearsals and made detailed notes of the action and the acting. The period setting of the film appealed to Prokofiev; Robinson comments that the Kijé score is one of several works, including the Classical Symphony, The Love of Three Oranges, Cinderella, and War and Peace, that show "the composer's fondness for the eighteenth century". The language he chose combined elements of humour and romance with an underlying melancholy—he interpreted the story as more tragic than comic. Prokofiev had heard Ravel's Boléro in Paris, and had been much impressed by the French composer's use of the saxophone, an instrument then rarely used in orchestral compositions outside France but which suited Prokofiev's intentions perfectly. The composer Gerard McBurney has pointed out the "haunting sounds of the tenor saxophone" that punctuate the Kijé music.The critic Ernest Chapman refers to Prokofiev's "unfailingly witty and melodious score". It comprises only about 15 minutes of music, written as a series of 16 short fragments or leitmotifs which are repeated at appropriate times during the film's duration, to highlight specific moments in the drama. This approach was a departure in film music from the established form of broad symphonic movements, and was described by Prokofiev's biographer Daniel Jaffé as "well ahead of its time ... one of the most celebrated [film scores] of that era".
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Answer: tenor saxophone

Problem: Given the question: The following article contains an answer for the question: What is the stage name of the person that collaborated with writer-producer Blaqstarr? , can you please find it?   English-Tamil musician M.I.A. (Mathangi "Maya" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a "commune environment", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, "he simply makes good music". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track "Meds and Feds" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track "Tell Me Why", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because "her boyfriend really hates me".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting "carried away" in the studio, appreciating the "mad distorted and hectic" sound they were able to create. Rusko said "She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of...
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The answer is:
M.I.A.