The following article contains an answer for the question: What is the initialized name of the person who was friends with Justine Frischmann? , can you please find it?   In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on...
Ans: M.I.A.

The following article contains an answer for the question: What is the first name of the person that offers his hotel suite for a lunch date? , can you please find it?   Fed up with her dead-end job with a Minneapolis car rental agency, Martha quits, cashes her final paycheck, and uses the money to purchase an airline ticket to the least expensive international destination she can find - London. At the airport, she meets Daniel, a successful music label executive, who covertly arranges for her to be upgraded to First Class and seated next to him on the flight. When she sells the ticket to another passenger and Daniel finds his seatmate is an obnoxiously loud woman instead of the girl of his dreams, he moves back to the Economy section and takes the vacant seat next to Martha. Before landing in London, he offers her the use of a deluxe suite in a luxury hotel at his company's expense in exchange for a lunch date the following day. Through a series of flashbacks and flashforwards, we learn Laurence, a former bridge champion who now teaches the game to wealthy women, went to the airport to pick up Daniel but missed him because the flight landed early. Instead, he literally runs into Martha, who hits him with a luggage cart while searching for the exit. She coerces him into taking her into the city and invites him to the suite for dinner. While she is in the bathroom, a bouquet of flowers from Daniel is delivered to the suite, and when Laurence sees the attached card, he departs without explanation. The following day, Martha meets struggling actor Frank, who has fled an audition in a panic and has gone to the park to console himself with a half-bottle of whiskey. Having heard about her from Daniel, he realizes who she is and calls Laurence to boast that he is about to make her his conquest. He takes her to a nearby art gallery. Martha slips away and heads for the exit, where she reunites with Laurence, who was looking for the pair. He invites her back to his flat and she accepts.
Ans: Daniel

The following article contains an answer for the question: What is the name of the person who later withdrew his composition, "A Song for Soldiers"? , can you please find it?   In June 1911, as part of the celebrations surrounding the coronation of King George V, Elgar was appointed to the Order of Merit, an honour limited to twenty-four holders at any time. The following year, the Elgars moved back to London, to a large house in Netherhall Gardens, Hampstead, designed by Norman Shaw. There Elgar composed his last two large-scale works of the pre-war era, the choral ode, The Music Makers (for the Birmingham Festival, 1912) and the symphonic study Falstaff (for the Leeds Festival, 1913). Both were received politely but without enthusiasm. Even the dedicatee of Falstaff, the conductor Landon Ronald, confessed privately that he could not "make head or tail of the piece," while the musical scholar Percy Scholes wrote of Falstaff that it was a "great work" but, "so far as public appreciation goes, a comparative failure."When World War I broke out, Elgar was horrified at the prospect of the carnage, but his patriotic feelings were nonetheless aroused. He composed "A Song for Soldiers", which he later withdrew. He signed up as a special constable in the local police and later joined the Hampstead Volunteer Reserve of the army. He composed patriotic works, Carillon, a recitation for speaker and orchestra in honour of Belgium, and Polonia, an orchestral piece in honour of Poland. Land of Hope and Glory, already popular, became still more so, and Elgar wished in vain to have new, less nationalistic, words sung to the tune. By contrast, the remaining work, the Cello Concerto in E minor, had a disastrous premiere, at the opening concert of the London Symphony Orchestra's 1919–20 season in October 1919. Apart from the Elgar work, which the composer conducted, the rest of the programme was conducted by Albert Coates, who overran his rehearsal time at the expense of Elgar's. Lady Elgar wrote, "that brutal selfish ill-mannered bounder ... that brute Coates went on rehearsing." The critic of The Observer, Ernest Newman, wrote, "There have been rumours about during the week of inadequate rehearsal....
Ans: Elgar