input question: The following article contains an answer for the question: The scythe is a reminder of the agricultural history of what area? , can you please find it?   Stretford was part of the ancient parish of Manchester, within the historic county boundaries of Lancashire. Following the Poor Law Amendment Act of 1834, a national scheme for dealing with the relief of the poor, Stretford joined the Chorlton Poor Law Union in 1837, one of three such unions in Manchester, before transferring to the Barton-upon-Irwell Poor Law Union in 1849. In 1867, Stretford Local Board of Health was established, assuming responsibility for the local government of the area in 1868. The board's responsibilities included sanitation and the maintenance of the highways, and it had the authority to levy rates to pay for those services. The local board continued in that role until it was superseded by the creation of Stretford Urban District Council in 1894, as a result of the Local Government Act 1894. Stretford Urban District became the Municipal Borough of Stretford in 1933, giving it borough status in the United Kingdom. Stretford Borough Council was granted its arms on 20 February 1933. The roses are the red roses of Lancashire, and the lion in the centre represents John of Gaunt, 1st Duke of Lancaster. Above the lion are a crossed flail and scythe; the flail comes from the arms of the de Trafford family; the scythe is a reminder of the agricultural history of the area; the thunderbolts above represent the importance of electricity in Stretford's industrial development. The boat at the bottom represents Stretford's links to the sea via the Manchester Ship Canal.In 1974, as a result of the Local Government Act 1972, the Municipal Borough of Stretford was abolished and Stretford has, since 1 April 1974, formed part of the Metropolitan Borough of Trafford, in Greater Manchester. Trafford Town Hall – previously Stretford Town Hall – is the administrative centre of Trafford.???
output answer: Stretford Borough

The following article contains an answer for the question: What was the names of the two people who went to Moorfields? , can you please find it?   The wind dropped on Tuesday evening, and the firebreaks created by the garrison finally began to take effect on Wednesday 5 September. Stopping the fire caused much fire and demolition damage in the lawyers' area called the Temple. Pepys walked all over the smouldering city, getting his feet hot, and climbed the steeple of Barking Church, from which he viewed the destroyed City, "the saddest sight of desolation that I ever saw." There were many separate fires still burning themselves out, but the Great Fire was over. The following Sunday, rain fell over the city extinguishing the fire. However, it took until the following March before embers stopped reigniting.Pepys visited Moorfields, a large public park immediately north of the City, and saw a great encampment of homeless refugees, "poor wretches carrying their good there, and every body keeping his goods together by themselves". He noted that the price of bread had doubled in the environs of the park. Evelyn also went out to Moorfields, which was turning into the main point of assembly for the homeless, and was horrified at the numbers of distressed people filling it, some under tents, others in makeshift shacks: "Many [were] without a rag or any necessary utensils, bed or board ... reduced to extremest misery and poverty." Evelyn was impressed by the pride of these distressed Londoners, "tho' ready to perish for hunger and destitution, yet not asking one pennie for relief." Fears were as high as ever among the traumatised fire victims, fear of foreign arsonists and of a French and Dutch invasion. There was an outbreak of general panic on Wednesday night in the encampments at Parliament Hill, Moorfields, and Islington. A light in the sky over Fleet Street started a story that 50,000 French and Dutch immigrants had risen, widely rumoured to have started the fire, and were marching towards Moorfields to finish what the fire had begun: to cut the men's throats, rape the women, and steal their few possessions. Surging into the streets, the frightened mob fell...
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Answer: Evelyn

Problem: Given the question: The following article contains an answer for the question: What is the first name of the person who suggested that clarinetists, by virtue of their not being tied to the melody as much as cornetists and trumpet players, could explore harmonies , can you please find it?   Like Green, who made particular mention of Beiderbecke's "amount of teaching," the jazz historian Ted Gioia also has emphasized Beiderbecke's lack of formal instruction, suggesting that it caused him to adopt "an unusual, dry embouchure" and "unconventional fingerings," which he retained for the rest of his life. Gioia points to "a characteristic streak of obstinacy" in Beiderbecke that provokes "this chronic disregard of the tried-and-true." He argues that this stubbornness was behind Beiderbecke's decision not to switch from cornet to trumpet when many other musicians, including Armstrong, did so. In addition, Gioia highlights Beiderbecke's precise timing, relaxed delivery, and pure tone, which contrasted with "the dirty, rough-edged sound" of King Oliver and his protégé Armstrong, whose playing was often more energetic and whose style held more sway early in the 1920s than Beiderbecke's. Beiderbecke's playing - both as a cornetist and a pianist - had a profound effect on a number of his contemporaries. Eddie Condon, for instance, described Beiderbecke's cornet playing as "like a girl saying yes" and also wrote of being amazed by Beiderbecke's piano playing: "All my life I had been listening to music […] But I had never heard anything remotely like what Beiderbecke played. For the first time I realized music isn't all the same, it had become an entirely new set of sounds" "I tried to explain Bix to the gang," Hoagy Carmichael wrote, but "[i]t was no good, like the telling of a vivid, personal dream […] the emotion couldn't be transmitted."Mezz Mezzrow described Beiderbecke's tone as being "pickled in alcohol […] I have never heard a tone like he got before or since. He played mostly open horn, every note full, big, rich and round, standing out like a pearl, loud but never irritating or jangling, with a powerful drive that few white musicians had in those days."Some critics have highlighted "Jazz Me Blues", recorded with the Wolverines on February 18, 1924, as being particularly important to understanding...
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The answer is:
Richard