input: Please answer the following: The following article contains an answer for the question: Who built a firehouse, water-supply and lighting system? , can you please find it?   During the 1930s, the Navy contracted a $1.5 million dredging of Pearl Harbor to allow larger battleships and the fleet's carriers to enter it. Work began in May 1940 resulting in 13,000,000 cubic yards (9,900,000 m3) of material dredged from the opening of Pearl Harbor to build a channel to Ford Island as well as to create a turning channel around the island.  Material was also dredged to deepen the West Loch, East Loch, and Middle Loch for the mooring of battleships. With dredged material used as land fill, the island's size was increased from 334 acres (135 ha) to 441 acres (178 ha).The Navy replaced its PK, F5L, and H16 aircraft with newer models (see table below). In 1933 VP-8F arrived on station, and in 1935 the army bombers had become too large to be maintained and stored at Luke Field. Construction began on a new Army airfield, Hickam Army Airfield, named after pioneer U.S. Army Air Corps pilot Lieutenant Colonel Horace Meek Hickam. From 1936 to 1940 Pan American flew its Clipper service into Ford Island, using it as a refueling stop between the United States and Asia. The Navy built a $25,000 boathouse, spent $579,565 on a new crew barracks and built a firehouse, water-supply and lighting systems. In June 1936 the Navy lengthened the island's landing field by 400 feet (120 m), to 3,000 feet (910 m). In March 1937 Amelia Earhart, on her second visit to Luke Field, crashed her Lockheed Electra on takeoff. In 1939, after three years of construction, Hickam Field opened. The Army transferred its operations there, leaving Luke Field under Navy control. The latter was renamed Naval Air Station Ford Island, and became the headquarters of Patrol Wing 2; its former namesake was re-honored with a new base, Luke Air Force Base in Arizona. A September 8, 1939, presidential emergency proclamation spurred the rapid construction of new facilities to prepare the island for additional operations. This included additional barracks, a new assembly and repair hangar, an administration building, a dispensary, a  control...
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output: The Navy


input: Please answer the following: The following article contains an answer for the question: What is the first name of the person who was described as "immensely encouraging and supportive?" , can you please find it?   The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier. The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood...
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output: "immensely encouraging and supportive"


input: Please answer the following: The following article contains an answer for the question: What is the last name of the person who would often approach his canvas "in a bad mood of drinking? , can you please find it?   The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces,...
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output:
Bacon