Read the following paragraph and extract the answer for the question: What is the last name of the person whose remains were found four days after his death?  Harry Glicken (March 7, 1958 – June 3, 1991) was an American volcanologist. He researched Mount St. Helens in the United States before and after its 1980 eruption, and was very distraught about the death of fellow volcanologist David A. Johnston, who had switched shifts with Glicken so that the latter could attend an interview. In 1991, while conducting avalanche research on Mount Unzen in Japan, Glicken and fellow volcanologists Katia and Maurice Krafft were killed by a pyroclastic flow. His remains were found four days later, and were cremated in accordance with his parents' request. Glicken and Johnston remain the only American volcanologists known to have died in volcanic eruptions. Despite a long-term interest in working for the United States Geological Survey, Glicken never received a permanent post there because employees found him eccentric. Conducting independent research from sponsorships granted by the National Science Foundation and other organizations, Glicken accrued expertise in the field of volcanic debris avalanches. He also wrote several major publications on the topic, including his doctoral dissertation based on his research at St. Helens titled "Rockslide-debris Avalanche of May 18, 1980, Mount St. Helens Volcano, Washington" that initiated widespread interest in the phenomenon. Since being published posthumously by Glicken's colleagues in 1996, the report has been acknowledged by many other publications on debris avalanches. Following his death, Glicken was praised by associates for his love of volcanoes and commitment to his field.
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Answer: Glicken

Q: Read the following paragraph and extract the answer for the question: What is the last name of the person whose father settled in London with his wife?  Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (1864–1929), was a Venetian violinist who had settled in London with his wife, Louise Marie, née Ribeyrol (1870–1962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the première of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square. The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first...
A: Barbirolli

Read the following paragraph and extract the answer for the question: What is the last name of the person who often approached a canvas without having a clear idea of what might emerge?  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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Answer:
Bacon