Q: What was the last name of the person who spent six months with a "weird, psycho roommate,"?  Answer the above question based on the context below:  Thompson lived in an apartment in Marblehead, Massachusetts. Just before his senior year, his family moved to Westport, Massachusetts, where he received a Teenager of the Year award—the title of a later solo album. During this time, Thompson composed several songs that appeared in his later career, including "Here Comes Your Man" from Doolittle, and "Velvety Instrumental Version."After graduating from high school in 1983, Thompson studied at the University of Massachusetts Amherst, majoring in anthropology. Thompson shared a room with another roommate for a semester before moving in with future Pixies guitarist Joey Santiago. The two shared an interest in rock music, and Santiago introduced Thompson to 1970s punk and the music of David Bowie; they began to jam together. It was at this time that Thompson discovered The Cars, a band he described as "very influential on me and the Pixies."In his second year of college, Thompson embarked on a trip to San Juan, Puerto Rico, as part of an exchange program. He spent six months in an apartment with a "weird, psycho roommate," who later served as a direct inspiration for the Pixies song "Crackity Jones;" many of the band's early songs refer to Thompson's experiences in Puerto Rico. Thompson failed to learn to speak Spanish formally, and left his studies after debating whether he would go to New Zealand to view Halley's Comet (he later said it "seemed like the cool romantic thing to do at the time"), or start a rock band. He wrote a letter urging Santiago, with the words "we gotta do it, now is the time Joe," to join him in a band upon his return to Boston.
A: Thompson

Q: What is the first name of the person Tom was talking about when he said "He stepped to the microphone and sang the song and I couldn't believe it?"  Answer the above question based on the context below:  Audioslave's history dates back to October 18, 2000, when Rage Against the Machine's lead vocalist Zack de la Rocha announced he was leaving the band, citing a breakdown in its "decision-making process". Rage Against the Machine broke up as a result of de la Rocha's departure, but the remaining three members of the band—Tim Commerford, Tom Morello, and Brad Wilk—decided to stay together and announced plans to continue with a new vocalist. Several vocalists jammed with the three, including B-Real of Cypress Hill, but they did not want another rapper or anybody who sounded like de la Rocha. Contrary to popular belief, Layne Staley of Alice in Chains neither auditioned nor was asked to join the new project. Tom Morello denied this claim on his Twitter account in 2015. Music producer and friend Rick Rubin suggested that they play with Chris Cornell, the ex-frontman of Soundgarden. Rubin also persuaded the three of them to go into group therapy with performance coach Phil Towle after the breakup. Rubin was confident that with the right new voice, Rage Against the Machine had the potential to become a better band; he believed "it could turn into a Yardbirds-into-Led Zeppelin scenario." Commerford later credited Rubin for being the catalyst that brought Audioslave together. He called him "the angel at the crossroads" because "if it wasn't for him, I wouldn't be here today."The chemistry between Cornell and the other three was immediately apparent; as Morello described: "He stepped to the microphone and sang the song and I couldn't believe it. It didn't just sound good. It didn't sound great. It sounded transcendent. And...when there is an irreplaceable chemistry from the first moment, you can't deny it." The quartet wrote 21 songs during 19 days of rehearsal, and began working in the studio in late May 2001 with Rubin as producer, while sorting out the label and management issues.
A: Chris

Q: What is the first name of the person who said "The likeness is too close to be coincidental?"  Answer the above question based on the context below:  Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite...
A:
Lawrence