The following article contains an answer for the question: What album was the song Living Dead recorded for? , can you please find it?   After returning from the United States after the launch of her debut studio album The Family Jewels (2010), Diamandis considered creating a character which would become the centerpiece of her follow-up project. She commented that she was inspired by the "Tumblr generation" to photograph herself in several places across the United States, appearing as a different persona in each picture to mimick the anonymity of the "mini-stars of the internet". The final product became "a cold, ruthless character who wasn't vulnerable", which she later named "Electra Heart" and detailed as a tool to represent a combination of elements associated with the American Dream and Greek tragedy, and added that visuals would merge the differing concepts into a cohesive idea.Diamandis first announced Electra Heart in August 2011; it was initially planned to become a three-piece project inspired by American culture in the 1970s, although it eventually evolved into her second studio album. Diamandis originally planned to release the record as a "side project" under an entity separate from Marina and the Diamonds, although her management disapproved. The track "Living Dead" was the first recorded during its production, and approximately 22 songs were recorded for potential inclusion on the album. She later commented that the record was dedicated to "dysfunctional love", elaborating that "rejection is a universally embarrassing topic and Electra Heart is my response to that." Diamandis stated that Electra Heart was influenced by Madonna, Marilyn Monroe, and Queen of France Marie Antoinette; she described Madonna as being "fearless" and felt that she showcased a desire to be a successful artist beyond fame and wealth. Diamandis told Glamour that Britney Spears influenced a "double-sided" theme for the record of both "innocence" and "darkness". She described the final product as being "a bit cringe" and reflective of her personal experiences, although noted that its promotional campaign would be "pink and fluffy".
Ans: Electra Heart

The following article contains an answer for the question: What repertoire did Shakespeare's work fill in the gap for? , can you please find it?   In the 18th century, Shakespeare became associated with rising British nationalism, and Boydell tapped into the same mood that many other entrepreneurs were exploiting. Shakespeare appealed not only to a social elite who prided themselves on their artistic taste, but also to the emerging middle class who saw in Shakespeare's works a vision of a diversified society. The mid-century Shakespearean theatrical revival was probably most responsible for reintroducing the British public to Shakespeare. Shakespeare's plays were integral to the theatre's resurgence at this time. Despite the upsurge in theatre-going, writing tragedies was not profitable, and thus few good tragedies were written. Shakespeare's works filled the gap in the repertoire, and his reputation grew as a result. By the end of the 18th century, one out of every six plays performed in London was by Shakespeare.The actor, director, and producer David Garrick was a key figure in Shakespeare's theatrical renaissance.  His reportedly superb acting, unrivalled productions, numerous and important Shakespearean portraits, and his spectacular 1769 Shakespeare Jubilee helped promote Shakespeare as a marketable product and the national playwright. Garrick's Drury Lane theatre was the centre of the Shakespeare mania which swept the nation.The visual arts also played a significant role in expanding Shakespeare's popular appeal. In particular, the conversation pieces designed chiefly for homes generated a wide audience for literary art, especially Shakespearean art. This tradition began with William Hogarth (whose prints reached all levels of society) and attained its peak in the Royal Academy exhibitions, which displayed paintings, drawings, and sculptures. The exhibitions became important public events: thousands flocked to see them, and newspapers reported in detail on the works displayed.  They became a fashionable place to be seen (as did Boydell's Shakespeare Gallery, later in the century).  In the process, the public was refamiliarized with Shakespeare's works.
Ans: tragedies

The following article contains an answer for the question: Who is the neighbor's son's friend? , can you please find it?   On October 9, 2006, Kristi Rey and her husband Daniel are killed by her demon-possessed sister Katie, who then abducts Kristi's one-year-old son, Hunter. Text states that Katie and Hunter's whereabouts remained unknown. Five years later, in November 2011, Alex Nelson lives in a wealthy suburb of Henderson, Nevada with her father Doug, mother Holly, and little brother Wyatt. When their new neighbor falls ill and is taken to the hospital, her son, Robbie, is left in the care of the family. One night while Alex is sleeping, her boyfriend Ben's computer starts recording her laptop webcam, and he sees Robbie getting into the bed with her. The next day, Wyatt tells Alex about Robbie's friend, Toby. After strange events happen, Alex and Ben set up cameras all over the house. On the third night, the strange happenings escalate until one day, Alex finds a trail of toys that leads to a closet. She finds Robbie, who says, "He doesn't like you watching us," as a chandelier falls and almost kills her.
Ans: Toby

The following article contains an answer for the question: In what year did the Chicago Symphony Orchestra travel to Europe? , can you please find it?   In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the...
Ans: 1971