input: Please answer the following: The following article contains an answer for the question: What is the real name of the person who honed the finished songs in collaboration with other writer-producers? , can you please find it?   In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on...
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output: Mathangi "Maya" Arulpragasam


input: Please answer the following: The following article contains an answer for the question: What was the name of the person that stated the man reeked of black grease? , can you please find it?   On 13 June walruses attacked and damaged the kayaks, causing another stop for repairs. On 17 June, as they prepared to leave again, Nansen thought he heard a dog bark and went to investigate. He then heard voices, and a few minutes later encountered a human being. It was Frederick Jackson, who had organised his own expedition to Franz Josef Land after being rejected by Nansen, and had based his headquarters at Cape Flora on Northbrook Island, the southernmost island of the archipelago. Jackson's own account records that his first reaction to this sudden meeting was to assume the figure to be a shipwrecked sailor, perhaps from the expedition's supply ship Windward which was due to call that summer. As he approached, Jackson saw "a tall man, wearing a soft felt hat, loosely made, voluminous clothes and long shaggy hair and beard, all reeking with black grease". After a moment's awkward hesitation, Jackson recognised his visitor: "You are Nansen, aren't you?", and received the reply "Yes, I am Nansen."Johansen was rescued, and the pair taken to the base at Cape Flora, where they posed for photographs (in one instance re-enacting the Jackson–Nansen meeting) before taking baths and haircuts. Both men seemed in good health, despite their ordeal; Nansen had put on 21 pounds (9.5 kg) in weight since the start of the expedition, and Johansen 13 pounds (5.9 kg). In honour of his rescuer, Nansen named the island where he had wintered "Frederick Jackson Island". For the next six weeks Nansen had little to do but await the arrival of Windward, worrying that he might have to spend the winter at Cape Flora, and sometimes regretting that he and Johansen had not pressed on to Spitsbergen. Johansen noted in his journal that Nansen had changed from the overbearing personality of the Fram days, and was now subdued and polite, adamant that he would never undertake such a journey again. On 26 July Windward finally arrived; on 7 August, with Nansen and Johansen aboard, she sailed south and on 13 August reached Vardø. A batch of...
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output: Nansen


input: Please answer the following: The following article contains an answer for the question: What is the name of the person given the appointment of Professor at the Conservatoire? , can you please find it?   It is not clear why, in 1873, Alkan decided to emerge from his self-imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms. It may have been associated with the developing career of Delaborde, who, returning to Paris in 1867, soon became a concert fixture, including in his recitals many works by his father, and who was at the end of 1872 given the appointment that had escaped Alkan himself, Professor at the Conservatoire. The success of the Petits Concerts led to them becoming an annual event (with occasional interruptions caused by Alkan's health) until 1880 or possibly beyond. The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards, played on both the piano and the pédalier, and occasionally with the participation of another instrumentalist or singer. He was assisted in these concerts by his siblings, and by other musicians including Delaborde, Camille Saint-Saëns, and Auguste Franchomme.Those encountering Alkan at this phase included the young Vincent d'Indy, who recalled Alkan's "skinny, hooked fingers" playing Bach on an Érard pedal piano: "I listened, riveted to the spot by the expressive, crystal-clear playing." Alkan later played Beethoven's Op. 110 sonata, of which d'Indy said: "What happened to the great Beethovenian poem ... I couldn't begin to describe – above all in the Arioso and the Fugue, where the melody, penetrating the mystery of Death itself, climbs up to a blaze of light, affected me with an excess of enthusiasm such as I have never experienced since. This was not Liszt—perhaps less perfect, technically—but it had greater intimacy and was more humanly moving ..."The biographer of Chopin, Frederick Niecks, sought Alkan for his recollections in 1880 but was sternly denied access by Alkan's concierge – "To my ... enquiry when he could be found at home, the reply was a ... decisive 'Never'." However, a few days later he found Alkan at Érard's, and Niecks writes of their meeting that "his reception of me was not...
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output:
Delaborde