[Q]: What is the last name of the person who was said to be a "style icon who constantly reinvents herself"?  Answer the above question based on the context below:  Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has...
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[A]: Minogue
input: Please answer the following: Which two of the three original churches no longer remain open?  Answer the above question based on the context below:  In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west. The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining.
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output: Methodist chapel
Problem: What are the last names of the two individuals who were convinced to purchase Spring Ice?  Answer the above question based on the context below:  In March 1916, Thomson exhibited four canvases with the OSA: In the Northland (at that time titled The Birches), Spring Ice, Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to purchase Spring Ice instead. The reception of Thomson's paintings at this time was mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor: Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best. In The Canadian Courier, painter Estelle Kerr also spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects".In 1916, Thomson left for Algonquin Park earlier than any previous year, evidenced by the many snow studies he produced at this time. In April or early May, MacCallum, Harris and his cousin Chester Harris joined Thomson at Cauchon Lake for a canoe trip. After MacCallum and Chester left,...

A:
Brown