Please answer this: The following article contains an answer for the question: What is the first name of the person Ann said she belonged to until death? , can you please find it?   By the time of the third plate, Tom Nero has progressed from the mistreatment of animals to theft and murder. Having encouraged his pregnant lover, Ann Gill, to rob and leave her mistress, he murders the girl when she meets him. The murder is shown to be particularly brutal: her neck, wrist, and index finger are almost severed. Her trinket box and the goods she had stolen lie on the ground beside her, and the index finger of her partially severed hand points to the words "God's Revenge against Murder" written on a book that, along with the Book of Common Prayer, has fallen from the box. A woman searching Nero's pockets uncovers pistols, a number of pocket watches—evidence of his having turned to highway robbery (as Tom Idle did in Industry and Idleness),  and a letter from Ann Gill which reads: Dear TommyMy mistress has been the best of women to me, and my conscience flies in my face as often as I think of wronging her; yet I am resolved to venture body and soul to do as you would have me, so do not fail to meet me as you said you would, for I will bring along with me all the things I can lay my hands on. So no more at present; but I remain yours till death. Ann Gill. The spelling is perfect and while this is perhaps unrealistic, Hogarth deliberately avoids any chance of the scene becoming comical. A discarded envelope is addressed "To Thos Nero at Pinne...". Ronald Paulson sees a parallel between the lamb beaten to death in the Second Stage and the defenceless girl murdered here. Below the print, the text claims that Nero, if not repentant, is at least stunned by his actions: Various features in the print are meant to intensify the feelings of dread: the murder takes place in a graveyard, said to be St Pancras but suggested by John Ireland to resemble Marylebone; an owl and a bat fly around the scene; the moon shines down on the crime; the clock strikes one for the end of the witching hour. The composition of the image may allude to Anthony van Dyck's The Arrest of Christ. A lone Good Samaritan appears...
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Answer: Tom


Please answer this: The following article contains an answer for the question: What is the last name of the person who conducted the Proms for nearly half a century? , can you please find it?   Sir Henry Joseph Wood  (3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms.  He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms". Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company.  He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892. From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario Robert Newman to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music.  When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the Royal Albert Hall. Wood declined the chief conductorships of the New York Philharmonic and Boston Symphony Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long career: he and Newman greatly improved access to classical music, and Wood...
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Answer: Wood


Please answer this: The following article contains an answer for the question: What was the name of the person who Kelefa Sanneh said was the opposite of desperate? , can you please find it?   "Déjà Vu" debuted to mixed and positive reviews among critics. Mike Joseph of the international webzine PopMatters' believed that it was "fantastic to hear Beyoncé singing her lungs out over a full-bodied groove featuring live instruments". Spence D. of IGN Music, a multimedia news and reviews website, complimented Jerkins' bass-laden groove, writing that it brought the track to perfection. Describing "Déjà Vu" as a magnificent song, Caroline Sullivan of The Guardian complimented Beyoncé and Jay-Z collaboration calling it "feverish as pre-watershed pop gets". She added that even though when Jay-Z is not physically present, he manages to bring out something formidable in Beyoncé that evokes "the young, feral Tina Turner". Bernard Zuel The Sydney Morning Herald praised the assertiveness with which Beyoncé delivers her lines and considered buying "Déjà Vu" as worthwhile.Several other music critics have compared "Déjà Vu" to Beyoncé's 2003 single, "Crazy in Love", the lead single of her debut album. According to Gail Mitchell of Billboard magazine, the song is viewed by many as a sequel to "Crazy in Love". Jason King of the Vibe magazine deemed the song as "cloned from the DNA of the raucous 'Crazy in Love'" while Thomas Inskeep of Stylus Magazine referred to it as "'Crazy in Love' lite". Some reviewers, however, were negative to the parallels drawn between the two songs. Andy Kellman of AllMusic, an online music database, wrote that "['Déjà Vu'] "had the audacity to not be as monstrous as 'Crazy in Love'", referring to the commercial success the latter experienced in 2003. The internet-based publication Pitchfork's writer Ryan Dombal claimed that "this time [Beyoncé] out-bolds the beat".Sasha Frere-Jones of The New Yorker deemed the lyrics as a "perplexing view of memory", while Chris Richards of The Washington Post characterized Beyoncé as a "love-dazed girlfriend" in the song. Jody Rosen of the Entertainment Weekly referred to "Déjà Vu" as an "oddly flat" choice as a lead single. Jaime Gill of Yahoo! Music...
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Answer:
Beyoncé