input question: Given the following context:  Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". According to Barry Miles, Lennon resented McCartney's direction of the band as well as how, aside from "Strawberry Fields Forever", he himself was now supplying "songs to order" rather than "writing from the heart" as he had on Revolver. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". Speaking in 2000, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much."After finishing Sgt. Pepper, the Beatles took an acetate disc of the album to the American singer Cass Elliot's flat off King's Road in Chelsea, where at six in the morning they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music.  answer the following question:  What is the name of the person who had written songs from the heart on Revolver????
output answer: Lennon

Given the following context:  Three species of mangrove trees exist in the region: red (Rhizophora mangle), black (Avicennia germinans), and white (Laguncularia racemosa), although all are from different families. All have the same characteristics: they are tolerant of salt, brackish, and fresh water; they grow in oxygen-poor soil; and they can survive drastic water-level changes. Black and white mangroves excrete salt from under their leaves, and red mangroves filter the salinity of sea water. All species are integral to coastline protection during severe storms. Red mangroves, for example, have far-reaching roots that trap sediments. The trees not only stabilize coastlines, but add land as more sand and decaying vegetation is trapped in the root systems. All three mangroves also absorb the energy of waves and storm surges. The estuaries act as fisheries for fry and nurseries for crustaceans. Shrimp, oysters, crabs, whelks, cockles, and snails thrive in these waters, as do primordial horseshoe crabs (Limulus polyphemus). The region supports a $59 million-a-year Tortugas pink shrimp (Farfantepenaeus duorarum) industry, and a $22 million-a-year stone crab (Menippe mercenaria) industry.  Between 80 and 90 percent of species that are harvested commercially in Florida are born or spend time in the shallow waters near the Everglades. Oysters and mangroves work in tandem to build up the coastline. The sand around the coastline has minute white particles of quartz and fine shells. When currents are right, oysters grow in colonies or beds, and deposit their shells, reinforcing the bed. Mangrove seeds, called propagules, are full embryos and float in water until they reach a favorable location and take root, often on oyster beds. They shed skin and litter, ensuring other trees will not compete for space and nutrients.Mangroves also serve as excellent rookeries for birds. Wading birds, such as roseate spoonbills (Platalea ajaja), egrets, and tricolored herons (Egretta tricolor) use the mangroves as a nursery, due to the proximity of food sources...  answer the following question:  What are the full scientific names of the three species of mangrove trees that exist in the Everglades?
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Answer: Rhizophora mangle

Problem: Given the question: Given the following context:  Smetana's biographers describe him as physically frail and unimpressive in appearance yet, at least in his youth, he had a joie-de-vivre that women evidently found attractive. He was also excitable, passionate and strong-willed, determined to make his career in music whatever the hardships, over the wishes of his father who wanted him to become a brewer or a civil servant. Throughout his career he stood his ground; when under the severest of criticism for the "Wagnerism" in Dalibor he responded by writing Libuše, even more firmly based on the scale and concept of Wagnerian music drama. His personal life became stressful; his marriage to Bettina was loveless, and effectively broke down altogether in the years of illness and relative poverty towards the end of his life. Little of his relationships with his children is on record, although   on the day that he was transferred to the asylum, Žofie was "crying as though her heart would break". There is broad agreement among most commentators that Smetana created a canon of Czech opera where none had previously existed, and that he developed a style of music in all his compositions that equated with the emergent Czech national spirit. A modified view is presented by the  music writer Michael Steen, who questions whether "nationalistic music" can in fact exist: "We should recognise that, whereas music is infinitely expressive, on its own it is not good at describing concrete, earthly objects or concepts." He concludes that much is dependent upon what listeners are conditioned to hear.According to the musicologist John Tyrrell, Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land. Tyrrell argues that the almost iconic status awarded to Smetana in his homeland "monumentalized him into a figure where any criticism of his life or work was discouraged" by the Czech authorities, even as late as the last part of the 20th century. As a...  answer the following question:  What are the last names of the three lesser known composers that Tyrrell talks about when he says a view of Czech music has been propagated that downplays the contributions of contemporaries and successors?
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The answer is:
Dvořák