Problem: What is the last name of the musician who was contacted by Century Media Records and offered a contract to "make us some extreme albums"?  Answer the above question based on the context below:  Strapping Young Lad began in 1994 as a solo project of Canadian musician Devin Townsend. Following his work as vocalist on Steve Vai's 1993 album Sex & Religion and its 1994 tour, Townsend believed he had been a "musical whore", spending "the first five years of [his] career working at the behest of other people". During a brief stint as touring guitarist for The Wildhearts, Townsend received a phone call from an A&R representative for Roadrunner Records, expressing an interest in his demos and an intention to sign him. The offer was ultimately rescinded by the head of Roadrunner, who regarded Townsend's recordings as "just noise". He faced further rejection by Relativity Records, the label behind Vai's Sex & Religion, who saw no commercial appeal in his music. Century Media Records subsequently contacted the musician, offering him a contract to "make us some extreme albums". Townsend agreed to a five-album deal with the record label.Following his tour with The Wildhearts, Townsend began recording and producing his debut album, Heavy as a Really Heavy Thing, under the moniker Strapping Young Lad. According to Townsend, the recording process took "about a week". Embracing The Wildhearts' anarchist approach, "while focusing on dissonance and just being as over-the-top as [he] could", Townsend sang on the record and performed the majority of its instrumental tracks (with the assistance of a drum machine).  A few songs, however, featured local session musicians, including guitarist Jed Simon, Townsend's future bandmate. Released on April 4, 1995, Heavy as a Really Heavy Thing was not widely recognized in the metal community. The album sold 143 copies in its first six months, but received favorable reviews from the heavy metal press. Its unusual musical ideas—a synthesis of death, thrash, and industrial metal influences—prompted Andy Stout from Metal Hammer to call it "one of the most disturbing albums you'll hear for a very long time". Nevertheless, Townsend has repeatedly expressed his distaste for the...

A: Townsend
Problem: Given the question: What is the name of the specific feature, attributed to Jones and Westmacott, that was formerly in the Music Room at the Brighton Pavilion?  Answer the above question based on the context below:  Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle époque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state...
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The answer is:
oriental chimney piece
[Q]: What is the alias of the person aunt Hortense fears is a fortune hunter?  Answer the above question based on the context below:  At a St. Louis opera house in 1860, a singer in blackface named Jerry Barton, known as "King of the Minstrels", comes backstage and asks his sweetheart, Lettie Morgan, to elope. Lettie's Aunt Hortense, fearing that Barton is a fortune hunter, tells Lettie she is not the heiress she thought she was and that she has been living off her aunt's charity. With no fortune to hunt, Barton informs Lettie that an artist cannot be burdened with the responsibility of a wife. Outside the opera house, Lettie meets a chorus girl named Honey, who is preparing to leave with her theatrical troupe in a caravan heading West. When the troupe's producer mistakes Lettie for the star, she joins the group as "Mary Varden". The troupe's wagon train is escorted by Captain Tex Autry of the U.S. Cavalry and his singing plainsmen. The troupe misses the wagon train, however, and must travel alone. On their way to San Francisco, the caravan is ambushed by a gang of thieves. Tex and his men arrive on the scene and following a gunfight, the gang is chased off. After Tex saves Lettie from a runaway wagon, he comments on the foolishness of risking his men's lives for a bunch of "crazy showgirls". Angered by his insolence, Lettie decides to walk rather than ride with Tex. Eventually she gets tired and asks Tex if she can ride with him. The troupe arrives safely at Fort Henry, which is run by Colonel Seward.
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[A]:
King of the Minstrels