In this task, you're given a passage, further information available on a particular linked term from the statement, and a question. Your job is to generate the answer to the question by using the information provided. If there is no clear answer obtainable, output 'none'.

Passage: Kiss Kiss Kill Kill is the third album by the Danish punk trio HorrorPops. The cover and songs convey a cinematic theme (particularly those with repressed female protagonists and escapist themes, the obvious example being the track "Thelma and Louise"). The album art mimics archetypical B-movie posters, promising "Twelve Tales About Love and Murder... Starring HorrorPops". Only "Boot to Boot" doesn't conform to the film formula. Inspired by the rioting in Copenhagen that followed the destruction of the Ungdomshuset(Youth House), an anarcho-punk squat and self-managed social centre, by police forces in 2007. Of the album's sound, lead singer Patricia Day stated in the Hellcat review of the album that the band was started "So that we could play all kinds of music [but]... We really wanted to get back to the classic new wave feel that we love. And I think our excitement about these songs has made a hell of difference."
 Link Information: Band founders Patricia Day and Kim Nekroman first met Question: Who are the original members of the band that recorded Kiss Kiss Kill Kill?
Answer: Patricia Day

Passage: The discography of South Korean-born Australian recording artist Dami Im consists of five studio albums, two extended plays, ten singles, two album appearances, and four music videos. Im began her music career as a gospel singer in Korea and independently released her debut studio album, Dream, in 2010. She was the winner on the fifth season of The X Factor Australia in 2013, and subsequently received a contract with Sony Music Australia. Im released her self-titled second studio album in November 2013, which features selected songs she performed as part of the top twelve on The X Factor. The album debuted at number one on the ARIA Albums Chart and was certified platinum by the Australian Recording Industry Association (ARIA), denoting shipments of 70,000 copies. Additionally, the album also included Im's debut single "Alive", which topped the ARIA Singles Chart and was certified platinum. She became the first X Factor Australia contestant to follow up a number one single with a number one album on the ARIA Charts.
 Link Information: the winner of which received a Sony Music Australia recording contract and a management deal Question: What prize did Im win for winning The X Factor Australia?
Answer: Sony Music Australia recording contract

Passage: Critic Janet Maslin, writing in The New York Times, said of director Kasdan, "he creates the film's most satisfying moments by communicating his own sheer enjoyment in revitalizing scenes and images that are so well-loved." Impressed, she exclaimed, "Silverado is a sweeping, glorious-looking western that's at least a full generation removed from the classic films it brings to mind." Roger Ebert in the Chicago Sun-Times called it "sophisticated" while remarking, "This is a story, you will agree, that has been told before. What distinguishes Kasdan's telling of it is the style and energy he brings to the project." In the San Francisco Chronicle, Peter Stack wrote that the film "delivers elaborate gun-fighting scenes, legions of galloping horses, stampeding cattle, a box canyon, covered wagons, tons of creaking leather and even a High Noonish duel." He openly mused, "How it manages to run the gamut of cowboy movie elements without getting smart-alecky is intriguing." In a mixed review, Gene Siskel of the Chicago Tribune, said the film was "a completely successful physical attempt at reviving the western, but its script would need a complete rewrite for it to become more than just a small step in a full-scale western revival." Another ambivalent review came from Jay Carr of The Boston Globe. He noted that Silverado "plays like a big-budget regurgitation of old Westerns. What keeps it going is the generosity that flows between Kasdan and his actors. It's got benevolent energies, but not the more primal kind needed to renew the standard Western images and archetypes." In an entirely negative critique, film critic Jay Scott of The Globe and Mail said the all too familiar "manipulative Star Wars-style score is the only novelty on tap in Silverado, which has a plot too drearily complicated and arid to summarize". Left equally unimpressed was Dave Kehr of the Chicago Reader. Commenting on director Kasdan's style, he said his "considerable skills as a plot carpenter seem to desert him as soon as the story moves to the town of the title." As far as the supporting cast was concerned, he dryly noted, "none of them assumes enough authority to carry the moral and dramatic center of the film." Giving Silverado 4 out of 5 stars, author Ian Freer of Empire, thought the film was the "kind of picture that makes you want to play cowboys the moment it is over." He exclaimed, "Whereas many of the westerns from the ‘70s try a revisionist take on the genre, Silverado offers a wholehearted embracing of western traditions."
 Link Information: none Question: When did Janet Maslin write about Kasdan in The New York Times?

Answer: none

