Problem: Background: Morbid Angel is an American death metal band based in Tampa, Florida formed in 1983 by guitarist and sole remaining original member Trey Azagthoth, vocalist and bassist Dallas Ward, and drummer Mike Browning. Widely considered as one of the most influential bands in the genre and important in the transition of death metal from its thrash metal roots, they were one of the first bands to incorporate guttural vocals, up-tempo blast beats, multiple tempo changes and dark atmosphere. They have been described as one of "the most influential and emulated bands in death metal", alongside Obituary and Cannibal Corpse, and have been cited as an influence by many later bands. They were also the first death metal band to experience mainstream success in connection with being signed to Giant Records in 1992, heavy rotation of their music videos on MTV, and having the music video for the song "God of Emptiness" shown on an episode of Beavis and Butt-head.
Context: Morbid Angel was formed in 1983 in Tampa, Florida by guitarist Trey Azagthoth and drummer/vocalist Mike Browning. The band made their debut in 1987 on the New Renaissance Records record label. They recorded their debut album, Abominations of Desolation, in 1986, but the band was unsatisfied with the final product and it remained unreleased until 1991, printing 10,000 copies. In the early stages of their career the band developed a reputation for "gruesome stage antics."  In 1986, David Vincent joined the band, replacing Michael Manson and Sterling von Scarborough as vocalist and bassist respectively. Fellow Terrorizer drummer Pete Sandoval soon followed. Their first studio album, Altars of Madness, was released in 1989, and is regarded by many as one of the most important death metal albums of all time. It is also considered the first true death metal album. Music journalist Jason Birchmeier writes that:  Few albums struck a chord within the ears and minds of the late-'80s underground metal scene like Morbid Angel's Altars of Madness did at the end of the decade, setting a new precedent for metal bands to reach. With the arguable exception of Chuck Schuldiner's Death, never before had a heavy metal band carried their lightning-fast guitar riffs and equally spellbinding guitar solos into such horrific territory. Venom and Slayer redefined the extent to which a metal band could align itself with all things evil during the beginning of the decade, but Morbid Angel made these two groups sound like children's music compared to the Florida-based group's assaulting death metal sounds and their blasphemous lyrics.
Question: Was the lead ever replaced?
Answer: music

Problem: Background: La Strada (lit. "The Road") is a 1954 Italian drama film directed by Federico Fellini from his own screenplay co-written with Tullio Pinelli and Ennio Flaiano. The film portrays a naive young woman (Giulietta Masina) bought from her mother by a brutish strongman (Anthony Quinn) who takes her with him on the road. Fellini has called La Strada "a complete catalogue of my entire mythological world, a dangerous representation of my identity that was undertaken with no precedent whatsoever."
Context: In later years, Fellini explained that from "a sentimental point of view," he was "most attached" to La Strada: "Above all, because I feel that it is my most representative film, the one that is the most autobiographical; for both personal and sentimental reasons, because it is the film that I had the greatest trouble in realizing and that gave me the most difficulty when it came time to find a producer." Of all the imaginary beings he had brought to the screen, Fellini felt closest to the three principals of La Strada, "especially Zampano." Anthony Quinn found working for Fellini invaluable: "He drove me mercilessly, making me do scene after scene over and over again until he got what he wanted. I learned more about film acting in three months with Fellini than I'd learned in all the movies I'd made before then." Long afterwards, in 1990, Quinn sent a note to the director and his co-star: "The two of you are the highest point in my life -- Antonio."  Critic Roger Ebert, in his book The Great Movies, has described the current critical consensus as holding that La Strada was the high point of Fellini's career and that, after this film, "his work ran wild through the jungles of Freudian, Christian, sexual and autobiographical excess". (Ebert, himself, disagrees, seeing La Strada as "part of a process of discovery that led to the masterpieces La Dolce Vita (1960), 8 1/2 (1963) and Amarcord (1974)".)  The years since its initial release have solidified the high estimation of La Strada. It holds a 97% rating on the review aggregator website Rotten Tomatoes from 31 reviewers who, on average, scored it 8.7 on a scale of 10. Its numerous appearances on lists of best films include the 1992 Directors' poll of the British Film Institute (4th best), the New York Times "Best 1,000 Movies Ever Made", and the "Greatest Films" list of They Shoot Pictures, Don't They (# 67) - a website that statistically calculates the most well-received movies.  In 1995, the Catholic Church's Pontifical Commission for Social Communications issued a list of 45 films representing a "...cross section of outstanding films, chosen by a committee of twelve international movie scholars." This has come to be known as the Vatican film list, and includes La Strada as one of 15 films in the sub-category labeled Art. Pope Francis, has said it is "the movie that perhaps I loved the most," because of his personal identification with its implicit reference to his namesake, Francis of Assisi.
Question: Was La Strada well received by the public ?
Answer:
It holds a 97% rating on the review aggregator website Rotten Tomatoes from 31 reviewers who, on average, scored it 8.7 on a scale of 10.