nc33/multispan_quoref huggingface dataset:
On 12 June 2008, while Johnston was travelling with the Britain's Got Talent Live Tour, it was announced that Johnston had signed a record deal with Syco Music, a division of Sony BMG, and that his first album would be produced after the tour. The deal was reportedly for £1 million. After signing with Syco, Johnston made public appearances, including performing at Andrew Lloyd Webber's birthday celebrations on 14 September, and at Carlisle United's Brunton Park.Johnston's debut album, One Voice, was released on 29 September 2008. It includes a cover of "Walking in the Air", performed with Faryl Smith. The album was recorded over a six-week period in London, and the track listing was chosen by Cowell. Johnston described the recording process as "brilliant", and that it was "really good – just to be in a recording studio and meet the different people". The album debuted in the British charts at number five, and finished the week at number four. The album was later certified gold, having sold 100,000 copies, and Johnston was presented a gold disc by daytime television presenter Penny Smith. Critics responded positively to the album, with Kate Leaver, writing for the Korea JoongAng Daily, saying Johnston "has truer talent than hordes of his musical elders" and that "the vulnerability" of Johnston's performance on the album "makes for a haunting musical experience". In Music Week, the album was described as "highly-anticipated", and Johnston was called "exceptionally-talented".After the album's release, Johnston became involved in the Sing Up campaign, appearing in schools around the country to encourage other young people to join choirs. In December 2008, Johnston made a guest appearance at Whitehaven's Christmas fair, and performed at a carol service in Bradford. Johnston was also invited to turn on the Carlisle Christmas lights and perform at the celebrations. Mike Mitchelson, of Carlisle City Council, described Johnston as "one of our local heroes".

Question: What was the name of the campaign that encouraged children to join choirs that involved the person who traveled with the Got Talent Live Tour?
Answer: Sing Up
On 12 June 2008, while Johnston was travelling with the Britain's Got Talent Live Tour, it was announced that Johnston had signed a record deal with Syco Music, a division of Sony BMG, and that his first album would be produced after the tour. The deal was reportedly for £1 million. After signing with Syco, Johnston made public appearances, including performing at Andrew Lloyd Webber's birthday celebrations on 14 September, and at Carlisle United's Brunton Park.Johnston's debut album, One Voice, was released on 29 September 2008. It includes a cover of "Walking in the Air", performed with Faryl Smith. The album was recorded over a six-week period in London, and the track listing was chosen by Cowell. Johnston described the recording process as "brilliant", and that it was "really good – just to be in a recording studio and meet the different people". The album debuted in the British charts at number five, and finished the week at number four. The album was later certified gold, having sold 100,000 copies, and Johnston was presented a gold disc by daytime television presenter Penny Smith. Critics responded positively to the album, with Kate Leaver, writing for the Korea JoongAng Daily, saying Johnston "has truer talent than hordes of his musical elders" and that "the vulnerability" of Johnston's performance on the album "makes for a haunting musical experience". In Music Week, the album was described as "highly-anticipated", and Johnston was called "exceptionally-talented".After the album's release, Johnston became involved in the Sing Up campaign, appearing in schools around the country to encourage other young people to join choirs. In December 2008, Johnston made a guest appearance at Whitehaven's Christmas fair, and performed at a carol service in Bradford. Johnston was also invited to turn on the Carlisle Christmas lights and perform at the celebrations. Mike Mitchelson, of Carlisle City Council, described Johnston as "one of our local heroes".

Question: What city's fair did the person who signed with Syco Music appear at in December 2008?
Answer: Whitehaven
On 12 June 2008, while Johnston was travelling with the Britain's Got Talent Live Tour, it was announced that Johnston had signed a record deal with Syco Music, a division of Sony BMG, and that his first album would be produced after the tour. The deal was reportedly for £1 million. After signing with Syco, Johnston made public appearances, including performing at Andrew Lloyd Webber's birthday celebrations on 14 September, and at Carlisle United's Brunton Park.Johnston's debut album, One Voice, was released on 29 September 2008. It includes a cover of "Walking in the Air", performed with Faryl Smith. The album was recorded over a six-week period in London, and the track listing was chosen by Cowell. Johnston described the recording process as "brilliant", and that it was "really good – just to be in a recording studio and meet the different people". The album debuted in the British charts at number five, and finished the week at number four. The album was later certified gold, having sold 100,000 copies, and Johnston was presented a gold disc by daytime television presenter Penny Smith. Critics responded positively to the album, with Kate Leaver, writing for the Korea JoongAng Daily, saying Johnston "has truer talent than hordes of his musical elders" and that "the vulnerability" of Johnston's performance on the album "makes for a haunting musical experience". In Music Week, the album was described as "highly-anticipated", and Johnston was called "exceptionally-talented".After the album's release, Johnston became involved in the Sing Up campaign, appearing in schools around the country to encourage other young people to join choirs. In December 2008, Johnston made a guest appearance at Whitehaven's Christmas fair, and performed at a carol service in Bradford. Johnston was also invited to turn on the Carlisle Christmas lights and perform at the celebrations. Mike Mitchelson, of Carlisle City Council, described Johnston as "one of our local heroes".

Question: What is the full name of the person that wrote the debut album of the person who performed at Andrew Lloyd Webber's birthday celebration "makes for a haunting musical experience"?
Answer: JoongAng Daily
On 12 June 2008, while Johnston was travelling with the Britain's Got Talent Live Tour, it was announced that Johnston had signed a record deal with Syco Music, a division of Sony BMG, and that his first album would be produced after the tour. The deal was reportedly for £1 million. After signing with Syco, Johnston made public appearances, including performing at Andrew Lloyd Webber's birthday celebrations on 14 September, and at Carlisle United's Brunton Park.Johnston's debut album, One Voice, was released on 29 September 2008. It includes a cover of "Walking in the Air", performed with Faryl Smith. The album was recorded over a six-week period in London, and the track listing was chosen by Cowell. Johnston described the recording process as "brilliant", and that it was "really good – just to be in a recording studio and meet the different people". The album debuted in the British charts at number five, and finished the week at number four. The album was later certified gold, having sold 100,000 copies, and Johnston was presented a gold disc by daytime television presenter Penny Smith. Critics responded positively to the album, with Kate Leaver, writing for the Korea JoongAng Daily, saying Johnston "has truer talent than hordes of his musical elders" and that "the vulnerability" of Johnston's performance on the album "makes for a haunting musical experience". In Music Week, the album was described as "highly-anticipated", and Johnston was called "exceptionally-talented".After the album's release, Johnston became involved in the Sing Up campaign, appearing in schools around the country to encourage other young people to join choirs. In December 2008, Johnston made a guest appearance at Whitehaven's Christmas fair, and performed at a carol service in Bradford. Johnston was also invited to turn on the Carlisle Christmas lights and perform at the celebrations. Mike Mitchelson, of Carlisle City Council, described Johnston as "one of our local heroes".

Question: What is the name of the publication that called the person signed to a record deal worth £1 million "exceptionally-talented"
Answer: Music Week
Ben and Arthur are a gay couple eagerly awaiting the legalization of gay marriage in Hawaii so that they may travel there for their dream wedding. After a news bulletin that a judge has made a ruling that will allow gay marriages to take place, the men purchase plane tickets and prepare to depart; however, before they leave, they discover that a challenge to the judge's ruling has resulted in a suspension of gay marriage in Hawaii, pending further judicial review. Ben takes advantage of the delay to inform Arthur that he is actually already married to a woman named Tammy, whom he wed out of societal pressure before he came to terms with his homosexuality and from whom he has been separated since before he and Arthur met. Arthur becomes angry, but decides to stay with Ben anyway. Shortly thereafter, Ben contacts Tammy, finally comes out to her, and asks her for a divorce.
After the disappointment of their near-wedding, Ben and Arthur resume their daily life, working in a small diner in Los Angeles, where Ben is a dishwasher and Arthur is a waiter. Although Ben—a former nurse who quit to pursue a music career—enjoys the manual labor and hours, Arthur has grown impatient with servitude and putting up with needy customers. One night, Arthur decides to quit and go back to college, so that he can earn an MBA and open up his own sex shop. Although the loss of income to the household means that Ben will have to quit and return to being a nurse, he agrees to do so in order to help Arthur pursue his dream.

Question: Who does Tammy's husband intend to marry?
Answer: Arthur
Ben and Arthur are a gay couple eagerly awaiting the legalization of gay marriage in Hawaii so that they may travel there for their dream wedding. After a news bulletin that a judge has made a ruling that will allow gay marriages to take place, the men purchase plane tickets and prepare to depart; however, before they leave, they discover that a challenge to the judge's ruling has resulted in a suspension of gay marriage in Hawaii, pending further judicial review. Ben takes advantage of the delay to inform Arthur that he is actually already married to a woman named Tammy, whom he wed out of societal pressure before he came to terms with his homosexuality and from whom he has been separated since before he and Arthur met. Arthur becomes angry, but decides to stay with Ben anyway. Shortly thereafter, Ben contacts Tammy, finally comes out to her, and asks her for a divorce.
After the disappointment of their near-wedding, Ben and Arthur resume their daily life, working in a small diner in Los Angeles, where Ben is a dishwasher and Arthur is a waiter. Although Ben—a former nurse who quit to pursue a music career—enjoys the manual labor and hours, Arthur has grown impatient with servitude and putting up with needy customers. One night, Arthur decides to quit and go back to college, so that he can earn an MBA and open up his own sex shop. Although the loss of income to the household means that Ben will have to quit and return to being a nurse, he agrees to do so in order to help Arthur pursue his dream.

Question: Who married a former nurse?
Answer: Tammy
Ben and Arthur are a gay couple eagerly awaiting the legalization of gay marriage in Hawaii so that they may travel there for their dream wedding. After a news bulletin that a judge has made a ruling that will allow gay marriages to take place, the men purchase plane tickets and prepare to depart; however, before they leave, they discover that a challenge to the judge's ruling has resulted in a suspension of gay marriage in Hawaii, pending further judicial review. Ben takes advantage of the delay to inform Arthur that he is actually already married to a woman named Tammy, whom he wed out of societal pressure before he came to terms with his homosexuality and from whom he has been separated since before he and Arthur met. Arthur becomes angry, but decides to stay with Ben anyway. Shortly thereafter, Ben contacts Tammy, finally comes out to her, and asks her for a divorce.
After the disappointment of their near-wedding, Ben and Arthur resume their daily life, working in a small diner in Los Angeles, where Ben is a dishwasher and Arthur is a waiter. Although Ben—a former nurse who quit to pursue a music career—enjoys the manual labor and hours, Arthur has grown impatient with servitude and putting up with needy customers. One night, Arthur decides to quit and go back to college, so that he can earn an MBA and open up his own sex shop. Although the loss of income to the household means that Ben will have to quit and return to being a nurse, he agrees to do so in order to help Arthur pursue his dream.

Question: What are the gay couple prohibited from having in Hawaii?
Answer: their dream wedding
Ben and Arthur are a gay couple eagerly awaiting the legalization of gay marriage in Hawaii so that they may travel there for their dream wedding. After a news bulletin that a judge has made a ruling that will allow gay marriages to take place, the men purchase plane tickets and prepare to depart; however, before they leave, they discover that a challenge to the judge's ruling has resulted in a suspension of gay marriage in Hawaii, pending further judicial review. Ben takes advantage of the delay to inform Arthur that he is actually already married to a woman named Tammy, whom he wed out of societal pressure before he came to terms with his homosexuality and from whom he has been separated since before he and Arthur met. Arthur becomes angry, but decides to stay with Ben anyway. Shortly thereafter, Ben contacts Tammy, finally comes out to her, and asks her for a divorce.
After the disappointment of their near-wedding, Ben and Arthur resume their daily life, working in a small diner in Los Angeles, where Ben is a dishwasher and Arthur is a waiter. Although Ben—a former nurse who quit to pursue a music career—enjoys the manual labor and hours, Arthur has grown impatient with servitude and putting up with needy customers. One night, Arthur decides to quit and go back to college, so that he can earn an MBA and open up his own sex shop. Although the loss of income to the household means that Ben will have to quit and return to being a nurse, he agrees to do so in order to help Arthur pursue his dream.

Question: What business does the former nurse's partner quit working?
Answer: small diner
Soon after the end of World War II a young English woman, Amy Atkins, goes back to the London flat where she and her best friend, Tillie Grey, once used to live. The housekeeper Mrs. Tubbs meets Amy and reveals to her that Tillie went ill right before she was off to America to look for the man she married during the war. Tillie died from her illness before she could make her journey, and left two orphaned twin children, Joyce and Johnny Jr. To honor her old friend and make her husband honour his obligations Amy decides to make the journey that Tillie had planned and complete task of finding her husband, Johnny. Amy modifies Tillie's new passport and travels to America by boat on the ticket Tillie had bought, posing as her best friend.
The only information Amy has about her best friend's husband is that his name is John "Johnny" Grey, and that he is supposed to reside in Rochester, NY. To get more information of the whereabouts of Johnny, she asks aid from the American Red Cross. Just when Amy is about to land at the docks in New York City, a man named John Grey - a New York architect living in Rochester - gets a telegram informing him of the arrival of his wife and children by boat. This John Grey (Franchot Tone is shocked, since he is about to marry the socialité daughter, Lois (Frances Rafferty, of his boss Mr. Evans of his architectural firm that same weekend. Thinking it may by chance be a man with the same name Johnny contacts all the "John Grey"s of Rochester to find out that none were married in England.

Question: What is the full name of the person Amy Atkins is posing to be when she travels to America?
Answer: Tillie Grey
Soon after the end of World War II a young English woman, Amy Atkins, goes back to the London flat where she and her best friend, Tillie Grey, once used to live. The housekeeper Mrs. Tubbs meets Amy and reveals to her that Tillie went ill right before she was off to America to look for the man she married during the war. Tillie died from her illness before she could make her journey, and left two orphaned twin children, Joyce and Johnny Jr. To honor her old friend and make her husband honour his obligations Amy decides to make the journey that Tillie had planned and complete task of finding her husband, Johnny. Amy modifies Tillie's new passport and travels to America by boat on the ticket Tillie had bought, posing as her best friend.
The only information Amy has about her best friend's husband is that his name is John "Johnny" Grey, and that he is supposed to reside in Rochester, NY. To get more information of the whereabouts of Johnny, she asks aid from the American Red Cross. Just when Amy is about to land at the docks in New York City, a man named John Grey - a New York architect living in Rochester - gets a telegram informing him of the arrival of his wife and children by boat. This John Grey (Franchot Tone is shocked, since he is about to marry the socialité daughter, Lois (Frances Rafferty, of his boss Mr. Evans of his architectural firm that same weekend. Thinking it may by chance be a man with the same name Johnny contacts all the "John Grey"s of Rochester to find out that none were married in England.

Question: What is the last name of the socialite Louis' father?
Answer: Evans
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What was the last name of the person who designed the album cover that had dead eels on it for the band that released Pod in the UK on May 29, 1990?
Answer: Oliver
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What is the last name of the man who took pictures of a dancing member of the band that had its distribution done by Elektra?
Answer: Westenberg
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What is the last name of the person who performed a fertility dance, while Westenberg took pictures of him?
Answer: Oliver
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What is the name of the individual known from their highly regarded work with the Pixies?
Answer: Deal
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What is the name of the individual known from their highly regarded work with Throwing Muses?
Answer: Donelly
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What is the name of the album for whose title Deal took the idea from a painting that she saw in Boston?
Answer: Pod
Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.

Question: What is the name of the person for who the word "pod" evoked a uterus?
Answer: Deal
The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.

Question: What were the last names of the critics who compared Deal's work with the Pixies?
Answer: Van Meter, Sheffield, Kandell
The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.

Question: What was the full name of the person who said Pod never let it rip like the Pixies?
Answer: Simon Reynolds
The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.

Question: What was the name of the band that debuted Pod?
Answer: the Breeders
The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.

Question: What was the last name of the person who was impressed with Deal's ability to move from bass to guitar?
Answer: Taylor
The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.

Question: What was the full name of the person who considered side 2 of Pod damn near perfect?
Answer: Wif Stenger
Nirvana singer Kurt Cobain often described Pod as one of his favorite albums. He listed it as his seventh and then third favorite album in his private journals, and said it was his number-one favorite album in a 1992 Melody Maker article, in which he said: "The way they structure [the songs is] totally unique, very atmospheric." Cobain had wished to work with Steve Albini since first listening to his band Big Black in the 1980s. Cobain's special admiration of Pod and Surfer Rosa—as well as his desire for a similar drum sound, a "natural, powerful sound produced with canny microphone placement rather than phony sounding effects boxes", that he found reminiscent of Aerosmith's Rocks—then led him to select Albini as the producer of Nirvana's third studio album, In Utero. Pod also influenced Courtney Love's songwriting on Live Through This, the second album by her band Hole. In 2018 critic Amanda Petrusich noted the enduring influence of Pod on contemporary indie rock musicians Courtney Barnett, Lucy Dacus, and Julien Baker.In 2007 Albini said he felt Pod was among the best albums he had engineered; a 2015 article in Stereogum ranked it as Albini's eighth best album. Donelly described it as the "truest" of her albums and said that "it really feels exactly the way it was when we were doing it." Wiggs has spoken of her ongoing fondness for Pod, and recalls that everyone in the making of the album was dedicated and attentive. In 2003 Pitchfork placed the album as the 81st best of the 1990s. It was ranked number 463 in NME's 500 Greatest Albums of All Time list (2013) and included in The Guardian's 1000 Albums to Hear Before You Die (2007). Separate articles in both publications have ranked the Breeders' version of "Happiness Is a Warm Gun" among the best covers of a Beatles song.

Question: What is the first name of the person who had wished to work with Steve Albini since first listening to his band?
Answer: Kurt
Nirvana singer Kurt Cobain often described Pod as one of his favorite albums. He listed it as his seventh and then third favorite album in his private journals, and said it was his number-one favorite album in a 1992 Melody Maker article, in which he said: "The way they structure [the songs is] totally unique, very atmospheric." Cobain had wished to work with Steve Albini since first listening to his band Big Black in the 1980s. Cobain's special admiration of Pod and Surfer Rosa—as well as his desire for a similar drum sound, a "natural, powerful sound produced with canny microphone placement rather than phony sounding effects boxes", that he found reminiscent of Aerosmith's Rocks—then led him to select Albini as the producer of Nirvana's third studio album, In Utero. Pod also influenced Courtney Love's songwriting on Live Through This, the second album by her band Hole. In 2018 critic Amanda Petrusich noted the enduring influence of Pod on contemporary indie rock musicians Courtney Barnett, Lucy Dacus, and Julien Baker.In 2007 Albini said he felt Pod was among the best albums he had engineered; a 2015 article in Stereogum ranked it as Albini's eighth best album. Donelly described it as the "truest" of her albums and said that "it really feels exactly the way it was when we were doing it." Wiggs has spoken of her ongoing fondness for Pod, and recalls that everyone in the making of the album was dedicated and attentive. In 2003 Pitchfork placed the album as the 81st best of the 1990s. It was ranked number 463 in NME's 500 Greatest Albums of All Time list (2013) and included in The Guardian's 1000 Albums to Hear Before You Die (2007). Separate articles in both publications have ranked the Breeders' version of "Happiness Is a Warm Gun" among the best covers of a Beatles song.

Question: What is the first name of the person who had a special admiration of Pod and Surfer Rosa?
Answer: Kurt
Nirvana singer Kurt Cobain often described Pod as one of his favorite albums. He listed it as his seventh and then third favorite album in his private journals, and said it was his number-one favorite album in a 1992 Melody Maker article, in which he said: "The way they structure [the songs is] totally unique, very atmospheric." Cobain had wished to work with Steve Albini since first listening to his band Big Black in the 1980s. Cobain's special admiration of Pod and Surfer Rosa—as well as his desire for a similar drum sound, a "natural, powerful sound produced with canny microphone placement rather than phony sounding effects boxes", that he found reminiscent of Aerosmith's Rocks—then led him to select Albini as the producer of Nirvana's third studio album, In Utero. Pod also influenced Courtney Love's songwriting on Live Through This, the second album by her band Hole. In 2018 critic Amanda Petrusich noted the enduring influence of Pod on contemporary indie rock musicians Courtney Barnett, Lucy Dacus, and Julien Baker.In 2007 Albini said he felt Pod was among the best albums he had engineered; a 2015 article in Stereogum ranked it as Albini's eighth best album. Donelly described it as the "truest" of her albums and said that "it really feels exactly the way it was when we were doing it." Wiggs has spoken of her ongoing fondness for Pod, and recalls that everyone in the making of the album was dedicated and attentive. In 2003 Pitchfork placed the album as the 81st best of the 1990s. It was ranked number 463 in NME's 500 Greatest Albums of All Time list (2013) and included in The Guardian's 1000 Albums to Hear Before You Die (2007). Separate articles in both publications have ranked the Breeders' version of "Happiness Is a Warm Gun" among the best covers of a Beatles song.

Question: What is the first name of the person who had a desire for a similar drum sound as Pod and Surfer Rosa?
Answer: Kurt