nc33/multispan_quoref huggingface dataset:
A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.

Question: What is the full name of the character who helps America learn to forgive and forget so that he can move on with his life?
Answer: Maureen Brennan
A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.

Question: What is the full name of the character referred to as Dr. B?
Answer: Maureen Brennan
A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.

Question: What is the name of the character who does not want to discuss his childhood with Maureen Brennan?
Answer: America
In June 2012, 18 year old high school graduate Jesse Arista lives with his father, sister and grandmother in Oxnard, California. He begins to enjoy the summer with his best friend, Hector. In the apartment below lives a mysterious woman named Ana, who everyone believes to be a witch. When Ana is found murdered, Jesse and Hector spot classmate Oscar running from the scene, suggesting he was responsible. The two investigate the apartment, where they find black magic items, as well as VHS tapes and a journal of spells that can "open doorways to unholy lands."
After Jesse, Hector and their friend Marisol try out a ritual, paranormal occurrences gradually begin to take place in Jesse's apartment. One night, the trio begin to communicate with an unknown entity through a game. Jesse finds a mysterious bite mark on his arm and also discovers he has superhuman abilities, which is proven when he knocks out two thugs that assault him. He and Hector at first view his abilities as a "gift". At a party, Jesse takes a girl to Ana's apartment to have sex and encounters Oscar, who has black eyes and a similar bite mark on his arm. He tells Jesse that it's only a matter of time before "something inside them" will take over, and if they kill themselves, they will not harm those they love. Oscar rushes and disappears; when Jesse and Hector search for him outside, Oscar commits suicide by jumping off a building, landing on a car.
The group discover a secret trapdoor in Ana's apartment, where they find a witch altar and photos of Jesse, his pregnant mother, Ana, Oscar, and Lois. At the same time, a strange woman in black enters, but leaves after finding nothing. Jesse is lured to the trapdoor one night after hearing his dog Chavo barking for help, but the door slams shut and Jesse sees the ghostly figures of young Katie and Kristi before being attacked by a roaring demon.

Question: Who is murdered at the scene that the classmate is running from?
Answer: Ana
In June 2012, 18 year old high school graduate Jesse Arista lives with his father, sister and grandmother in Oxnard, California. He begins to enjoy the summer with his best friend, Hector. In the apartment below lives a mysterious woman named Ana, who everyone believes to be a witch. When Ana is found murdered, Jesse and Hector spot classmate Oscar running from the scene, suggesting he was responsible. The two investigate the apartment, where they find black magic items, as well as VHS tapes and a journal of spells that can "open doorways to unholy lands."
After Jesse, Hector and their friend Marisol try out a ritual, paranormal occurrences gradually begin to take place in Jesse's apartment. One night, the trio begin to communicate with an unknown entity through a game. Jesse finds a mysterious bite mark on his arm and also discovers he has superhuman abilities, which is proven when he knocks out two thugs that assault him. He and Hector at first view his abilities as a "gift". At a party, Jesse takes a girl to Ana's apartment to have sex and encounters Oscar, who has black eyes and a similar bite mark on his arm. He tells Jesse that it's only a matter of time before "something inside them" will take over, and if they kill themselves, they will not harm those they love. Oscar rushes and disappears; when Jesse and Hector search for him outside, Oscar commits suicide by jumping off a building, landing on a car.
The group discover a secret trapdoor in Ana's apartment, where they find a witch altar and photos of Jesse, his pregnant mother, Ana, Oscar, and Lois. At the same time, a strange woman in black enters, but leaves after finding nothing. Jesse is lured to the trapdoor one night after hearing his dog Chavo barking for help, but the door slams shut and Jesse sees the ghostly figures of young Katie and Kristi before being attacked by a roaring demon.

Question: What is the first name of the person that the man that jumps off a building warns?
Answer: Jesse
In June 2012, 18 year old high school graduate Jesse Arista lives with his father, sister and grandmother in Oxnard, California. He begins to enjoy the summer with his best friend, Hector. In the apartment below lives a mysterious woman named Ana, who everyone believes to be a witch. When Ana is found murdered, Jesse and Hector spot classmate Oscar running from the scene, suggesting he was responsible. The two investigate the apartment, where they find black magic items, as well as VHS tapes and a journal of spells that can "open doorways to unholy lands."
After Jesse, Hector and their friend Marisol try out a ritual, paranormal occurrences gradually begin to take place in Jesse's apartment. One night, the trio begin to communicate with an unknown entity through a game. Jesse finds a mysterious bite mark on his arm and also discovers he has superhuman abilities, which is proven when he knocks out two thugs that assault him. He and Hector at first view his abilities as a "gift". At a party, Jesse takes a girl to Ana's apartment to have sex and encounters Oscar, who has black eyes and a similar bite mark on his arm. He tells Jesse that it's only a matter of time before "something inside them" will take over, and if they kill themselves, they will not harm those they love. Oscar rushes and disappears; when Jesse and Hector search for him outside, Oscar commits suicide by jumping off a building, landing on a car.
The group discover a secret trapdoor in Ana's apartment, where they find a witch altar and photos of Jesse, his pregnant mother, Ana, Oscar, and Lois. At the same time, a strange woman in black enters, but leaves after finding nothing. Jesse is lured to the trapdoor one night after hearing his dog Chavo barking for help, but the door slams shut and Jesse sees the ghostly figures of young Katie and Kristi before being attacked by a roaring demon.

Question: Who is the best friend of the man who brings a girl back to the murdered woman's apartment?
Answer: Hector
Sergei Prokofiev graduated from the Saint Petersburg Conservatory in 1914, having by then acquired an early reputation as an avant-garde composer. His biographer Israel Nestyev asserts that the Second Piano Concerto of 1913 was "Prokofiev's ticket of admission to the highest circles of Russian modernism".When the First World War broke out in August 1914, Prokofiev avoided military service, possibly because he was the only son of a widow. During the war years he continued to compose; in May 1918, in the period of upheaval following the October Revolution and the beginning of the Civil War, Prokofiev obtained permission from the Bolshevik government to travel abroad, and left for America. His biographers have maintained that he did not "flee the country"; rather that he embarked on a concert tour, which he extended when he became convinced that his career prospects would be better served in America and western Europe. He remained in America until March 1922; he then stayed briefly in the small German town of Ettal before moving to Paris in October 1923.Rather than treating Prokofiev as a fugitive or exile, the Moscow government chose to consider him as a general ambassador for Soviet culture, and the composer returned the compliment by registering in France as a citizen of the Soviet Union, the new state formed on 20 December 1922 by Russia and the states of the former Russian Empire. Prokofiev expressed support for the political developments in what he still considered his homeland, and was keen to resume contacts there. He was accorded VIP status when he paid his first visit to the Soviet Union in 1927, for a recital tour. Further trips followed, and in 1930 Prokofiev took a flat in Moscow, although Paris remained his principal home. During this period of rapprochement he consciously sought to simplify his musical language into a form that he believed would be consistent with the official Soviet concept of art.

Question: In what country did Prokofiev live when he paid his first visit to the Soviet Union in 1927?
Answer: France
Sergei Prokofiev graduated from the Saint Petersburg Conservatory in 1914, having by then acquired an early reputation as an avant-garde composer. His biographer Israel Nestyev asserts that the Second Piano Concerto of 1913 was "Prokofiev's ticket of admission to the highest circles of Russian modernism".When the First World War broke out in August 1914, Prokofiev avoided military service, possibly because he was the only son of a widow. During the war years he continued to compose; in May 1918, in the period of upheaval following the October Revolution and the beginning of the Civil War, Prokofiev obtained permission from the Bolshevik government to travel abroad, and left for America. His biographers have maintained that he did not "flee the country"; rather that he embarked on a concert tour, which he extended when he became convinced that his career prospects would be better served in America and western Europe. He remained in America until March 1922; he then stayed briefly in the small German town of Ettal before moving to Paris in October 1923.Rather than treating Prokofiev as a fugitive or exile, the Moscow government chose to consider him as a general ambassador for Soviet culture, and the composer returned the compliment by registering in France as a citizen of the Soviet Union, the new state formed on 20 December 1922 by Russia and the states of the former Russian Empire. Prokofiev expressed support for the political developments in what he still considered his homeland, and was keen to resume contacts there. He was accorded VIP status when he paid his first visit to the Soviet Union in 1927, for a recital tour. Further trips followed, and in 1930 Prokofiev took a flat in Moscow, although Paris remained his principal home. During this period of rapprochement he consciously sought to simplify his musical language into a form that he believed would be consistent with the official Soviet concept of art.

Question: What country remained Prokofiev principle home in 1930?
Answer: France
In the first years of the silent film era, from the 1890s, films were generally accompanied by live music, often improvised, provided by piano or pump organ. In the early 20th century, larger cinemas began to use orchestras, which would accompany the film with out-of-copyright classical pieces or, increasingly, with original compositions. The score for the 1916 classic The Birth of a Nation, compiled by Joseph Carl Breil from various classical works and some original writing, was a landmark in film music, and inspired notable composers of the day to provide scores for silent films. Among these were the Americans Victor Herbert and Mortimer Wilson, from France Darius Milhaud and Arthur Honegger, and the Germans Gottfried Huppertz and Edmund Meisel.In 1927 developments in sound technology brought the arrival of "talking pictures". In these, accompanying music was originally recorded on a disc, separately from the film images, but within two years the "Movietone" system enabled sound to be captured on the film itself. Music could now be aligned specifically with the film's on-screen action—the so-called "diegetic" approach. Early pioneers of this method were the Germans Friedrich Hollaender and Karol Rathaus, who provided the music for The Blue Angel (1930) and The Murderer Dimitri Karamazov (1931) respectively. By this time in the Soviet Union, the young Dimitri Shostakovich had already begun his prolific career as a composer of film sound-tracks, with The New Babylon in 1929 and Alone in 1931.When planning their proposed film Lieutenant Kijé in 1932, the Belgoskino studios of Leningrad asked the expatriate Prokofiev to write the accompanying music. In some respects Prokofiev was a surprising choice; he was at this stage better known abroad than in the Soviet Union, and had acquired a reputation for dissonance. Moreover, his ballet Le pas d'acier had fared badly at Moscow's Bolshoi Theatre in 1929. The composer's first response was to refuse the commission; a member of the production team recalled that Prokofiev "categorically rejected my proposal. His time was scheduled far into the future, he had never written music for film and he didn't know 'what kind of sauce' to put on it." But, attracted by the story, Prokofiev quickly changed his mind and accepted, seeing this first venture into film music as an opportunity to demonstrate his ability to appeal to a mass Soviet audience.

Question: What is the last name of the man who changed his mind about the accepting the job for the 1932 film?
Answer: Prokofiev
In the first years of the silent film era, from the 1890s, films were generally accompanied by live music, often improvised, provided by piano or pump organ. In the early 20th century, larger cinemas began to use orchestras, which would accompany the film with out-of-copyright classical pieces or, increasingly, with original compositions. The score for the 1916 classic The Birth of a Nation, compiled by Joseph Carl Breil from various classical works and some original writing, was a landmark in film music, and inspired notable composers of the day to provide scores for silent films. Among these were the Americans Victor Herbert and Mortimer Wilson, from France Darius Milhaud and Arthur Honegger, and the Germans Gottfried Huppertz and Edmund Meisel.In 1927 developments in sound technology brought the arrival of "talking pictures". In these, accompanying music was originally recorded on a disc, separately from the film images, but within two years the "Movietone" system enabled sound to be captured on the film itself. Music could now be aligned specifically with the film's on-screen action—the so-called "diegetic" approach. Early pioneers of this method were the Germans Friedrich Hollaender and Karol Rathaus, who provided the music for The Blue Angel (1930) and The Murderer Dimitri Karamazov (1931) respectively. By this time in the Soviet Union, the young Dimitri Shostakovich had already begun his prolific career as a composer of film sound-tracks, with The New Babylon in 1929 and Alone in 1931.When planning their proposed film Lieutenant Kijé in 1932, the Belgoskino studios of Leningrad asked the expatriate Prokofiev to write the accompanying music. In some respects Prokofiev was a surprising choice; he was at this stage better known abroad than in the Soviet Union, and had acquired a reputation for dissonance. Moreover, his ballet Le pas d'acier had fared badly at Moscow's Bolshoi Theatre in 1929. The composer's first response was to refuse the commission; a member of the production team recalled that Prokofiev "categorically rejected my proposal. His time was scheduled far into the future, he had never written music for film and he didn't know 'what kind of sauce' to put on it." But, attracted by the story, Prokofiev quickly changed his mind and accepted, seeing this first venture into film music as an opportunity to demonstrate his ability to appeal to a mass Soviet audience.

Question: What film did the expatriate intially reject providing the music for?
Answer: Lieutenant Kijé
In the first years of the silent film era, from the 1890s, films were generally accompanied by live music, often improvised, provided by piano or pump organ. In the early 20th century, larger cinemas began to use orchestras, which would accompany the film with out-of-copyright classical pieces or, increasingly, with original compositions. The score for the 1916 classic The Birth of a Nation, compiled by Joseph Carl Breil from various classical works and some original writing, was a landmark in film music, and inspired notable composers of the day to provide scores for silent films. Among these were the Americans Victor Herbert and Mortimer Wilson, from France Darius Milhaud and Arthur Honegger, and the Germans Gottfried Huppertz and Edmund Meisel.In 1927 developments in sound technology brought the arrival of "talking pictures". In these, accompanying music was originally recorded on a disc, separately from the film images, but within two years the "Movietone" system enabled sound to be captured on the film itself. Music could now be aligned specifically with the film's on-screen action—the so-called "diegetic" approach. Early pioneers of this method were the Germans Friedrich Hollaender and Karol Rathaus, who provided the music for The Blue Angel (1930) and The Murderer Dimitri Karamazov (1931) respectively. By this time in the Soviet Union, the young Dimitri Shostakovich had already begun his prolific career as a composer of film sound-tracks, with The New Babylon in 1929 and Alone in 1931.When planning their proposed film Lieutenant Kijé in 1932, the Belgoskino studios of Leningrad asked the expatriate Prokofiev to write the accompanying music. In some respects Prokofiev was a surprising choice; he was at this stage better known abroad than in the Soviet Union, and had acquired a reputation for dissonance. Moreover, his ballet Le pas d'acier had fared badly at Moscow's Bolshoi Theatre in 1929. The composer's first response was to refuse the commission; a member of the production team recalled that Prokofiev "categorically rejected my proposal. His time was scheduled far into the future, he had never written music for film and he didn't know 'what kind of sauce' to put on it." But, attracted by the story, Prokofiev quickly changed his mind and accepted, seeing this first venture into film music as an opportunity to demonstrate his ability to appeal to a mass Soviet audience.

Question: What is the name of the studio that asked the expatriate to provide music for a 1932 film?
Answer: Belgoskino
In the first years of the silent film era, from the 1890s, films were generally accompanied by live music, often improvised, provided by piano or pump organ. In the early 20th century, larger cinemas began to use orchestras, which would accompany the film with out-of-copyright classical pieces or, increasingly, with original compositions. The score for the 1916 classic The Birth of a Nation, compiled by Joseph Carl Breil from various classical works and some original writing, was a landmark in film music, and inspired notable composers of the day to provide scores for silent films. Among these were the Americans Victor Herbert and Mortimer Wilson, from France Darius Milhaud and Arthur Honegger, and the Germans Gottfried Huppertz and Edmund Meisel.In 1927 developments in sound technology brought the arrival of "talking pictures". In these, accompanying music was originally recorded on a disc, separately from the film images, but within two years the "Movietone" system enabled sound to be captured on the film itself. Music could now be aligned specifically with the film's on-screen action—the so-called "diegetic" approach. Early pioneers of this method were the Germans Friedrich Hollaender and Karol Rathaus, who provided the music for The Blue Angel (1930) and The Murderer Dimitri Karamazov (1931) respectively. By this time in the Soviet Union, the young Dimitri Shostakovich had already begun his prolific career as a composer of film sound-tracks, with The New Babylon in 1929 and Alone in 1931.When planning their proposed film Lieutenant Kijé in 1932, the Belgoskino studios of Leningrad asked the expatriate Prokofiev to write the accompanying music. In some respects Prokofiev was a surprising choice; he was at this stage better known abroad than in the Soviet Union, and had acquired a reputation for dissonance. Moreover, his ballet Le pas d'acier had fared badly at Moscow's Bolshoi Theatre in 1929. The composer's first response was to refuse the commission; a member of the production team recalled that Prokofiev "categorically rejected my proposal. His time was scheduled far into the future, he had never written music for film and he didn't know 'what kind of sauce' to put on it." But, attracted by the story, Prokofiev quickly changed his mind and accepted, seeing this first venture into film music as an opportunity to demonstrate his ability to appeal to a mass Soviet audience.

Question: What is the name of the 1929 poorly performing ballet by the expatriate who worked on a film for Belgoskino studios?
Answer: Le pas d'acier
Despite his lack of experience in composing film music, Prokofiev began his Kijé score confidently, later writing: "I somehow had no doubts whatever about the musical language for the film". He told the producers, "What is important to me is the era, the internal meaning of each event, the personality of each hero", and warned them not to expect mere musical "illustrations". He attended rehearsals and made detailed notes of the action and the acting. The period setting of the film appealed to Prokofiev; Robinson comments that the Kijé score is one of several works, including the Classical Symphony, The Love of Three Oranges, Cinderella, and War and Peace, that show "the composer's fondness for the eighteenth century". The language he chose combined elements of humour and romance with an underlying melancholy—he interpreted the story as more tragic than comic. Prokofiev had heard Ravel's Boléro in Paris, and had been much impressed by the French composer's use of the saxophone, an instrument then rarely used in orchestral compositions outside France but which suited Prokofiev's intentions perfectly. The composer Gerard McBurney has pointed out the "haunting sounds of the tenor saxophone" that punctuate the Kijé music.The critic Ernest Chapman refers to Prokofiev's "unfailingly witty and melodious score". It comprises only about 15 minutes of music, written as a series of 16 short fragments or leitmotifs which are repeated at appropriate times during the film's duration, to highlight specific moments in the drama. This approach was a departure in film music from the established form of broad symphonic movements, and was described by Prokofiev's biographer Daniel Jaffé as "well ahead of its time ... one of the most celebrated [film scores] of that era".

Question: What are the names of the five works that showed Prokofiev's fondness for the eighteenth century?
Answer: Kijé score, Classical Symphony, The Love of Three Oranges, Cinderella, War and Peace
Despite his lack of experience in composing film music, Prokofiev began his Kijé score confidently, later writing: "I somehow had no doubts whatever about the musical language for the film". He told the producers, "What is important to me is the era, the internal meaning of each event, the personality of each hero", and warned them not to expect mere musical "illustrations". He attended rehearsals and made detailed notes of the action and the acting. The period setting of the film appealed to Prokofiev; Robinson comments that the Kijé score is one of several works, including the Classical Symphony, The Love of Three Oranges, Cinderella, and War and Peace, that show "the composer's fondness for the eighteenth century". The language he chose combined elements of humour and romance with an underlying melancholy—he interpreted the story as more tragic than comic. Prokofiev had heard Ravel's Boléro in Paris, and had been much impressed by the French composer's use of the saxophone, an instrument then rarely used in orchestral compositions outside France but which suited Prokofiev's intentions perfectly. The composer Gerard McBurney has pointed out the "haunting sounds of the tenor saxophone" that punctuate the Kijé music.The critic Ernest Chapman refers to Prokofiev's "unfailingly witty and melodious score". It comprises only about 15 minutes of music, written as a series of 16 short fragments or leitmotifs which are repeated at appropriate times during the film's duration, to highlight specific moments in the drama. This approach was a departure in film music from the established form of broad symphonic movements, and was described by Prokofiev's biographer Daniel Jaffé as "well ahead of its time ... one of the most celebrated [film scores] of that era".

Question: What was the name of the piece that Prokofiev was impressed by the use of the saxophone in?
Answer: Boléro
Despite his lack of experience in composing film music, Prokofiev began his Kijé score confidently, later writing: "I somehow had no doubts whatever about the musical language for the film". He told the producers, "What is important to me is the era, the internal meaning of each event, the personality of each hero", and warned them not to expect mere musical "illustrations". He attended rehearsals and made detailed notes of the action and the acting. The period setting of the film appealed to Prokofiev; Robinson comments that the Kijé score is one of several works, including the Classical Symphony, The Love of Three Oranges, Cinderella, and War and Peace, that show "the composer's fondness for the eighteenth century". The language he chose combined elements of humour and romance with an underlying melancholy—he interpreted the story as more tragic than comic. Prokofiev had heard Ravel's Boléro in Paris, and had been much impressed by the French composer's use of the saxophone, an instrument then rarely used in orchestral compositions outside France but which suited Prokofiev's intentions perfectly. The composer Gerard McBurney has pointed out the "haunting sounds of the tenor saxophone" that punctuate the Kijé music.The critic Ernest Chapman refers to Prokofiev's "unfailingly witty and melodious score". It comprises only about 15 minutes of music, written as a series of 16 short fragments or leitmotifs which are repeated at appropriate times during the film's duration, to highlight specific moments in the drama. This approach was a departure in film music from the established form of broad symphonic movements, and was described by Prokofiev's biographer Daniel Jaffé as "well ahead of its time ... one of the most celebrated [film scores] of that era".

Question: What type of instrument did McBurney point out was a haunting sound that punctuated the Kije music?
Answer: tenor saxophone
On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.

Question: What are the full names of the drummers of Warsaw?
Answer: Tony Tabac, Steve Brotherdale
On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.

Question: What two bands did Steve Brotherdale play drums for?
Answer: Warsaw, Panik
On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.

Question: What did Bernard's band rename itself in 1978?
Answer: Joy Division
On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.

Question: What is the full name of the person that said Ian Curtis was the person the whole group was based on?
Answer: Bernard Sumner
On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.

Question: What is the full name of the person that played drums for Warsaw on their first gig?
Answer: Tony Tabac
On 20 July 1976, childhood friends Bernard Sumner and Peter Hook separately attended a Sex Pistols show at the Manchester Lesser Free Trade Hall. Both were inspired by the Pistols' performance. Sumner said that he felt the Pistols "destroyed the myth of being a pop star, of a musician being some kind of god that you had to worship". The following day Hook borrowed £35 from his mother to buy a bass guitar. They formed a band with Terry Mason, who had also attended the gig; Sumner bought a guitar, and Mason a drum kit. After their schoolfriend Martin Gresty declined an invitation to join as vocalist after getting a job at a factory, the band placed an advertisement for a vocalist in the Manchester Virgin Records shop. Ian Curtis, who knew them from earlier gigs, responded and was hired without audition. Sumner said that he "knew he was all right to get on with and that's what we based the whole group on. If we liked someone, they were in."Buzzcocks manager Richard Boon and frontman Pete Shelley have both been credited with suggesting the band name "Stiff Kittens", but the band settled on "Warsaw" shortly before their first gig, a reference to David Bowie's song "Warszawa". Warsaw debuted on 29 May 1977 at the Electric Circus, supporting the Buzzcocks, Penetration and John Cooper Clarke. Tony Tabac played drums that night after joining the band two days earlier. Reviews in the NME by Paul Morley and in Sounds by Ian Wood brought them immediate national exposure. Mason became the band's manager and Tabac was replaced on drums in June 1977 by Steve Brotherdale, who also played in the punk band Panik. Brotherdale tried to get Curtis to leave the band and join Panik, and even had Curtis audition. In July 1977, Warsaw recorded five demo tracks at Pennine Sound Studios, Oldham. Uneasy with Brotherdale's aggressive personality, the band fired him soon after the sessions: driving home from the studio, they pulled over and asked Brotherdale to check on a flat tyre; when he got out of the car, they drove off.In August 1977, Warsaw placed an advertisement in a music shop window seeking a replacement drummer. Stephen Morris, who had attended the same school as Curtis, was the sole respondent. Deborah Curtis, Ian's wife, stated that Morris "fitted perfectly" with the band, and that with his addition Warsaw became a "complete 'family'". To avoid confusion with the London punk band Warsaw Pakt, the band renamed themselves Joy Division in early 1978, borrowing the name from the sexual slavery wing of a Nazi concentration camp mentioned in the 1955 novel House of Dolls. In December, the group recorded their debut EP, An Ideal for Living, at Pennine Sound Studio and played their final gig as Warsaw on New Year's Eve at the Swinging Apple in Liverpool. Billed as Warsaw to ensure an audience, the band played their first gig as Joy Division on 25 January 1978 at Pip's Disco in Manchester.

Question: What is the full name of the person that was the manager for the band Warsaw?
Answer: Terry Mason