nc33/multispan_quoref huggingface dataset:
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the first name of the person who wanted to find a label that would allow him to produce Television's debut album himself
Answer: Tom
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What was the first name of the person who was dating Allen Lanier?
Answer: Patti
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the name of the label that signed Television last?
Answer: Arista Records
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the full name of the person who had little recording experience?
Answer: Tom Verlaine
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the first name of the person whose sound Tom Verlaine did not approve of?
Answer: Brian
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the first name of the person whose tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler?
Answer: Tom
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the first name of the person who was hesitant to sign Television at first?
Answer: Clive
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the full name of the person who reportedly recorded Television "very cold and brittle" with "no resonance"?
Answer: Brian Eno
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What are the full names of the four individuals whose influences were all reportedly reflected in the band's musical style?
Answer: Tom Verlaine, Fred Smith, Richard Lloyd, Albert Ayler
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the full name of the person who was persuaded by Smith's then boyfriend Allen Lanier to let Television record demos?
Answer: Clive Davis
By the mid-1970s, Television had become a leading act in the New York music scene. They first developed a following from their residency at the Lower Manhattan club CBGB, where they helped persuade club manager Hilly Kristal to feature more unconventional musical groups. The band had received interest from labels by late 1974, but chose to wait for an appropriate record deal. They turned down a number of major labels, including Island Records, for whom they had recorded demos with producer Brian Eno. Eno had produced demos of the songs "Prove It", "Friction", "Venus", and "Marquee Moon" in December 1974, but Television frontman Tom Verlaine did not approve of Eno's sound: "He recorded us very cold and brittle, no resonance. We're oriented towards really strong guitar music ... sort of expressionistic."After founding bassist Richard Hell left in 1975, Television enlisted Fred Smith, whom they found more reliable and rhythmically adept. The band quickly developed a rapport and a musical style that reflected their individual influences: Smith and guitarist Richard Lloyd had a rock and roll background, drummer Billy Ficca was a jazz enthusiast, and Verlaine's tastes varied from the rock group 13th Floor Elevators to jazz saxophonist Albert Ayler. That same year, Television shared a residency at CBGB with singer and poet Patti Smith, who had recommended the band to Arista Records president Clive Davis. Although he had seen them perform, Davis was hesitant to sign them at first. He was persuaded by Smith's then boyfriend Allen Lanier to let them record demos, which Verlaine said resulted in "a much warmer sound than Eno got". However, Verlaine still wanted to find a label that would allow him to produce Television's debut album himself, even though he had little recording experience.

Question: What is the last name of the person who had little recording experience but nonetheless desired to produce Television's debut album?
Answer: Verlaine
According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.

Question: What was the last name of the person who said Marquee Moon wasn't punk?
Answer: Christgau
According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.

Question: What are the names of the two people whose quitar parts on Marquee Moon are interplayed around the rhythm section's drum hits and basslines?
Answer: Verlaine, Lloyd
According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.

Question: What are the names of the band members whose dual playing draws on 1960s rock and avant-garde jazz styles?
Answer: Verlaine, Lloyd
According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.

Question: What is the name of the album whose title track is ten minutes long?
Answer: Marquee Moon
According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.

Question: What two things do some songs have two guitars trading back and forth like a jigsaw puzzle?
Answer: rhythm, melody
According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.

Question: What is the name of the person who solos through a full octave before playing a blues-influenced riff on "See No Evil"?
Answer: Verlaine
Marquee Moon was released on February 8, 1977, in the United States and on March 4 in the United Kingdom, where it was an unexpected success and reached number 28 on the country's albums chart. The record's two singles—the title track and "Prove It"—both charted on the UK Top 30. Its commercial success in the UK was partly fueled by Nick Kent's rave two-page review of the album for NME.While holidaying in London after Marquee Moon's completion, Verlaine saw that Television had been put on NME's front cover and notified Elektra's press department, who encouraged the band to capitalize on their success there with a tour of the UK. However, the label had already organized for the band to perform on Peter Gabriel's American tour as a supporting act. Television played small theatres and some larger club venues, and received more mainstream exposure, but were not well received by Gabriel's middle-American progressive rock audiences, and found the tour unnerving.In May, Television embarked on a highly successful theatre tour of the UK with Blondie as their supporting act. They were enthusiastically received by audiences there, and Verlaine said it was refreshing to perform at large theatres after playing smaller clubs for four years. He nonetheless felt that Blondie did not suit their show because they were too different artistically, even though both groups had emerged from the music scene at CBGB. Blondie guitarist Chris Stein said that Television were "so competitive" and unaccommodating on the tour, and that they did not treat it like a joint effort. He recalled one show where "all our equipment was shoved up at the [Glasgow] Apollo and we had like three feet of room so that [Verlaine] could stand still in this vast space."By the time of Television's return to the US, Elektra had given up on promoting Marquee Moon, which they dismissed as a commercial failure. Marquee Moon sold fewer than 80,000 copies in the US and failed to chart on the Billboard 200. The group was dispirited by their inability to meet commercial expectations, which contributed to their disbandment in 1978.

Question: What is the full name of the supporting band member who recalled a show by the band where "we had like three feet of room"?
Answer: Chris Stein
Marquee Moon was released on February 8, 1977, in the United States and on March 4 in the United Kingdom, where it was an unexpected success and reached number 28 on the country's albums chart. The record's two singles—the title track and "Prove It"—both charted on the UK Top 30. Its commercial success in the UK was partly fueled by Nick Kent's rave two-page review of the album for NME.While holidaying in London after Marquee Moon's completion, Verlaine saw that Television had been put on NME's front cover and notified Elektra's press department, who encouraged the band to capitalize on their success there with a tour of the UK. However, the label had already organized for the band to perform on Peter Gabriel's American tour as a supporting act. Television played small theatres and some larger club venues, and received more mainstream exposure, but were not well received by Gabriel's middle-American progressive rock audiences, and found the tour unnerving.In May, Television embarked on a highly successful theatre tour of the UK with Blondie as their supporting act. They were enthusiastically received by audiences there, and Verlaine said it was refreshing to perform at large theatres after playing smaller clubs for four years. He nonetheless felt that Blondie did not suit their show because they were too different artistically, even though both groups had emerged from the music scene at CBGB. Blondie guitarist Chris Stein said that Television were "so competitive" and unaccommodating on the tour, and that they did not treat it like a joint effort. He recalled one show where "all our equipment was shoved up at the [Glasgow] Apollo and we had like three feet of room so that [Verlaine] could stand still in this vast space."By the time of Television's return to the US, Elektra had given up on promoting Marquee Moon, which they dismissed as a commercial failure. Marquee Moon sold fewer than 80,000 copies in the US and failed to chart on the Billboard 200. The group was dispirited by their inability to meet commercial expectations, which contributed to their disbandment in 1978.

Question: What is the name of the band that did not meet commercial expectations and broke up in 1978?
Answer: Television
In Erlewine's opinion, Marquee Moon was radical and groundbreaking primarily as "a guitar rock album unlike any other". Verlaine and Lloyd's dual playing on the record strongly influenced alternative rock groups such as the Pixies, noise rock acts such as Sonic Youth, and big arena bands like U2. Greg Kot from the Chicago Tribune wrote that Television "created a new template for guitar rock" because of how Verlaine's improvised playing was weaved together with Lloyd's precisely notated solos, particularly on the title track. As a member of U2, Irish guitarist The Edge simulated Television's guitar sound with an effects pedal. He later said he had wanted to "sound like them" and that Marquee Moon's title track had changed his "way of thinking about the guitar". Verlaine's jagged, expressive sound on the album made a great impression on American guitarist John Frusciante when he started developing as a guitarist in his early 20s, as it reminded him that "none of those things that are happening in the physical dimension mean anything, whether it's what kind of guitar you play or how your amp's set up. It's just ideas, you know, emotion." In Rolling Stone, Rob Sheffield called Marquee Moon "one of the all-time classic guitar albums" whose tremulous guitar twang was an inspiration behind bands such as R.E.M. and Joy Division. Joy Division's Stephen Morris cited it as one of his favorite albums, while R.E.M.'s Michael Stipe said his love of Marquee Moon was "second only to [Patti Smith's] Horses". English guitarist Will Sergeant said it was also one of his favorite records, and that Verlaine and Lloyd's guitar playing was a major influence on his band Echo & the Bunnymen.

Question: What is the last name of the Echo & the Bunnymen guitarist that said the album that introduced groups like the Pixies was one of his favorite records?
Answer: Sergeant
Lynn and her sister Sue are computer hackers, assassins and espionage specialists who use their late father's secret satellite technology to gain an advantage over their rivals and law enforcement agents. At the beginning of the film, they infiltrate a high security building and assassinate Chow Lui, the chairman of a top company in China.
After their successful mission, a police inspector named Kong Yat-hung is assigned to investigate the case and she manages to track down the assassins. In the meantime, Chow Lui's younger brother Chow Nung, who hired Lynn and Sue to kill his brother so that he can become the chairman, wants to kill the assassins to silence them. The cat-and-mouse chase becomes more complicated as both the police and the thugs are out to get Lynn and Sue.
Sue has always been playing the role of the assistant by staying on the computer and helping to disable the security systems and giving instructions on navigating the area, while Lynn, who is older and more experienced, does all the field work. Sue is jealous and thinks that Lynn refuses to let her participate more actively because she is less adept, but actually Lynn is trying to protect her sister from danger. Their relationship becomes strained when Lynn falls in love with her friend's cousin Yen and wants to give up her job and marry Yen. Sue intends to continue her career as a contract killer so that she can prove that she is as good as her sister.

Question: Who kills the chairman of a company in China?
Answer: Lynn, Sue
Lynn and her sister Sue are computer hackers, assassins and espionage specialists who use their late father's secret satellite technology to gain an advantage over their rivals and law enforcement agents. At the beginning of the film, they infiltrate a high security building and assassinate Chow Lui, the chairman of a top company in China.
After their successful mission, a police inspector named Kong Yat-hung is assigned to investigate the case and she manages to track down the assassins. In the meantime, Chow Lui's younger brother Chow Nung, who hired Lynn and Sue to kill his brother so that he can become the chairman, wants to kill the assassins to silence them. The cat-and-mouse chase becomes more complicated as both the police and the thugs are out to get Lynn and Sue.
Sue has always been playing the role of the assistant by staying on the computer and helping to disable the security systems and giving instructions on navigating the area, while Lynn, who is older and more experienced, does all the field work. Sue is jealous and thinks that Lynn refuses to let her participate more actively because she is less adept, but actually Lynn is trying to protect her sister from danger. Their relationship becomes strained when Lynn falls in love with her friend's cousin Yen and wants to give up her job and marry Yen. Sue intends to continue her career as a contract killer so that she can prove that she is as good as her sister.

Question: How is the person that wants to silence Lynn and Sue related to the dead chairman?
Answer: brother
Lynn and her sister Sue are computer hackers, assassins and espionage specialists who use their late father's secret satellite technology to gain an advantage over their rivals and law enforcement agents. At the beginning of the film, they infiltrate a high security building and assassinate Chow Lui, the chairman of a top company in China.
After their successful mission, a police inspector named Kong Yat-hung is assigned to investigate the case and she manages to track down the assassins. In the meantime, Chow Lui's younger brother Chow Nung, who hired Lynn and Sue to kill his brother so that he can become the chairman, wants to kill the assassins to silence them. The cat-and-mouse chase becomes more complicated as both the police and the thugs are out to get Lynn and Sue.
Sue has always been playing the role of the assistant by staying on the computer and helping to disable the security systems and giving instructions on navigating the area, while Lynn, who is older and more experienced, does all the field work. Sue is jealous and thinks that Lynn refuses to let her participate more actively because she is less adept, but actually Lynn is trying to protect her sister from danger. Their relationship becomes strained when Lynn falls in love with her friend's cousin Yen and wants to give up her job and marry Yen. Sue intends to continue her career as a contract killer so that she can prove that she is as good as her sister.

Question: Who wants to prove that she can be an adept assassin?
Answer: Sue
Lynn and her sister Sue are computer hackers, assassins and espionage specialists who use their late father's secret satellite technology to gain an advantage over their rivals and law enforcement agents. At the beginning of the film, they infiltrate a high security building and assassinate Chow Lui, the chairman of a top company in China.
After their successful mission, a police inspector named Kong Yat-hung is assigned to investigate the case and she manages to track down the assassins. In the meantime, Chow Lui's younger brother Chow Nung, who hired Lynn and Sue to kill his brother so that he can become the chairman, wants to kill the assassins to silence them. The cat-and-mouse chase becomes more complicated as both the police and the thugs are out to get Lynn and Sue.
Sue has always been playing the role of the assistant by staying on the computer and helping to disable the security systems and giving instructions on navigating the area, while Lynn, who is older and more experienced, does all the field work. Sue is jealous and thinks that Lynn refuses to let her participate more actively because she is less adept, but actually Lynn is trying to protect her sister from danger. Their relationship becomes strained when Lynn falls in love with her friend's cousin Yen and wants to give up her job and marry Yen. Sue intends to continue her career as a contract killer so that she can prove that she is as good as her sister.

Question: Which of the sisters wants to give up their life as an assassin?
Answer: Lynn