nc33/multispan_quoref huggingface dataset:
In 1997, the Strokes consisted of singer Julian Casablancas, guitarist Nick Valensi, bassist Nikolai Fraiture, and drummer Fabrizio Moretti. Casablancas's stepfather and Moretti's and Fraiture's older brothers introduced the quartet to the music of reggae artist Bob Marley, protopunk group the Velvet Underground, and alternative rock band Jane's Addiction. Discussing the formative stages of the group, Moretti noted, "Our music was, like, [the Doors'], but trying to be classical. We all took music classes and tried writing songs, and when we put them together they were this crazy amalgam of insane ideas that we thought was really cool." In 1998, Albert Hammond, Jr., who Casablancas knew from his time at a Swiss boarding school, moved to New York City to attend film school and joined The Strokes as a second guitarist. His arrival provided the catalyst for the band's musical and emotional evolution.By 2000, all band members had part-time jobs and were practicing new material several nights a week in a small hired recording space. In the fall of that year, their demo caught the attention of Ryan Gentles, a talent booker at New York City's Mercury Lounge. He scheduled the Strokes for four December gigs. With support from personal mentor JP Bowersock and producer Gordon Raphael, the band recorded three tracks which later appeared on Is This It: "The Modern Age", "Last Nite", and "Barely Legal". British label Rough Trade Records was impressed by the songs and released them as a January 2001 extended play titled The Modern Age. Music press reaction was very positive and the Strokes embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices. Gentles quit his job to manage the band full-time and, in March 2001, the Strokes signed to RCA Records after a protracted bidding war.

Question: What is the first name of the person whose knew Hammond from their time at a Swiss boarding school?
Answer: Julian
In 1997, the Strokes consisted of singer Julian Casablancas, guitarist Nick Valensi, bassist Nikolai Fraiture, and drummer Fabrizio Moretti. Casablancas's stepfather and Moretti's and Fraiture's older brothers introduced the quartet to the music of reggae artist Bob Marley, protopunk group the Velvet Underground, and alternative rock band Jane's Addiction. Discussing the formative stages of the group, Moretti noted, "Our music was, like, [the Doors'], but trying to be classical. We all took music classes and tried writing songs, and when we put them together they were this crazy amalgam of insane ideas that we thought was really cool." In 1998, Albert Hammond, Jr., who Casablancas knew from his time at a Swiss boarding school, moved to New York City to attend film school and joined The Strokes as a second guitarist. His arrival provided the catalyst for the band's musical and emotional evolution.By 2000, all band members had part-time jobs and were practicing new material several nights a week in a small hired recording space. In the fall of that year, their demo caught the attention of Ryan Gentles, a talent booker at New York City's Mercury Lounge. He scheduled the Strokes for four December gigs. With support from personal mentor JP Bowersock and producer Gordon Raphael, the band recorded three tracks which later appeared on Is This It: "The Modern Age", "Last Nite", and "Barely Legal". British label Rough Trade Records was impressed by the songs and released them as a January 2001 extended play titled The Modern Age. Music press reaction was very positive and the Strokes embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices. Gentles quit his job to manage the band full-time and, in March 2001, the Strokes signed to RCA Records after a protracted bidding war.

Question: What are the first names of the people whose older brothers introduced the band to the music of Bob Marley?
Answer: Nikolai, Fabrizio
In 1997, the Strokes consisted of singer Julian Casablancas, guitarist Nick Valensi, bassist Nikolai Fraiture, and drummer Fabrizio Moretti. Casablancas's stepfather and Moretti's and Fraiture's older brothers introduced the quartet to the music of reggae artist Bob Marley, protopunk group the Velvet Underground, and alternative rock band Jane's Addiction. Discussing the formative stages of the group, Moretti noted, "Our music was, like, [the Doors'], but trying to be classical. We all took music classes and tried writing songs, and when we put them together they were this crazy amalgam of insane ideas that we thought was really cool." In 1998, Albert Hammond, Jr., who Casablancas knew from his time at a Swiss boarding school, moved to New York City to attend film school and joined The Strokes as a second guitarist. His arrival provided the catalyst for the band's musical and emotional evolution.By 2000, all band members had part-time jobs and were practicing new material several nights a week in a small hired recording space. In the fall of that year, their demo caught the attention of Ryan Gentles, a talent booker at New York City's Mercury Lounge. He scheduled the Strokes for four December gigs. With support from personal mentor JP Bowersock and producer Gordon Raphael, the band recorded three tracks which later appeared on Is This It: "The Modern Age", "Last Nite", and "Barely Legal". British label Rough Trade Records was impressed by the songs and released them as a January 2001 extended play titled The Modern Age. Music press reaction was very positive and the Strokes embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices. Gentles quit his job to manage the band full-time and, in March 2001, the Strokes signed to RCA Records after a protracted bidding war.

Question: What is the first name of the person who noted, "Our music was, like, [the Doors'], but trying to be classical?
Answer: Fabrizio
In 1997, the Strokes consisted of singer Julian Casablancas, guitarist Nick Valensi, bassist Nikolai Fraiture, and drummer Fabrizio Moretti. Casablancas's stepfather and Moretti's and Fraiture's older brothers introduced the quartet to the music of reggae artist Bob Marley, protopunk group the Velvet Underground, and alternative rock band Jane's Addiction. Discussing the formative stages of the group, Moretti noted, "Our music was, like, [the Doors'], but trying to be classical. We all took music classes and tried writing songs, and when we put them together they were this crazy amalgam of insane ideas that we thought was really cool." In 1998, Albert Hammond, Jr., who Casablancas knew from his time at a Swiss boarding school, moved to New York City to attend film school and joined The Strokes as a second guitarist. His arrival provided the catalyst for the band's musical and emotional evolution.By 2000, all band members had part-time jobs and were practicing new material several nights a week in a small hired recording space. In the fall of that year, their demo caught the attention of Ryan Gentles, a talent booker at New York City's Mercury Lounge. He scheduled the Strokes for four December gigs. With support from personal mentor JP Bowersock and producer Gordon Raphael, the band recorded three tracks which later appeared on Is This It: "The Modern Age", "Last Nite", and "Barely Legal". British label Rough Trade Records was impressed by the songs and released them as a January 2001 extended play titled The Modern Age. Music press reaction was very positive and the Strokes embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices. Gentles quit his job to manage the band full-time and, in March 2001, the Strokes signed to RCA Records after a protracted bidding war.

Question: What are the full names of the five people who embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices?
Answer: Julian Casablancas, Nick Valensi, Nikolai Fraiture, Fabrizio Moretti, Albert Hammond, Jr.
In 1997, the Strokes consisted of singer Julian Casablancas, guitarist Nick Valensi, bassist Nikolai Fraiture, and drummer Fabrizio Moretti. Casablancas's stepfather and Moretti's and Fraiture's older brothers introduced the quartet to the music of reggae artist Bob Marley, protopunk group the Velvet Underground, and alternative rock band Jane's Addiction. Discussing the formative stages of the group, Moretti noted, "Our music was, like, [the Doors'], but trying to be classical. We all took music classes and tried writing songs, and when we put them together they were this crazy amalgam of insane ideas that we thought was really cool." In 1998, Albert Hammond, Jr., who Casablancas knew from his time at a Swiss boarding school, moved to New York City to attend film school and joined The Strokes as a second guitarist. His arrival provided the catalyst for the band's musical and emotional evolution.By 2000, all band members had part-time jobs and were practicing new material several nights a week in a small hired recording space. In the fall of that year, their demo caught the attention of Ryan Gentles, a talent booker at New York City's Mercury Lounge. He scheduled the Strokes for four December gigs. With support from personal mentor JP Bowersock and producer Gordon Raphael, the band recorded three tracks which later appeared on Is This It: "The Modern Age", "Last Nite", and "Barely Legal". British label Rough Trade Records was impressed by the songs and released them as a January 2001 extended play titled The Modern Age. Music press reaction was very positive and the Strokes embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices. Gentles quit his job to manage the band full-time and, in March 2001, the Strokes signed to RCA Records after a protracted bidding war.

Question: What is the first name of the person who became the band's full time manager?
Answer: Ryan
In 1997, the Strokes consisted of singer Julian Casablancas, guitarist Nick Valensi, bassist Nikolai Fraiture, and drummer Fabrizio Moretti. Casablancas's stepfather and Moretti's and Fraiture's older brothers introduced the quartet to the music of reggae artist Bob Marley, protopunk group the Velvet Underground, and alternative rock band Jane's Addiction. Discussing the formative stages of the group, Moretti noted, "Our music was, like, [the Doors'], but trying to be classical. We all took music classes and tried writing songs, and when we put them together they were this crazy amalgam of insane ideas that we thought was really cool." In 1998, Albert Hammond, Jr., who Casablancas knew from his time at a Swiss boarding school, moved to New York City to attend film school and joined The Strokes as a second guitarist. His arrival provided the catalyst for the band's musical and emotional evolution.By 2000, all band members had part-time jobs and were practicing new material several nights a week in a small hired recording space. In the fall of that year, their demo caught the attention of Ryan Gentles, a talent booker at New York City's Mercury Lounge. He scheduled the Strokes for four December gigs. With support from personal mentor JP Bowersock and producer Gordon Raphael, the band recorded three tracks which later appeared on Is This It: "The Modern Age", "Last Nite", and "Barely Legal". British label Rough Trade Records was impressed by the songs and released them as a January 2001 extended play titled The Modern Age. Music press reaction was very positive and the Strokes embarked on a sold-out UK tour, followed by US support slots for alternative rock groups Doves and Guided by Voices. Gentles quit his job to manage the band full-time and, in March 2001, the Strokes signed to RCA Records after a protracted bidding war.

Question: What is the name of the band that recorded three tracks which later appeared on Is This It?
Answer: the Strokes
Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.

Question: What is the last name of the person who wrote about Is This It saying "the beats implode"?
Answer: Christgau
Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.

Question: What was that last name of the person who gave Is This It a perfect 10 review?
Answer: Robinson
Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.

Question: What type of band does Robinson call the Strokes?
Answer: a guitar band
Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.

Question: What media outlets names Is This It the best album of 2001?
Answer: Billboard, CMJ, Entertainment Weekly, NME, Playlouder, Time
Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.

Question: Where was Is This It names Best International Album?
Answer: the Meteor Music Awards
Is This It received widespread critical acclaim; aggregating website Metacritic reports a normalized rating of 91, based on 26 critical reviews. Joe Levy of Rolling Stone explained that the record is "the stuff of which legends are made", and summed it up as "more joyful and intense than anything else I've heard this year". Robert Christgau, writing in The Village Voice, described the Strokes as "a great groove band", and noted that "the beats implode, clashing/resolving with punky brevity and gnarly faux simplicity". In a perfect 10 review, NME reviewer John Robinson indicated that Is This It was one of the best debut LPs by a guitar band during the past 20 years. In contrast, Jon Monks of Stylus commented that its shallowness prevents it from ever being called a "classic". In his favorable A– review, David Browne of Entertainment Weekly conceded that he did not know whether the Strokes would have a long-term impact, but noted that, at the time, the record "just feels right, and sometimes that's enough".Mark Lepage of Blender claimed that Is This It is similar to the works of 1970s bands the Velvet Underground, Television and the Feelies. Pitchfork's Ryan Schreiber suggested that, while the work of the Velvet Underground is an obvious inspiration for the Strokes, the band's only similarity to the other groups is the confidence with which they perform. AllMusic's Heather Phares concluded, "Granted, their high-fashion appeal and faultless influences ... have 'critics' darlings' written all over them. But like the similarly lauded Elastica and Supergrass before them, the Strokes don't rehash the sounds that inspire them—they remake them in their own image."Is This It was named the best album of 2001 by Billboard, CMJ, Entertainment Weekly, NME, Playlouder, and Time. Magnet, Q, and The New Yorker included it in their respective unnumbered shortlists of the best records issued that year. It figured highly in other end-of-year best album lists: at number two by The Herald, at number three by Mojo, at number five by The New York Times, at number eight by Rolling Stone and by USA Today, at number nine by The Boston Phoenix, and at number ten by Kludge. The record featured at number two behind Bob Dylan's Love and Theft in The Village Voice's 2001 Pazz & Jop critics' poll, which aggregated the votes of 621 prominent reviewers. In 2002, Is This It was named Best Album at the NME Awards and Best International Album at the Meteor Music Awards. It was nominated in the latter category at the Brit Awards, where the Strokes won Best International Newcomer and received a nomination in the Best International Group category. The same year, the quintet won Band Of The Year and Best New Act at the NME Awards and was nominated in the latter category at the MTV Europe Music Awards.

Question: What two categories did the Strokes win at the NME Awards?
Answer: Band Of The Year, Best New Act
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of the album Lowe suggests moved popular opinion from DJs and pop music to "skinny jeans and guitars"?
Answer: Is This It
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of that which Tam Gunn explains  "caused a sea change" in mainstream music in the US and the UK?
Answer: Is This It
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of the album Jared Followill notes was one of the main reasons he wanted to get into a band?
Answer: Is This It
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of the album to which Gun links the success of alternative music in the British charts throughout the 2000s?
Answer: Is This It
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of the album to which, according to Mulholland, even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt?
Answer: Is This It
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of the album whose commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention"?
Answer: Is This It
Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.

Question: What is the name of the work whose status as the decade's best pop album should not be in doubt?
Answer: Is This It
Winning a $150,000 prize in a sweepstakes gives the Patterson family grand plans. Particularly head of the family Sweeney, a frustrated drummer who decides to start up his own band.
Everybody begins spending money. Sweeney's wife Elsie enrolls in an art school, eager to become a painter. Her brother Doc begins gambling on horse races. Off to an expensive  finishing school goes the Pattersons' daughter, Mary, while son Junior is enrolled in a military academy. Grandpa Casey looks on with disapproval, believing the family should be more careful with its new windfall.
Sure enough, things go wrong. Sweeney takes a shine to a young woman called Yolo, who joins the band and immediately creates problems, her jealous jailbird boyfriend even punching Sweeney in the nose. Elsie's art teacher disappears with her tuition fee. Mary's new beau Johnny Jordan and his father are appalled by the family's behavior, and she ends up expelled from school. Bit by bit, the family goes broke.
Grandpa gives them an "I told you so." But after he wins a small cash prize himself, the family begins once again thinking big.

Question: What is the full name of Sweeney's daughter's boyfriend?
Answer: Johnny Jordan