nc33/multispan_quoref huggingface dataset:
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the other job of the baby-sitter that Joe asks out on a date?
Answer: teacher
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: Which of Fender's men follows Joe when he visits Jane?
Answer: Pete
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the first name of the person investigating the store owner and his accomplice.
Answer: Joe
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the full name of the person whose forerunner died inspecting a fire site?
Answer: Joe Martin
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the full name of the person who meets Jane for the first time?
Answer: Joe Martin
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the first name of the person that Joe asks on a date?
Answer: Jane
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the first name of Fender's man that tails Joe?
Answer: Pete
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the first name of the person who meets a babysitter?
Answer: Joe
Joe Martin is a fire fighter in Los Angeles who is assigned by his department chief to the Arson Detail. His first assignment is to investigate a suspicious fur store fire that seems to be set by the store owner himself, Thomas Peyson.
The reason why Joe Martin gets the assignment is because his predecessor in the Arson Detail was killed when inspecting the very same fire site. The predessor's file with his findings wasn't found on his body and hasn't been recovered. This is just one of many equally suspicious fires in the last few years, where the insurance claims following the fires has been filed by the same agent, Frederick P. Fender. There is suspicion that Fender is somehow involved in the disappearance of all the destroyed stores' goods as well.
Joe begins with Peyson, the store owner, and visits his apartment that was also raged by fire not long ago. He meets the baby-sitter, Jane, a pretty young teacher, and they get along so well that Joe drives her home and ask her out on a date the next evening.
It turns out Peyson and Fender is in cahoots together, since the first thing Peyson does after Joe leaves, is phone his accomplice. They also meet up the day after, just when Joe comes to see Fender as the next logical step in his investigation. Joe never sees Peyson, as he sneaks out through a back door. Joe gets very little information of use from Fender, but his visit makes Fender put one of his men, Pete, on tailing Joe to see if he finds out something.
Pete starts following Joe around everywhere he goes, even when he visits Jane. Soon Joe realizes that he is followed and when he knowingly enters an illegal gambling place Pete finalky makes contact, offering Joe a chance of making a little extra money. Joe decides to play along and go "undercover".

Question: What is the last name of the person who sneaks out through a back door?
Answer: Peyson
Grunge is generally characterized by a sludgy electric guitar sound with a "thick" middle register and rolled-off treble tone and a high level of distortion and fuzz, typically created with small 1970s-style stompbox pedals, with some guitarists chaining several fuzz pedals together and plugging them into a tube amplifier and speaker cabinet. Grunge guitarists use very loud Marshall guitar amplifiers  and some used powerful Mesa-Boogie amplifiers, including Kurt Cobain and Dave Grohl (the latter in early, grunge-oriented Foo Fighters songs ). Grunge has been called the rock genre with the most "lugubrious sound"; the use of heavy distortion and loud amps has been compared to a massive "buildup of sonic fog". or even dismissed as "noise" by one critic. As with metal and punk, a key part of grunge's sound is very distorted power chords played on the electric guitar.Whereas metal guitarists' overdriven sound generally comes from a combination of overdriven amplifiers and distortion pedals, grunge guitarists typically got all of their "dirty" sound from overdrive and fuzz pedals, with the amp just used to make the sound louder. Grunge guitarists tended to use the Fender Twin Reverb and the Fender Champion 100 combo amps (Cobain used both of these amps). The use of pedals by grunge guitarists was a move away from the expensive, studio-grade rackmount effects units used in other rock genres. The positive way that grunge bands viewed stompbox pedals can be seen in Mudhoney's use of the name of two overdrive pedals, the Univox Super-Fuzz and the Big Muff, in the title of their "debut EP Superfuzz Bigmuff".  In the song Mudride, the band's guitars were said to have "growled malevolently" through its "Cro-magnon slog".

Question: What two brands of amplifiers do grunge guitarists use?
Answer: Marshall, Mesa-Boogie
Grunge is generally characterized by a sludgy electric guitar sound with a "thick" middle register and rolled-off treble tone and a high level of distortion and fuzz, typically created with small 1970s-style stompbox pedals, with some guitarists chaining several fuzz pedals together and plugging them into a tube amplifier and speaker cabinet. Grunge guitarists use very loud Marshall guitar amplifiers  and some used powerful Mesa-Boogie amplifiers, including Kurt Cobain and Dave Grohl (the latter in early, grunge-oriented Foo Fighters songs ). Grunge has been called the rock genre with the most "lugubrious sound"; the use of heavy distortion and loud amps has been compared to a massive "buildup of sonic fog". or even dismissed as "noise" by one critic. As with metal and punk, a key part of grunge's sound is very distorted power chords played on the electric guitar.Whereas metal guitarists' overdriven sound generally comes from a combination of overdriven amplifiers and distortion pedals, grunge guitarists typically got all of their "dirty" sound from overdrive and fuzz pedals, with the amp just used to make the sound louder. Grunge guitarists tended to use the Fender Twin Reverb and the Fender Champion 100 combo amps (Cobain used both of these amps). The use of pedals by grunge guitarists was a move away from the expensive, studio-grade rackmount effects units used in other rock genres. The positive way that grunge bands viewed stompbox pedals can be seen in Mudhoney's use of the name of two overdrive pedals, the Univox Super-Fuzz and the Big Muff, in the title of their "debut EP Superfuzz Bigmuff".  In the song Mudride, the band's guitars were said to have "growled malevolently" through its "Cro-magnon slog".

Question: What was the last name of the person who used a powerful amplifier in Foo Fighters songs?
Answer: Grohl
Grunge is generally characterized by a sludgy electric guitar sound with a "thick" middle register and rolled-off treble tone and a high level of distortion and fuzz, typically created with small 1970s-style stompbox pedals, with some guitarists chaining several fuzz pedals together and plugging them into a tube amplifier and speaker cabinet. Grunge guitarists use very loud Marshall guitar amplifiers  and some used powerful Mesa-Boogie amplifiers, including Kurt Cobain and Dave Grohl (the latter in early, grunge-oriented Foo Fighters songs ). Grunge has been called the rock genre with the most "lugubrious sound"; the use of heavy distortion and loud amps has been compared to a massive "buildup of sonic fog". or even dismissed as "noise" by one critic. As with metal and punk, a key part of grunge's sound is very distorted power chords played on the electric guitar.Whereas metal guitarists' overdriven sound generally comes from a combination of overdriven amplifiers and distortion pedals, grunge guitarists typically got all of their "dirty" sound from overdrive and fuzz pedals, with the amp just used to make the sound louder. Grunge guitarists tended to use the Fender Twin Reverb and the Fender Champion 100 combo amps (Cobain used both of these amps). The use of pedals by grunge guitarists was a move away from the expensive, studio-grade rackmount effects units used in other rock genres. The positive way that grunge bands viewed stompbox pedals can be seen in Mudhoney's use of the name of two overdrive pedals, the Univox Super-Fuzz and the Big Muff, in the title of their "debut EP Superfuzz Bigmuff".  In the song Mudride, the band's guitars were said to have "growled malevolently" through its "Cro-magnon slog".

Question: What was the last name of the person who used the Fender Twin Reverb?
Answer: Cobain
Grunge is generally characterized by a sludgy electric guitar sound with a "thick" middle register and rolled-off treble tone and a high level of distortion and fuzz, typically created with small 1970s-style stompbox pedals, with some guitarists chaining several fuzz pedals together and plugging them into a tube amplifier and speaker cabinet. Grunge guitarists use very loud Marshall guitar amplifiers  and some used powerful Mesa-Boogie amplifiers, including Kurt Cobain and Dave Grohl (the latter in early, grunge-oriented Foo Fighters songs ). Grunge has been called the rock genre with the most "lugubrious sound"; the use of heavy distortion and loud amps has been compared to a massive "buildup of sonic fog". or even dismissed as "noise" by one critic. As with metal and punk, a key part of grunge's sound is very distorted power chords played on the electric guitar.Whereas metal guitarists' overdriven sound generally comes from a combination of overdriven amplifiers and distortion pedals, grunge guitarists typically got all of their "dirty" sound from overdrive and fuzz pedals, with the amp just used to make the sound louder. Grunge guitarists tended to use the Fender Twin Reverb and the Fender Champion 100 combo amps (Cobain used both of these amps). The use of pedals by grunge guitarists was a move away from the expensive, studio-grade rackmount effects units used in other rock genres. The positive way that grunge bands viewed stompbox pedals can be seen in Mudhoney's use of the name of two overdrive pedals, the Univox Super-Fuzz and the Big Muff, in the title of their "debut EP Superfuzz Bigmuff".  In the song Mudride, the band's guitars were said to have "growled malevolently" through its "Cro-magnon slog".

Question: What were the names of the two overdrive pedals used by Mudhoney?
Answer: Univox Super-Fuzz, the Big Muff
Other key pedals used by grunge bands included four brands of distortion pedals (the Big Muff, DOD and BOSS DS-2 and BOSS DS-1 distortion pedals) and the Small Clone chorus effect, used by Kurt Cobain on "Come As You Are" and by the Screaming Trees on "Nearly Lost You". The RAT distortion pedal played a key role in Cobain's switching from quiet to loud and back to quiet approach to songwriting. The use of small pedals by grunge guitarists helped to start off the revival of interest in boutique, hand-soldered, 1970s-style analog pedals. The other effect that grunge guitarists used was one of the most low-tech effects devices, the wah-wah pedal. Both "[Kim] Thayil and Alice in Chains' Jerry Cantrell ... were great advocates of the wah wah pedal." Wah was also used by the Screaming Trees, Pearl Jam, Soundgarden, Mudhoney and Dinosaur Jr.Grunge guitarists played loud, with Kurt Cobain's early guitar sound coming from an unusual set-up of four 800 watt PA system power amplifiers. Guitar feedback effects, in which a highly amplified electric guitar is held in front of its speaker, were used to create high-pitched, sustained sounds that are not possible with regular guitar technique. Grunge guitarists were influenced by the raw, primitive sound of punk, and they favored "... energy and lack of finesse over technique and precision"; key guitar influences included the Sex Pistols, The Dead Boys, Celtic Frost, Voivod, Neil Young (Rust Never Sleeps, side two), The Replacements, Hüsker Dü, Black Flag and The Melvins. Grunge guitarists often downtuned their instruments for a lower, heavier sound. Soundgarden's guitarist, Kim Thayil, did not use a regular guitar amplifier; instead, he used a bass combo amp equipped with a 15-inch speaker as he played low riffs, and the bass amp gave him a deeper tone.

Question: What is the full name of the person who used a bass combo amp equipped with a 15-inch speaker?
Answer: Kim Thayil
Other key pedals used by grunge bands included four brands of distortion pedals (the Big Muff, DOD and BOSS DS-2 and BOSS DS-1 distortion pedals) and the Small Clone chorus effect, used by Kurt Cobain on "Come As You Are" and by the Screaming Trees on "Nearly Lost You". The RAT distortion pedal played a key role in Cobain's switching from quiet to loud and back to quiet approach to songwriting. The use of small pedals by grunge guitarists helped to start off the revival of interest in boutique, hand-soldered, 1970s-style analog pedals. The other effect that grunge guitarists used was one of the most low-tech effects devices, the wah-wah pedal. Both "[Kim] Thayil and Alice in Chains' Jerry Cantrell ... were great advocates of the wah wah pedal." Wah was also used by the Screaming Trees, Pearl Jam, Soundgarden, Mudhoney and Dinosaur Jr.Grunge guitarists played loud, with Kurt Cobain's early guitar sound coming from an unusual set-up of four 800 watt PA system power amplifiers. Guitar feedback effects, in which a highly amplified electric guitar is held in front of its speaker, were used to create high-pitched, sustained sounds that are not possible with regular guitar technique. Grunge guitarists were influenced by the raw, primitive sound of punk, and they favored "... energy and lack of finesse over technique and precision"; key guitar influences included the Sex Pistols, The Dead Boys, Celtic Frost, Voivod, Neil Young (Rust Never Sleeps, side two), The Replacements, Hüsker Dü, Black Flag and The Melvins. Grunge guitarists often downtuned their instruments for a lower, heavier sound. Soundgarden's guitarist, Kim Thayil, did not use a regular guitar amplifier; instead, he used a bass combo amp equipped with a 15-inch speaker as he played low riffs, and the bass amp gave him a deeper tone.

Question: What is the full name of the person who played low riffs, and to whom the bass amp gave a deeper tone?
Answer: Kim Thayil
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the first name of the person who showed little interest in mastering the guitar?
Answer: Kurt
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the first name of the person who was a "guitar anti-hero?"
Answer: Kurt
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the last name of the person who feels in part to be responsible for the "death of the guitar solo"?
Answer: Thayil
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the last name of the person who said that his punk rocker aspects made him feel that he did not want to solo?
Answer: Thayil
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the full name of the person who preferred to make noise and do feedback during the guitar solo?
Answer: Kim Thayil
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the full name of the person who was called the Eric Clapton of grunge?
Answer: Steve Turner
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the full name of the person Time magazine names as number five in their list of "The 10 Best Electric Guitar Players?"
Answer: Eric Clapton
Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.

Question: What is the full name of the person who used blues-influenced, rapid licks?
Answer: Mike McCready