nc33/multispan_quoref huggingface dataset:
On hearing that her husband, the Emperor Claudius, has died in a storm at sea, Agrippina plots to secure the throne for Nero, her son by a previous marriage. Nero is unenthusiastic about this project, but consents to his mother's wishes ("Con saggio tuo consiglio"). Agrippina obtains the support of her two freedmen, Pallas and Narcissus, who hail Nero as the new Emperor before the Senate.
With the Senate's assent, Agrippina and Nero begin to ascend the throne, but the ceremony is interrupted by the entrance of Claudius's servant Lesbus. He announces that his master is alive ("Allegrezza! Claudio giunge!"), saved from death by Otho, the commander of the army. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Poppaea more than he desires the throne. Agrippina, aware that Claudius also loves Poppaea, sees a new opportunity of furthering her ambitions for Nero. She goes to Poppaea and tells her, falsely, that Otho has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Agrippina advises Poppaea to turn the tables on Otho by telling the Emperor that Otho has ordered her to refuse Claudius's attentions. This, Agrippina believes, will make Claudius revoke his promise to Otho of the throne.
Poppaea believes Agrippina. When Claudius arrives at Poppaea's house she denounces what she believes is Otho's treachery. Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit ("Non ho cor che per amarti").

Question: What is the name of the person whose two freedmen hail Nero as the new Emperor before the Senate?
Answer: Agrippina
On hearing that her husband, the Emperor Claudius, has died in a storm at sea, Agrippina plots to secure the throne for Nero, her son by a previous marriage. Nero is unenthusiastic about this project, but consents to his mother's wishes ("Con saggio tuo consiglio"). Agrippina obtains the support of her two freedmen, Pallas and Narcissus, who hail Nero as the new Emperor before the Senate.
With the Senate's assent, Agrippina and Nero begin to ascend the throne, but the ceremony is interrupted by the entrance of Claudius's servant Lesbus. He announces that his master is alive ("Allegrezza! Claudio giunge!"), saved from death by Otho, the commander of the army. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Poppaea more than he desires the throne. Agrippina, aware that Claudius also loves Poppaea, sees a new opportunity of furthering her ambitions for Nero. She goes to Poppaea and tells her, falsely, that Otho has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Agrippina advises Poppaea to turn the tables on Otho by telling the Emperor that Otho has ordered her to refuse Claudius's attentions. This, Agrippina believes, will make Claudius revoke his promise to Otho of the throne.
Poppaea believes Agrippina. When Claudius arrives at Poppaea's house she denounces what she believes is Otho's treachery. Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit ("Non ho cor che per amarti").

Question: What is the name of Nero's mothers whose wishes he consents to, though unenthusiastic about the project?
Answer: Agrippina
On hearing that her husband, the Emperor Claudius, has died in a storm at sea, Agrippina plots to secure the throne for Nero, her son by a previous marriage. Nero is unenthusiastic about this project, but consents to his mother's wishes ("Con saggio tuo consiglio"). Agrippina obtains the support of her two freedmen, Pallas and Narcissus, who hail Nero as the new Emperor before the Senate.
With the Senate's assent, Agrippina and Nero begin to ascend the throne, but the ceremony is interrupted by the entrance of Claudius's servant Lesbus. He announces that his master is alive ("Allegrezza! Claudio giunge!"), saved from death by Otho, the commander of the army. Otho himself confirms this and reveals that Claudius has promised him the throne as a mark of gratitude. Agrippina is frustrated, until Otho secretly confides to her that he loves the beautiful Poppaea more than he desires the throne. Agrippina, aware that Claudius also loves Poppaea, sees a new opportunity of furthering her ambitions for Nero. She goes to Poppaea and tells her, falsely, that Otho has struck a bargain with Claudius whereby he, Otho, gains the throne but gives Poppaea to Claudius. Agrippina advises Poppaea to turn the tables on Otho by telling the Emperor that Otho has ordered her to refuse Claudius's attentions. This, Agrippina believes, will make Claudius revoke his promise to Otho of the throne.
Poppaea believes Agrippina. When Claudius arrives at Poppaea's house she denounces what she believes is Otho's treachery. Claudius departs in fury, while Agrippina cynically consoles Poppaea by declaring that their friendship will never be broken by deceit ("Non ho cor che per amarti").

Question: What is the name of Lesbus' master who he announces is alive?
Answer: Claudius
Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.

Question: What are the names of the characters who are considered morally contemptible?
Answer: Agrippina, Nero, Claudius, Poppaea, Pallas, Narcissus
Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.

Question: How are the sex kitten's songs characterized?
Answer: light, rhythmic
The film concerns the story of the Boyajian family, who have not celebrated Christmas in 11 years, since their son John was killed shortly before Christmas in 1991 during the Gulf War. With their daughter Jeanie potentially facing a life-threatening illness, George decides they should once again celebrate Christmas; however, Carol adamantly refuses.
George heads to watch over the town's veterans memorial and is accosted by several teenage punks, who are scared off by "Matthew," a hitchhiker passing through town. As Matthew and George talk, Matthew claims to be a Gulf veteran who is the same age as John and served in the same regiment as John, although the two did not apparently know each other.
George invites Matthew to spend Christmas with his family, asking him to tell his wife and daughter that he knew John while they served together. George's ultimate plan is to get the family to once again celebrate Christmas, which works. But as Matthew makes up stories about himself and John, George begins to wonder about Matthew's true identity when his stories include details that only John would have known (including a notable surgical scar from an athletic injury).
At the end, it is revealed that Matthew is actually John  making a supernatural visit (by revealing the scar mentioned earlier) in order to restore the family's Christmas spirit.

Question: Whose son was killed in 1991?
Answer: the Boyajian family
The film concerns the story of the Boyajian family, who have not celebrated Christmas in 11 years, since their son John was killed shortly before Christmas in 1991 during the Gulf War. With their daughter Jeanie potentially facing a life-threatening illness, George decides they should once again celebrate Christmas; however, Carol adamantly refuses.
George heads to watch over the town's veterans memorial and is accosted by several teenage punks, who are scared off by "Matthew," a hitchhiker passing through town. As Matthew and George talk, Matthew claims to be a Gulf veteran who is the same age as John and served in the same regiment as John, although the two did not apparently know each other.
George invites Matthew to spend Christmas with his family, asking him to tell his wife and daughter that he knew John while they served together. George's ultimate plan is to get the family to once again celebrate Christmas, which works. But as Matthew makes up stories about himself and John, George begins to wonder about Matthew's true identity when his stories include details that only John would have known (including a notable surgical scar from an athletic injury).
At the end, it is revealed that Matthew is actually John  making a supernatural visit (by revealing the scar mentioned earlier) in order to restore the family's Christmas spirit.

Question: Who apparently did not know each other despite serving in the same regiment?
Answer: Matthew, John
In Mickey's Mellerdrammer, Mickey Mouse, Minnie Mouse, Goofy (known then as Dippy Dawg) and others present their own low budget light-hearted rendition of the 19th century Tom Shows for a crowd in a barn converted into a theater for the occasion.
Horace Horsecollar plays the white slave owner Simon Legree. Minnie plays the young white girl, Eva. Mickey plays old Uncle Tom with cotton around his ears and chin, and the young slave girl Topsy. Clarabelle Cow plays the slave woman Eliza. Goofy plays the production stage hand.
The cartoon opens with Mickey and Clarabelle Cow in their dressing rooms applying blackface makeup for their roles. The cartoon is much more focused on the Disney characters' efforts to put on the play, than an animated version of Uncle Tom's Cabin. The cartoon contains many images of Mickey and the other characters using makeshift props as sight gags.
The cartoon closes with the characters coming out for a bow, and Horace Horsecollar's character is pelted with rotten tomatoes. When Goofy shows his face from behind the stage, he is hit with a chocolate pie, leaving him in what appears to be blackface.

Question: What is the first name of the character that plays Topsy?
Answer: Mickey
In Mickey's Mellerdrammer, Mickey Mouse, Minnie Mouse, Goofy (known then as Dippy Dawg) and others present their own low budget light-hearted rendition of the 19th century Tom Shows for a crowd in a barn converted into a theater for the occasion.
Horace Horsecollar plays the white slave owner Simon Legree. Minnie plays the young white girl, Eva. Mickey plays old Uncle Tom with cotton around his ears and chin, and the young slave girl Topsy. Clarabelle Cow plays the slave woman Eliza. Goofy plays the production stage hand.
The cartoon opens with Mickey and Clarabelle Cow in their dressing rooms applying blackface makeup for their roles. The cartoon is much more focused on the Disney characters' efforts to put on the play, than an animated version of Uncle Tom's Cabin. The cartoon contains many images of Mickey and the other characters using makeshift props as sight gags.
The cartoon closes with the characters coming out for a bow, and Horace Horsecollar's character is pelted with rotten tomatoes. When Goofy shows his face from behind the stage, he is hit with a chocolate pie, leaving him in what appears to be blackface.

Question: What is the first name of the slave owner who is pelted with rotten tomatoes?
Answer: Simon
In Mickey's Mellerdrammer, Mickey Mouse, Minnie Mouse, Goofy (known then as Dippy Dawg) and others present their own low budget light-hearted rendition of the 19th century Tom Shows for a crowd in a barn converted into a theater for the occasion.
Horace Horsecollar plays the white slave owner Simon Legree. Minnie plays the young white girl, Eva. Mickey plays old Uncle Tom with cotton around his ears and chin, and the young slave girl Topsy. Clarabelle Cow plays the slave woman Eliza. Goofy plays the production stage hand.
The cartoon opens with Mickey and Clarabelle Cow in their dressing rooms applying blackface makeup for their roles. The cartoon is much more focused on the Disney characters' efforts to put on the play, than an animated version of Uncle Tom's Cabin. The cartoon contains many images of Mickey and the other characters using makeshift props as sight gags.
The cartoon closes with the characters coming out for a bow, and Horace Horsecollar's character is pelted with rotten tomatoes. When Goofy shows his face from behind the stage, he is hit with a chocolate pie, leaving him in what appears to be blackface.

Question: What is the first name of the character who appears to have blackface on after being hit by a pie?
Answer: Goofy
In Mickey's Mellerdrammer, Mickey Mouse, Minnie Mouse, Goofy (known then as Dippy Dawg) and others present their own low budget light-hearted rendition of the 19th century Tom Shows for a crowd in a barn converted into a theater for the occasion.
Horace Horsecollar plays the white slave owner Simon Legree. Minnie plays the young white girl, Eva. Mickey plays old Uncle Tom with cotton around his ears and chin, and the young slave girl Topsy. Clarabelle Cow plays the slave woman Eliza. Goofy plays the production stage hand.
The cartoon opens with Mickey and Clarabelle Cow in their dressing rooms applying blackface makeup for their roles. The cartoon is much more focused on the Disney characters' efforts to put on the play, than an animated version of Uncle Tom's Cabin. The cartoon contains many images of Mickey and the other characters using makeshift props as sight gags.
The cartoon closes with the characters coming out for a bow, and Horace Horsecollar's character is pelted with rotten tomatoes. When Goofy shows his face from behind the stage, he is hit with a chocolate pie, leaving him in what appears to be blackface.

Question: What is the original name of the character that plays the production stage hand?
Answer: Dippy Dawg
Title TK is the third studio album by American alternative rock band the Breeders, released on May 20 and 21, 2002 by 4AD in the United Kingdom and Elektra Records in the United States, and on May 10 by P-Vine Records in Japan. The album—whose name means "title to come" in journalistic shorthand—generated three singles: "Off You", "Huffer", and "Son of Three". Title TK reached the top 100 in France, Germany, the UK, and Australia, and number 130 in the US.
Following multiple changes in personnel after the release of Last Splash (1993), singer and songwriter Kim Deal was the only remaining constant member of the Breeders by 1996. The next year, she returned to the studio in an attempt to record a follow-up album, but her behavior—including drug use and demanding expectations—alienated many of the musicians and engineers with whom she worked.
In 1999, joined by her sister Kelley, Deal began recording sessions with engineer Steve Albini in Chicago. Fear members Mando Lopez and Richard Presley, and musician Jose Medeles, joined the line-up. The group continued recording with Albini in 2001. Title TK was compiled from the output of these sessions and supplemented with two tracks recorded in Los Angeles with engineers Andrew Alekel and Mark Arnold. Of the twelve songs on the album, ten are credited solely to Kim Deal; the other two were written by all five band members.
Commentary on the album has included discussion of its minimal instrumentation and the interjection of unexpected sounds. Reviewers have described the lyrics on the songs as unconventional and dark, and noted the prominence of vocal harmonies between the Deal sisters. The reception of Title TK has been generally positive; appraisal has included commendation for Albini's contributions to the sound of the album, and for how the recordings isolate individual instruments.

Question: What is the name of the group that continued recording with Albini in 2001?
Answer: the Breeders
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the full name of the person who had previously worked  with Steve Albini on Pod, Pacer, and the Pixies' album Surferosa?
Answer: Kim Deal
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the full name of the person whose sister had some involvement in the 1999 recording sessions?
Answer: Kim Deal
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the the full name of Deal's sister who had some involvement at the 1999 recording sessions?
Answer: Kelley Deal
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the full name of the person who realized she would not be able to tour without a band, though was satisfied with the material recorded up to this point?
Answer: Kim Deal
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the full name of the person who invited members of Fear to jam with her at a studio she was renting?
Answer: Kim Deal
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the full name of the person who returned to New York to look for a backing group in March 2000?
Answer: Kim Deal
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the full name of the person whose involvement in other musical projects left him an insufficient amount of time to devote to the Breeders?
Answer: Andrew Jaimez
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the first name of the person who likes "interesting mistakes" in song production?
Answer: Kim
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What is the name of the band whose other members contributed musical ideas to the tracks even though Deal is credited as sole songwriter on the majority?
Answer: the Breeders
Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.

Question: What are the first names of the people who recorded "The She", "Forced to Drive", and "Too Alive" in Chicago?
Answer: Kim, Kelley