nc33/multispan_quoref huggingface dataset:
Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". According to Barry Miles, Lennon resented McCartney's direction of the band as well as how, aside from "Strawberry Fields Forever", he himself was now supplying "songs to order" rather than "writing from the heart" as he had on Revolver. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". Speaking in 2000, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much."After finishing Sgt. Pepper, the Beatles took an acetate disc of the album to the American singer Cass Elliot's flat off King's Road in Chelsea, where at six in the morning they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music.

Question: What is the name of the person who claims "I was losing interest in being 'fab' at that point"?
Answer: Harrison
As the last chord of the "Sgt. Pepper" reprise plays, an acoustic guitar strumming offbeat quavers begins, introducing what Moore describes as "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". The idea to use an orchestra was McCartney's; he drew inspiration from Cage and Stockhausen. The 24-bar crescendos feature forty musicians selected from the London and Royal Philharmonic Orchestras and tasked with filling the space with what Womack describes as "the sound of pure apocalypse". Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world". Lennon recalled drawing inspiration for the lyrics from a newspaper: "I was writing the song with the Daily Mail propped up in front of me at the piano ... there was a paragraph about 4000 [pot]holes in Blackburn, Lancashire". For "A Day in the Life", he wanted his voice to sound like Elvis Presley on "Heartbreak Hotel". Martin and Emerick obliged by adding 90 milliseconds of tape echo. Womack describes Starr's performance as "one of his most inventive drum parts on record", a part that McCartney encouraged him to attempt despite his protests against "flashy drumming". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. The final piano chord was recorded 12 days later. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception".As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that was pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way."

Question: What is the name of the person who McCartney encouraged despite his protests against "flashy drumming"?
Answer: Starr
As the last chord of the "Sgt. Pepper" reprise plays, an acoustic guitar strumming offbeat quavers begins, introducing what Moore describes as "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". The idea to use an orchestra was McCartney's; he drew inspiration from Cage and Stockhausen. The 24-bar crescendos feature forty musicians selected from the London and Royal Philharmonic Orchestras and tasked with filling the space with what Womack describes as "the sound of pure apocalypse". Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world". Lennon recalled drawing inspiration for the lyrics from a newspaper: "I was writing the song with the Daily Mail propped up in front of me at the piano ... there was a paragraph about 4000 [pot]holes in Blackburn, Lancashire". For "A Day in the Life", he wanted his voice to sound like Elvis Presley on "Heartbreak Hotel". Martin and Emerick obliged by adding 90 milliseconds of tape echo. Womack describes Starr's performance as "one of his most inventive drum parts on record", a part that McCartney encouraged him to attempt despite his protests against "flashy drumming". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. The final piano chord was recorded 12 days later. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception".As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that was pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way."

Question: What is the name of the person who protested against flashy drumming?
Answer: Starr
As the last chord of the "Sgt. Pepper" reprise plays, an acoustic guitar strumming offbeat quavers begins, introducing what Moore describes as "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". The idea to use an orchestra was McCartney's; he drew inspiration from Cage and Stockhausen. The 24-bar crescendos feature forty musicians selected from the London and Royal Philharmonic Orchestras and tasked with filling the space with what Womack describes as "the sound of pure apocalypse". Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world". Lennon recalled drawing inspiration for the lyrics from a newspaper: "I was writing the song with the Daily Mail propped up in front of me at the piano ... there was a paragraph about 4000 [pot]holes in Blackburn, Lancashire". For "A Day in the Life", he wanted his voice to sound like Elvis Presley on "Heartbreak Hotel". Martin and Emerick obliged by adding 90 milliseconds of tape echo. Womack describes Starr's performance as "one of his most inventive drum parts on record", a part that McCartney encouraged him to attempt despite his protests against "flashy drumming". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. The final piano chord was recorded 12 days later. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception".As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that was pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way."

Question: What is the name of the specific sound element at the end of "A Day in the Life"that was was added at Lennon's suggestion with the intention that it would annoy dogs?
Answer: a 15-kilohertz high-frequency tone
Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Right next to the Beatles are wax sculptures of the bandmembers in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP.

Question: What is the name of the company that designed the outfits that the band wore on the cover of the album that's cover was designed by Peter Blake and Jann Haworth?
Answer: M. Berman Ltd
Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Right next to the Beatles are wax sculptures of the bandmembers in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP.

Question: Where were the wax sculptures of the band that were on the cover of the album photographed by Michael Cooper borrowed from?
Answer: Madame Tussauds
Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Right next to the Beatles are wax sculptures of the bandmembers in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP.

Question: What was the full name of the photographer for the cover of Sgt. Pepper?
Answer: Michael Cooper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album about which few critics in 1967 agreed with Goldstein's criticism?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album Marcus views as "strangled on its own conceits"?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the full name of the person who expressed that "In the sixties rock and roll began to think of itself as an 'art form'"?
Answer: Lester Bangs
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album whose "dozen good songs" Christgau states are perhaps "too precisely performed"?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album that reportedly suffered more than any Beatles record from the long fall-out after punk?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album whose standing mysteriously failed to improve even with the band's Britpop-era revival?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album that Christgau believes to be "dated in the sense that it speaks with unusually specific eloquence of a single point in history"?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album whose lack of critical favour in the UK was reportedly such that it had become "the most underrated album of all time"?
Answer: Sgt. Pepper
Although few critics in 1967 agreed with Goldstein's criticism of the album, many later came to appreciate his sentiments. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus wrote that, by 1968, Sgt. Pepper appeared vacuous against the emotional backdrop of the political and social upheavals of American life, and he described it as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain."Writing in 1981, Lester Bangs – the so-called "godfather" of punk rock journalism – said that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In another 1981 assessment, for the magazine The History of Rock, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone".
In his feature article on Sgt. Pepper's 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's murder in 1980. Citing its absence from the NME's best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris said that its lack of critical favour in the UK was such that it had become "the most underrated album of all time", adding:
Though by no means universally degraded ... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul, it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing.

Question: What is the name of the album that is regularly challenged and overtaken in the Best Beatle Album stakes by Revolver, the White Album, even Rubber Soul?
Answer: Sgt. Pepper
In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". It is regarded by journalists as having influenced the development of the counterculture of the 1960s. The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. Ian MacDonald wrote that the album's impact was cross-generational as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". He also said that in the context of 1967, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967.Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper had "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico, an album that contrasted sharply with the Beatles' message by "offer[ing] no escape", had become more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control."

Question: What is the title of the album regarded by journalists as having influenced the development of the counterculture of the 1960s?
Answer: Sgt. Pepper
In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". It is regarded by journalists as having influenced the development of the counterculture of the 1960s. The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. Ian MacDonald wrote that the album's impact was cross-generational as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". He also said that in the context of 1967, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967.Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper had "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico, an album that contrasted sharply with the Beatles' message by "offer[ing] no escape", had become more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control."

Question: What is the title of the LP that "gave a voice to the feeling that the old ways were over," according to Timothy Leary?
Answer: Sgt. Pepper
In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". It is regarded by journalists as having influenced the development of the counterculture of the 1960s. The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. Ian MacDonald wrote that the album's impact was cross-generational as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". He also said that in the context of 1967, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967.Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper had "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico, an album that contrasted sharply with the Beatles' message by "offer[ing] no escape", had become more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control."

Question: What is the title of the album whose impact was cross-generational as "Young and old alike were entranced," according to Ian MacDonald?
Answer: Sgt. Pepper