nc33/multispan_quoref huggingface dataset:
Britten's fellow-composers had divided views about him. To Tippett he was "simply the most musical person I have ever met", with an "incredible" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten "a man at odds with the world", and said of his music: "[I]f you hear it, not just listen to it superficially, you become aware of something very dark". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: "There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as "inimitable, possessed of ... a voice and sound too dangerous to imitate". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became "a phenomenal father-figure". Brett believes that he affected every subsequent British composer to some extent: "He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate."Whittall believes that one reason for Britten's enduring popularity is the "progressive conservatism" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, "the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times". Britten defined his mission as a composer in very simple terms: composers should aim at "pleasing people today as seriously as we can".

Question: What was the name of the person who avoided the avant garde?
Answer: Britten
Britten's fellow-composers had divided views about him. To Tippett he was "simply the most musical person I have ever met", with an "incredible" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten "a man at odds with the world", and said of his music: "[I]f you hear it, not just listen to it superficially, you become aware of something very dark". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: "There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as "inimitable, possessed of ... a voice and sound too dangerous to imitate". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became "a phenomenal father-figure". Brett believes that he affected every subsequent British composer to some extent: "He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate."Whittall believes that one reason for Britten's enduring popularity is the "progressive conservatism" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, "the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times". Britten defined his mission as a composer in very simple terms: composers should aim at "pleasing people today as seriously as we can".

Question: What was the name of the person who did not challenge the conventions in the way that contemporaries such as Tippett did?
Answer: Britten
Notes
References
Sources
Banfield, Stephen; Geoffrey Holden Block (2006). Jerome Kern. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-13834-4.
Banks, Paul (2000). The Making of Peter Grimes: Essays and Studies. Woodbridge: Boydell Press. ISBN 978-0-85115-791-7.
Begbie, Jeremy; Steven R Guthrie (2011). Resonant Witness: Conversations between Music and Theology. Grand Rapids, Michigan: W B Eerdmans. ISBN 978-0-8028-6277-8.
Brett, Philip, ed. (1983). Benjamin Britten: Peter Grimes. Cambridge: Cambridge University Press. ISBN 978-0-521-29716-5.
Bridcut, John (2006). Britten's Children. London: Faber and Faber. ISBN 978-0-571-22839-3.
Bridcut, John (2012). The Essential Britten. London: Faber and Faber. ISBN 978-0-571-29073-4.
Britten, Benjamin (1991).  Donald Mitchell (ed.). Letters From a Life: The Selected Letters of Benjamin Britten, Volume I, 1923–1939. London: Faber and Faber. ISBN 978-0-571-15221-6.
Britten, Benjamin (2004).  Donald Mitchell (ed.). Letters from a Life: The Selected Letters of Benjamin Britten, Volume III, 1946–1951. London: Faber and Faber. ISBN 978-0-571-22282-7.
Britten, Benjamin (2008).  Reed, Philip; Cooke, Mervyn; Mitchell, Donald (eds.). Letters from a Life: The Selected Letters of Benjamin Britten, Volume IV, 1952–1957. London: The Boydell Press. ISBN 978-1-84383-382-6.
Carpenter, Humphrey (1992). Benjamin Britten: A Biography. London: Faber and Faber. ISBN 978-0-571-14324-5.
Craggs, Stewart R (2002). Benjamin Britten: A Bio-bibliography. Westport, Conn: Greenwood Publishing. ISBN 978-0-313-29531-7.
Culshaw, John (1981). Putting the Record Straight. London: Secker & Warburg. ISBN 978-0-436-11802-9.
Evans, John (2009). Journeying Boy: The Diaries of the Young Benjamin Britten 1928–1938. London: Faber and Faber. ISBN 978-0-571-23883-5.
Evans, Peter (1979). The Music of Benjamin Britten. London: J M Dent. ISBN 978-0-460-04350-2.
Ford, Andrew (2011). Illegal Harmonies: Music in the Modern Age (third ed.). Collingwood, Vic: Black. ISBN 978-1-86395-528-7.
Gilbert, Susie (2009). Opera for Everybody. London: Faber and Faber. ISBN 978-0-571-22493-7.
Graham, Colin (1989) [1979]. "Staging first productions".  In David Herbert (ed.). The Operas of Benjamin Britten. London: Herbert Press. ISBN 978-1-871569-08-7.
Haltrecht, Montague (1975). The Quiet Showman: Sir David Webster and the Royal Opera House. London: Collins. ISBN 978-0-00-211163-8.
Headington, Christopher (1996). Britten. Illustrated Lives of the Great Composers. London: Omnibus Press. ISBN 978-0-7119-4812-9.
Headington, Christopher (1993) [1992]. Peter Pears: A Biography. London: Faber and Faber. ISBN 978-0-571-17072-2.
Kennedy, Michael (1983). Britten. London: J M Dent. ISBN 978-0-460-02201-9.
Kildea, Paul (2013). Benjamin Britten: A life in the twentieth century. London: Penguin Books. ISBN 978-1-84614-233-8.

Question: What is the last name of the author of Peter Pears: A Biography?
Answer: Headington
Notes
References
Sources
Banfield, Stephen; Geoffrey Holden Block (2006). Jerome Kern. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-13834-4.
Banks, Paul (2000). The Making of Peter Grimes: Essays and Studies. Woodbridge: Boydell Press. ISBN 978-0-85115-791-7.
Begbie, Jeremy; Steven R Guthrie (2011). Resonant Witness: Conversations between Music and Theology. Grand Rapids, Michigan: W B Eerdmans. ISBN 978-0-8028-6277-8.
Brett, Philip, ed. (1983). Benjamin Britten: Peter Grimes. Cambridge: Cambridge University Press. ISBN 978-0-521-29716-5.
Bridcut, John (2006). Britten's Children. London: Faber and Faber. ISBN 978-0-571-22839-3.
Bridcut, John (2012). The Essential Britten. London: Faber and Faber. ISBN 978-0-571-29073-4.
Britten, Benjamin (1991).  Donald Mitchell (ed.). Letters From a Life: The Selected Letters of Benjamin Britten, Volume I, 1923–1939. London: Faber and Faber. ISBN 978-0-571-15221-6.
Britten, Benjamin (2004).  Donald Mitchell (ed.). Letters from a Life: The Selected Letters of Benjamin Britten, Volume III, 1946–1951. London: Faber and Faber. ISBN 978-0-571-22282-7.
Britten, Benjamin (2008).  Reed, Philip; Cooke, Mervyn; Mitchell, Donald (eds.). Letters from a Life: The Selected Letters of Benjamin Britten, Volume IV, 1952–1957. London: The Boydell Press. ISBN 978-1-84383-382-6.
Carpenter, Humphrey (1992). Benjamin Britten: A Biography. London: Faber and Faber. ISBN 978-0-571-14324-5.
Craggs, Stewart R (2002). Benjamin Britten: A Bio-bibliography. Westport, Conn: Greenwood Publishing. ISBN 978-0-313-29531-7.
Culshaw, John (1981). Putting the Record Straight. London: Secker & Warburg. ISBN 978-0-436-11802-9.
Evans, John (2009). Journeying Boy: The Diaries of the Young Benjamin Britten 1928–1938. London: Faber and Faber. ISBN 978-0-571-23883-5.
Evans, Peter (1979). The Music of Benjamin Britten. London: J M Dent. ISBN 978-0-460-04350-2.
Ford, Andrew (2011). Illegal Harmonies: Music in the Modern Age (third ed.). Collingwood, Vic: Black. ISBN 978-1-86395-528-7.
Gilbert, Susie (2009). Opera for Everybody. London: Faber and Faber. ISBN 978-0-571-22493-7.
Graham, Colin (1989) [1979]. "Staging first productions".  In David Herbert (ed.). The Operas of Benjamin Britten. London: Herbert Press. ISBN 978-1-871569-08-7.
Haltrecht, Montague (1975). The Quiet Showman: Sir David Webster and the Royal Opera House. London: Collins. ISBN 978-0-00-211163-8.
Headington, Christopher (1996). Britten. Illustrated Lives of the Great Composers. London: Omnibus Press. ISBN 978-0-7119-4812-9.
Headington, Christopher (1993) [1992]. Peter Pears: A Biography. London: Faber and Faber. ISBN 978-0-571-17072-2.
Kennedy, Michael (1983). Britten. London: J M Dent. ISBN 978-0-460-02201-9.
Kildea, Paul (2013). Benjamin Britten: A life in the twentieth century. London: Penguin Books. ISBN 978-1-84614-233-8.

Question: What is the last name of the author of Britten?
Answer: Kennedy
Notes
References
Sources
Banfield, Stephen; Geoffrey Holden Block (2006). Jerome Kern. New Haven, Connecticut: Yale University Press. ISBN 978-0-300-13834-4.
Banks, Paul (2000). The Making of Peter Grimes: Essays and Studies. Woodbridge: Boydell Press. ISBN 978-0-85115-791-7.
Begbie, Jeremy; Steven R Guthrie (2011). Resonant Witness: Conversations between Music and Theology. Grand Rapids, Michigan: W B Eerdmans. ISBN 978-0-8028-6277-8.
Brett, Philip, ed. (1983). Benjamin Britten: Peter Grimes. Cambridge: Cambridge University Press. ISBN 978-0-521-29716-5.
Bridcut, John (2006). Britten's Children. London: Faber and Faber. ISBN 978-0-571-22839-3.
Bridcut, John (2012). The Essential Britten. London: Faber and Faber. ISBN 978-0-571-29073-4.
Britten, Benjamin (1991).  Donald Mitchell (ed.). Letters From a Life: The Selected Letters of Benjamin Britten, Volume I, 1923–1939. London: Faber and Faber. ISBN 978-0-571-15221-6.
Britten, Benjamin (2004).  Donald Mitchell (ed.). Letters from a Life: The Selected Letters of Benjamin Britten, Volume III, 1946–1951. London: Faber and Faber. ISBN 978-0-571-22282-7.
Britten, Benjamin (2008).  Reed, Philip; Cooke, Mervyn; Mitchell, Donald (eds.). Letters from a Life: The Selected Letters of Benjamin Britten, Volume IV, 1952–1957. London: The Boydell Press. ISBN 978-1-84383-382-6.
Carpenter, Humphrey (1992). Benjamin Britten: A Biography. London: Faber and Faber. ISBN 978-0-571-14324-5.
Craggs, Stewart R (2002). Benjamin Britten: A Bio-bibliography. Westport, Conn: Greenwood Publishing. ISBN 978-0-313-29531-7.
Culshaw, John (1981). Putting the Record Straight. London: Secker & Warburg. ISBN 978-0-436-11802-9.
Evans, John (2009). Journeying Boy: The Diaries of the Young Benjamin Britten 1928–1938. London: Faber and Faber. ISBN 978-0-571-23883-5.
Evans, Peter (1979). The Music of Benjamin Britten. London: J M Dent. ISBN 978-0-460-04350-2.
Ford, Andrew (2011). Illegal Harmonies: Music in the Modern Age (third ed.). Collingwood, Vic: Black. ISBN 978-1-86395-528-7.
Gilbert, Susie (2009). Opera for Everybody. London: Faber and Faber. ISBN 978-0-571-22493-7.
Graham, Colin (1989) [1979]. "Staging first productions".  In David Herbert (ed.). The Operas of Benjamin Britten. London: Herbert Press. ISBN 978-1-871569-08-7.
Haltrecht, Montague (1975). The Quiet Showman: Sir David Webster and the Royal Opera House. London: Collins. ISBN 978-0-00-211163-8.
Headington, Christopher (1996). Britten. Illustrated Lives of the Great Composers. London: Omnibus Press. ISBN 978-0-7119-4812-9.
Headington, Christopher (1993) [1992]. Peter Pears: A Biography. London: Faber and Faber. ISBN 978-0-571-17072-2.
Kennedy, Michael (1983). Britten. London: J M Dent. ISBN 978-0-460-02201-9.
Kildea, Paul (2013). Benjamin Britten: A life in the twentieth century. London: Penguin Books. ISBN 978-1-84614-233-8.

Question: What is the last name of the author of The Quiet Showman: Sir David Webster and the Royal Opera House?
Answer: Haltrecht
Iris is a shy young professional who doesn't want to rock the boat at the office where she temps. Margaret is the polar opposite, and serves as a catalyst to help Iris become more assertive. Paula eagerly awaits post-work happy hours and the chance to flirt with attractive men. Jane (Ubach) is engaged to marry a jerk who is already cheating on her. Margaret hopes to become a permanent employee as an assistant to Mr. Lasky, but her dreams are thwarted when he suddenly dies. The four temps form a camaraderie which assists them in getting through their boring and tedious days at work.
A series of thefts occur in the office and suspicion falls on the temps, particularly Margaret. When Iris finds a plastic monkey inside Margaret's desk that she had thought was stolen, Iris loses faith in Margaret and believes that she is the office thief. Margaret suggests a one-day strike from work due to mistreatment and being under appreciated as temps, and her friends halfheartedly agree to join her, but on the appointed day Margaret is the only one who does not come to work. As a result, the company's officious head of human resources fires Margaret, and management micromanages the remaining three temps. Iris, Paula and Jane's friendship comes to an end as result of the stress, ending the camaraderie among the temporary workers, and eventually they all go their separate ways. Paula is upset when she learns of Jane's wedding from a newspaper announcement, to which she was not invited, and leaves to work in another department.
It is later discovered that another employee (a rich girl who was hired as a permanent employee after her first day) was the thief and that Margaret simply had a similar toy in her desk. Iris confronts the thief when her diary disappears; Iris later receives a new diary and note of apology.

Question: What dreams of Margaret are thwarted when Mr. Lasky dies?
Answer: to become a permanent employee
Iris is a shy young professional who doesn't want to rock the boat at the office where she temps. Margaret is the polar opposite, and serves as a catalyst to help Iris become more assertive. Paula eagerly awaits post-work happy hours and the chance to flirt with attractive men. Jane (Ubach) is engaged to marry a jerk who is already cheating on her. Margaret hopes to become a permanent employee as an assistant to Mr. Lasky, but her dreams are thwarted when he suddenly dies. The four temps form a camaraderie which assists them in getting through their boring and tedious days at work.
A series of thefts occur in the office and suspicion falls on the temps, particularly Margaret. When Iris finds a plastic monkey inside Margaret's desk that she had thought was stolen, Iris loses faith in Margaret and believes that she is the office thief. Margaret suggests a one-day strike from work due to mistreatment and being under appreciated as temps, and her friends halfheartedly agree to join her, but on the appointed day Margaret is the only one who does not come to work. As a result, the company's officious head of human resources fires Margaret, and management micromanages the remaining three temps. Iris, Paula and Jane's friendship comes to an end as result of the stress, ending the camaraderie among the temporary workers, and eventually they all go their separate ways. Paula is upset when she learns of Jane's wedding from a newspaper announcement, to which she was not invited, and leaves to work in another department.
It is later discovered that another employee (a rich girl who was hired as a permanent employee after her first day) was the thief and that Margaret simply had a similar toy in her desk. Iris confronts the thief when her diary disappears; Iris later receives a new diary and note of apology.

Question: Who turns out to be the real thief?
Answer: a rich girl who was hired as a permanent employee
Iris is a shy young professional who doesn't want to rock the boat at the office where she temps. Margaret is the polar opposite, and serves as a catalyst to help Iris become more assertive. Paula eagerly awaits post-work happy hours and the chance to flirt with attractive men. Jane (Ubach) is engaged to marry a jerk who is already cheating on her. Margaret hopes to become a permanent employee as an assistant to Mr. Lasky, but her dreams are thwarted when he suddenly dies. The four temps form a camaraderie which assists them in getting through their boring and tedious days at work.
A series of thefts occur in the office and suspicion falls on the temps, particularly Margaret. When Iris finds a plastic monkey inside Margaret's desk that she had thought was stolen, Iris loses faith in Margaret and believes that she is the office thief. Margaret suggests a one-day strike from work due to mistreatment and being under appreciated as temps, and her friends halfheartedly agree to join her, but on the appointed day Margaret is the only one who does not come to work. As a result, the company's officious head of human resources fires Margaret, and management micromanages the remaining three temps. Iris, Paula and Jane's friendship comes to an end as result of the stress, ending the camaraderie among the temporary workers, and eventually they all go their separate ways. Paula is upset when she learns of Jane's wedding from a newspaper announcement, to which she was not invited, and leaves to work in another department.
It is later discovered that another employee (a rich girl who was hired as a permanent employee after her first day) was the thief and that Margaret simply had a similar toy in her desk. Iris confronts the thief when her diary disappears; Iris later receives a new diary and note of apology.

Question: Who does Iris confront when her diary disappears?
Answer: a rich girl who was hired as a permanent employee
Growing Up Smith is a coming-of-age story of Smith, a 10-year-old boy from India growing up in small-town America in 1979.
As the boy's family tries to straddle the fine line between embracing the American Dream and preserving their Indian heritage, the awkward little hero sneaks out for a taste of Kentucky Fried Chicken (even though his family is vegetarian), dons a Saturday Night Fever costume, and contends with his parents as they send him to school with a yellow squash instead of a pumpkin to carve for Halloween.
And as Smith falls head-over-heels in love with Amy, the girl-next-door, he finds in Amy's father Butch the all-American cowboy he wishes his own father could be. But alas, when Smith goes on a hunting adventure with Butch, Butch injures himself while chasing a doe.  Smith's rescuing Butch makes him a local hero, but also strains his relationship with his father.  With Butch unable to work, his wife decides to move away from the house and takes Amy with her.  Amy, unable to deal with the turmoil in her own family, threatens to run away.  Smith leaves the house on his bike to meet up with her, though Butch arrives soon after and prevents her from doing so.  Smith's parents, in the meantime, search for him and find his sister making out with a boy.  Furious, they condemn his sister to studying, and upon Smith's return banish him back to India after he declares his love for Amy.  Nineteen years pass in India, with Smith becoming a neurosurgeon and finding a woman to marry.  Smith's wife dies of a complication - though unknown - that Smith himself tries to cure.

Question: Who sneaks out for a taste of KFC?
Answer: Smith
Growing Up Smith is a coming-of-age story of Smith, a 10-year-old boy from India growing up in small-town America in 1979.
As the boy's family tries to straddle the fine line between embracing the American Dream and preserving their Indian heritage, the awkward little hero sneaks out for a taste of Kentucky Fried Chicken (even though his family is vegetarian), dons a Saturday Night Fever costume, and contends with his parents as they send him to school with a yellow squash instead of a pumpkin to carve for Halloween.
And as Smith falls head-over-heels in love with Amy, the girl-next-door, he finds in Amy's father Butch the all-American cowboy he wishes his own father could be. But alas, when Smith goes on a hunting adventure with Butch, Butch injures himself while chasing a doe.  Smith's rescuing Butch makes him a local hero, but also strains his relationship with his father.  With Butch unable to work, his wife decides to move away from the house and takes Amy with her.  Amy, unable to deal with the turmoil in her own family, threatens to run away.  Smith leaves the house on his bike to meet up with her, though Butch arrives soon after and prevents her from doing so.  Smith's parents, in the meantime, search for him and find his sister making out with a boy.  Furious, they condemn his sister to studying, and upon Smith's return banish him back to India after he declares his love for Amy.  Nineteen years pass in India, with Smith becoming a neurosurgeon and finding a woman to marry.  Smith's wife dies of a complication - though unknown - that Smith himself tries to cure.

Question: Who wants to be sent to school with a yellow squash to carve for Halloween?
Answer: Smith
There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.

Question: What is the lowest point of Death Valley?
Answer: Badwater Basin
There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.

Question: What is the name of the topographic relief is the greatest elevation gradient in the contiguous United States?
Answer: Mount Whitney
There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.

Question: What location has the largest salt pans in the world?
Answer: Death Valley
All band members of Bloc Party conceived A Weekend in the City during 2005 while on tour in support of their critically acclaimed debut album Silent Alarm. Despite missing their home city of London, the quartet became increasingly disillusioned with the culture in the area each time they sporadically returned. Band member Gordon Moakes has noted, "The contrast we saw between being away on tour and being home ... we would see that London wasn't changing really and that the people we'd grown up with were part of that." Okereke wrote many songs in 2005 and early 2006 and used a concept he called "Urbanite Relaxation" to expand upon the themes of life and leisure in the metropolis. The band recorded around 30 soundchecks for the initial lyrics using a MiniDisc player. The rest of the tracks were written in April 2006 before they entered the studio recording process.
The band members drew up a shortlist of possible producers in early 2006, which included dance music-oriented staff such as Chemical Brothers sound engineer Steve Dub and high-profile producers like Garret "Jacknife" Lee. At the time, Moakes told Rolling Stone that the album would hopefully include electronic, processed beats and a sound in the vein of alternative rock band Radiohead and indie rock ensemble TV on the Radio. Bloc Party wanted to expand their sonic palette without losing the musical "jerkiness" of Silent Alarm. They selected Lee—who had worked with world-renowned act U2 and indie rock band Snow Patrol—based on the rapport that developed between the two parties while recording the demo song "I Still Remember", which later appeared in A Weekend in the City.Moakes has explained the choice of producer by stating that the band members were looking to work with someone who could help them craft an accomplished album, "although as much as anything it's about finding someone who you'd want to spend six weeks in an enclosed space with". Before the studio sessions, Bloc Party listened to varied musical sources, from composers Philip Glass, György Ligeti, and Krzysztof Penderecki to urban artists Amerie and Missy Elliott. The band members were largely disillusioned with the evolution of contemporary guitar music and aimed to re-create the highly stylised production values of R&B and hip-hop records, while relying on an atmosphere similar to neo-classical music.

Question: What are the full names of the urban artists that the band who were largely disillusioned with the evolution of contemporary guitar music listened to for inspiration?
Answer: Amerie, Missy Elliott
Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of A Weekend in the City was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.Final tweaks on the album were completed in December 2006 in London. A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed A Weekend in the City in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of A Modern Project by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' Original Pirate Material. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps, and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".

Question: Whose members were quoted as being worried about a reduction in the potential impact of the album's content and sales?
Answer: Bloc Party
Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of A Weekend in the City was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.Final tweaks on the album were completed in December 2006 in London. A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed A Weekend in the City in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of A Modern Project by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' Original Pirate Material. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps, and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".

Question: Final tweaks on what were completed in December 2006 in London?
Answer: A Weekend in the City
Two songs, "Kreuzberg" and "I Still Remember", explore sexuality and homosexuality; the former is an account of promiscuity in the Berlin area of the same name, while the latter details an unrequited crush of a boy for his schoolmate.The leading track, "Song for Clay (Disappear Here)", was inspired by Less Than Zero, a novel by Bret Easton Ellis which depicts excessive hedonism and its effects on individuals. The song title references the protagonist Clay and a billboard in the book which displays the phrase "Disappear Here", while the action is relocated to Les Trois Garçons restaurant in Shoreditch, East London. "Waiting for the 7.18" provides an escapist counterpoint by mentioning a trip to Brighton following disillusionment with working life in the capital. The fifth song on A Weekend in the City, "Uniform", references London again and criticises the youth subculture in the area. It is directly inspired by Douglas Rushkoff's Merchants of Cool documentary, which details the corporate exploitation of popular culture by advertisement companies.Okereke read Guy Debord's The Society of the Spectacle and Henri Lefebvre's Critique of Everyday Life, works which analyse how people experience leisure in modern societies, and was inspired to pen several songs which detail the drug and drink culture present in a metropolis. "The Prayer" is based on drug use during nights out in clubs, while "On" specifies the effects and after-effects of cocaine. Okereke tried to treat the tracks as explanations of people's actions, rather than moralising tales; he has stated, "In a time when so many people feel they can't communicate or feel hemmed in, I can see the appeal of cocaine." "Sunday" details the morning-after hangover following a drunken and promiscuous night out, while "SRXT" takes the form of a suicide note following the loneliness and despair of hedonism in the metropolis. The album closer is named after Seroxat, a trade name for the antidepressant paroxetine, and was crafted following the suicide attempts of two of Okereke's friends after they left university in 2005.

Question: What is the name of the song that is an account of promiscuity in a Berlin area?
Answer: Kreuzberg
Two songs, "Kreuzberg" and "I Still Remember", explore sexuality and homosexuality; the former is an account of promiscuity in the Berlin area of the same name, while the latter details an unrequited crush of a boy for his schoolmate.The leading track, "Song for Clay (Disappear Here)", was inspired by Less Than Zero, a novel by Bret Easton Ellis which depicts excessive hedonism and its effects on individuals. The song title references the protagonist Clay and a billboard in the book which displays the phrase "Disappear Here", while the action is relocated to Les Trois Garçons restaurant in Shoreditch, East London. "Waiting for the 7.18" provides an escapist counterpoint by mentioning a trip to Brighton following disillusionment with working life in the capital. The fifth song on A Weekend in the City, "Uniform", references London again and criticises the youth subculture in the area. It is directly inspired by Douglas Rushkoff's Merchants of Cool documentary, which details the corporate exploitation of popular culture by advertisement companies.Okereke read Guy Debord's The Society of the Spectacle and Henri Lefebvre's Critique of Everyday Life, works which analyse how people experience leisure in modern societies, and was inspired to pen several songs which detail the drug and drink culture present in a metropolis. "The Prayer" is based on drug use during nights out in clubs, while "On" specifies the effects and after-effects of cocaine. Okereke tried to treat the tracks as explanations of people's actions, rather than moralising tales; he has stated, "In a time when so many people feel they can't communicate or feel hemmed in, I can see the appeal of cocaine." "Sunday" details the morning-after hangover following a drunken and promiscuous night out, while "SRXT" takes the form of a suicide note following the loneliness and despair of hedonism in the metropolis. The album closer is named after Seroxat, a trade name for the antidepressant paroxetine, and was crafted following the suicide attempts of two of Okereke's friends after they left university in 2005.

Question: What is the name of the song that details an unrequited crush of a boy for his schoolmate?
Answer: I Still Remember
Two songs, "Kreuzberg" and "I Still Remember", explore sexuality and homosexuality; the former is an account of promiscuity in the Berlin area of the same name, while the latter details an unrequited crush of a boy for his schoolmate.The leading track, "Song for Clay (Disappear Here)", was inspired by Less Than Zero, a novel by Bret Easton Ellis which depicts excessive hedonism and its effects on individuals. The song title references the protagonist Clay and a billboard in the book which displays the phrase "Disappear Here", while the action is relocated to Les Trois Garçons restaurant in Shoreditch, East London. "Waiting for the 7.18" provides an escapist counterpoint by mentioning a trip to Brighton following disillusionment with working life in the capital. The fifth song on A Weekend in the City, "Uniform", references London again and criticises the youth subculture in the area. It is directly inspired by Douglas Rushkoff's Merchants of Cool documentary, which details the corporate exploitation of popular culture by advertisement companies.Okereke read Guy Debord's The Society of the Spectacle and Henri Lefebvre's Critique of Everyday Life, works which analyse how people experience leisure in modern societies, and was inspired to pen several songs which detail the drug and drink culture present in a metropolis. "The Prayer" is based on drug use during nights out in clubs, while "On" specifies the effects and after-effects of cocaine. Okereke tried to treat the tracks as explanations of people's actions, rather than moralising tales; he has stated, "In a time when so many people feel they can't communicate or feel hemmed in, I can see the appeal of cocaine." "Sunday" details the morning-after hangover following a drunken and promiscuous night out, while "SRXT" takes the form of a suicide note following the loneliness and despair of hedonism in the metropolis. The album closer is named after Seroxat, a trade name for the antidepressant paroxetine, and was crafted following the suicide attempts of two of Okereke's friends after they left university in 2005.

Question: What is the title of the album closing song named after Seroxat, a trade name for the antidepressant paroxetine?
Answer: SRXT
Two songs, "Kreuzberg" and "I Still Remember", explore sexuality and homosexuality; the former is an account of promiscuity in the Berlin area of the same name, while the latter details an unrequited crush of a boy for his schoolmate.The leading track, "Song for Clay (Disappear Here)", was inspired by Less Than Zero, a novel by Bret Easton Ellis which depicts excessive hedonism and its effects on individuals. The song title references the protagonist Clay and a billboard in the book which displays the phrase "Disappear Here", while the action is relocated to Les Trois Garçons restaurant in Shoreditch, East London. "Waiting for the 7.18" provides an escapist counterpoint by mentioning a trip to Brighton following disillusionment with working life in the capital. The fifth song on A Weekend in the City, "Uniform", references London again and criticises the youth subculture in the area. It is directly inspired by Douglas Rushkoff's Merchants of Cool documentary, which details the corporate exploitation of popular culture by advertisement companies.Okereke read Guy Debord's The Society of the Spectacle and Henri Lefebvre's Critique of Everyday Life, works which analyse how people experience leisure in modern societies, and was inspired to pen several songs which detail the drug and drink culture present in a metropolis. "The Prayer" is based on drug use during nights out in clubs, while "On" specifies the effects and after-effects of cocaine. Okereke tried to treat the tracks as explanations of people's actions, rather than moralising tales; he has stated, "In a time when so many people feel they can't communicate or feel hemmed in, I can see the appeal of cocaine." "Sunday" details the morning-after hangover following a drunken and promiscuous night out, while "SRXT" takes the form of a suicide note following the loneliness and despair of hedonism in the metropolis. The album closer is named after Seroxat, a trade name for the antidepressant paroxetine, and was crafted following the suicide attempts of two of Okereke's friends after they left university in 2005.

Question: What are the names of the two tracks Okreke tried to treat as explanations of people's actions rather that moralising tales?
Answer: The Prayer, On