niryuu/sni-each-converted huggingface dataset:
Passage: In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velázquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history.
Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror.
Output: What is the name of the painting whose general influence was long delayed?
Passage: In part because he was overlooked until the mid-19th century, Velázquez found no followers and was not widely imitated. In particular, his visual and structural innovations in this portrayal of Venus were not developed by other artists until recently, largely owing to the censorship of the work. The painting remained in a series of private rooms in private collections until it was exhibited in 1857 at the Manchester Art Treasures Exhibition, along with 25 other paintings at least claimed to be by Velázquez; it was here that it became known as the Rokeby Venus. It does not appear to have been copied by other artists, engraved or otherwise reproduced, until this period. In 1890 it was exhibited in the Royal Academy in London, and in 1905 at Messrs. Agnews, the dealers who had bought it from Morritt. From 1906 it was highly visible in the National Gallery and became well-known globally through reproductions. The general influence of the painting was therefore long delayed, although individual artists would have been able to see it on occasion throughout its history.
Velázquez's portrait is a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus. However, the simplicity with which Velázquez displays the female nude—without jewellery or any of the goddess's usual accessories—was echoed in later nude studies by Ingres, Manet, and Baudry, among others. In addition, Velázquez's depiction of Venus as a reclining nude viewed from the rear was a rarity before that time, although the pose has been painted by many later artists. Manet, in his stark female portrayal Olympia, paraphrased the Rokeby Venus in pose and by suggesting the persona of a real woman rather than an ethereal goddess. Olympia shocked the Parisian art world when it was first exhibited in 1863. Olympia gazes directly out at the viewer, as does Velázquez's Venus, only through the reflection of the mirror.
Output: What is the title of Velázquez's depiction that represents a staging of a private moment of intimacy and a dramatic departure from the classical depictions of sleep and intimacy found in works from antiquity and Venetian art that portray Venus?
Passage: Hachijō-daiko (八丈太鼓, trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima. Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one.
The first style of Hachijō-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi (下拍子, "lower beat"), provides the underlying beat. The other player, called the uwa-byōshi (上拍子, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijō-daiko is called shin-daiko (新太鼓, "new taiko"), which differs from Kumaoji-daiko in multiple ways.  For instance, while the lead and accompanying roles are still present, shin-daiko performances use larger drums exclusively on stands. Shin-daiko emphasizes a more powerful sound, and consequently, performers use larger bachi made out of stronger wood. Looser clothing is worn by shin-daiko performers compared to kimono worn by Kumaoji-daiko performers; the looser clothing in shin-daiko allow performers to adopt more open stances and larger movements with the legs and arms. Rhythms used for the accompanying shita-byōshi role can also differ.  One type of rhythm, called yūkichi, consists of the following: 
This rhythm is found in both styles, but is always played faster in shin-daiko. Another type of rhythm, called honbadaki, is unique to shin-daiko and also contains a song which is performed in standard Japanese.
Output: What is the full name of the creator of the style that is thought to be the first to descend from the one reported in a journal in 1849?
Passage: Hachijō-daiko (八丈太鼓, trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima. Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one.
The first style of Hachijō-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi (下拍子, "lower beat"), provides the underlying beat. The other player, called the uwa-byōshi (上拍子, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijō-daiko is called shin-daiko (新太鼓, "new taiko"), which differs from Kumaoji-daiko in multiple ways.  For instance, while the lead and accompanying roles are still present, shin-daiko performances use larger drums exclusively on stands. Shin-daiko emphasizes a more powerful sound, and consequently, performers use larger bachi made out of stronger wood. Looser clothing is worn by shin-daiko performers compared to kimono worn by Kumaoji-daiko performers; the looser clothing in shin-daiko allow performers to adopt more open stances and larger movements with the legs and arms. Rhythms used for the accompanying shita-byōshi role can also differ.  One type of rhythm, called yūkichi, consists of the following: 
This rhythm is found in both styles, but is always played faster in shin-daiko. Another type of rhythm, called honbadaki, is unique to shin-daiko and also contains a song which is performed in standard Japanese.
Output: In the first style to descend from Hachijō-daiko, what is the title of the drum player who provides the underlying beat?
Passage: Hachijō-daiko (八丈太鼓, trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima. Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one.
The first style of Hachijō-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi (下拍子, "lower beat"), provides the underlying beat. The other player, called the uwa-byōshi (上拍子, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijō-daiko is called shin-daiko (新太鼓, "new taiko"), which differs from Kumaoji-daiko in multiple ways.  For instance, while the lead and accompanying roles are still present, shin-daiko performances use larger drums exclusively on stands. Shin-daiko emphasizes a more powerful sound, and consequently, performers use larger bachi made out of stronger wood. Looser clothing is worn by shin-daiko performers compared to kimono worn by Kumaoji-daiko performers; the looser clothing in shin-daiko allow performers to adopt more open stances and larger movements with the legs and arms. Rhythms used for the accompanying shita-byōshi role can also differ.  One type of rhythm, called yūkichi, consists of the following: 
This rhythm is found in both styles, but is always played faster in shin-daiko. Another type of rhythm, called honbadaki, is unique to shin-daiko and also contains a song which is performed in standard Japanese.
Output: In the first style to descend from Hachijō-daiko, what is the title of the drum player who provides the improvised rhythms?
Passage: Hachijō-daiko (八丈太鼓, trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima. Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one.
The first style of Hachijō-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi (下拍子, "lower beat"), provides the underlying beat. The other player, called the uwa-byōshi (上拍子, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijō-daiko is called shin-daiko (新太鼓, "new taiko"), which differs from Kumaoji-daiko in multiple ways.  For instance, while the lead and accompanying roles are still present, shin-daiko performances use larger drums exclusively on stands. Shin-daiko emphasizes a more powerful sound, and consequently, performers use larger bachi made out of stronger wood. Looser clothing is worn by shin-daiko performers compared to kimono worn by Kumaoji-daiko performers; the looser clothing in shin-daiko allow performers to adopt more open stances and larger movements with the legs and arms. Rhythms used for the accompanying shita-byōshi role can also differ.  One type of rhythm, called yūkichi, consists of the following: 
This rhythm is found in both styles, but is always played faster in shin-daiko. Another type of rhythm, called honbadaki, is unique to shin-daiko and also contains a song which is performed in standard Japanese.
Output: What is the name of the contemporary style that descended from the one recorded in a journal in 1849?
Passage: Hachijō-daiko (八丈太鼓, trans. "Hachijō-style taiko") is a taiko tradition originating on the island of Hachijō-jima. Two styles of Hachijō-daiko emerged and have been popularized among residents: an older tradition based on a historical account, and a newer tradition influenced by mainland groups and practiced by the majority of the islanders.The Hachijō-daiko tradition was documented as early as 1849 based on a journal kept by an exile named Kakuso Kizan. He mentioned some of its unique features, such as "a taiko is suspended from a tree while women and children gathered around", and observed that a player used either side of the drum while performing. Illustrations from Kizan's journal show features of Hachijō-daiko. These illustrations also featured women performing, which is unusual as taiko performance elsewhere during this period was typically reserved for men. Teachers of the tradition have noted that the majority of its performers were women; one estimate asserts that female performers outnumbered males by three to one.
The first style of Hachijō-daiko is thought to descend directly from the style reported by Kizan. This style is called Kumaoji-daiko, named after its creator Okuyama Kumaoji, a central performer of the style. Kumaoji-daiko has two players on a single drum, one of whom, called the shita-byōshi (下拍子, "lower beat"), provides the underlying beat. The other player, called the uwa-byōshi (上拍子, "upper beat"), builds on this rhythmical foundation with unique and typically improvised rhythms. While there are specific types of underlying rhythms, the accompanying player is free to express an original musical beat. Kumaoji-daiko also features an unusual positioning for taiko: the drums are sometimes suspended from ropes, and historically, sometimes drums were suspended from trees.The contemporary style of Hachijō-daiko is called shin-daiko (新太鼓, "new taiko"), which differs from Kumaoji-daiko in multiple ways.  For instance, while the lead and accompanying roles are still present, shin-daiko performances use larger drums exclusively on stands. Shin-daiko emphasizes a more powerful sound, and consequently, performers use larger bachi made out of stronger wood. Looser clothing is worn by shin-daiko performers compared to kimono worn by Kumaoji-daiko performers; the looser clothing in shin-daiko allow performers to adopt more open stances and larger movements with the legs and arms. Rhythms used for the accompanying shita-byōshi role can also differ.  One type of rhythm, called yūkichi, consists of the following: 
This rhythm is found in both styles, but is always played faster in shin-daiko. Another type of rhythm, called honbadaki, is unique to shin-daiko and also contains a song which is performed in standard Japanese.
Output: What is the traditional dress worn in the style that includes a shita-byōshi?
Passage: The Shackleton–Rowett Expedition (1921–22) was Sir Ernest Shackleton's last Antarctic project, and the final episode in the Heroic Age of Antarctic Exploration.
The venture, financed by John Quiller Rowett, is sometimes referred to as the Quest Expedition after its ship Quest, a converted Norwegian sealer. Shackleton had originally intended to go to the Arctic and explore the Beaufort Sea, but this plan was abandoned when the Canadian government withheld financial support; Shackleton thereupon switched his attention to the Antarctic. Quest, smaller than any recent Antarctic exploration vessel, soon proved inadequate for its task, and progress south was delayed by its poor sailing performance and by frequent engine problems. Before the expedition's work could properly begin, Shackleton died on board the ship, just after its arrival at the sub-Antarctic island of South Georgia.
The major part of the subsequent attenuated expedition was a three-month cruise to the eastern Antarctic, under the leadership of the party's second-in-command, Frank Wild. The shortcomings of Quest were soon in evidence: slow speed, heavy fuel consumption, a tendency to roll in heavy seas, and a steady leak. The ship was unable to proceed further than longitude 20°E, well short of its easterly target, and its engine's low power coupled with its unsuitable bows was insufficient for it to penetrate southward through the pack ice. Following several fruitless attempts, Wild returned the ship to South Georgia, on the way visiting Elephant Island where he and 21 others had been stranded after the sinking of the ship Endurance, during Shackleton's Imperial Trans-Antarctic Expedition six years earlier.
Output: What is the full name of the person that had to change plans when money was withheld?
Passage: The Shackleton–Rowett Expedition (1921–22) was Sir Ernest Shackleton's last Antarctic project, and the final episode in the Heroic Age of Antarctic Exploration.
The venture, financed by John Quiller Rowett, is sometimes referred to as the Quest Expedition after its ship Quest, a converted Norwegian sealer. Shackleton had originally intended to go to the Arctic and explore the Beaufort Sea, but this plan was abandoned when the Canadian government withheld financial support; Shackleton thereupon switched his attention to the Antarctic. Quest, smaller than any recent Antarctic exploration vessel, soon proved inadequate for its task, and progress south was delayed by its poor sailing performance and by frequent engine problems. Before the expedition's work could properly begin, Shackleton died on board the ship, just after its arrival at the sub-Antarctic island of South Georgia.
The major part of the subsequent attenuated expedition was a three-month cruise to the eastern Antarctic, under the leadership of the party's second-in-command, Frank Wild. The shortcomings of Quest were soon in evidence: slow speed, heavy fuel consumption, a tendency to roll in heavy seas, and a steady leak. The ship was unable to proceed further than longitude 20°E, well short of its easterly target, and its engine's low power coupled with its unsuitable bows was insufficient for it to penetrate southward through the pack ice. Following several fruitless attempts, Wild returned the ship to South Georgia, on the way visiting Elephant Island where he and 21 others had been stranded after the sinking of the ship Endurance, during Shackleton's Imperial Trans-Antarctic Expedition six years earlier.
Output: What was the full name of the person that had to change their plans when money was withheld?
Passage: The Shackleton–Rowett Expedition (1921–22) was Sir Ernest Shackleton's last Antarctic project, and the final episode in the Heroic Age of Antarctic Exploration.
The venture, financed by John Quiller Rowett, is sometimes referred to as the Quest Expedition after its ship Quest, a converted Norwegian sealer. Shackleton had originally intended to go to the Arctic and explore the Beaufort Sea, but this plan was abandoned when the Canadian government withheld financial support; Shackleton thereupon switched his attention to the Antarctic. Quest, smaller than any recent Antarctic exploration vessel, soon proved inadequate for its task, and progress south was delayed by its poor sailing performance and by frequent engine problems. Before the expedition's work could properly begin, Shackleton died on board the ship, just after its arrival at the sub-Antarctic island of South Georgia.
The major part of the subsequent attenuated expedition was a three-month cruise to the eastern Antarctic, under the leadership of the party's second-in-command, Frank Wild. The shortcomings of Quest were soon in evidence: slow speed, heavy fuel consumption, a tendency to roll in heavy seas, and a steady leak. The ship was unable to proceed further than longitude 20°E, well short of its easterly target, and its engine's low power coupled with its unsuitable bows was insufficient for it to penetrate southward through the pack ice. Following several fruitless attempts, Wild returned the ship to South Georgia, on the way visiting Elephant Island where he and 21 others had been stranded after the sinking of the ship Endurance, during Shackleton's Imperial Trans-Antarctic Expedition six years earlier.
Output: What was the full name of the person that was stranded on Elephant Island?
Passage: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers he is unlikely to have written something original.
Output: What were the name of the two movements discovered by Spencer and Tillett?
Passage: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Île Enchantée. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD.
Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Île Enchantée. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music that Sullivan provided, given that it was the only ballet that he wrote for use in an opera, and that three weeks after producing The Gondoliers he is unlikely to have written something original.
Output: Which one of Sullivan's five movements was not known to have been used in any other work?
Passage: Viking metal is a style of heavy metal music characterized by a lyrical and thematic focus on Norse mythology, Norse paganism, and the Viking Age. Viking metal is quite diverse as a musical style, to the point where some consider it more a cross-genre term than a genre, but it is typically seen as black metal with influences from Nordic folk music. Common traits include a slow-paced and heavy riffing style, anthemic choruses, use of both sung and harsh vocals, a reliance on folk instrumentation, and often the use of keyboards for atmospheric effect.
Viking metal emerged from black metal during the late 1980s and early 1990s, sharing with black metal an opposition to Christianity, but rejecting Satanism and occult themes in favor of the Vikings and paganism. It is similar, in lyrics, sound, and thematic imagery, to pagan metal, but pagan metal has a broader mythological focus and uses folk instrumentation more extensively. Most Viking metal bands originate from the Nordic countries, and nearly all bands claim that their members descend, directly or indirectly, from Vikings. Many scholars view Viking metal and the related black, pagan, and folk metal genres as part of broader modern Pagan and neo-völkisch movements as well as part of a global movement of renewed interest in, and celebration of, local and regional ethnicities.
Though artists such as Led Zeppelin, Yngwie Malmsteen, Heavy Load, and Manowar had previously dealt with Viking themes, Bathory from Sweden is generally credited with pioneering the style with its albums Blood Fire Death (1988) and Hammerheart (1990), which launched a renewed interest in the Viking Age among heavy metal musicians. Enslaved, from Norway, followed up on this burgeoning Viking trend with Hordanes Land (1993) and Vikingligr Veldi (1994). Burzum, Emperor, Einherjer, and Helheim, among others, helped further develop the genre in the early and mid-1990s. As early as 1989 with the founding of the German band Falkenbach, Viking metal began spreading from the Nordic countries to other nations with Viking history or an even broader Germanic heritage, and has since influenced musicians across the globe. The death metal bands Unleashed, Amon Amarth, and Ensiferum, which emerged in the early 1990s, also adopted Viking themes, broadening the style from its primarily black metal origin.
Output: What is the name of the band that is credited with pioneering Viking metal?
Passage: Viking metal is a style of heavy metal music characterized by a lyrical and thematic focus on Norse mythology, Norse paganism, and the Viking Age. Viking metal is quite diverse as a musical style, to the point where some consider it more a cross-genre term than a genre, but it is typically seen as black metal with influences from Nordic folk music. Common traits include a slow-paced and heavy riffing style, anthemic choruses, use of both sung and harsh vocals, a reliance on folk instrumentation, and often the use of keyboards for atmospheric effect.
Viking metal emerged from black metal during the late 1980s and early 1990s, sharing with black metal an opposition to Christianity, but rejecting Satanism and occult themes in favor of the Vikings and paganism. It is similar, in lyrics, sound, and thematic imagery, to pagan metal, but pagan metal has a broader mythological focus and uses folk instrumentation more extensively. Most Viking metal bands originate from the Nordic countries, and nearly all bands claim that their members descend, directly or indirectly, from Vikings. Many scholars view Viking metal and the related black, pagan, and folk metal genres as part of broader modern Pagan and neo-völkisch movements as well as part of a global movement of renewed interest in, and celebration of, local and regional ethnicities.
Though artists such as Led Zeppelin, Yngwie Malmsteen, Heavy Load, and Manowar had previously dealt with Viking themes, Bathory from Sweden is generally credited with pioneering the style with its albums Blood Fire Death (1988) and Hammerheart (1990), which launched a renewed interest in the Viking Age among heavy metal musicians. Enslaved, from Norway, followed up on this burgeoning Viking trend with Hordanes Land (1993) and Vikingligr Veldi (1994). Burzum, Emperor, Einherjer, and Helheim, among others, helped further develop the genre in the early and mid-1990s. As early as 1989 with the founding of the German band Falkenbach, Viking metal began spreading from the Nordic countries to other nations with Viking history or an even broader Germanic heritage, and has since influenced musicians across the globe. The death metal bands Unleashed, Amon Amarth, and Ensiferum, which emerged in the early 1990s, also adopted Viking themes, broadening the style from its primarily black metal origin.
Output: What is the name of the album that is credited with pioneering Viking metal?
Passage: Viking metal is a style of heavy metal music characterized by a lyrical and thematic focus on Norse mythology, Norse paganism, and the Viking Age. Viking metal is quite diverse as a musical style, to the point where some consider it more a cross-genre term than a genre, but it is typically seen as black metal with influences from Nordic folk music. Common traits include a slow-paced and heavy riffing style, anthemic choruses, use of both sung and harsh vocals, a reliance on folk instrumentation, and often the use of keyboards for atmospheric effect.
Viking metal emerged from black metal during the late 1980s and early 1990s, sharing with black metal an opposition to Christianity, but rejecting Satanism and occult themes in favor of the Vikings and paganism. It is similar, in lyrics, sound, and thematic imagery, to pagan metal, but pagan metal has a broader mythological focus and uses folk instrumentation more extensively. Most Viking metal bands originate from the Nordic countries, and nearly all bands claim that their members descend, directly or indirectly, from Vikings. Many scholars view Viking metal and the related black, pagan, and folk metal genres as part of broader modern Pagan and neo-völkisch movements as well as part of a global movement of renewed interest in, and celebration of, local and regional ethnicities.
Though artists such as Led Zeppelin, Yngwie Malmsteen, Heavy Load, and Manowar had previously dealt with Viking themes, Bathory from Sweden is generally credited with pioneering the style with its albums Blood Fire Death (1988) and Hammerheart (1990), which launched a renewed interest in the Viking Age among heavy metal musicians. Enslaved, from Norway, followed up on this burgeoning Viking trend with Hordanes Land (1993) and Vikingligr Veldi (1994). Burzum, Emperor, Einherjer, and Helheim, among others, helped further develop the genre in the early and mid-1990s. As early as 1989 with the founding of the German band Falkenbach, Viking metal began spreading from the Nordic countries to other nations with Viking history or an even broader Germanic heritage, and has since influenced musicians across the globe. The death metal bands Unleashed, Amon Amarth, and Ensiferum, which emerged in the early 1990s, also adopted Viking themes, broadening the style from its primarily black metal origin.
Output: In what year was the first Viking metal album released?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who does Dodger help steal food?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who greets Oliver warmly?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who does Fagin accept into the gang?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who gave food to his friends?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who are the dog in Fagin's gang?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who did the gang cheer up?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: What is the name of the character who Dodger helps steal food?
Passage: On Fifth Avenue, an orphaned kitten named Oliver is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Oliver meets a laid-back mongrel named Dodger who assists the kitten in stealing food from a hot dog vendor named Louie. Dodger then flees the scene without sharing his bounty with Oliver. Oliver follows Dodger all throughout the streets until he eventually arrives at the barge of his owner, a pickpocket named Fagin, along with his meal, to give to his friends: Tito the chihuahua, Einstein the Great Dane, Rita the Saluki, and Francis the bulldog. Oliver sneaks inside, located below the docks, and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. Fagin comes in and explains that he is running out of time to repay the money he borrowed from Sykes, a nefarious shipyard agent and loan shark. Sykes tells Fagin that the money must be paid in three days, under the threat of resolving to violence. Sykes's dobermans, Roscoe and DeSoto, attack Oliver, but the cat is defended by Fagin's dogs. Immediately thereafter, a depressed Fagin returns to the barge, lamenting that he only has three days to find the money he owes Sykes. After the dogs cheer him up, Fagin is introduced to Oliver, and, considering that they all need help, accepts him into the gang.
Output: Who is owned by a pickpocket who lives on a barge?