niryuu/sni-each-converted huggingface dataset:
Passage: Struggling actor Andrew Largeman wakes up from a dream—in which he apathetically sits on a crashing plane—to a telephone message from his father, telling Andrew that he needs to return home because his mother has died.
Andrew leaves Los Angeles and returns home to New Jersey to attend the funeral. He recognizes the grave-diggers as old friends Mark and Dave, who invite him to a party that night. At home, Andrew's father gets him a doctor's appointment for headaches that he's been having.
Later that night, Andrew goes to the party where he meets up with Mark, Dave, and Jesse, an old friend who has just earned a fortune after creating silent Velcro. After smoking marijuana and taking ecstasy at the party, he still remains detached.
The morning after the party, Andrew proceeds to the appointment. In the waiting room, he meets a young woman named Sam, who is a pathological liar. She later explains that most times she does not know why she lies and will always admit to them afterward. In Andrew's meeting with his doctor, it is revealed that Andrew has been on lithium and other mood stabilizers, as well as antidepressants, since the age of 10, but has recently stopped taking them. He also says that his father, who is his psychiatrist, put him on the medication. Andrew finds Sam outside the office and offers her a ride home. Sam invites him into her house, and he meets her mother, who inadvertently reveals that Sam has epilepsy. Andrew tells Sam of his mother's death, and Sam tearfully eulogizes her hamster. After returning home, Andrew's father confronts him and is insistent that they have a talk before Andrew leaves.
Output: Who did Mark, Dave and Jesse meet at the party?
Passage: Struggling actor Andrew Largeman wakes up from a dream—in which he apathetically sits on a crashing plane—to a telephone message from his father, telling Andrew that he needs to return home because his mother has died.
Andrew leaves Los Angeles and returns home to New Jersey to attend the funeral. He recognizes the grave-diggers as old friends Mark and Dave, who invite him to a party that night. At home, Andrew's father gets him a doctor's appointment for headaches that he's been having.
Later that night, Andrew goes to the party where he meets up with Mark, Dave, and Jesse, an old friend who has just earned a fortune after creating silent Velcro. After smoking marijuana and taking ecstasy at the party, he still remains detached.
The morning after the party, Andrew proceeds to the appointment. In the waiting room, he meets a young woman named Sam, who is a pathological liar. She later explains that most times she does not know why she lies and will always admit to them afterward. In Andrew's meeting with his doctor, it is revealed that Andrew has been on lithium and other mood stabilizers, as well as antidepressants, since the age of 10, but has recently stopped taking them. He also says that his father, who is his psychiatrist, put him on the medication. Andrew finds Sam outside the office and offers her a ride home. Sam invites him into her house, and he meets her mother, who inadvertently reveals that Sam has epilepsy. Andrew tells Sam of his mother's death, and Sam tearfully eulogizes her hamster. After returning home, Andrew's father confronts him and is insistent that they have a talk before Andrew leaves.
Output: Who did Andrew Largeman meet at the doctors office?
Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.
Output: What is the name of the band that was heavily influenced by the "motorik" technique?
Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.
Output: What is the name of the band that their music also had "echoes of bubblegum, of exotica,?
Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.
Output: What is the name of the band that was inspired by funk, jazz, and Brazilian music?
Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.
Output: What band has musical influences such as Burt Bacharach?
Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.
Output: What is the name of the album that Rick Reger said it was between the Beach Boys and Kraftwerk?
Passage: Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.
Output: What band was referencing the decidedly unhip Burt Bacharach?
Passage: In 1993, four years after the third film, Allison Kramer, a survivor from the original Sleepaway Camp, is plagued by nightmares that revisit the gruesome camp site. Unable to recall the actual occurrences due to a forced mental block, she seeks the help of a psychiatrist in overcoming her insomnia.
After numerous visits and hypnosis, Allison's psychiatrist tells her that she is a survivor of a camp massacre which occurred over a decade ago. Her disbelief of the whole situation inclines the psychiatrist to advise her to return to the site for an afternoon, in hopes that if she were to see the scene of the crime, she would remember and overcome them.
Output: What is the first name of the person who seeks the help of a psychiatrist?
Passage: In 1993, four years after the third film, Allison Kramer, a survivor from the original Sleepaway Camp, is plagued by nightmares that revisit the gruesome camp site. Unable to recall the actual occurrences due to a forced mental block, she seeks the help of a psychiatrist in overcoming her insomnia.
After numerous visits and hypnosis, Allison's psychiatrist tells her that she is a survivor of a camp massacre which occurred over a decade ago. Her disbelief of the whole situation inclines the psychiatrist to advise her to return to the site for an afternoon, in hopes that if she were to see the scene of the crime, she would remember and overcome them.
Output: What is the first name of the person who has insomnia?
Passage: In 1993, four years after the third film, Allison Kramer, a survivor from the original Sleepaway Camp, is plagued by nightmares that revisit the gruesome camp site. Unable to recall the actual occurrences due to a forced mental block, she seeks the help of a psychiatrist in overcoming her insomnia.
After numerous visits and hypnosis, Allison's psychiatrist tells her that she is a survivor of a camp massacre which occurred over a decade ago. Her disbelief of the whole situation inclines the psychiatrist to advise her to return to the site for an afternoon, in hopes that if she were to see the scene of the crime, she would remember and overcome them.
Output: What is the full name of the person who is told that they are the survivor of a camp massacre?
Passage: In 1993, four years after the third film, Allison Kramer, a survivor from the original Sleepaway Camp, is plagued by nightmares that revisit the gruesome camp site. Unable to recall the actual occurrences due to a forced mental block, she seeks the help of a psychiatrist in overcoming her insomnia.
After numerous visits and hypnosis, Allison's psychiatrist tells her that she is a survivor of a camp massacre which occurred over a decade ago. Her disbelief of the whole situation inclines the psychiatrist to advise her to return to the site for an afternoon, in hopes that if she were to see the scene of the crime, she would remember and overcome them.
Output: What is the first name of the person who is advised by a psychiatrist to return to the scene of the crime?
Passage: The Sci-Fi Dine-In has received mixed reviews. Jack Hayes of Nation's Restaurant News calls the Sci-Fi Dine-In "wacky" and "on the cutting edge of sheer dining fun". In USA Today's list of the sixteen best restaurants in American amusement parks, the Sci-Fi Dine-In ranks fifteenth. Samuel Muston of The Independent writes that the Sci-Fi Dine-In is "memorable in the best way". In the Evansville Courier & Press, Pete DiPrimio writes that the Sci-Fi Dine-In ranks among the most unusual of the restaurants at Disney's Hollywood Studios. In The Unofficial Guide to Walt Disney World 2015, Bob Sehlinger and Len Testa call the Sci-Fi Dine-In the most entertaining restaurant in Walt Disney World, writing that "everyone gets a kick out of this unusual dining room".Multiple reviewers have called the Sci-Fi Dine-In more notable for being an attraction than a food destination. One reviewer from The Guardian compares the Sci-Fi Dine-In to Epcot's Coral Reef Restaurant, writing that both restaurants "are great settings" where "eating is awful". Sehlinger and Testa consider the prices too high, and the food too simple, although they praise the Reuben sandwich and the ribs. Schultz writes that the food is simple and that some of the beers are decent. The book DK Eyewitness Travel Guide: Walt Disney World Resort & Orlando also states that the food is more expensive than it is worth. Ed Bumgardner of the Winston-Salem Journal shared this opinion as well, specifically singling out the restaurant's roast beef sandwich as a ripoff, despite calling it delicious. Peggy Katalinich of the Tampa Bay Times writes that, although the food is mediocre, "Who cares? Food is besides the point". She goes on to argue that the prices are low, particularly for sandwiches. In Frommer's Walt Disney World and Orlando 2012, Laura Lea Miller expresses disappointment that the menu no longer contains the playful item names it once did. She writes positively of the atmosphere, but considers the food mediocre. In the book Walt Disney World Resort: Also Includes Seaworld and Central Florida, Corey Sandler writes that the Sci-Fi Dine-In is "a must-see eatery... for adults and adventurous kids" and that "the food is appropriate for a drive-in theater—very ordinary, but that's not really the reason you came".
Output: What is the full name of the person who goes on to argue that the prices are low, particularly for sandwiches?
Passage: The Sci-Fi Dine-In has received mixed reviews. Jack Hayes of Nation's Restaurant News calls the Sci-Fi Dine-In "wacky" and "on the cutting edge of sheer dining fun". In USA Today's list of the sixteen best restaurants in American amusement parks, the Sci-Fi Dine-In ranks fifteenth. Samuel Muston of The Independent writes that the Sci-Fi Dine-In is "memorable in the best way". In the Evansville Courier & Press, Pete DiPrimio writes that the Sci-Fi Dine-In ranks among the most unusual of the restaurants at Disney's Hollywood Studios. In The Unofficial Guide to Walt Disney World 2015, Bob Sehlinger and Len Testa call the Sci-Fi Dine-In the most entertaining restaurant in Walt Disney World, writing that "everyone gets a kick out of this unusual dining room".Multiple reviewers have called the Sci-Fi Dine-In more notable for being an attraction than a food destination. One reviewer from The Guardian compares the Sci-Fi Dine-In to Epcot's Coral Reef Restaurant, writing that both restaurants "are great settings" where "eating is awful". Sehlinger and Testa consider the prices too high, and the food too simple, although they praise the Reuben sandwich and the ribs. Schultz writes that the food is simple and that some of the beers are decent. The book DK Eyewitness Travel Guide: Walt Disney World Resort & Orlando also states that the food is more expensive than it is worth. Ed Bumgardner of the Winston-Salem Journal shared this opinion as well, specifically singling out the restaurant's roast beef sandwich as a ripoff, despite calling it delicious. Peggy Katalinich of the Tampa Bay Times writes that, although the food is mediocre, "Who cares? Food is besides the point". She goes on to argue that the prices are low, particularly for sandwiches. In Frommer's Walt Disney World and Orlando 2012, Laura Lea Miller expresses disappointment that the menu no longer contains the playful item names it once did. She writes positively of the atmosphere, but considers the food mediocre. In the book Walt Disney World Resort: Also Includes Seaworld and Central Florida, Corey Sandler writes that the Sci-Fi Dine-In is "a must-see eatery... for adults and adventurous kids" and that "the food is appropriate for a drive-in theater—very ordinary, but that's not really the reason you came".
Output: What is the full name of the person who writes positively of the atmosphere, but considers the food mediocre?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who Cobain hired to produce in Utero?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who hired Steve to produce In Utero?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who discovered a template for the mix of heavy noise and pop?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the full name of the person who remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody?"?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who was hired for their work with Surfer Rosa?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have?"?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the name of the band that released Surfer Rosa?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What did Corgan describe as so fresh?
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.".
Output: What is the first name of the person who said he had "Never have I seen four cows more anxious to be led around by their nose rings?"?
Passage: Practical Pig, Fiddler Pig and Fifer Pig are three brothers who build their own houses with bricks, sticks and straw respectively. Practical Pig warns his brothers to build their house with "War Savings Certificate" bricks so that the house will be a solid defence against the marauding Wolf. Fifer and Fiddler ignore him and continue to play, singing "Who's Afraid of the Big Bad Wolf?".
As they are singing, the Big Bad Wolf in Nazi swastika regalia, attacks the two spendthrifts, and blows Fifer's straw house down. Fifer manages to escape and hides at Fiddler's stick house but the Wolf also blows it down. The two pigs run and hide at Practical's brick house. The Wolf then tries to blow down the strong brick house (losing his clothing in the process), but is unable to make much progress as the bricks have made a strong foundation.
Finally, Practical Pig chases the wolf away in a flurry of bricks that unerringly hit the Nazi marauder in his rear. The three pigs then sing "Who's Afraid of the Big Bad Wolf?" but with the caution that their house has to be in order to keep the wolf away.
A pastiche of war scenes follows, each of which ends with a message, such as an aircraft shooting out the message, "Invest in Victory". Other messages show the importance of spending less, and lending savings to create the weapons of war. Purchasing war savings certificates, are sold in a "Five for Four" arrangement,.
Output: What does Fiddler Pig use to build their house?