niryuu/sni-each-converted huggingface dataset:
Passage: When two grade-school boys get into a fight in the park that results in one boy, Zachary Cowan, hitting the other, Ethan Longstreet, in the face with a stick, their parents meet in a Brooklyn apartment to discuss the matter. Zachary's parents, Alan and Nancy Cowan, visit the home of Michael and Penelope Longstreet, Ethan's parents. Their meeting is initially intended to be short, but due to various circumstances, the conversation continues to draw out.
In fact, Alan and Nancy begin to leave the apartment on two occasions, but are drawn back in to further discussion.
At first, the couples are friendly to each other, but their respective comments start to hurt feelings, making everyone argue with one another. Apart from fighting among themselves, the couples blame each other about who is responsible for the fight between their sons. Nancy calls the Longstreets "superficially fair-minded" and Penelope and Michael complain about Alan's arrogant and dull attitude. Everyone also gets irritated with Alan when he accepts endless business phone calls on his BlackBerry, interrupting the discussion, and showing he has more interest in his business problems than the matter at hand. Michael also receives many phone calls from his ailing mother, to his frustration.
Nancy accuses Michael of being a murderer because he, annoyed by the constant noise it made during the night, had earlier turned his daughter Courtney's pet hamster loose in the street. Penelope becomes emotional about the hamster and with everyone arguing with each other. Other issues include a risky drug Alan is working to defend and Michael's mother has been prescribed, and the question of idealism and responsibility that is part of Penelope's current work.
Output: Who is Courtney's mother?
Passage: When two grade-school boys get into a fight in the park that results in one boy, Zachary Cowan, hitting the other, Ethan Longstreet, in the face with a stick, their parents meet in a Brooklyn apartment to discuss the matter. Zachary's parents, Alan and Nancy Cowan, visit the home of Michael and Penelope Longstreet, Ethan's parents. Their meeting is initially intended to be short, but due to various circumstances, the conversation continues to draw out.
In fact, Alan and Nancy begin to leave the apartment on two occasions, but are drawn back in to further discussion.
At first, the couples are friendly to each other, but their respective comments start to hurt feelings, making everyone argue with one another. Apart from fighting among themselves, the couples blame each other about who is responsible for the fight between their sons. Nancy calls the Longstreets "superficially fair-minded" and Penelope and Michael complain about Alan's arrogant and dull attitude. Everyone also gets irritated with Alan when he accepts endless business phone calls on his BlackBerry, interrupting the discussion, and showing he has more interest in his business problems than the matter at hand. Michael also receives many phone calls from his ailing mother, to his frustration.
Nancy accuses Michael of being a murderer because he, annoyed by the constant noise it made during the night, had earlier turned his daughter Courtney's pet hamster loose in the street. Penelope becomes emotional about the hamster and with everyone arguing with each other. Other issues include a risky drug Alan is working to defend and Michael's mother has been prescribed, and the question of idealism and responsibility that is part of Penelope's current work.
Output: Who was annoyed by Courtney's hamster?
Passage: Tara is a wife to Mark and a stay-at-home mother to two children, Teddy and Florrie. Tara goes to a nearby park and seems upset. There is a passage of time.
Tara and Mark are asleep in bed, when they are woken by a phone call. Tara resignedly has sex with Mark, during which she is in tears, unknowingly to Mark. She helps Mark get ready for work, and takes the children to school. When she leaves the school she stops and stands outside, in distress. The following Saturday morning Tara wakes up early, trying not to wake up Mark. He does wake up and she reluctantly engages in sex with him, again in distress unnoticed by Mark. Following a visit to the park, Mark tries to have sex with her in one of the children's rooms, which she refuses. Mark questions whether she's having an affair which she denies and they argue. Later they're having a BBQ with friends and Mark berates her for not providing drinks for the guests. That evening they are having sex again, and Tara again is crying and in distress. Afterwards she repeatedly whispers that she is not happy, and after some brief discussion with Mark she says she's going to sleep. There is a passage of time.
Output: What is the name of the person who berates Teddy's mother?
Passage: Tara is a wife to Mark and a stay-at-home mother to two children, Teddy and Florrie. Tara goes to a nearby park and seems upset. There is a passage of time.
Tara and Mark are asleep in bed, when they are woken by a phone call. Tara resignedly has sex with Mark, during which she is in tears, unknowingly to Mark. She helps Mark get ready for work, and takes the children to school. When she leaves the school she stops and stands outside, in distress. The following Saturday morning Tara wakes up early, trying not to wake up Mark. He does wake up and she reluctantly engages in sex with him, again in distress unnoticed by Mark. Following a visit to the park, Mark tries to have sex with her in one of the children's rooms, which she refuses. Mark questions whether she's having an affair which she denies and they argue. Later they're having a BBQ with friends and Mark berates her for not providing drinks for the guests. That evening they are having sex again, and Tara again is crying and in distress. Afterwards she repeatedly whispers that she is not happy, and after some brief discussion with Mark she says she's going to sleep. There is a passage of time.
Output: Who denies having an affair?
Passage: Tara is a wife to Mark and a stay-at-home mother to two children, Teddy and Florrie. Tara goes to a nearby park and seems upset. There is a passage of time.
Tara and Mark are asleep in bed, when they are woken by a phone call. Tara resignedly has sex with Mark, during which she is in tears, unknowingly to Mark. She helps Mark get ready for work, and takes the children to school. When she leaves the school she stops and stands outside, in distress. The following Saturday morning Tara wakes up early, trying not to wake up Mark. He does wake up and she reluctantly engages in sex with him, again in distress unnoticed by Mark. Following a visit to the park, Mark tries to have sex with her in one of the children's rooms, which she refuses. Mark questions whether she's having an affair which she denies and they argue. Later they're having a BBQ with friends and Mark berates her for not providing drinks for the guests. That evening they are having sex again, and Tara again is crying and in distress. Afterwards she repeatedly whispers that she is not happy, and after some brief discussion with Mark she says she's going to sleep. There is a passage of time.
Output: Who is in tears during sex?
Passage: Bruce's early work involved advising clients and rebuilding existing houses, rather than designing new buildings from scratch. Panmure House and Leslie House (seat of the Earl of Rothes) had been projects of the king's master mason John Mylne. At Panmure, although Bruce has been credited with the design in the past, the works were overseen by Alexander Nisbet, although Bruce did design the gates and gate piers. At Leslie, Bruce oversaw the works after Mylne's death, and probably made his own amendments. Panmure was demolished in the 1950s, and only a small part of Leslie House remains standing, following a fire in the 18th century. Bruce later advised the Duke of Queensberry regarding his plans for Drumlanrig Castle.
Bruce also worked on his own property at Balcaskie, Fife, which he bought in 1665, and which does survive intact, although with later alterations. He doubled the L-plan house to a near-symmetrical U-plan, and may have built the curving wing-walls and linking pavilions. Gifford, however, attributes these to a later building phase. The curving walls, a form later seen at Hopetoun, were a new innovation if Bruce did carry them out, possibly inspired by the work of the Italian Gian Lorenzo Bernini. In the gardens he laid out parterres and stepped "Italian" terraces, with a vista leading the eye to the Bass Rock, all inspired by French baroque gardens such as Vaux-le-Vicomte. Internally, Bruce created a new layout of rooms, and it was for his continental-inspired internal planning, as much as his exterior design, that he was sought after as an architect.In 1670 the Duke of Lauderdale commissioned Bruce to remodel Thirlestane Castle, his 16th-century tower house in the Border country. Bruce, working with King's master mason Robert Mylne, extended the building with new corner pavilions and a new entrance, and re-planned the interior. Lauderdale continued to employ Bruce, often working closely with Lord Haltoun, Lauderdale's brother, during the 1670s, on his homes at Brunstane near Edinburgh, and Lethington (later renamed Lennoxlove), as well as commissioning a design for new gates at his English property, Ham House, near London, in 1671. At Ham Bruce may have had further involvement with the remodelling works going on there, under the direction of the English architect William Samwell. While engaged at Thirlestane, Bruce also designed the nearby Lauder Kirk, his only complete church. One of very few 17th century cruciform-plan churches in Scotland, it may have been inspired by François Mansart's similar church at Balleroy in France.
Output: What is the name of the person who laid out parterres in the gardens?
Passage: Bruce's early work involved advising clients and rebuilding existing houses, rather than designing new buildings from scratch. Panmure House and Leslie House (seat of the Earl of Rothes) had been projects of the king's master mason John Mylne. At Panmure, although Bruce has been credited with the design in the past, the works were overseen by Alexander Nisbet, although Bruce did design the gates and gate piers. At Leslie, Bruce oversaw the works after Mylne's death, and probably made his own amendments. Panmure was demolished in the 1950s, and only a small part of Leslie House remains standing, following a fire in the 18th century. Bruce later advised the Duke of Queensberry regarding his plans for Drumlanrig Castle.
Bruce also worked on his own property at Balcaskie, Fife, which he bought in 1665, and which does survive intact, although with later alterations. He doubled the L-plan house to a near-symmetrical U-plan, and may have built the curving wing-walls and linking pavilions. Gifford, however, attributes these to a later building phase. The curving walls, a form later seen at Hopetoun, were a new innovation if Bruce did carry them out, possibly inspired by the work of the Italian Gian Lorenzo Bernini. In the gardens he laid out parterres and stepped "Italian" terraces, with a vista leading the eye to the Bass Rock, all inspired by French baroque gardens such as Vaux-le-Vicomte. Internally, Bruce created a new layout of rooms, and it was for his continental-inspired internal planning, as much as his exterior design, that he was sought after as an architect.In 1670 the Duke of Lauderdale commissioned Bruce to remodel Thirlestane Castle, his 16th-century tower house in the Border country. Bruce, working with King's master mason Robert Mylne, extended the building with new corner pavilions and a new entrance, and re-planned the interior. Lauderdale continued to employ Bruce, often working closely with Lord Haltoun, Lauderdale's brother, during the 1670s, on his homes at Brunstane near Edinburgh, and Lethington (later renamed Lennoxlove), as well as commissioning a design for new gates at his English property, Ham House, near London, in 1671. At Ham Bruce may have had further involvement with the remodelling works going on there, under the direction of the English architect William Samwell. While engaged at Thirlestane, Bruce also designed the nearby Lauder Kirk, his only complete church. One of very few 17th century cruciform-plan churches in Scotland, it may have been inspired by François Mansart's similar church at Balleroy in France.
Output: What is the name of the person who laid out stepped "Italian" terraces in the gardens?
Passage: Bruce's early work involved advising clients and rebuilding existing houses, rather than designing new buildings from scratch. Panmure House and Leslie House (seat of the Earl of Rothes) had been projects of the king's master mason John Mylne. At Panmure, although Bruce has been credited with the design in the past, the works were overseen by Alexander Nisbet, although Bruce did design the gates and gate piers. At Leslie, Bruce oversaw the works after Mylne's death, and probably made his own amendments. Panmure was demolished in the 1950s, and only a small part of Leslie House remains standing, following a fire in the 18th century. Bruce later advised the Duke of Queensberry regarding his plans for Drumlanrig Castle.
Bruce also worked on his own property at Balcaskie, Fife, which he bought in 1665, and which does survive intact, although with later alterations. He doubled the L-plan house to a near-symmetrical U-plan, and may have built the curving wing-walls and linking pavilions. Gifford, however, attributes these to a later building phase. The curving walls, a form later seen at Hopetoun, were a new innovation if Bruce did carry them out, possibly inspired by the work of the Italian Gian Lorenzo Bernini. In the gardens he laid out parterres and stepped "Italian" terraces, with a vista leading the eye to the Bass Rock, all inspired by French baroque gardens such as Vaux-le-Vicomte. Internally, Bruce created a new layout of rooms, and it was for his continental-inspired internal planning, as much as his exterior design, that he was sought after as an architect.In 1670 the Duke of Lauderdale commissioned Bruce to remodel Thirlestane Castle, his 16th-century tower house in the Border country. Bruce, working with King's master mason Robert Mylne, extended the building with new corner pavilions and a new entrance, and re-planned the interior. Lauderdale continued to employ Bruce, often working closely with Lord Haltoun, Lauderdale's brother, during the 1670s, on his homes at Brunstane near Edinburgh, and Lethington (later renamed Lennoxlove), as well as commissioning a design for new gates at his English property, Ham House, near London, in 1671. At Ham Bruce may have had further involvement with the remodelling works going on there, under the direction of the English architect William Samwell. While engaged at Thirlestane, Bruce also designed the nearby Lauder Kirk, his only complete church. One of very few 17th century cruciform-plan churches in Scotland, it may have been inspired by François Mansart's similar church at Balleroy in France.
Output: Whose work was inspired by French baroque gardens?
Passage: Bruce's early work involved advising clients and rebuilding existing houses, rather than designing new buildings from scratch. Panmure House and Leslie House (seat of the Earl of Rothes) had been projects of the king's master mason John Mylne. At Panmure, although Bruce has been credited with the design in the past, the works were overseen by Alexander Nisbet, although Bruce did design the gates and gate piers. At Leslie, Bruce oversaw the works after Mylne's death, and probably made his own amendments. Panmure was demolished in the 1950s, and only a small part of Leslie House remains standing, following a fire in the 18th century. Bruce later advised the Duke of Queensberry regarding his plans for Drumlanrig Castle.
Bruce also worked on his own property at Balcaskie, Fife, which he bought in 1665, and which does survive intact, although with later alterations. He doubled the L-plan house to a near-symmetrical U-plan, and may have built the curving wing-walls and linking pavilions. Gifford, however, attributes these to a later building phase. The curving walls, a form later seen at Hopetoun, were a new innovation if Bruce did carry them out, possibly inspired by the work of the Italian Gian Lorenzo Bernini. In the gardens he laid out parterres and stepped "Italian" terraces, with a vista leading the eye to the Bass Rock, all inspired by French baroque gardens such as Vaux-le-Vicomte. Internally, Bruce created a new layout of rooms, and it was for his continental-inspired internal planning, as much as his exterior design, that he was sought after as an architect.In 1670 the Duke of Lauderdale commissioned Bruce to remodel Thirlestane Castle, his 16th-century tower house in the Border country. Bruce, working with King's master mason Robert Mylne, extended the building with new corner pavilions and a new entrance, and re-planned the interior. Lauderdale continued to employ Bruce, often working closely with Lord Haltoun, Lauderdale's brother, during the 1670s, on his homes at Brunstane near Edinburgh, and Lethington (later renamed Lennoxlove), as well as commissioning a design for new gates at his English property, Ham House, near London, in 1671. At Ham Bruce may have had further involvement with the remodelling works going on there, under the direction of the English architect William Samwell. While engaged at Thirlestane, Bruce also designed the nearby Lauder Kirk, his only complete church. One of very few 17th century cruciform-plan churches in Scotland, it may have been inspired by François Mansart's similar church at Balleroy in France.
Output: Who had a 16th-century tower house in the Border country?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What beast was the band trying to emulate, dragging itself into the sea?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song has an aggressive finale?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song's 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song's title derives from the lyrics to the David Bowie song "Ziggy Stardust?"?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song opens with a fade-in bass section?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song has mid-tempo riffing, followed by a bass solo at half-tempo?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song did Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies?
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple.
Output: What song starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death?"?
Passage: Frusciante wrote and recorded a plethora of songs during and after the By the Way tour. In February 2004, he started a side project with Joe Lally of Fugazi and Josh Klinghoffer, called Ataxia. The group was together for about two weeks, during which they recorded about ninety minutes of material. After two days in the recording studio, they played two shows at the Knitting Factory in Hollywood, and spent two more days in the studio before disbanding. Later that year, five songs provided by Frusciante appeared on The Brown Bunny soundtrack.
Frusciante released his fourth full-length solo album Shadows Collide with People on February 24, 2004. This featured guest appearances from some of his friends, including Klinghoffer, and Chili Peppers bandmates Smith and Flea. In June 2004, he announced that he would be releasing six records over six months: The Will to Death, Ataxia's Automatic Writing, DC EP, Inside of Emptiness, A Sphere in the Heart of Silence and Curtains. With the release of Curtains Frusciante debuted his only music video of 2004, for the track "The Past Recedes". He wanted to produce these records quickly and inexpensively on analog tape, avoiding modern studio and computer-assisted recording processes. Frusciante noted, "These six records were recorded in a period of six months after coming home from touring with the Chili Peppers for one-and-a-half years. I made a list of all the songs I had and they totaled about seventy. My objective was to record as many songs as I could during the break that I had. In the midst of doing that, I was writing some of my best songs, so some of these albums have as many new songs as old songs. It was definitely the most productive time of my life.".
Output: What are the last names of the people who recorded about ninety minutes of material?