Problem: The answer to the question: What is not a fucking documentary? is inside the article: Despite their short career, Joy Division have exerted a wide-reaching influence. John Bush of AllMusic argues that Joy Division "became the first band in the post-punk movement by ... emphasizing not anger and energy but mood and expression, pointing ahead to the rise of melancholy alternative music in the '80s."Joy Division have influenced bands including their contemporaries U2 and the Cure to later acts such as Radiohead, Nine Inch Nails, Neurosis, Interpol, Bloc Party, Editors and rap artists. Rapper Danny Brown named his album Atrocity Exhibition after the Joy Division song, whose title was partially inspired by the 1970 J. G. Ballard collection of condensed novels of the same name. In 2005, both New Order and Joy Division were inducted into the UK Music Hall of Fame.The band's dark sound, which Martin Hannett described in 1979 as "dancing music with Gothic overtones", presaged the gothic rock genre. While the term "gothic" originally described a "doomy atmosphere" in music of the late 1970s, the term was soon applied to specific bands like Bauhaus that followed in the wake of Joy Division and Siouxsie and the Banshees. Standard musical fixtures of early gothic rock bands included "high-pitched post-Joy Division basslines usurp[ing] the melodic role" and "vocals that were either near operatic and Teutonic or deep, droning alloys of Jim Morrison and Ian Curtis."Joy Division have been dramatised in two biopics. 24 Hour Party People (2002) is a fictionalised account of Factory Records in which members of the band appear as supporting characters. Tony Wilson said of the film, "It's all true, it's all not true. It's not a fucking documentary," and that he favoured the "myth" over the truth. The 2007 film Control, directed by Anton Corbijn, is a biography of Ian Curtis (portrayed by Sam Riley) that uses Deborah Curtis's biography of her late husband, Touching from a Distance (1995), as its basis. Control had its international premiere on the opening night of Director's Fortnight at the 2007 Cannes Film..., can you guess it ?

A: 24 Hour Party People

Problem: The answer to the question: What is the last name of the person who was influenced by Slayer? is inside the article: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Akerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Akerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Akerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Akerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodiesany of which are subject to savage punctuations of death metal fury at any given moment." Akerfeldt commented on the diversity of Opeth's music: I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music...., can you guess it ?

A: Akerfeldt

Problem: The answer to the question: What is the full name and title of the symphony described by Nielsen as "the life force, the unquenchable will to live"? is inside the article: Nielsen is perhaps most closely associated outside Denmark with his six symphonies, written between 1892 and 1925. The works have much in common: they are all just over 30 minutes long, brass instruments are a key component of the orchestration, and they all exhibit unusual changes in tonality, which heighten the dramatic tension. From its opening bars, Symphony No. 1 (Op. 7, 189092), while reflecting the influence of Grieg and Brahms, shows Nielsen's individuality. In Symphony No. 2 (Op. 16, 190102), Nielsen embarks on the development of human character. Inspiration came from a painting in an inn depicting the four temperaments (choleric, phlegmatic, melancholic, and sanguine).The title of Symphony No. 3, Sinfonia Espansiva (Op. 27, 191011), is understood by the English composer Robert Simpson to refer to the "outward growth of the mind's scope". It fully exploits Nielsen's technique of confronting two keys at the same time and includes a peaceful section with soprano and baritone voices, singing a tune without words. Symphony No. 4, The Inextinguishable (Op. 29, 191416), written during World War I, is among the most frequently performed of the symphonies. In the last movement two sets of timpani are placed on opposite sides of the stage undertaking a kind of musical duel. Nielsen described the symphony as "the life force, the unquenchable will to live".Also frequently performed is the Symphony No. 5 (Op. 50, 192122), presenting another battle between the forces of order and chaos. A snare drummer is given the task of interrupting the orchestra, playing ad libitum and out of time, as if to destroy the music. Performed by the Danish Radio Symphony Orchestra conducted by Erik Tuxen at the 1950 Edinburgh International Festival, it caused a sensation, sparking interest in Nielsen's music outside Scandinavia. In Symphony No. 6 (without opus number), written 192425, and subtitled Sinfonia Semplice (Simple Symphony), the tonal language seems similar to that in Nielsen's other symphonies, but the symphony..., can you guess it ?

A:
Symphony No. 4, The Inextinguishable