input question: A friend asked me to answer this question: What are the full names of the two U.S. POWs taken to Katyn by the Germans for an international news conference?, using the article: At the beginning of 1944, Ron Jeffery, an agent of British and Polish intelligence in occupied Poland, eluded the Abwehr and travelled to London with a report from Poland to the British government. His efforts were at first highly regarded, but subsequently ignored by the British, which a disillusioned Jeffery later attributed to the treachery of Kim Philby and other high-ranking communist agents entrenched in the British system. Jeffery tried to inform the British government about the Katyn massacre, but was as a result released from the Army.In 1947, the Polish Government in exile 1944-1946 report on Katyn was transmitted to Telford TaylorIn the United States a similar line was taken, notwithstanding two official intelligence reports into the Katyn massacre that contradicted the official position. In 1944, Roosevelt assigned his special emissary to the Balkans, Navy Lieutenant Commander George Earle, to produce a report on Katyn. Earle concluded the massacre was committed by the Soviet Union. Having consulted with Elmer Davis, director of the United States Office of War Information, Roosevelt rejected the conclusion (officially), declared he was convinced of Nazi Germany's responsibility, and ordered that Earle's report be suppressed. When Earle requested permission to publish his findings, the President issued a written order to desist. Earle was reassigned and spent the rest of the war in American Samoa.A further report in 1945, supporting the same conclusion, was produced and stifled. In 1943, the Germans took two U.S. POWsCapt. Donald B. Stewart and Col. John H. Van Vlietto Katyn for an international news conference. Documents released by the National Archives and Records Administration in September 2012 revealed Stewart and Van Vliet sent coded messages to their American superiors indicating they saw proof that implicated the Soviets. Three lines of evidence were cited. Firstly, the Polish corpses were in such an advanced state of decay that the Nazis could not have killed them, as they had only..., what would be the answer ????
output answer: John H. Van Vliet
A friend asked me to answer this question: What types of singing does the vocalist for Meshuggah alternate between?, using the article: Meshuggah's experimentation, stylistic variation and changes during its career cross several musical subgenres. Heavy metal subgenres experimental metal or avant-garde metal are umbrella terms that enable description of the career of the band in general. Extreme metal crosses both thrash metal and death metal (or technical death metal), which are at root of the sound of Meshuggah's music, which has also been described as groove metal. The band has also been labelled as math metal and progressive metal. Meshuggah also incorporates elements of experimental jazz. In its review of Nothing, Allmusic describes Meshuggah as "masterminds of cosmic calculus metalcall it Einstein metal if you want". Meshuggah's early output was also considered alternative metal. Meshuggah creates a recognizable sonic imprint and distinct style.Trademarks and characteristics that define Meshuggah's sound and songwriting include polyrhythms, polymetered riff cycles, rhythmic syncopation, rapid key and tempo changes and neo-jazz chromatics. Hagstrom notes that "it doesn't really matter if something is hard to play or not. The thing is, what does it do to your mind when you listen to it? Where does it take you?" A trademark of Thordendal is jazz fusion-like soloing and improvisation. He is also known for the usage of a "breath controller" device. Haake is known for his cross-rhythm drumming with "jazzlike cadence". The vocal style of Jens Kidman varies between hardcore-style shouts and "robotic" death metal vocals.In polymeters typically used by Meshuggah, the guitars might play in odd meters such as 5/16 or 17/16, while drums play in 4/4. One particular example of Haake's use of polymeter is 4/4 against 23/16 bimeter, in which he keeps the hi-hat and ride cymbal in 4/4 time but uses the snare and double bass drums in 23/16 time. On "Rational Gaze" (from Nothing), Haake plays simple 4/4 time, hitting the snare on each third beat, for 16 bars. At the same time, the guitars and bass are playing same quarter notes, albeit in a different time..., what would be the answer ?
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Answer: hardcore-style shouts
Problem: Given the question: A friend asked me to answer this question: What is the full name of the person, who using a German text, included some period instrumentation?, using the article: After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years laterboth of which were abridged and adapted versions of the 1609 scorethere have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a..., what would be the answer ?
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The answer is:
Carl Orff