input: Drusilla has all the standard powers and vulnerabilities of a vampire, plus minor psychic abilities. She is immortal, regenerates damage, drains human blood to survive, and is stronger than most humans. Drusilla's technique in combat, although awkward-looking, has allowed her to briefly hold her own in a fight against Angel (in "Reunion") and Spike (in "Becoming, Part Two"), along with besting Kendra the Vampire Slayer (in "Becoming, Part One") before using the hypnosis technique and then killing her. It was also in this fight with Kendra that Drusilla showed that her fingernails are sharper than one would normally expect, as she uses them to slit Kendra's throat. Darla had demonstrated a similar technique when she sired Angel; whether this is due to vampiric abilities or physical manipulation of nails is unclear. Drusilla is also a seer with minor psychic abilities. However, since she had these before becoming a vampire their source and cause are unknown. She receives vivid visions that contain possible glimpses of the future, and can also see into people's minds and project false imagery into them (e.g. in "Becoming, Part Two", when she convinces Giles that she is really Jenny Calendar). She is also capable of hypnotizing people, which she does by catching their gazes, pointing her fingers towards her victim's eyes and then to her own, whispering to them ("Be in my eyes, Be in me"). Drusilla uses this technique to murder Kendra in the episode "Becoming, Part One". The Master uses a similar skill to paralyze Buffy in "Prophecy Girl". Like all vampires, she is vulnerable to holy items and sunlight, can be killed by decapitation or a stake to the heart, and cannot enter the home of a living human without first being invited by someone who lives there.

Answer this question "Did she ever fight against Buffy the Vampire Slayer?"
output:

input: Before recording Safe + Sound, DJ Quik had previously scrapped an album, which he said was so horrible that he had to smash the masters. As DJ Quik began to work on his third album, he started working with Suge Knight again. Their relationship dates back to 1988, before he sought refuge with a major label. He was signed to Suge's independent label Funky Enough Records in 1988. The arrangement proved to be short lived. They linked up again in 1993 for another short lived arrangement. His third album Safe + Sound, released in 1995, made number 14 on the Billboard 200. It featured friends 2nd II None, Kam, Playa Hamm and Hi-C. The album features the singles "Dollaz & Sense" and "Safe + Sound". During the process of the album, Quik was feuding with rapper MC Eiht from Compton's Most Wanted and long time friend AMG. Today, he is on good terms with MC Eiht. Safe + Sound saw Suge being the executive producer. His relationship with Suge led him to produce some of the tracks on Above The Rim, Murder Was The Case, All Eyez On Me, Until the End of Time, Better Dayz and It's About Time and was on Death Row Records for a short period but never released an album while on the label. He also produced a 2nd II None album for Death Row Records, which was never released. Quik played a part on the 2Pac album All Eyez On Me, though he is only credited for producing "Heartz of Men" on that album (in the credits he used his real name, David Blake, because he was under contract to Profile). He also did additional production and mixed half the album in over two days. Quik made another uncredited appearance on a song with 2Pac named "Thug Passion". He also produced on the albums Dogg Food and Tha Doggfather, although he received no credit. DJ Quik later went to say that he had some of the best times of his life when he worked with the label.

Answer this question "What can you tell me about Safe + Sound"
output: During the process of the album, Quik was feuding with rapper MC Eiht from Compton's Most Wanted and long time friend AMG.

input: On September 26, 1898, George was born as second son to Morris and Rose Bruskin Gershwine in their second-floor apartment on Brooklyn's Snediker Avenue. His birth certificate identifies him as Jacob Gershwine, with the surname pronounced 'Gersh-vin' in the Russian and Yiddish immigrant community. He had just one given name, contrary to the American practice of giving children both a first and middle name. He was named after his grandfather, a one time Russian army mechanic. He soon became known as George, and changed the spelling of his surname to 'Gershwin' about the time he became a professional musician; other family members followed suit. After Ira and George, another boy Arthur Gershwin (1900-1981), and a girl Frances Gershwin (1906-1999) were born into the family. The family lived in many different residences, as their father changed dwellings with each new enterprise in which he became involved. Mostly, they grew up around the Yiddish Theater District. George and Ira frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra. George lived a usual childhood existence for children of New York tenements: running around with his boyhood friends, roller skating and misbehaving in the streets. Remarkably, until 1908, he cared nothing for music, when as a ten year old he was intrigued upon hearing his friend Maxie Rosenzweig's, violin recital. The sound, and the way his friend played, captured him. At around the same time, George's parents had bought a piano, for lessons, for his older brother Ira, but to his parents' surprise, and Ira's relief, it was George who spent more time playing it. Although his younger sister Frances was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus surrendering any serious time to musical endeavors. Having given up her performing career, she settled upon painting as a creative outlet, which had also been a hobby George briefly pursued. Arthur Gershwin followed in the paths of George and Ira, also becoming a composer of songs, musicals, and short piano works. With a degree of frustration, George tried various piano teachers for some two (circa. 1911) before finally being introduced to Charles Hambitzer by Jack Miller (circa. 1913), the pianist in the Beethoven Symphony Orchestra. Until his death in 1918, Hambitzer remained Gershwin's musical mentor and taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts. Following such concerts, young Gershwin would essentially try to play, on the piano at home, the music he had heard from recall, and without sheet music. As a matter of course, Gershwin later studied with the classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell, thus formalizing his classical music training.

Answer this question "Where does his lineage descend from"
output:
His birth certificate identifies him as Jacob Gershwine, with the surname pronounced 'Gersh-vin' in the Russian and Yiddish immigrant community.