input: Please answer the following: Given the below context: Private Charles H. Kuhl, of L Company, U.S. 26th Infantry Regiment, reported to an aid station of C Company, 1st Medical Battalion, on 2 August 1943. Kuhl, who had been in the U.S. Army for eight months, had been attached to the 1st Infantry Division since 2 June 1943. He was diagnosed with "exhaustion," a diagnosis he had been given three times since the start of the campaign. From the aid station, he was evacuated to a medical company and given sodium amytal. Notes in his medical chart indicated "psychoneurosis anxiety state, moderately severe (soldier has been twice before in hospital within ten days. He can't take it at the front, evidently. He is repeatedly returned.)" Kuhl was transferred from the aid station to the 15th Evacuation Hospital near Nicosia for further evaluation.Patton arrived at the hospital the same day, accompanied by a number of medical officers, as part of his tour of the U.S. II Corps troops. He spoke to some patients in the hospital, commending the physically wounded. He then approached Kuhl, who did not appear to be physically injured. Kuhl was sitting slouched on a stool midway through a tent ward filled with injured soldiers. When Patton asked Kuhl where he was hurt, Kuhl reportedly shrugged and replied that he was "nervous" rather than wounded, adding, "I guess I can't take it." Patton "immediately flared up," slapped Kuhl across the chin with his gloves, then grabbed him by the collar and dragged him to the tent entrance. He shoved him out of the tent with a kick to his backside. Yelling "Don't admit this son of a bitch," Patton demanded that Kuhl be sent back to the front, adding, "You hear me, you gutless bastard? You're going back to the front."Corpsmen picked up Kuhl and brought him to a ward tent, where it was discovered he had a temperature of 102.2 F (39.0 C); and was later diagnosed with malarial parasites. Speaking later of the incident, Kuhl noted "at the time it happened, [Patton] was pretty well worn out ... I think he was suffering a little battle fatigue... Guess a valid title for it!
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output: George S. Patton slapping incidents

input: Please answer the following: Given the below context: "I Want You"Andy Gill notes that the song displays a tension between the very direct tone of the chorus, the repeated phrase "I want you", and a weird and complex cast of characters, "too numerous to inhabit the song's three minutes comfortably", including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviors, the Queen of Spades, and the "dancing child with his Chinese suit". Analyzing the evolution of the lyrics through successive drafts, Wilentz writes that there are numerous failures, "about deputies asking him his name ... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother". Finally Dylan arrives at the right formula.Heylin points out that the "gorgeous" tune illustrates what Dylan explained to a reporter in 1966: "It's not just pretty words to a tune or putting tunes to words ... [It's] the words and the music [together]I can hear the sound of what I want to say." Al Kooper has said that of all the songs that Dylan had outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, "just to bug him". Released as a single in June 1966, shortly before the album Blonde on Blonde, "I Want You" reached number 20 in the USA, and number 16 in the UK. "Stuck Inside of Mobile with the Memphis Blues Again"Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Wilentz describes how the lyrics evolved through a surviving part-typed, part-handwritten manuscript page, "which begins 'honey but it's just too hard' (a line that had survived from the very first New York session with the Hawks). Then the words meander through random combinations and disconnected fragments and images ('people just get uglier'; 'banjo eyes'; 'he was carrying a 22 but it was only a single shot'), before, in Dylan's own hand, amid many crossings-out, there appears 'Oh MAMA you're here IN... Guess a valid title for it!
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output: Blonde on Blonde

input: Please answer the following: Given the below context: 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.... Guess a valid title for it!
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output:
Opeth