id string | question string | answer string | documents list |
|---|---|---|---|
..._but_the_clouds_..._4748551 | What information does the article about '... but the clouds ...' provide on 'Interpretation'? | is he trying to conjure up some external manifestation of her, her ghost? And what is his motive for trying to evoke her? Is it simply to satisfy memory, to wallow in the moment awhile as Krapp does, or is she in some way his muse, an enabling force that makes the words come? Either way it is clear that he cannot contr... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748536 | Reconstruct the content about 'Synopsis' from the article on '... but the clouds ...'. | The play opens in darkness. It fades up to a shot from behind of M, a "man sitting on [an] invisible stool and bowed over [an] invisible table." He is wearing his gown and nightcap. This is the only way we ever see him in the present, bowed over his table. The camera returns to this image fifteen times throughout the p... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748539 | Based on the article about '... but the clouds ...', describe the 'Synopsis' section. | appear, this isn't the case. Sometimes he grows weary and occupies himself with other things that are "more ... rewarding, such as ... cube roots" or sits absorbed with nothing – which he describes as a mine – like the man in Film. We see M1 prepare for the road again and leave. The voice says, "Right," then the woman'... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748532 | Reconstruct the content about 'Stage 1' from the article on '... but the clouds ...'. | (Directions 1-19): The first stage focuses on the past, those times when the woman did appear and M could be creative as a consequence. | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748534 | Explain what '... but the clouds ...' covers in the 'Stage 3' section. | The woman can appear and then vanish immediately. ; The woman can appear and linger. ; The woman can appear and 'speak' to him, i.e. inspire him. He uses the example where she mouths the words, "but the clouds," and then vanishes. ; The woman can fail to appear at all, the most common scenario. (Directions 27-52): In t... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748547 | What does the article about '... but the clouds ...' say regarding 'Interpretation'? | impose itself is a variety of ways, one of which both Yeats and Beckett qualify as a kind of haunting." This makes one viewer's comment as to the nature of W all the more interesting when they call her "the character who appears but isn't really there – she only gives the appearance of an appearance." The man is a poet... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748550 | What information does the article about '... but the clouds ...' provide on 'Interpretation'? | with Yeats than simply The Tower'': "As Katharine Worth has pointed out, in Yeatsian terminology 'shades' [the final word of Yeats's poem] necessarily conjures up thoughts of spirits or ghosts along with the onset of evening, and Beckett's play only reinforces this somewhat understated ." The prevalence of 'ghosts' i... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748538 | From the article on '... but the clouds ...', restate the 'Synopsis' content. | out on the road. The voice lists the three instances listed above where the woman has appeared to him in the past. When he reaches the third one the camera cuts to the woman's face, "reduced as far as possible to eyes and a mouth", which mouths silently along with the voice, "...clouds...but the clouds...of the sky..."... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748548 | Based on the article about '... but the clouds ...', describe the 'Interpretation' section. | cube roots, the two statistical possibilities given for the fourth case – [can be] explained as a defensive posture. M must know that the woman's appearance is at random and defies logic. His careful efforts to establish mathematically the exact and proper conditions for her appearance are merely an attempt to give ord... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748544 | Describe the 'Interpretation' section of the article about '... but the clouds ...'. | light becomes a kind of 'no place' where this daily ritual takes place. The only voice is the one inside his head. Even the roads take on an abstract quality; they are neither to nor from anywhere unlike the travel options in Cascando, for example. Not all of Krapp's actions take place at his table, we hear him pouring... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748549 | Based on the article about '... but the clouds ...', describe the 'Interpretation' section. | is testing acknowledging that the woman's face merely "appeared" and those appearances were always at night. By the end of the play "he has done all he can do, he is now at the mercy of Providence. The woman will appear if, pleased with his efforts, she decides to appear." There is an element of ritual to the piece, an... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748528 | Reconstruct the content about 'Title' from the article on '... but the clouds ...'. | German version, Nur noch Gewölk, for Süddeutscher Rundfunk. In this production he made one or two minor changes but the main one was to include the whole last stanza above rather than the four lines in the original. "The Tower is a work which discusses history and the past not only in terms of recollection but also as ... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748526 | Summarize the following section from the article on '... but the clouds ...'. | ... but the clouds ... is a television play by Samuel Beckett. Beckett wrote it between October–November 1976 "to replace a film of Play which the BBC had sent [him] for approval (and which he had rejected)" due to "the poor quality of the film". Donald McWhinnie directed Billie Whitelaw and Ronald Pickup. It was first... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748537 | What does the article about '... but the clouds ...' say regarding 'Synopsis'? | self, go through the motions described, at least what little actually takes place in the circle of light. He changes his mind about what causes her to appear. At first he says, "When I thought of her..." but he realises that is inaccurate; the woman simply appears to him, and always at night. He goes over his routine, ... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._but_the_clouds_..._4748546 | What information does the article about '... but the clouds ...' provide on 'Interpretation'? | exquisite despair. In his secret ceremony Beckett's male figure all but revels in it." Because the old man realises he cannot physically recall his beloved, he makes do with simulation; he torments himself with memories of what it was like when she came before. M is not only trying to remember, he is trying "to remembe... | [
"... but the clouds ... — Interpretation\n\n\"Like the characters imagined in the play The Words upon the Window Pane, the 'he' we meet in ... but the clouds ... sits trance-like at a séance, calling out to a face and a voice to appear: 'Look at me' and then, echoing Hamlet's appeal to a quite different ghost, 'Spe... |
..._nur_ein_Komödiant_9814526 | Summarize the 'Plot' part of '... nur ein Komödiant'. | certain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he is in danger, and is hidden by Beate... | [
"... nur ein Komödiant — Plot\n\ncertain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he... |
..._nur_ein_Komödiant_9814528 | From the article on '... nur ein Komödiant', restate the 'Background' content. | Despite its anti-authoritarian plot this film, critical of fascism, was passed by both the German and Austrian censors, presumably because the period setting masked the contemporary relevance of the content. For example, the film contains a piece of dialogue in which the Minister insists that the captain obey his order... | [
"... nur ein Komödiant — Plot\n\ncertain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he... |
..._nur_ein_Komödiant_9814525 | Explain what '... nur ein Komödiant' covers in the 'Plot' section. | Beatrice arrives at court, she is assigned as lady in waiting to the Countess von Röderau. At an evening party she attracts the attention of the Duke, who makes her an offer of marriage. Beate thus becomes his wife. Florian Reuther's troupe of travelling players arrives in Schönburg. During a discussion about the perfo... | [
"... nur ein Komödiant — Plot\n\ncertain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he... |
..._nur_ein_Komödiant_9814524 | Based on the article about '... nur ein Komödiant', describe the 'Plot' section. | The young countess Beate von Dörnberg is travelling to Schönburg to the court of Duke Karl Theodor to take up residence as a lady in waiting. During an interruption in the journey while the coach is being repaired she gets to know two actors. The younger one is rather importunate, but the older one, Florian Reuther, te... | [
"... nur ein Komödiant — Plot\n\ncertain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he... |
..._nur_ein_Komödiant_9814527 | Describe the 'Plot' section of the article about '... nur ein Komödiant'. | to prevent this, but cannot get through. But the captain refuses the order in any case. Florian hears the ensuing argument and decides to intervene, dressed as the Duke, of whom he is an exact double, to order the crowd to disperse. In the role of the Duke he also orders the arrest of the Minister, who pulls out a pist... | [
"... nur ein Komödiant — Plot\n\ncertain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he... |
..._nur_ein_Komödiant_9814523 | Summarize the following section from the article on '... nur ein Komödiant'. | ... nur ein Komödiant (also König der Maske; in English, ... just a Comedian, or King of the Mask) is the title of an Austrian film of 1935. The director was Erich Engel, temporarily in Vienna as a political emigrant from Germany, who with this film made a statement against fascism and authoritarian government. That it... | [
"... nur ein Komödiant — Plot\n\ncertain piece. Florian is obliged to decline, as his principal actor is dead, for which he blames the Minister. This angers Von Creven, who strikes him in the face. Florian gets his own back at a masked ball, where he hits von Creven across the face with a riding crop. After this he... |
..._sofferte_onde_serene_..._17651774 | From the article on '... sofferte onde serene ...', restate the 'Further reading' content. | Carvalho, Mário Vieira de. 1999. "Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono". Contemporary Music Review 18, no. 2:37–85. ; Caselli, Massimo. 1992. "... sofferte onde serene ... de Luigi Nono". Revista Música 3, no. 1:17. ; Harris, John Mark. 2003. "Performing Luigi Nono's ... sofferte... | [
"... sofferte onde serene ... — Recordings\n\nThe following is a list of notable performances of this composition:",
"... sofferte onde serene ... — Further reading\n\nCarvalho, Mário Vieira de. 1999. \"Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono\". Contemporary Music Review 18, n... |
..._sofferte_onde_serene_..._17651772 | From the article on '... sofferte onde serene ...', restate the 'Structure' content. | to eight reference numbers in the score in order to keep the piano and the tape synchronized. This composition calls for an on-stage piano, a mixer and a sound engineer meant to be placed off-stage, and four loudspeakers: two placed on the piano and two more placed on the bottom-left and bottom-right corner of the sta... | [
"... sofferte onde serene ... — Recordings\n\nThe following is a list of notable performances of this composition:",
"... sofferte onde serene ... — Further reading\n\nCarvalho, Mário Vieira de. 1999. \"Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono\". Contemporary Music Review 18, n... |
..._sofferte_onde_serene_..._17651768 | Reconstruct the content from the article about '... sofferte onde serene ...'. | ... sofferte onde serene ... (Italian for "serene waves suffered" or "serene waves endured"), ALN 42, is a composition for piano and tape by Italian composer Luigi Nono. The Archivio Luigi Nono uses the form ..... sofferte onde serene ..., derived from the cover of the manuscript. | [
"... sofferte onde serene ... — Recordings\n\nThe following is a list of notable performances of this composition:",
"... sofferte onde serene ... — Further reading\n\nCarvalho, Mário Vieira de. 1999. \"Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono\". Contemporary Music Review 18, n... |
..._sofferte_onde_serene_..._17651771 | Explain what '... sofferte onde serene ...' covers in the 'Structure' section. | 00:54 – Begin after three seconds ; 01:56 – Begin after three seconds ; 02:57 – Begin immediately ; 05:11 – Begin immediately ; 06:49 – Begin immediately ; 09:16 – Begin immediately ; 11:49 – Begin immediately ; 13:14 – Begin after two seconds ... sofferte onde serene ... is in only one movement and has a total duratio... | [
"... sofferte onde serene ... — Recordings\n\nThe following is a list of notable performances of this composition:",
"... sofferte onde serene ... — Further reading\n\nCarvalho, Mário Vieira de. 1999. \"Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono\". Contemporary Music Review 18, n... |
..._sofferte_onde_serene_..._17651770 | Based on the article about '... sofferte onde serene ...', describe the 'Composition' section. | both their relatives and the sound world of Nono's home town Venice. The piece was finished in 1976 in Giudecca and was dedicated to both Maurizio and Marilisa Pollini, whereas the tape part was recorded at the Studio di fonologia della Rai, in Milan, with Pollini and sound technician Marino Zuccheri. The premiere took... | [
"... sofferte onde serene ... — Recordings\n\nThe following is a list of notable performances of this composition:",
"... sofferte onde serene ... — Further reading\n\nCarvalho, Mário Vieira de. 1999. \"Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono\". Contemporary Music Review 18, n... |
..."Let_Me_Sing"_9339001 | What does the article about '..."Let Me Sing"' say regarding 'Background and content'? | late 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound "fresh" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, "..."Let Me Sing" manages to sound vital where very similar albums failed later in her career. Not surprising... | [
"..."Let Me Sing" — Background and content\n\nlate 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound \"fresh\" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, \"...\"Let Me Sing\" manages to sound vital whe... |
..."Let_Me_Sing"_9339002 | Summarize the 'Release' part of '..."Let Me Sing"'. | ..."Let Me Sing" released its first single over a year before its initial release. The first single "Break It to Me Gently" was released in January 1962, peaking at #4 on the Billboard Hot 100 and #46 on the UK Singles Chart in the United Kingdom. Its second single "Losing You" was released one year later in April 1963... | [
"..."Let Me Sing" — Background and content\n\nlate 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound \"fresh\" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, \"...\"Let Me Sing\" manages to sound vital whe... |
..."Let_Me_Sing"_9339000 | Reconstruct the content about 'Background and content' from the article on '..."Let Me Sing"'. | ..."Let Me Sing" was recorded in five separate recording sessions between August 20, 1961, and May 29, 1963, at the Bradley Film and Recording Studio in Nashville, Tennessee, United States under the direction of producer Owen Bradley. ..."Let Me Sing" contained twelve tracks like all of her previous albums and containe... | [
"..."Let Me Sing" — Background and content\n\nlate 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound \"fresh\" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, \"...\"Let Me Sing\" manages to sound vital whe... |
..."Let_Me_Sing"_9338999 | Describe the content of the article about '..."Let Me Sing"'. | ..."Let Me Sing" is the ninth studio album by American pop and country artist Brenda Lee. The album was released December 9, 1963, on Decca Records and was produced by Owen Bradley. The album was the second and final album studio album released by Brenda Lee in 1963. | [
"..."Let Me Sing" — Background and content\n\nlate 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound \"fresh\" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, \"...\"Let Me Sing\" manages to sound vital whe... |
..."Let_Me_Sing"_9339004 | Explain what '..."Let Me Sing"' covers in the 'Personnel' section. | Brenton Banks – strings ; Harold Bradley – guitar ; Howard Carpenter – strings ; Floyd Cramer – piano ; Dottie Dillard – background vocals ; Ray Edenton – guitar ; Buddy Harman – drums ; Lillian Hunt – strings ; Anita Kerr – background vocals ; Douglas Kirkham – drums ; Brenda Lee – lead vocals ; Grady Martin – guitar ... | [
"..."Let Me Sing" — Background and content\n\nlate 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound \"fresh\" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, \"...\"Let Me Sing\" manages to sound vital whe... |
..."Let_Me_Sing"_9339003 | Based on the article about '..."Let Me Sing"', describe the 'Track listing' section. | Side one ; 1) "Night and Day" – (Cole Porter) 2:33 ; 2) "End of the World" – (Sylvia Dee, Arthur Kent) 3:05 ; 3) "Our Day Will Come" – (Mort Garson, Bob Hilliard) 2:32 ; 4) "You're the Reason I'm Living" – (Bobby Darin) 2:24 ; 5) "Break It to Me Gently" – (Diane Lampert, Joe Seneca) 2:35 ; 6) "Where Are You?" – (Harold... | [
"..."Let Me Sing" — Background and content\n\nlate 1950s and early 1960s. Greg Adams of AllMusic called the album's use of Pop standards to sound \"fresh\" unlike her prior releases. Adams reviewed the album and gave it three out of five stars. Adams stated, \"...\"Let Me Sing\" manages to sound vital whe... |
...(And_That's_No_Lie)_23168750 | Explain what '...(And That's No Lie)' covers in the 'Personnel' section. | Heaven 17 ; Glenn Gregory - lead vocals, backing vocals ; Martyn Ware - LinnDrum programming, backing vocals, producer ; Ian Craig Marsh - synthesizer Additional personnel ; Greg Walsh - producer ; Sanny X - remixer of "The Heaven 17 Megamix" | [
"...(And That's No Lie) — Personnel\n\nHeaven 17 ; Glenn Gregory - lead vocals, backing vocals ; Martyn Ware - LinnDrum programming, backing vocals, producer ; Ian Craig Marsh - synthesizer Additional personnel ; Greg Walsh - producer ; Sanny X - remixer of \"The Heaven 17 Megamix\"",
"...(And That's No Lie) — Cr... |
...(And_That's_No_Lie)_23168748 | From the article on '...(And That's No Lie)', restate the 'Critical reception' content. | Aaron Badgley of AllMusic said in a review of How Men Are: "Highlights are numerous, including the very long but very wonderful "And That's No Lie." A strong melody, stunning vocals from Glenn Gregory, and tight production equal a fascinating glimpse into the human struggle." | [
"...(And That's No Lie) — Personnel\n\nHeaven 17 ; Glenn Gregory - lead vocals, backing vocals ; Martyn Ware - LinnDrum programming, backing vocals, producer ; Ian Craig Marsh - synthesizer Additional personnel ; Greg Walsh - producer ; Sanny X - remixer of \"The Heaven 17 Megamix\"",
"...(And That's No Lie) — Cr... |
...(And_That's_No_Lie)_23168747 | Describe the content of the article about '...(And That's No Lie)'. | "...(And That's No Lie)" is a song by the British new wave and synth-pop band Heaven 17, released in 1985 as the third single from their third studio album How Men Are. It was written by Glenn Gregory, Ian Craig Marsh and Martyn Ware, and produced by Ware and Greg Walsh. The song peaked at No. 52 in the UK and spent fi... | [
"...(And That's No Lie) — Personnel\n\nHeaven 17 ; Glenn Gregory - lead vocals, backing vocals ; Martyn Ware - LinnDrum programming, backing vocals, producer ; Ian Craig Marsh - synthesizer Additional personnel ; Greg Walsh - producer ; Sanny X - remixer of \"The Heaven 17 Megamix\"",
"...(And That's No Lie) — Cr... |
...(And_That's_No_Lie)_23168749 | Describe the 'Formats and track listings' section of the article about '...(And That's No Lie)'. | 7" single ; 1) "...(And That's No Lie)" - 3:25 ; 2) "The Fuse" - 3:53 12" single ; 1) "...(And That's No Lie) (Re-mixed To Enhance Its Danceability)" - 6:10 ; 2) "The Fuse (L.P. version)" - 3:05 ; 3) "...(And That's No Lie) (L.P. version)" - 10:02 12" single (UK release) ; 1) "...(And That's No Lie) (Re-mixed To Enhanc... | [
"...(And That's No Lie) — Personnel\n\nHeaven 17 ; Glenn Gregory - lead vocals, backing vocals ; Martyn Ware - LinnDrum programming, backing vocals, producer ; Ian Craig Marsh - synthesizer Additional personnel ; Greg Walsh - producer ; Sanny X - remixer of \"The Heaven 17 Megamix\"",
"...(And That's No Lie) — Cr... |
...All_That_Might_Have_Been..._16457349 | Summarize the 'CD1: "Cine"' part of '...All That Might Have Been...'. | 1) "In Overview" (2:48) ; 2) "The Last Time" (1:42) ; 3) "Never Wanted" (2:16) ; 4) "As for Him" (1:52) ; 5) "Nowhere Special" (1:38) ; 6) "Piper Smile" (1:13) ; 7) "Wanted to Belong" (1:52) ; 8) "This Might..." (1:51) ; 9) "Inklings, Darling" (3:31) ; 10) "Be Careful" (1:38) ; 11) "Alien Clock" (5:52) ; 12) "Drifting ... | [
"...All That Might Have Been... — Personnel\n\nPeter Hammill – vocals, all instruments",
"...All That Might Have Been... — CD1: \"Cine\"\n\n1) \"In Overview\" (2:48) ; 2) \"The Last Time\" (1:42) ; 3) \"Never Wanted\" (2:16) ; 4) \"As for Him\" (1:52) ; 5) \"Nowhere Special\" (1:38) ; 6) \"Piper Smile\" (1:13) ; ... |
...All_That_Might_Have_Been..._16457347 | Reconstruct the content from the article about '...All That Might Have Been...'. | ...All That Might Have Been... is British singer-songwriter Peter Hammill's 34th solo album, released on his own Fie! Records in November 2014. Similarly to 2004's Incoherence, on the standard edition of the album there is only one epic, multi-part song. The special edition box contains two additional discs with bonus ... | [
"...All That Might Have Been... — Personnel\n\nPeter Hammill – vocals, all instruments",
"...All That Might Have Been... — CD1: \"Cine\"\n\n1) \"In Overview\" (2:48) ; 2) \"The Last Time\" (1:42) ; 3) \"Never Wanted\" (2:16) ; 4) \"As for Him\" (1:52) ; 5) \"Nowhere Special\" (1:38) ; 6) \"Piper Smile\" (1:13) ; ... |
...All_the_Marbles_5985394 | Summarize the 'Development' part of '...All the Marbles'. | Aldrich said he wanted to make the film "because nobody's done anything about women's wrestling before." "It's purely, totally commercial," added Aldrich. "It fits in with my philosophy, which is that the process is at best a craft, not art." Aldrich says he was brought the story by Mel Frohman "and we stole the whole ... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985395 | Describe the 'Development' section of the article about '...All the Marbles'. | win." Aldrich says he also stole from Body and Soul for the last act of The Longest Yard. Aldrich said that "Rocky was Body and Soul except that an Italian fighter wins, and in the original, a Jewish fighter loses. We have here two girls and a manager of questionable credentials. All three have already fallen from grac... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985398 | Based on the article about '...All the Marbles', describe the 'Casting' section. | made before. Just don't try rewriting the script or changing things around like you do with your pal John Cassavetes." Peter Falk signed to star in June. For the female leads, Aldrich said "We made the decision to take actresses and turn them into wrestlers instead of vice-versa. If we were right, it will make the pict... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985401 | What information does the article about '...All the Marbles' provide on 'Shooting'? | Second unit photography began 5 November 1980. Principal photography took place from 14 November to 24 February 1981 on location in Youngstown and Akron, Ohio; Chicago; Las Vegas; Reno; and Los Angeles. The last 19 days were just filming wrestling. The film was produced by Aldrich's son William. His daughter Adell was ... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985402 | Reconstruct the content about 'Shooting' from the article on '...All the Marbles'. | but I started really wanting to win. It was just like being back onstage. You hear the applause, and you think, 'Oh, good. I did well.'" Aldrich said "I hope this is going to be a fun picture, not a Big Knife, but then I thought Emperor of the North Pole was a fun picture, but nobody saw it, so maybe I was wrong. I'm n... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985397 | Explain what '...All the Marbles' covers in the 'Casting' section. | Whatever Happened to Baby Jane. "It goes like this: 'Peter if this isn't the best script ever written for you put it in an envelope and sent it right back. But if it is the best, then lets make it. I don't want you to hear that you don't like that speech on page 16. It's either the best or it isn't. That rarely fails. ... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985399 | What does the article about '...All the Marbles' say regarding 'Casting'? | auditioned for the female leads were narrowed to eight and were sent to wrestling school. (Another account says 12 actors were screen tested and four sent off to wrestling school). ) Aldrich reportedly told the women "the two that wrestle the best get the parts." One of the final women who auditioned was Vicki Fredrick... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985405 | What does the article about '...All the Marbles' say regarding 'Box office'? | The film began disappointingly at the box office only making $1.7 million in its first week, putting sequel plans on hold. According to Laurene Landon (who portrayed California Doll Molly), while the film did not perform well at the box office in the United States, it made a healthy profit in foreign markets, and produ... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985396 | Summarize the 'Casting' part of '...All the Marbles'. | The film needed a male star. "I couldn't make Sister George in this market," said Aldrich around this time. "I couldn't make Baby Jane, Attack! or The Big Knife in this market. It used to be that the script was the big thing and the actor secondary. Now it's the star. And it's got to be a big star. Get Burt Reynolds an... | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985392 | What information does the article about '...All the Marbles' provide on 'Premise'? | Harry is the manager of a tag team of attractive female wrestlers, Iris and Molly. On the road, they all endure a number of indignities, including bad motels, small-time crooks and a mud-wrestling match while trying to reach Reno, Nevada for a big event at the MGM Grand hotel. | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985404 | Summarize the 'Critical' part of '...All the Marbles'. | In his October 16, 1981, review in The New York Times, the film critic Vincent Canby singled out Falk for "one of his best performances". | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...All_the_Marbles_5985393 | Based on the article about '...All the Marbles', describe the 'Cast' section. | Peter Falk as Harry ; Vicki Frederick as Iris ; Laurene Landon as Molly ; Richard Jaeckel as Dudley ; Burt Young as Eddie Cisco ; John Hancock as John "Big John" ; Faith Minton as "Big Mama" ; Chick Hearn as Himself | [
"...All the Marbles — Development\n\nAldrich said he wanted to make the film \"because nobody's done anything about women's wrestling before.\" \"It's purely, totally commercial,\" added Aldrich. \"It fits in with my philosophy, which is that the process is at best a craft, not art.\" Aldrich says he was brought th... |
...Allow_Us_to_Be_Frank_16654004 | Explain what '...Allow Us to Be Frank' covers in the 'Credits' section. | Band recorded at Whitfield Street Studios, London ; Vocals recorded at Rokstone Studios, London ; Bass guitar: Vocals (track 5): Backing vocals (track 13): Background vocal arrangement: Arrangement and piano: Design and art direction: Bass: Cello: Double bass: Drums: Mix assistant engineer: Mix engineer: Pro Tools engi... | [
"...Allow Us to Be Frank — Credits\n\nBand recorded at Whitfield Street Studios, London ; Vocals recorded at Rokstone Studios, London ; Bass guitar: Vocals (track 5): Backing vocals (track 13): Background vocal arrangement: Arrangement and piano: Design and art direction: Bass: Cello: Double bass: Drums: Mix assist... |
...Allow_Us_to_Be_Frank_16654003 | From the article on '...Allow Us to Be Frank', restate the 'Track listing' content. | On the Japanese edition, the song The Way You Look Tonight is in two versions: the Westlife version is track 5, and the duet with Joanne Hindley is bonus track 14. | [
"...Allow Us to Be Frank — Credits\n\nBand recorded at Whitfield Street Studios, London ; Vocals recorded at Rokstone Studios, London ; Bass guitar: Vocals (track 5): Backing vocals (track 13): Background vocal arrangement: Arrangement and piano: Design and art direction: Bass: Cello: Double bass: Drums: Mix assist... |
...Allow_Us_to_Be_Frank_16654005 | From the article on '...Allow Us to Be Frank', restate the 'Credits' content. | Ren Swan Chris Laws Devin Workman Ren Swan John Parricelli Mitch Dalton Dave Lee Jim Rattigan Paul Gardham Richard Watkins Dick Beetham Gary Kettel Glynn Matthews James Bareham Mike Ross-Trevor Chris Laws Daniel Pursey Steve Mac Andy Macintosh Phil Todd Alan Barnes Andy Panayi Dave Bishop Richard Edward Chris Dean Mark... | [
"...Allow Us to Be Frank — Credits\n\nBand recorded at Whitfield Street Studios, London ; Vocals recorded at Rokstone Studios, London ; Bass guitar: Vocals (track 5): Backing vocals (track 13): Background vocal arrangement: Arrangement and piano: Design and art direction: Bass: Cello: Double bass: Drums: Mix assist... |
...Allow_Us_to_Be_Frank_16654001 | What information does the article about '...Allow Us to Be Frank' provide? | ...Allow Us to Be Frank, a Rat Pack tribute, is the fifth studio album, sixth major album release under Sony BMG and first cover album by Irish boy band Westlife; it is also the first album since the departure of Brian McFadden and as a four-piece. It was released on 8 November 2004, and peaked at number two in Ireland... | [
"...Allow Us to Be Frank — Credits\n\nBand recorded at Whitfield Street Studios, London ; Vocals recorded at Rokstone Studios, London ; Bass guitar: Vocals (track 5): Backing vocals (track 13): Background vocal arrangement: Arrangement and piano: Design and art direction: Bass: Cello: Double bass: Drums: Mix assist... |
...Allow_Us_to_Be_Frank_16654002 | Reconstruct the content about 'Singles' from the article on '...Allow Us to Be Frank'. | "Smile" was released as the album's first single on 4 November 2004. The physical single features the video and B-sides "White Christmas" and "When I Fall in Love". It charted at number 37 in Sweden. "Fly Me to the Moon" was released as the album's second single on 20 December 2004. The single was only released digital... | [
"...Allow Us to Be Frank — Credits\n\nBand recorded at Whitfield Street Studios, London ; Vocals recorded at Rokstone Studios, London ; Bass guitar: Vocals (track 5): Backing vocals (track 13): Background vocal arrangement: Arrangement and piano: Design and art direction: Bass: Cello: Double bass: Drums: Mix assist... |
...An_Education_in_Rebellion_7247386 | Explain what '...An Education in Rebellion' covers in the 'Critical reception' section. | Allmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, "While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing ploy rather than true agitation. Rather than start a revolutio... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247380 | Summarize the following section from the article on '...An Education in Rebellion'. | ...An Education in Rebellion is the debut studio album by American nu metal band The Union Underground. Released on July 18, 2000 through Columbia, the album sold nearly 400,000 copies and featured the singles "Turn Me On 'Mr. Deadman'", "Revolution Man", and "Killing the Fly". This would be the group's only major labe... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247382 | What information does the article about '...An Education in Rebellion' provide on 'Overview'? | will be around 10 years from now." Its summer 2000 release, An Education in Rebellion, resided on the American music charts for four months. The album's lead single, "Turn Me On 'Mr. Deadman'", proved key in its success and held on the Mainstream Rock Tracks chart for six months. The song jabs at the rock star image an... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247381 | What does the article about '...An Education in Rebellion' say regarding 'Overview'? | "An Education in Rebellion is kind of a personal thing with us. You know when we were 14 - 15 years old, we just decided that this is what we're going to do with our lives regardless what anyone around us says or wants us to do. We just stayed completely focused on that and that's really what that's about. It's not abo... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247383 | Based on the article about '...An Education in Rebellion', describe the 'Overview' section. | Fly" peaked at #13 on the Mainstream Rock Tracks while the final single, "Revolution Man," reached #26 and became an Active Rock top 30 hit. A live performance of "South Texas Deathride" was included on Ozzfest 2001: The Second Millennium. Four tracks from the band's self-released EP - "Drivel," "Bitter," "Until You Cr... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247388 | Explain what '...An Education in Rebellion' covers in the 'Personnel' section. | The Union Underground ; Bryan Scott - vocals, rhythm guitar, production, engineering ; Patrick Kennison - lead guitar, co-production, engineering ; Josh Memelo - drums ; John Moyer - bass Production ; Brendan O'Brien - mixing ; Don Gilmore - producer ; Ulrich Wild - producer ; George Marino - mastering ; James Jeda for... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247384 | Summarize the 'Artwork' part of '...An Education in Rebellion'. | The cover artwork depicts a young New York model named Anna Belise, whom the band found in a magazine model search. According to John Moyer, the model participated in a three-hour photo shoot in "freezing cold" New York weather. He elaborated that the short-sleeved Belise had blue in her complexion not because of makeu... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...An_Education_in_Rebellion_7247385 | Based on the article about '...An Education in Rebellion', describe the 'Touring' section. | In promoting ...An Education in Rebellion, The Union Underground began headlining the Road Rage tour, with opening acts Linkin Park and Systematic, prior to the album's release. They headlined club dates in fall 2000 and joined Marilyn Manson in late October. According to the band, Manson heard "Turn Me on 'Mr. Deadman... | [
"...An Education in Rebellion — Critical reception\n\nAllmusic's Tim Sheridan gave the album 3 out of 5 stars and commented, \"While their sonic punch is undeniable, blending guitar skronk with Bryan Scott's snarled vocals, the rebellious posing of songs like 'Revolution Man' comes off as a calculated marketing plo... |
...And_Death_Said_Live_19491135 | What information does the article about '...And Death Said Live' provide on 'Guest musicians'? | Ryan Knight - guitar solo on "Birth of the Starchild" ; Jona Weinhofen - guitar solo on "What the Future Holds?" | [
"...And Death Said Live — Guest musicians\n\nRyan Knight - guitar solo on \"Birth of the Starchild\" ; Jona Weinhofen - guitar solo on \"What the Future Holds?\"",
"...And Death Said Live — Musicians\n\nVille Viljanen – vocals ; Teemu Heinola – bass ; Mikko Sipola – drums ; Andy Gillion – lead guitar ; Andhe Chan... |
...And_Death_Said_Live_19491134 | Describe the 'Musicians' section of the article about '...And Death Said Live'. | Ville Viljanen – vocals ; Teemu Heinola – bass ; Mikko Sipola – drums ; Andy Gillion – lead guitar ; Andhe Chandler – guitar | [
"...And Death Said Live — Guest musicians\n\nRyan Knight - guitar solo on \"Birth of the Starchild\" ; Jona Weinhofen - guitar solo on \"What the Future Holds?\"",
"...And Death Said Live — Musicians\n\nVille Viljanen – vocals ; Teemu Heinola – bass ; Mikko Sipola – drums ; Andy Gillion – lead guitar ; Andhe Chan... |
...And_Death_Said_Live_19491133 | Describe the content of the article about '...And Death Said Live'. | ...And Death Said Live is the fourth album by Finnish melodic death metal band Mors Principium Est. It was released on December 5, 2012 in Japan. | [
"...And Death Said Live — Guest musicians\n\nRyan Knight - guitar solo on \"Birth of the Starchild\" ; Jona Weinhofen - guitar solo on \"What the Future Holds?\"",
"...And Death Said Live — Musicians\n\nVille Viljanen – vocals ; Teemu Heinola – bass ; Mikko Sipola – drums ; Andy Gillion – lead guitar ; Andhe Chan... |
...And_Death_Said_Live_19491136 | What information does the article about '...And Death Said Live' provide on 'Production'? | Thomas 'Plec' Johansson - recording (vocals, guitars, keyboards), mixing, mastering, additional programming ; Teemu Heinola - recording (bass, drums) ; Andy Gillion – programming | [
"...And Death Said Live — Guest musicians\n\nRyan Knight - guitar solo on \"Birth of the Starchild\" ; Jona Weinhofen - guitar solo on \"What the Future Holds?\"",
"...And Death Said Live — Musicians\n\nVille Viljanen – vocals ; Teemu Heinola – bass ; Mikko Sipola – drums ; Andy Gillion – lead guitar ; Andhe Chan... |
...And_Don't_Forget_to_Breathe_24156678 | From the article on '...And Don't Forget to Breathe', restate the 'Background' content. | "Love to Hate, Hate to Me" (under the title "Love to Hate, Hate to Love"), "The Shooting Star That Destroyed Us", "A Sip of Wine Chased With Cyanide" and "Charred Fields of Snow" were first released on the band's self-titled debut EP. The songs "Withered", "Lipgloss and Letdown" and "Song for a Broken Heart" originally... | [
"...And Don't Forget to Breathe — Track listing\n\nAll lyrics written by Dan Arnold, all music composed by A Static Lullaby",
"...And Don't Forget to Breathe — Background\n\n\"Love to Hate, Hate to Me\" (under the title \"Love to Hate, Hate to Love\"), \"The Shooting Star That Destroyed Us\", \"A Sip of Wine Chas... |
...And_Don't_Forget_to_Breathe_24156679 | What information does the article about '...And Don't Forget to Breathe' provide on 'Reception'? | Allmusic reviewer Kurt Morris gave the album a mixed to favorable review, comparing the band to the likes of Thursday. He complemented the vocal work and the melodies. Morris singled out "A Sip of Wine Chased with Cyanide" calling it the best track on the album, mainly for its guitar work. Morris concluded his review b... | [
"...And Don't Forget to Breathe — Track listing\n\nAll lyrics written by Dan Arnold, all music composed by A Static Lullaby",
"...And Don't Forget to Breathe — Background\n\n\"Love to Hate, Hate to Me\" (under the title \"Love to Hate, Hate to Love\"), \"The Shooting Star That Destroyed Us\", \"A Sip of Wine Chas... |
...And_Don't_Forget_to_Breathe_24156677 | Summarize the following section from the article on '...And Don't Forget to Breathe'. | ...And Don't Forget to Breathe is the debut album by the post-hardcore band A Static Lullaby. On the original release, the title was misspelled as '...And Don't Forget to Breath'. This was corrected in a re-release. Music videos were made for the songs "Lipgloss and Letdown" and "The Shooting Star That Destroyed Us." | [
"...And Don't Forget to Breathe — Track listing\n\nAll lyrics written by Dan Arnold, all music composed by A Static Lullaby",
"...And Don't Forget to Breathe — Background\n\n\"Love to Hate, Hate to Me\" (under the title \"Love to Hate, Hate to Love\"), \"The Shooting Star That Destroyed Us\", \"A Sip of Wine Chas... |
...And_Don't_Forget_to_Breathe_24156681 | Summarize the 'Personnel' part of '...And Don't Forget to Breathe'. | Band ; Joe Brown – vocals ; Dan Arnold – vocals, rhythm guitar, piano, progamming ; Nate Lindeman – lead guitar ; Phil Pirrone – bass, backing vocals ; Brett Dinovo – drums, percussion Production ; Steve Evetts – production ; Jesse Cannon – edition, engineer assistant ; Peter Lewit – legal ; Rodney Afshari – management... | [
"...And Don't Forget to Breathe — Track listing\n\nAll lyrics written by Dan Arnold, all music composed by A Static Lullaby",
"...And Don't Forget to Breathe — Background\n\n\"Love to Hate, Hate to Me\" (under the title \"Love to Hate, Hate to Love\"), \"The Shooting Star That Destroyed Us\", \"A Sip of Wine Chas... |
...And_Finally_22571064 | Based on the article about '...And Finally', describe the 'Track listing' section. | 1) "Deadly Serious" — 3:22 ; 2) "First Contact" — 3:51 ; 3) "Face the Sun" — 3:35 ; 4) "6am" — 2:18 ; 5) "The One Forgot" — 3:56 ; 6) "Say What You Came to Say" — 5:15 ; 7) "The Healer" — 4:18 ; 8) "Idle Time" — 3:26 ; 9) "Mercy" — 3:38 ; 10) "Slowly" — 3:48 ; 11) "Suffocate" — 3:31 ; 12) "Where Were You When the Home ... | [
"...And Finally — Track listing\n\n1) \"Deadly Serious\" — 3:22 ; 2) \"First Contact\" — 3:51 ; 3) \"Face the Sun\" — 3:35 ; 4) \"6am\" — 2:18 ; 5) \"The One Forgot\" — 3:56 ; 6) \"Say What You Came to Say\" — 5:15 ; 7) \"The Healer\" — 4:18 ; 8) \"Idle Time\" — 3:26 ; 9) \"Mercy\" — 3:38 ; 10) \"Slowly\" — 3:48 ; ... |
...And_Finally_22571062 | Summarize the following section from the article on '...And Finally'. | ...And Finally is the second and final studio album by Northern Irish rock band Scheer. It was released in 2000 through the band's own record label Schism Records, following the band's demise in 1998. The recording of the album started in 1997; nevertheless, its release was postponed indefinitely due to a contractual d... | [
"...And Finally — Track listing\n\n1) \"Deadly Serious\" — 3:22 ; 2) \"First Contact\" — 3:51 ; 3) \"Face the Sun\" — 3:35 ; 4) \"6am\" — 2:18 ; 5) \"The One Forgot\" — 3:56 ; 6) \"Say What You Came to Say\" — 5:15 ; 7) \"The Healer\" — 4:18 ; 8) \"Idle Time\" — 3:26 ; 9) \"Mercy\" — 3:38 ; 10) \"Slowly\" — 3:48 ; ... |
...And_Finally_22571063 | Summarize the 'Critical reception' part of '...And Finally'. | AllMusic critic Heather Phares thought that "stronger songwriting and clearer production of the record provide the focus and polish necessary to make Scheer's sound less forced." Phares further stated: "Though it grows somewhat repetitive toward the end, it's unfortunate that And Finally didn't receive the release it d... | [
"...And Finally — Track listing\n\n1) \"Deadly Serious\" — 3:22 ; 2) \"First Contact\" — 3:51 ; 3) \"Face the Sun\" — 3:35 ; 4) \"6am\" — 2:18 ; 5) \"The One Forgot\" — 3:56 ; 6) \"Say What You Came to Say\" — 5:15 ; 7) \"The Healer\" — 4:18 ; 8) \"Idle Time\" — 3:26 ; 9) \"Mercy\" — 3:38 ; 10) \"Slowly\" — 3:48 ; ... |
...And_Finally_22571065 | What does the article about '...And Finally' say regarding 'Personnel'? | Scheer ; Audrey Gallagher — vocals ; Neal Calderwood — guitar; engineering, mixing and production (13, 14) ; Paddy Leyden — guitar ; Peter Fleming — bass guitar, acoustic guitar ; Joe Bates — drums, percussion Other personnel ; Clif Norrell — engineering, mixing and production (1—12) Album personnel as adapted from alb... | [
"...And Finally — Track listing\n\n1) \"Deadly Serious\" — 3:22 ; 2) \"First Contact\" — 3:51 ; 3) \"Face the Sun\" — 3:35 ; 4) \"6am\" — 2:18 ; 5) \"The One Forgot\" — 3:56 ; 6) \"Say What You Came to Say\" — 5:15 ; 7) \"The Healer\" — 4:18 ; 8) \"Idle Time\" — 3:26 ; 9) \"Mercy\" — 3:38 ; 10) \"Slowly\" — 3:48 ; ... |
...And_Found_2971764 | Summarize the 'Flashbacks' part of '...And Found'. | Sun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will find love soon, adding cryptically... | [
"...And Found — Flashbacks\n\nSun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will ... |
...And_Found_2971765 | What does the article about '...And Found' say regarding 'Flashbacks'? | because he is bowing as he opens the door for her. Inside, Jae suddenly reveals that he plans to marry a woman he met in America, and has been seeing Sun only to placate his parents. Although she is obviously disappointed, Sun wishes him well and leaves. A poorly dressed father with a young boy approaches the hotel, an... | [
"...And Found — Flashbacks\n\nSun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will ... |
...And_Found_2971763 | Describe the content of the article about '...And Found'. | "...And Found" is the fifth episode of the second season of Lost, and the 30th episode overall. The episode was directed by Stephen Williams, and written by Carlton Cuse and Damon Lindelof. It first aired on October 19, 2005, on ABC. Sun-Hwa Kwon (Yunjin Kim) searches for her missing wedding ring; meanwhile, Michael Da... | [
"...And Found — Flashbacks\n\nSun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will ... |
...And_Found_2971766 | Based on the article about '...And Found', describe the 'On the beach' section. | At the beach, Sun has discovered that she has lost her wedding ring. Jack Shephard (Matthew Fox) offers to help Sun look for the ring, which Sun declines. Later, when Sun is angrily tearing apart her garden, John Locke (Terry O'Quinn) arrives. Sun states that she does not remember ever seeing him angry. Locke laughs an... | [
"...And Found — Flashbacks\n\nSun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will ... |
...And_Found_2971767 | From the article on '...And Found', restate the 'On the other side of the island' content. | Jin, Michael, Sawyer and the survivors of the tail section, Ana Lucia Cortez (Michelle Rodriguez), Mr. Eko (Adewale Akinnuoye-Agbaje), Libby Smith (Cynthia Watros), Bernard Nadler (Sam Anderson) and Cindy Chandler (Kimberley Joseph) decide to trek back to the safer side of the island. Michael, however, abruptly leaves ... | [
"...And Found — Flashbacks\n\nSun is in South Korea, set up on a date by a matchmaker, and finds her prospective suitor, Jae Lee, to be wealthy, educated, and charming. Meanwhile, Jin is preparing for an important job interview at a hotel. His roommate, using what appears to be the I Ching, tells him that Jin will ... |
...And_Give_Us_Our_Daily_Sex_30156881 | From the article on '...And Give Us Our Daily Sex', restate the 'Release' content. | The film was released in Spain on 26 February 1979 and in Italy on 5 December 1979. It was released in Mexico at the Bergman, Chaplin II, Del Pueblo II and Kubrick theaters on 23 December 1983, for two weeks. | [
"...And Give Us Our Daily Sex — Release\n\nThe film was released in Spain on 26 February 1979 and in Italy on 5 December 1979. It was released in Mexico at the Bergman, Chaplin II, Del Pueblo II and Kubrick theaters on 23 December 1983, for two weeks.",
"...And Give Us Our Daily Sex — Cast\n\nLaura Gemser as Veró... |
...And_Give_Us_Our_Daily_Sex_30156880 | What does the article about '...And Give Us Our Daily Sex' say regarding 'Cast'? | Laura Gemser as Verónica's friend ; Bárbara Rey as Verónica ; Ángel Herraiz as Alfonso ; Mila Stanic as Carla, Alfonso's mother ; José Castillo as Don Ignacio, Alfonso's father ; Alfred Lucchetti as Carla's lover (as Alfredo Luchetti) ; José Sazatornil as José Antonio Cañavate (as José Sazatornil 'Saza') ; José María C... | [
"...And Give Us Our Daily Sex — Release\n\nThe film was released in Spain on 26 February 1979 and in Italy on 5 December 1979. It was released in Mexico at the Bergman, Chaplin II, Del Pueblo II and Kubrick theaters on 23 December 1983, for two weeks.",
"...And Give Us Our Daily Sex — Cast\n\nLaura Gemser as Veró... |
...And_Give_Us_Our_Daily_Sex_30156879 | What information does the article about '...And Give Us Our Daily Sex' provide on 'Plot'? | Alfonso is a teenager who lives in a wealthy family, with an adulterous mother and a foolish father. As he experiences his first sexual impulses, Alfonso discovers that a couple of charming nurses live upstairs in his apartment, so he will look for any excuse to get in touch with them, including building a handmade per... | [
"...And Give Us Our Daily Sex — Release\n\nThe film was released in Spain on 26 February 1979 and in Italy on 5 December 1979. It was released in Mexico at the Bergman, Chaplin II, Del Pueblo II and Kubrick theaters on 23 December 1983, for two weeks.",
"...And Give Us Our Daily Sex — Cast\n\nLaura Gemser as Veró... |
...And_Give_Us_Our_Daily_Sex_30156878 | What information does the article about '...And Give Us Our Daily Sex' provide? | ...And Give Us Our Daily Sex (Malizia erotica, El periscopio) is a 1979 Italian-Spanish film directed by José Ramón Larraz, written by Larraz and Sergio Garrone, and starring Laura Gemser and Bárbara Rey. | [
"...And Give Us Our Daily Sex — Release\n\nThe film was released in Spain on 26 February 1979 and in Italy on 5 December 1979. It was released in Mexico at the Bergman, Chaplin II, Del Pueblo II and Kubrick theaters on 23 December 1983, for two weeks.",
"...And Give Us Our Daily Sex — Cast\n\nLaura Gemser as Veró... |
...And_God_Created_Them_11210330 | Reconstruct the content about 'Plot' from the article on '...And God Created Them'. | and looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Josefina, the older, domestically oriente... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210320 | Summarize the following section from the article on '...And God Created Them'. | ...And God Created Them (Díos los Cría...) is a 1979 Puerto Rican comedy film directed by Jacobo Morales. It was screened in the Un Certain Regard section at the 1981 Cannes Film Festival. | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210323 | From the article on '...And God Created Them', restate the 'Plot' content. | land plot's purchase. Don Marcos tries to outsmart the archbishop when they negotiate the contract's terms, but the archbishop proves to be a clever negotiator. Once they sign the contract and the deal is closed, Don Marcos returns to his office, but has second thoughts and asks his chauffeur to drive him back to the a... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210328 | Based on the article about '...And God Created Them', describe the 'Plot' section. | Since nothing of that seemed to matter anymore, now that they are going to die, a repentant Alberto surprisingly forgives Annette and Carlos, hugging them in an emotionally tearful and tender final moment which is abruptly broken by an external voice shouting good news: help is coming ! Happiness and relief invades the... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210329 | Summarize the 'Plot' part of '...And God Created Them'. | so after what he already knows about his cheating wife and his partner. To the amazement of Carlos and Annette, who are sincerely regretful and remorseful about their actions, Alberto turns into his older vengeful self, angrily implying he wants to be by himself with nothing to do with them anymore. Both men fight, cau... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210321 | Based on the article about '...And God Created Them', describe the 'Plot' section. | Dios los cría – A rich industrialist has died, leaving two sons and his widow (a buxom young woman) as heirs. While his body lies on a public wake, both brothers sob and hug tenderly, after which one of them sneaks out of the funeral parlor, goes to the father's office, opens the office's safe and steals the cash insid... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210331 | What information does the article about '...And God Created Them' provide on 'Cast'? | Jámés Ard as José (segment "La Otra") ; Norma Candal as Josefina (segment "La Otra") ; Carlos Cestero as Hustler (segment "La Gran Noche") ; Pedro Juan Figueroa as Arnaldo (segment "Dios Los Cria") ; Daniel Lugo as Carlos (segment "Entre Doce Y Una") ; Chavito Marrero as Don Marcos (segment "Negocio Redondo") (as José ... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210325 | What information does the article about '...And God Created Them' provide on 'Plot'? | the aging one for a dance but not before earning general admiration from everyone by disposing of a drunk rude customer. They leave the premises under the surprised looks of all the attendants. They stop at a park, where she is dropped by the customer (the vignette has been acted silently up to this point). The custome... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210327 | Reconstruct the content about 'Plot' from the article on '...And God Created Them'. | cables are frayed (and at least one has snapped). While they scream for help (and somebody offers to get them out in a matter of hours) tempers flare and the cables keep on snapping. Calmly resigned to a certain death and having some time to spend, the couple reveal each other their indiscretions. After Alberto confess... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210324 | What information does the article about '...And God Created Them' provide on 'Plot'? | through it. The archbishop threatens to sue him and his company, to which Don Marcos reminds him that this fact has been revealed to him under confession, and therefore, cannot be revealed under penalty of excommunion. The archbishop reluctantly absolves the manager of his sins, and Don Marcos returns to his office, ex... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210322 | Based on the article about '...And God Created Them', describe the 'Plot' section. | the old man's estate. They start to argue and get into a physical confrontation. One of the brothers shoots the other, but the wounded one shoots back the other in return with a gun he pulls from his coat. At the end, all three family members lie in caskets at the funeral parlor as the young widow wickedly smiles at th... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_God_Created_Them_11210326 | Summarize the 'Plot' part of '...And God Created Them'. | gallant old man plays compliment to her "beautiful eyes", provoking a tender smile in her. ; Entre doce y una – Business partners Alberto and Carlos chat in their high rise building office as Carlos uncomfortably expects Alberto to abandon the place. Suddenly, Alberto's stunningly beautiful wife, Annette, appears at th... | [
"...And God Created Them — Plot\n\nand looks after him at home; the younger one, Marie, is constantly interested in having passionate sex with him. He seems to be an absentee partner to both, and each one resents his absences. One day Marie finds Fernando with Josefina, and they have a quarrel; it turns out that Jo... |
...And_His_Mother_Called_Him_Bill_15266290 | Summarize the 'Reception' part of '...And His Mother Called Him Bill'. | ...And His Mother Called Him Bill won the Grammy Award for Best Large Jazz Ensemble Album in 1969. The AllMusic reviewer wrote that, "For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments." As the band was packing up to leave the session, Ellington remain... | [
"...And His Mother Called Him Bill — Reception\n\n...And His Mother Called Him Bill won the Grammy Award for Best Large Jazz Ensemble Album in 1969. The AllMusic reviewer wrote that, \"For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.\" As the ba... |
...And_His_Mother_Called_Him_Bill_15266287 | Describe the content of the article about '...And His Mother Called Him Bill'. | ...And His Mother Called Him Bill is a studio album by Duke Ellington recorded in the wake of the 1967 death of his long-time collaborator, Billy Strayhorn. It won the Grammy Award for Best Large Jazz Ensemble Album in 1968. | [
"...And His Mother Called Him Bill — Reception\n\n...And His Mother Called Him Bill won the Grammy Award for Best Large Jazz Ensemble Album in 1969. The AllMusic reviewer wrote that, \"For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.\" As the ba... |
...And_His_Mother_Called_Him_Bill_15266292 | Reconstruct the content about 'Personnel' from the article on '...And His Mother Called Him Bill'. | Duke Ellington – piano ; Mercer Ellington – trumpet ; Cat Anderson – trumpet ; Herbie Jones – trumpet ; Cootie Williams – trumpet ; Clark Terry – flugelhorn ; Lawrence Brown – trombone ; Buster Cooper – trombone ; Chuck Connors – bass trombone ; John Sanders – valve trombone ; Johnny Hodges – alto saxophone ; Russell P... | [
"...And His Mother Called Him Bill — Reception\n\n...And His Mother Called Him Bill won the Grammy Award for Best Large Jazz Ensemble Album in 1969. The AllMusic reviewer wrote that, \"For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.\" As the ba... |
...And_His_Mother_Called_Him_Bill_15266289 | Reconstruct the content about 'Recording and music' from the article on '...And His Mother Called Him Bill'. | The album was recorded in August and November 1967. The material is Strayhorn's compositions, including some that had not previously been recorded. Ellington chose the songs to demonstrate Strayhorn's versatility and range, as well as to pay homage to the qualities that he most admired in his late writing partner. "Blo... | [
"...And His Mother Called Him Bill — Reception\n\n...And His Mother Called Him Bill won the Grammy Award for Best Large Jazz Ensemble Album in 1969. The AllMusic reviewer wrote that, \"For a man who issued well over 300 albums, this set is among his most profoundly felt and very finest recorded moments.\" As the ba... |
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