triplets
sequence | passage
stringlengths 0
32.9k
| label
stringlengths 4
48
⌀ | label_id
int64 0
1k
⌀ | synonyms
sequence | __index_level_1__
int64 312
64.1k
⌀ | __index_level_0__
int64 0
2.4k
⌀ |
|---|---|---|---|---|---|---|
[
"Mechanical Turk",
"owned by",
"John Ohl"
] | null | null | null | null | 22 |
|
[
"Mechanical Turk",
"has use",
"chess tournament"
] | null | null | null | null | 25 |
|
[
"Mechanical Turk",
"uses",
"chess player"
] | null | null | null | null | 28 |
|
[
"HMS San Josef (1797)",
"significant event",
"ship launching"
] | null | null | null | null | 2 |
|
[
"HMS San Josef (1797)",
"significant event",
"keel laying"
] | null | null | null | null | 8 |
|
[
"Alabama in the American Civil War",
"topic's main category",
"Category:Alabama in the American Civil War"
] | null | null | null | null | 0 |
|
[
"Trans-Mississippi Department",
"applies to jurisdiction",
"Texas"
] | History
The Trans-Mississippi Department was established on May 26, 1862, at Little Rock, Arkansas. It absorbed the previously established Trans-Mississippi District (Department Number Two) which had been organized on January 10, 1862, to include the Indian Territory, Missouri, Arkansas (except for the country east of St. Francis County, Arkansas, to Scott County), Missouri, and that part of Louisiana north of the Red river. The Trans-Mississippi Department had its headquarters at Shreveport, Louisiana, and Houston, Texas. It was responsible for the Confederate theater of operations west of the Mississippi. Its forces were sometimes referred to as "Army of the Southwest" and, as a result of being largely cut off from the Confederate government in Richmond late in the War, became popularly known as "Kirby-Smithdom".Commanding generals
Brigadier-General Paul O. Hébert (May 26, 1862 – June 20, 1862)
Major-General John B. Magruder (assigned June 20, 1862, but did not accept)
Major-General Thomas C. Hindman (June 20, 1862 – July 16, 1862)
Lieutenant-General Theophilus H. Holmes (July 30, 1862 – February 9, 1863)
General E. Kirby Smith (March 7, 1863 – April 19, 1865)
Lieutenant-General Simon Bolivar Buckner (April 19, 1865 – April 22, 1865)
General E. Kirby Smith (April 22, 1865 – May 26, 1865) | null | null | null | null | 0 |
[
"Trans-Mississippi Department",
"applies to jurisdiction",
"Missouri"
] | null | null | null | null | 1 |
|
[
"Trans-Mississippi Department",
"applies to jurisdiction",
"Arkansas"
] | null | null | null | null | 2 |
|
[
"Trans-Mississippi Department",
"applies to jurisdiction",
"Confederate Arizona"
] | The Trans-Mississippi Department was a geographical subdivision of the Confederate States Army comprising Arkansas, Missouri, Texas, western Louisiana, Arizona Territory and the Indian Territory; i.e. all of the Confederacy west of the Mississippi River. It was the last military department to surrender to United States forces in 1865. | null | null | null | null | 7 |
[
"Trans-Mississippi Department",
"applies to jurisdiction",
"West Louisiana"
] | null | null | null | null | 9 |
|
[
"Trans-Mississippi Department",
"topic's main category",
"Category:Trans-Mississippi Department"
] | null | null | null | null | 10 |
|
[
"Trans-Mississippi Department",
"applies to jurisdiction",
"Indian Territory"
] | The Trans-Mississippi Department was a geographical subdivision of the Confederate States Army comprising Arkansas, Missouri, Texas, western Louisiana, Arizona Territory and the Indian Territory; i.e. all of the Confederacy west of the Mississippi River. It was the last military department to surrender to United States forces in 1865.History
The Trans-Mississippi Department was established on May 26, 1862, at Little Rock, Arkansas. It absorbed the previously established Trans-Mississippi District (Department Number Two) which had been organized on January 10, 1862, to include the Indian Territory, Missouri, Arkansas (except for the country east of St. Francis County, Arkansas, to Scott County), Missouri, and that part of Louisiana north of the Red river. The Trans-Mississippi Department had its headquarters at Shreveport, Louisiana, and Houston, Texas. It was responsible for the Confederate theater of operations west of the Mississippi. Its forces were sometimes referred to as "Army of the Southwest" and, as a result of being largely cut off from the Confederate government in Richmond late in the War, became popularly known as "Kirby-Smithdom". | null | null | null | null | 12 |
[
"Mississippi in the American Civil War",
"topic's main category",
"Category:Mississippi in the American Civil War"
] | null | null | null | null | 0 |
|
[
"Heian-kyō",
"founded by",
"Emperor Kanmu"
] | Heian-kyō (平安京, lit. "peaceful/tranquil capital") was one of several former names for the city now known as Kyoto. It was the official capital of Japan for over one thousand years, from 794 to 1868 with an interruption in 1180.
Emperor Kanmu established it as the capital in 794, moving the Imperial Court there from nearby Nagaoka-kyō at the recommendation of his advisor Wake no Kiyomaro and marking the beginning of the Heian period of Japanese history. According to modern scholarship, the city is thought to have been modelled after the urban planning for the Tang dynasty Chinese capital of Chang'an (modern-day Xi'an). It remained the chief political center until 1185, when the samurai Minamoto clan defeated the Taira clan in the Genpei War, moving administration of national affairs to Kamakura and establishing the Kamakura shogunate.
Though political power would be wielded by the samurai class over the course of three different shogunates, Heian remained the site of the Imperial Court and seat of Imperial power, and thus remained the official capital. In fact, even after the seat of Imperial power was moved to Tokyo in 1868, since there is no law which makes Tokyo the capital, there is a view that Kyoto legally or officially remains the capital even today.
In 1994, Kyoto City held various events commemorating its 1200th anniversary. | null | null | null | null | 5 |
[
"Heian-kyō",
"said to be the same as",
"Kyōto"
] | null | null | null | null | 6 |
|
[
"Heian-kyō",
"follows",
"Nagaoka-kyō"
] | null | null | null | null | 8 |
|
[
"Heian-kyō",
"followed by",
"Tokyo Prefecture"
] | null | null | null | null | 10 |
|
[
"Heian-kyō",
"follows",
"Fukuhara-kyō"
] | null | null | null | null | 12 |
|
[
"Heian-kyō",
"followed by",
"Fukuhara-kyō"
] | null | null | null | null | 13 |
|
[
"Heian-kyō",
"topic's main category",
"Category:Heian-kyō"
] | null | null | null | null | 14 |
|
[
"Heian-kyō",
"located on terrain feature",
"Kyoto Basin"
] | null | null | null | null | 15 |
|
[
"Imabari Castle",
"founded by",
"Tōdō Takatora"
] | null | null | null | null | 2 |
|
[
"German Quarter",
"topic's main category",
"Category:German Quarter"
] | null | null | null | null | 7 |
|
[
"Sanitary Fair",
"founded by",
"United States Sanitary Commission"
] | Sanitary fairs were fund-raising events held in various cities on behalf of the United States Sanitary Commission to raise funds and supplies for the Union Army during the American Civil War. Established in 1863, the last major event was held in 1865 in Chicago. From the outset of the USSC, many local groups sponsored fundraising events to benefit the Commission. As the civil war progressed, these became larger and more elaborate. Organizing these Sanitary Fairs offered ways for local communities to participate directly in supporting the war effort of the nation.
The USSC leadership sometimes did not approve of the excitement and lavishness of the fairs. They wanted to encourage sacrifice as a component of membership in a nation. Although the fairs were one way to create a national identity which might motivate citizens to perform their duties, the commission leadership did not want the fairs to become the focus of USSC work. The name "Sanitary Fair" was coined after the success of the big bazaars that took place in Chicago and shortly after in Boston during the winter of 1863-1864. | null | null | null | null | 1 |
[
"Rheingau",
"topic's main category",
"Category:Rheingau"
] | null | null | null | null | 4 |
|
[
"Riksdag of the Estates",
"applies to jurisdiction",
"Sweden"
] | null | null | null | null | 1 |
|
[
"Erfurt Union",
"topic's main category",
"Category:Members of the Erfurt Parliament"
] | null | null | null | null | 0 |
|
[
"The Southern Aegis",
"followed by",
"The Southern Aegis, and Harford County Intelligencer"
] | null | null | null | null | 2 |
|
[
"Slavonic-Serbian",
"different from",
"Church Slavonic"
] | null | null | null | null | 4 |
|
[
"Cambrian Pottery",
"owned by",
"Coles & Haynes"
] | null | null | null | null | 3 |
|
[
"Don Alfonso",
"performer",
"Mike Oldfield"
] | null | null | null | null | 1 |
|
[
"Don Alfonso",
"lyrics by",
"Mike Oldfield"
] | null | null | null | null | 2 |
|
[
"Don Alfonso",
"different from",
"Don Alfonso"
] | null | null | null | null | 7 |
|
[
"La Bamba (song)",
"lyrics by",
"public domain"
] | null | null | null | null | 3 |
|
[
"La Bamba (song)",
"performer",
"Ritchie Valens"
] | null | null | null | null | 4 |
|
[
"La Bamba (song)",
"lyrics by",
"Ritchie Valens"
] | null | null | null | null | 5 |
|
[
"La Bamba (song)",
"performer",
"Selena"
] | null | null | null | null | 6 |
|
[
"La Bamba (song)",
"performer",
"Los Lobos"
] | "La Bamba" (pronounced [la ˈβamba]) is a Mexican folk song, originally from the state of Veracruz, also known as "La Bomba". The song is best known from a 1958 adaptation by Ritchie Valens, a Top 40 hit in the U.S. charts. Valens's version is ranked number 345 on Rolling Stone magazine′s list of the 500 Greatest Songs of All Time.
"La Bamba" has been covered by numerous artists, notably by Los Lobos whose version was the title track of the 1987 film La Bamba, a bio-pic about Valens; their version reached No. 1 in many charts in the same year. | null | null | null | null | 10 |
[
"La Bamba (song)",
"performer",
"Dusty Springfield"
] | Charts
Certifications and sales
Other notable versions
In 1960, Harry Belafonte's live version of the song was released on his album Belafonte Returns to Carnegie Hall. His previously recorded but unreleased studio version from 1958 was included in a 2001 compilation, Very Best of Harry Belafonte, under the title "Bam Bam Bamba".
In 1965, Dusty Springfield covered the song for her second album, Ev'rything's Coming Up Dusty. It was also included on You Don't Have To Say You Love Me in 1966, which was more or less an American re-issue of the previous album.
In 1985, Canadian children's singer Charlotte Diamond released a cover of the song on her Juno Award-winning debut album 10 Carrot Diamond. The cover is perhaps best known for appearing in the children's television series Ants in Your Pants.
In 1988, "Weird Al" Yankovic performed a parody of the song titled "Lasagna" for his album Even Worse.
A song from a Bosnian pop-rock band Crvena jabuka "Sviđa mi se ova stvar" released in 1988, is heavily influenced by "La Bamba".
Texas rock band Los Lonely Boys have frequently performed "La Bamba" in concert. They cite Valens as an influence in their music.
A Star Academy 3 version of "La Bamba" reached No. 3 in France on December 13, 2003, In January 2004, it reached No. 5 in Wallonia, Belgium.
Wyclef Jean and Dora the Explorer in the 2010 Mega Music Fest on Nickelodeon.
The Belgian Electronic band "Telex", the trio who made the worldwide successful "Moskow Diskow," also created a downbeat electronic cover of it, which is the final track in their final album "How Do You Dance?".
A live recording of the song by Rory Gallagher features on the posthumously released 2003 album Meeting with the G-Man. | null | null | null | null | 12 |
[
"La Bamba (song)",
"performer",
"Trini Lopez"
] | null | null | null | null | 13 |
|
[
"La Bamba (song)",
"performer",
"Los Machucambos"
] | null | null | null | null | 16 |
|
[
"La Bamba (song)",
"performer",
"Mono blanco"
] | null | null | null | null | 20 |
|
[
"Gatha (Zoroaster)",
"lyrics by",
"Zoroaster"
] | The Gathas () are 17 Avestan hymns traditionally believed to have been composed by the prophet Zarathushtra (Zoroaster). They form the core of the Zoroastrian liturgy (the Yasna). They are arranged in five different modes or metres.
The Avestan term gāθā (𐬔𐬁𐬚𐬁 "hymn", but also "mode, metre") is cognate with Sanskrit gāthā (गाथा), both from the Proto-Indo-Iranian word *gaHtʰáH, from the root *gaH- "to sing". | null | null | null | null | 1 |
[
"Happy End (musical)",
"lyrics by",
"Bertolt Brecht"
] | null | null | null | null | 1 |
|
[
"Happy End (musical)",
"based on",
"Major Barbara"
] | Production history
After the success of Weill and Brecht's previous collaboration, The Threepenny Opera, the duo devised this musical, written by Hauptmann under the pseudonym of Dorothy Lane. Hauptmann's sources included, among others, Major Barbara.
The première took place in Berlin on 2 September 1929.
The story is reminiscent of, but not the source of, the better-known musical Guys and Dolls, which is based on Damon Runyon's short story, "The Idyll of Miss Sarah Brown". Brecht tried to take credit for the whole work but Hauptmann ensured that the truth was known.The original production was not well received. There were reports that cast member Helene Weigel (Brecht's wife) read from a Communist pamphlet on stage, and the production was panned by the German press and closed two days later. Nevertheless, the musical was subsequently produced in Europe, the first time in Munich in 1956. Successive productions included Hamburg in 1957, London in 1965 at the Royal Court Theatre, Yale Repertory Theatre (US) in 1972, Oxford and the West End's Lyric Theatre in 1975 and Frankfurt in 1983, along with a 1977 German film version.The musical premiered on Broadway at the Martin Beck Theatre on May 7, 1977, and closed on July 10, 1977, after 75 performances. Directed by Robert Kalfin and Patricia Birch and staged by Birch, the production starred Christopher Lloyd, Grayson Hall and Meryl Streep.
A 1984 production by Washington D.C.'s Arena Stage was televised as part of the short-lived "America's Musical Theater" series on PBS. The musical was produced at Center Stage in Baltimore, Maryland, in February 1995, using the English adaptation by Michael Feingold (as did the Arena Stage production).A production at the Pacific Resident Theatre in 2005 garnered a Los Angeles Drama Critics Circle Award for Best Revival of 2005.
A 2006 production by San Francisco's American Conservatory Theater used the English adaptation by Michael Feingold, and also had a CD cast recording. This version was performed off-off-Broadway in New York in 2007.Despite the poor initial reception of the play, several musical numbers have seen continued popularity, including "Surabaya Johnny", sung by Lillian Holiday and "Bilbao Song". | null | null | null | null | 3 |
[
"West Side Story",
"based on",
"Romeo and Juliet"
] | West Side Story is a musical conceived by Jerome Robbins with music by Leonard Bernstein, lyrics by Stephen Sondheim, and a book by Arthur Laurents.
Inspired by William Shakespeare's play Romeo and Juliet, the story is set in the mid-1950s in the Upper West Side of Manhattan in New York City, then a multiracial, blue-collar neighborhood. The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The Sharks, who are recent migrants from Puerto Rico, and the Jets, who are white, vie for dominance of the neighborhood, and the police try to keep order. The young protagonist, Tony, a former member of the Jets and best friend of the gang's leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, tragic love story, and focus on social problems marked a turning point in musical theatre.
The original 1957 Broadway production, directed and choreographed by Robbins, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six Tony Awards, including Best Musical, in 1958, winning two. The show had an even longer-running West End production, a number of revivals, and international productions. A 1961 musical film adaptation, co-directed by Robert Wise and Robbins, starred Natalie Wood and Richard Beymer. The film was nominated for eleven Academy Awards and won ten, including Best Picture. A 2021 film adaptation, directed by Steven Spielberg, starred Ansel Elgort and Rachel Zegler. That film was also nominated for the Academy Award for Best Picture, along with six additional nominations, winning one Oscar. | null | null | null | null | 3 |
[
"West Side Story",
"lyrics by",
"Stephen Sondheim"
] | West Side Story is a musical conceived by Jerome Robbins with music by Leonard Bernstein, lyrics by Stephen Sondheim, and a book by Arthur Laurents.
Inspired by William Shakespeare's play Romeo and Juliet, the story is set in the mid-1950s in the Upper West Side of Manhattan in New York City, then a multiracial, blue-collar neighborhood. The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The Sharks, who are recent migrants from Puerto Rico, and the Jets, who are white, vie for dominance of the neighborhood, and the police try to keep order. The young protagonist, Tony, a former member of the Jets and best friend of the gang's leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, tragic love story, and focus on social problems marked a turning point in musical theatre.
The original 1957 Broadway production, directed and choreographed by Robbins, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six Tony Awards, including Best Musical, in 1958, winning two. The show had an even longer-running West End production, a number of revivals, and international productions. A 1961 musical film adaptation, co-directed by Robert Wise and Robbins, starred Natalie Wood and Richard Beymer. The film was nominated for eleven Academy Awards and won ten, including Best Picture. A 2021 film adaptation, directed by Steven Spielberg, starred Ansel Elgort and Rachel Zegler. That film was also nominated for the Academy Award for Best Picture, along with six additional nominations, winning one Oscar. | null | null | null | null | 5 |
[
"West Side Story",
"topic's main category",
"Category:West Side Story"
] | null | null | null | null | 16 |
|
[
"West Side Story",
"different from",
"West Side Story"
] | null | null | null | null | 22 |
|
[
"Ich hatt' einen Kameraden",
"lyrics by",
"Ludwig Uhland"
] | null | null | null | null | 3 |
|
[
"Gellert Odes and Songs",
"lyrics by",
"Christian Fürchtegott Gellert"
] | null | null | null | null | 2 |
|
[
"Gellert Odes and Songs",
"based on",
"Geistliche Oden und Lieder"
] | null | null | null | null | 4 |
|
[
"Why I Have Taken Up the Struggle Against Bolshevism",
"lyrics by",
"Andrey Vlasov"
] | null | null | null | null | 0 |
|
[
"Allein Gott in der Höh sei Ehr",
"lyrics by",
"Nikolaus Decius"
] | "Allein Gott in der Höh sei Ehr" (Alone to God in the highest be glory) is an early Lutheran hymn, with text and melody attributed to Nikolaus Decius. With the reformers intending church service in German, it was intended as a German version of the Gloria part of the Latin mass, used in almost every service. Decius wrote three stanzas, probably in 1523, while a fourth was added, probably by Joachim Slüter.
"Allein Gott in der Höh sei Ehr" is included in many German hymnals, including the current Protestant hymnal Evangelisches Gesangbuch and (in three stanzas) in the Catholic hymnal Gotteslob. Catherine Winkworth translated it to "All glory be to God on high".History
With the Reformation, the traditional Latin of Christian church services was changed to German. "Allein Gott in der Höh sei Ehr" is a paraphrase of the Latin Gloria from the mass liturgy. The oldest prints of the hymn do not mention an author, but it is believed that it was written in Low German by Nikolaus Decius in 1523, which makes it one of the earliest songs of the Reformation. The melody, Zahn No. 4457, is adapted from the Gloria of the mass for Easter in Gregorian chant, Lux et origo (GL 114). | null | null | null | null | 2 |
[
"Im schwarzen Walfisch zu Askalon",
"lyrics by",
"Joseph Victor von Scheffel"
] | "Im schwarzen Walfisch zu Askalon" ("In the Black Whale of Ascalon") is a popular academic commercium song. It was known as a beer-drinking song in many German speaking ancient universities. Joseph Victor von Scheffel provided the lyrics under the title Altassyrisch (Old Assyrian) 1854, the melody is from 1783 or earlier.Content
The lyrics reflect an endorsement of the bacchanalian mayhem of student life, similar as in Gaudeamus igitur. The song describes an old Assyrian drinking binge of a man in an inn with some references to the Classics. The desks are made of marble and the large invoice is being provided in cuneiform on bricks. However the carouser has to admit that he left his money already in Nineveh. A Nubian house servant kicks him out then and the song closes with the notion, that (compare John 4:44) a prophet has no honor in his own country, if he doesn't pay cash for his consumption. Charles Godfrey Leland has translated the poems among other works of Scheffel. Each stanza begins with the naming verse "Im Schwarzen Walfisch zu Askalon", but varies the outcome. The "Im" is rather prolonged with the melody and increases the impact. Some of the stanzas: | null | null | null | null | 3 |
[
"Gelobt sei Gott im höchsten Thron",
"lyrics by",
"Michael Weiße"
] | History
Weiße published his text in 1531 in his hymnal Ein New Gesengbuchlen for the Bohemian Brethren, with a melody known from the beginning of the 15th century and used in Czech congregations in Bohemian Hussite hymnals. Weiße structured the text in three parts, two stanzas of praise, fifteen stanzas of narration, and three stanzas of prayer to Jesus. Each stanza consists of three rhyming lines in similar meter, and a "Halleluja" refrain.In 1609, the hymn appeared in the Lutheran hymnal Ein schön geistlich Gesangbuch by Melchior Vulpius from Weimar, who composed a different tune and two harmonisations, one for four parts, one for five parts. With this melody, the hymn became widely known in the 19th century by publication in the hymnals of Johann Gottlieb Tucher and Philipp Wackernagel. The number of stanzas was reduced considerably, because of less interest in a long narration and a focus on the Passion.The hymn was translated to English in several versions, for example "Good Christians All, Rejoice and Sing" by Cyril A. Alington in 1931. Other hymns sung to the tune "Gelobt sei Gott" include "O Lord of Life, Where'er They Be".In the current German Protestant hymnal Evangelisches Gesangbuch (EG), the hymn is number 103. It has one stanza of praise, three stanzas of narration and two of prayer. Praise and narration correspond to stanzas 1, 4, 9 and 10 of the first version, the two stanzas of praise are derived from the three stanzas in the long version. The first melody still appears in the EG, as number 105, with the text "Erstanden ist der heilig Christ" (Risen is the holy Christ), based on the Latin Surrexit Christus Hodie. "Gelobt sei Gott im höchsten Thron", the same six stanzas as in the EG, is part of the Catholic hymnal Gotteslob (GL), number 218 in the old version, number 328 in the current version. | null | null | null | null | 2 |
[
"Five (EP)",
"performer",
"Ayumi Hamasaki"
] | Five is the second mini-album by Japanese singer Ayumi Hamasaki. It was released on 31 August 2011, in three editions: CD+DVD, CD-Only and a limited CD-Only edition. A Blu-ray version of the mini-album was released on 9 November 2011, making Five the world's first album to be released in Blu-Ray. Hamasaki was the only lyricist on Five, and the songs were composed by multiple composers. The EP gets it title from its track listing, which consists of five tracks.
No physical singles were released from Five, making it Hamasaki's first album without any singles. However, all five songs were used as commercial tie-ins prior to the album's release. Therefore, Five really contained no previously unheard material. Five debuted atop the Oricon charts with first week sales of over 125,000 copies, becoming her eighteenth album to do so. It topped the charts for two consecutive weeks, her first album to do so since (Miss)Understood in 2006, and was her first album to top the Oricon Monthly Chart since Next Level in 2009. Five was certified gold by the Recording Industry Association of Japan, but it became Hamasaki's first album to fail to be certified platinum since her career began. Five sold around 213,000 copies. | null | null | null | null | 2 |
[
"Five (EP)",
"lyrics by",
"Ayumi Hamasaki"
] | null | null | null | null | 3 |
|
[
"Five (EP)",
"follows",
"Love Songs"
] | null | null | null | null | 6 |
|
[
"Five (EP)",
"followed by",
"Party Queen"
] | null | null | null | null | 7 |
|
[
"When I Lost You",
"lyrics by",
"Irving Berlin"
] | null | null | null | null | 3 |
|
[
"(Do You Wanna Date My) Avatar",
"followed by",
"The Guild"
] | null | null | null | null | 3 |
|
[
"(Do You Wanna Date My) Avatar",
"performer",
"Felicia Day"
] | "(Do You Wanna Date My) Avatar" is a 2009 song created and performed by the cast of the web series The Guild, with lead vocals by singer-actress Felicia Day. The lyrics were written by Day and the music was written by musical composer Jed Whedon, who also directed the music video. | null | null | null | null | 6 |
[
"(Do You Wanna Date My) Avatar",
"lyrics by",
"Felicia Day"
] | "(Do You Wanna Date My) Avatar" is a 2009 song created and performed by the cast of the web series The Guild, with lead vocals by singer-actress Felicia Day. The lyrics were written by Day and the music was written by musical composer Jed Whedon, who also directed the music video.Background
When interviewed at San Diego Comic-Con, Day attributed her inspiration for the song to 1980s and 1990s-style dance music. She conveyed an obsession with Stacey Q's "Two of Hearts" in particular, which is apparent with Day including a familiar "come on, come on" in the lyrics. The song includes a rap portion performed by Guild co-stars Jeff Lewis and Sandeep Parikh.
While Day composed the lyrics herself, whilst listening to "really bad 1990s dance songs", she turned to screenwriter Jed Whedon (with whom she had worked on internet musical Dr. Horrible's Sing Along Blog and TV series Dollhouse) to compose the music. Whedon and his wife Maurissa Tancharoen are credited as backup singers on the video, and Tancharoen also contributes her talent as a back-up dancer; this was the first time Whedon (who also directed the video) had seen her dance. | null | null | null | null | 7 |
[
"Aokana - Four Rhythms Across the Blue",
"lyrics by",
"Kotoko"
] | null | null | null | null | 20 |
|
[
"Aokana - Four Rhythms Across the Blue",
"lyrics by",
"Mami Kawada"
] | Music
Aokana: Four Rhythm Across the Blue has seven pieces of theme music: one opening theme, one insert song, and five ending themes. The opening theme is "Wings of Courage (Sora o Koete)" (Wings of Courage ～空を超えて～, "Wings of Courage (Beyond the Sky)") by Mami Kawada. The insert song is "Infinite Sky" by Kotoko. Each heroine has her own ending theme, starting with Asuka's theme "Sora Koi" (空恋, "Sky Love") by Misato Fukuen. Misaki's theme is "Sense of Life" by Azumi Asakura. Mashiro's theme is "Millions of You" by Nozomi Yamamoto. Rika's theme is "Night Flight" by Madoka Yonezawa. The main ending theme is "Sky is the Limit" by Kawada. In addition, an image song single titled "Rays of the Sun" by Kawada was released on December 28, 2014, at Comiket 87. The main opening theme for the HD versions of the game is "Crossing Way" by Kawada.The anime's opening theme is "Contrail (Kiseki)" (Contrail～軌跡～, "Contrail (Track)") by Kawada and the ending theme is "A-gain" by Ray. The single for "Contrail (Kiseki)" was released on January 27, 2016, and the single for "A-gain" was released on February 17, 2016; The opening theme to Ao no Kanata no Four Rhythm: Eternal Sky is "Believe in the Sky" by Kawada. A vocal collection of music for the series, which includes "Believe in the Sky", was released on May 1, 2016. | null | null | null | null | 38 |
[
"Aokana - Four Rhythms Across the Blue",
"lyrics by",
"Takaki Mizoguchi"
] | null | null | null | null | 48 |
|
[
"The Nightmare Before Christmas",
"different from",
"Halloweentown"
] | null | null | null | null | 6 |
|
[
"The Nightmare Before Christmas",
"topic's main category",
"Category:The Nightmare Before Christmas"
] | null | null | null | null | 9 |
|
[
"The Nightmare Before Christmas",
"narrative location",
"Halloween Town"
] | The Nightmare Before Christmas (also known as Tim Burton's The Nightmare Before Christmas) is a 1993 American stop-motion animated musical dark fantasy film directed by Henry Selick (in his feature directorial debut) and produced and conceived by Tim Burton. It tells the story of Jack Skellington, the King of "Halloween Town", who stumbles upon "Christmas Town" and schemes to take over the holiday. Danny Elfman wrote the songs and score and provided the singing voice of Jack. The principal voice cast also includes Chris Sarandon, Catherine O'Hara, William Hickey, Ken Page, Paul Reubens, Glenn Shadix, and Ed Ivory.
The Nightmare Before Christmas originated in a poem written by Burton in 1982 while he was working as an animator at Walt Disney Productions. With the success of Vincent in the same year, Burton began to consider developing The Nightmare Before Christmas as either a short film or a half-hour television special, to no avail. Over the years, Burton's thoughts regularly returned to the project, and, in 1990, he made a development deal with Walt Disney Studios. Production started in July 1991 in San Francisco; Disney initially released the film through Touchstone Pictures because the studio believed the film would be "too dark and scary for kids".The film met with critical success upon release, earning praise for its animation (particularly the innovation of the stop-motion art form), characters, songs and score. While only a modest box office hit at first, it has since garnered a large cult following. It was nominated for the Academy Award for Best Visual Effects, a first for an animated film, but lost to Jurassic Park. The film has been reissued by Walt Disney Pictures and was re-released annually in Disney Digital 3-D from 2006 until 2010. | null | null | null | null | 22 |
[
"The Nightmare Before Christmas",
"performer",
"Danny Elfman"
] | The Nightmare Before Christmas (also known as Tim Burton's The Nightmare Before Christmas) is a 1993 American stop-motion animated musical dark fantasy film directed by Henry Selick (in his feature directorial debut) and produced and conceived by Tim Burton. It tells the story of Jack Skellington, the King of "Halloween Town", who stumbles upon "Christmas Town" and schemes to take over the holiday. Danny Elfman wrote the songs and score and provided the singing voice of Jack. The principal voice cast also includes Chris Sarandon, Catherine O'Hara, William Hickey, Ken Page, Paul Reubens, Glenn Shadix, and Ed Ivory.
The Nightmare Before Christmas originated in a poem written by Burton in 1982 while he was working as an animator at Walt Disney Productions. With the success of Vincent in the same year, Burton began to consider developing The Nightmare Before Christmas as either a short film or a half-hour television special, to no avail. Over the years, Burton's thoughts regularly returned to the project, and, in 1990, he made a development deal with Walt Disney Studios. Production started in July 1991 in San Francisco; Disney initially released the film through Touchstone Pictures because the studio believed the film would be "too dark and scary for kids".The film met with critical success upon release, earning praise for its animation (particularly the innovation of the stop-motion art form), characters, songs and score. While only a modest box office hit at first, it has since garnered a large cult following. It was nominated for the Academy Award for Best Visual Effects, a first for an animated film, but lost to Jurassic Park. The film has been reissued by Walt Disney Pictures and was re-released annually in Disney Digital 3-D from 2006 until 2010.Voice cast
Chris Sarandon (speaking voice) and Danny Elfman (singing voice) as Jack Skellington, a skeleton known as the "Pumpkin King" of Halloween Town. Elfman was initially cast as Jack's singing voice and, after the songs were recorded, Sarandon was cast to match Elfman's voice style.Elfman also voices:
Barrel, one of the trick-or-treaters working for Oogie Boogie.
The Clown with the Tear-Away Face, a self-described clown who rides a unicycle.
Catherine O'Hara as Sally, a rag doll/Frankenstein's monster-like creation of Finkelstein and Jack's love interest. She is a toxicologist who uses various types of poison to liberate herself from the captivity of her "father". She is also psychic and has premonitions when anything bad is about to happen. O'Hara had previously co-starred in Burton's Beetlejuice.
O'Hara also voices Shock, one of the trick-or-treaters working for Oogie Boogie.
William Hickey as Doctor Finkelstein, a mad scientist and the loving but overbearing "father" of Sally. He is listed in the credits only as "Evil Scientist" and is only mentioned by name twice in the film.
Glenn Shadix as the Mayor of Halloween Town, an enthusiastic leader who conducts town meetings. His wild mood swings from happy to distraught because his head spins between a "happy" and "sad" face; where some career politicians are described as figuratively two-faced, the mayor is literally so. Shadix and Burton had previously worked on Beetlejuice.
Ken Page as Oogie Boogie, a villainous bogeyman in Halloween Town, who has a passion for gambling and rivalry with Jack.
Ed Ivory as Santa Claus, the ruler of Christmas Town. Santa is responsible for the annual celebration of Christmas, in which he delivers presents to children in the real world. He is also referred to by Jack and Halloween Town's residents as "Sandy Claws". Ivory also provides the brief narration at the start of the film.
Paul Reubens as Lock, one of the trick-or-treaters working for Oogie Boogie. Reubens and Burton had previously worked on Pee-wee's Big Adventure and Batman Returns.
Frank Welker as Zero, Jack's pet ghost dog who has a tiny Jack-o'-lantern on top of his nose.The cast also features Kerry Katz, Carmen Twillie, Randy Crenshaw, Lisa Donovan Lukas, Debi Durst, Glenn Walters, Sherwood Ball, John Morris and Greg Proops voicing various characters. Patrick Stewart recorded narration for a prologue and epilogue. While not used in the final film, the narration is included on the soundtrack album. | null | null | null | null | 38 |
[
"The Nightmare Before Christmas",
"lyrics by",
"Danny Elfman"
] | The Nightmare Before Christmas (also known as Tim Burton's The Nightmare Before Christmas) is a 1993 American stop-motion animated musical dark fantasy film directed by Henry Selick (in his feature directorial debut) and produced and conceived by Tim Burton. It tells the story of Jack Skellington, the King of "Halloween Town", who stumbles upon "Christmas Town" and schemes to take over the holiday. Danny Elfman wrote the songs and score and provided the singing voice of Jack. The principal voice cast also includes Chris Sarandon, Catherine O'Hara, William Hickey, Ken Page, Paul Reubens, Glenn Shadix, and Ed Ivory.
The Nightmare Before Christmas originated in a poem written by Burton in 1982 while he was working as an animator at Walt Disney Productions. With the success of Vincent in the same year, Burton began to consider developing The Nightmare Before Christmas as either a short film or a half-hour television special, to no avail. Over the years, Burton's thoughts regularly returned to the project, and, in 1990, he made a development deal with Walt Disney Studios. Production started in July 1991 in San Francisco; Disney initially released the film through Touchstone Pictures because the studio believed the film would be "too dark and scary for kids".The film met with critical success upon release, earning praise for its animation (particularly the innovation of the stop-motion art form), characters, songs and score. While only a modest box office hit at first, it has since garnered a large cult following. It was nominated for the Academy Award for Best Visual Effects, a first for an animated film, but lost to Jurassic Park. The film has been reissued by Walt Disney Pictures and was re-released annually in Disney Digital 3-D from 2006 until 2010. | null | null | null | null | 39 |
[
"The Nightmare Before Christmas",
"followed by",
"The Nightmare Before Christmas: Oogie's Revenge"
] | null | null | null | null | 51 |
|
[
"Kongesangen",
"lyrics by",
"Henrik Wergeland"
] | Lyrics
Notes | null | null | null | null | 2 |
[
"Le carnaval de Venise",
"lyrics by",
"Jean-François Regnard"
] | null | null | null | null | 3 |
|
[
"Kalinka (1860 song)",
"different from",
"Kalinka"
] | null | null | null | null | 5 |
|
[
"Kalinka (1860 song)",
"lyrics by",
"Ivan Larionov"
] | "Kalinka" (Russian: Калинка) is a Russian folk song written in 1860 by the composer and folklorist Ivan Larionov and first performed in Saratov as part of a theatrical entertainment that he had composed. Soon it was added to the repertory of a folk choral group. | null | null | null | null | 7 |
[
"Walt Disney's Carousel of Progress",
"lyrics by",
"Robert B. Sherman"
] | 1964 New York World's Fair
General Electric approached Walt Disney to develop a show for the company's pavilion at the 1964–1965 New York World's Fair. Disney leapt at the chance to rekindle his relationship with GE, who would fund the project and the new technology necessary to bring it to life. Reaching back to the Edison Square concept, he again pitched the idea of an electrical progress show to GE executives, who loved it.
During the planning phase, Disney's Imagineers perfected the Audio-Animatronics (AA) technology necessary to operate the "performers" in the show, using technologies similar to those in Walt Disney's Enchanted Tiki Room and Great Moments with Mr. Lincoln, another attraction designed by Disney for the 1964–1965 New York World's Fair. The Imagineers, led by Disney engineers Roger E. Broggie and Bob Gurr, also devised a "carousel theater", so that the audience could stay seated and ride around a stationary set of stages, instead of getting up and walking from stage to stage. This allowed the audience to remain comfortably in place during scene changes, avoiding time-consuming disruptions between acts.
Singing cowboy Rex Allen was tapped to voice Father, the host and narrator that replaced the original "Wilbur K. Watt" character. Allen later commented that he did not know exactly what he was getting into.
Walt Disney asked songwriters Richard M. Sherman and Robert B. Sherman to create a song to bridge the "acts" in the show. When he explained what the show was about, they decided to write a song based on Disney's enthusiasm, titled "There's a Great Big Beautiful Tomorrow". The brothers later said that they considered it Walt's "theme song," because he was so optimistic and excited about the future and technology itself.
The show opened at the Fair as Progressland, and was one of its most popular pavilions. Though more than 200 people entered and exited the attraction every four minutes, it was not uncommon to wait over an hour in line. For the Fair's 1965 season, a massive covered queue was constructed next to the pavilion on an empty lot to protect visitors from New York's hot summer sun.
At the end of the Carousel show, fairgoers were invited to walk up to the second floor of the pavilion and see the General Electric "Skydome Spectacular". The "Skydome Spectacular" projected images of nature and energy into the domed roof of the GE pavilion, similar to a planetarium. The show demonstrated the many ways that GE was harnessing electricity and the power of the sun for the benefit of its customers. At the end of the Spectacular, in the first demonstration of controlled thermonuclear fusion to be witnessed by a large general audience, a magnetic field squeezed a plasma of deuterium gas for a few millionths of a second at a temperature of 20 million degrees Fahrenheit. There was a vivid flash and a loud report as atoms collided, creating free energy that was evidenced on instruments. The temperature listed in the 1964 guidebook was 20 million degrees F; in the 1965 guide the temperature was up to 50 million degrees F. | null | null | null | null | 5 |
[
"Walt Disney's Carousel of Progress",
"lyrics by",
"Richard M. Sherman"
] | 1964 New York World's Fair
General Electric approached Walt Disney to develop a show for the company's pavilion at the 1964–1965 New York World's Fair. Disney leapt at the chance to rekindle his relationship with GE, who would fund the project and the new technology necessary to bring it to life. Reaching back to the Edison Square concept, he again pitched the idea of an electrical progress show to GE executives, who loved it.
During the planning phase, Disney's Imagineers perfected the Audio-Animatronics (AA) technology necessary to operate the "performers" in the show, using technologies similar to those in Walt Disney's Enchanted Tiki Room and Great Moments with Mr. Lincoln, another attraction designed by Disney for the 1964–1965 New York World's Fair. The Imagineers, led by Disney engineers Roger E. Broggie and Bob Gurr, also devised a "carousel theater", so that the audience could stay seated and ride around a stationary set of stages, instead of getting up and walking from stage to stage. This allowed the audience to remain comfortably in place during scene changes, avoiding time-consuming disruptions between acts.
Singing cowboy Rex Allen was tapped to voice Father, the host and narrator that replaced the original "Wilbur K. Watt" character. Allen later commented that he did not know exactly what he was getting into.
Walt Disney asked songwriters Richard M. Sherman and Robert B. Sherman to create a song to bridge the "acts" in the show. When he explained what the show was about, they decided to write a song based on Disney's enthusiasm, titled "There's a Great Big Beautiful Tomorrow". The brothers later said that they considered it Walt's "theme song," because he was so optimistic and excited about the future and technology itself.
The show opened at the Fair as Progressland, and was one of its most popular pavilions. Though more than 200 people entered and exited the attraction every four minutes, it was not uncommon to wait over an hour in line. For the Fair's 1965 season, a massive covered queue was constructed next to the pavilion on an empty lot to protect visitors from New York's hot summer sun.
At the end of the Carousel show, fairgoers were invited to walk up to the second floor of the pavilion and see the General Electric "Skydome Spectacular". The "Skydome Spectacular" projected images of nature and energy into the domed roof of the GE pavilion, similar to a planetarium. The show demonstrated the many ways that GE was harnessing electricity and the power of the sun for the benefit of its customers. At the end of the Spectacular, in the first demonstration of controlled thermonuclear fusion to be witnessed by a large general audience, a magnetic field squeezed a plasma of deuterium gas for a few millionths of a second at a temperature of 20 million degrees Fahrenheit. There was a vivid flash and a loud report as atoms collided, creating free energy that was evidenced on instruments. The temperature listed in the 1964 guidebook was 20 million degrees F; in the 1965 guide the temperature was up to 50 million degrees F. | null | null | null | null | 8 |
[
"Zokkomon",
"narrative location",
"India"
] | null | null | null | null | 1 |
|
[
"Zokkomon",
"lyrics by",
"Javed Akhtar"
] | null | null | null | null | 14 |
|
[
"Zokkomon",
"performer",
"Shankar–Ehsaan–Loy"
] | Soundtrack
The music is composed by Shankar–Ehsaan–Loy. Lyrics are penned by Ramesh, Lakshmi, and Javed Akhtar | null | null | null | null | 15 |
[
"DK Rap",
"lyrics by",
"Grant Kirkhope"
] | The "DK Rap" is the introduction theme to the 1999 Nintendo 64 video game Donkey Kong 64. Originally conceived by Rare designer George Andreas and composed by Grant Kirkhope, Andreas co-wrote and performed the lyrics, with Rare staffers joining in the chorus. Its lyrics describe the five playable characters in the video game, with Kirkhope's goal to juxtapose the previous iteration of Donkey Kong against the new one from Donkey Kong Country.
The "DK Rap" is the first song in the 1999 Donkey Kong 64 Original Soundtrack where it was named "Da Banana Bunch". Despite Grant Kirkhope not intending to make a serious rap, the "DK Rap" has received generally mixed reception and has been awarded "dubious awards" for its quality. The song has since been remixed in other Nintendo games and can be downloaded on the company's website. | null | null | null | null | 9 |
[
"Saludos Amigos",
"narrative location",
"South America"
] | null | null | null | null | 2 |
|
[
"Saludos Amigos",
"main subject",
"tourism"
] | null | null | null | null | 18 |
|
[
"Saludos Amigos",
"significant event",
"première"
] | null | null | null | null | 23 |
|
[
"Saludos Amigos",
"lyrics by",
"Ned Washington"
] | Soundtrack
The film's original score was composed by Edward H. Plumb, Paul J. Smith, and Charles Wolcott. The title song, "Saludos Amigos", was written for the film by Charles Wolcott and Ned Washington. The film also featured the song "Aquarela do Brasil", written by the popular Brazilian songwriter Ary Barroso and performed by Aloísio de Oliveira, and an instrumental version of "Tico-Tico no Fubá", written by Zequinha de Abreu. "Aquarela do Brasil" was written and first performed in 1939, but did not achieve much initial success. However, after appearing in this film it became an international hit, becoming the first Brazilian song to be played over a million times on American radio.
The film's soundtrack was first released by Decca Records in 1944 as a collection of three 78rpm singles. | null | null | null | null | 93 |
[
"Ode to the Motherland",
"lyrics by",
"Wáng Shēn"
] | null | null | null | null | 6 |
|
[
"Boshret Kheir",
"performer",
"Hussain Al Jassmi"
] | null | null | null | null | 4 |
|
[
"Boshret Kheir",
"lyrics by",
"Ayman Bahgat Amar"
] | null | null | null | null | 5 |
|
[
"Come Join the Band",
"lyrics by",
"Aurania Rouverol"
] | Come Join The Band is the official fight song of Stanford University. The lyrics were written in 1907 by screenwriter and playwright Aurania Rouverol, then a student at Stanford, and are set to the trio from Robert Browne Hall's New Colonial March. Although Come Join the Band remains Stanford's official fight song, the Stanford Band nowadays plays All Right Now as their usual fight song at football games. | null | null | null | null | 1 |
[
"Newsies",
"narrative location",
"New York City"
] | Newsies (released as The News Boys in the United Kingdom) is a 1992 American historical musical comedy-drama film produced by Walt Disney Pictures and directed by choreographer Kenny Ortega in his film directing debut. Loosely based on the New York City Newsboys' Strike of 1899 and featuring twelve original songs by Alan Menken with lyrics by Jack Feldman and an underscore by J. A. C. Redford, it stars Christian Bale, Bill Pullman, Ann-Margret, and Robert Duvall.
The film was an initial box office bomb, and received mixed reviews at the time of its release. However, it later gained a cult following on home video, and was ultimately adapted into a stage musical on Broadway. The play was nominated for eight Tony Awards, winning two including Best Original Score for Menken and Feldman. | null | null | null | null | 18 |
[
"Newsies",
"performer",
"Alan Menken"
] | Newsies (released as The News Boys in the United Kingdom) is a 1992 American historical musical comedy-drama film produced by Walt Disney Pictures and directed by choreographer Kenny Ortega in his film directing debut. Loosely based on the New York City Newsboys' Strike of 1899 and featuring twelve original songs by Alan Menken with lyrics by Jack Feldman and an underscore by J. A. C. Redford, it stars Christian Bale, Bill Pullman, Ann-Margret, and Robert Duvall.
The film was an initial box office bomb, and received mixed reviews at the time of its release. However, it later gained a cult following on home video, and was ultimately adapted into a stage musical on Broadway. The play was nominated for eight Tony Awards, winning two including Best Original Score for Menken and Feldman. | null | null | null | null | 22 |
[
"Newsies",
"lyrics by",
"Jack Feldman"
] | Newsies (released as The News Boys in the United Kingdom) is a 1992 American historical musical comedy-drama film produced by Walt Disney Pictures and directed by choreographer Kenny Ortega in his film directing debut. Loosely based on the New York City Newsboys' Strike of 1899 and featuring twelve original songs by Alan Menken with lyrics by Jack Feldman and an underscore by J. A. C. Redford, it stars Christian Bale, Bill Pullman, Ann-Margret, and Robert Duvall.
The film was an initial box office bomb, and received mixed reviews at the time of its release. However, it later gained a cult following on home video, and was ultimately adapted into a stage musical on Broadway. The play was nominated for eight Tony Awards, winning two including Best Original Score for Menken and Feldman. | null | null | null | null | 76 |
[
"The Other Day I Met a Bear",
"performer",
"Dark Ducks"
] | null | null | null | null | 2 |
|
[
"The Other Day I Met a Bear",
"lyrics by",
"Yoshihiro Baba"
] | null | null | null | null | 3 |
|
[
"The Other Day I Met a Bear",
"based on",
"Sipping Cider Through a Straw"
] | null | null | null | null | 4 |
|
[
"Anthem of Saint Petersburg",
"has use",
"regional anthem"
] | Evening Song («Вечерняя песня») – lyrics by Alexander Churkin, music by Vasily Solovyov-Sedoi;
Atlases («Атланты») – composed by Alexander Gorodnitsky in 1963;
Then Live, My City, Live («Так живи, мой град, живи») – composed by Vladislav Irkhin in 2002;
Saint Petersburg – the Proud White Bird («Санкт-Петербург — гордая белая птица») – composed by Oleg Kvashi as the official anthem of the 300rd anniversary of Saint Petersburg;
Saint Petersburg («Санкт-Петербург») – composed by Timur Ibragimov in 2003 with lyrics by Eva Kondrashyova | null | null | null | null | 2 |
[
"Three to Make Ready",
"lyrics by",
"Nancy Hamilton"
] | Three to Make Ready is an American revue in two acts with a sketches and lyrics by Nancy Hamilton and music by Morgan Lewis. It was produced on Broadway in 1946.Production
Three to Make Ready premiered on Broadway at the Adelphi Theatre on March 7, 1946, and, after moving to the Broadhurst Theatre and then back to the Adelphi, it closed on December 14, 1946, after 327 performances. It was produced by Stanley Gilkey and Barbara Payne. The sketches and lyrics were by Nancy Hamilton and the music was by Morgan Lewis. The entire production was devised and staged by John Murray Anderson. The scenic design was by Donald Oenslager and the costume design was by Audre.The cast included Ray Bolger, Harold Lang, Gordon MacRae, Bibi Osterwald, and Arthur Godfrey. | null | null | null | null | 3 |
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