The answer to the question: What is the first name of the person whose belief had culminated in the burning of several churches? is inside the article: Ideologically, Varg Vikernes's one-man project Burzum helped inspire the Viking metal scene through his strongly held racist, nationalistic, and anti-Judeo-Christian beliefs, and his longing for a return to paganism. In Trafford and Pluskowski's opinion, Vikernes' beliefs, which had culminated in the burning of several churches, including the twelfth-century Fantoft Stave Church in Bergen, reveal the confused nature of ideas about Vikings in the Norwegian black metal scene. They note, "His tastes seem originally not for the unmediated medieval itself as for J. R. R. Tolkien: he adopted the name 'Count Grishnackh', based upon an orc in The Lord of the Rings, and named Burzum after a Tolkienian word for 'darkness'." They postulate that only in retrospect did Vikernes "cloak his actions in an Oðinic garb and claim the motivation of an attempt to restore Norse paganism for his church burning". While in prison, Vikernes released the book Vargsmål, which Trafford and Pluskowski call an echoing of the Hávamál, though with "an eye on Mein Kampf". According to Trafford and Pluskowski, "proving both that it is not just the early medieval past to which he looks for inspiration, and that he will use any historical weapon at his disposal to offend Norwegian liberal opinion, it is notable that he has recently added the name Quisling to his own, and is even attempting to claim some sort of kinship to the wartime collaborator".Vikernes himself has connected the church burnings to an idea of resurgent Viking paganism. The first such burning, that of Fantoft Church on June 6, 1992, was thought by many to be related to Satanism, since the burning occurred on the sixth day of the week, on day six of the sixth month and was thus a reference to the Number of the Beast. Vikernes contends that the date June 6 was really picked because the first recorded Viking raid (upon Lindisfarne) occurred, according to Vikernes, on June 6, 793. Quorthon acknowledged that nationalist elements had always been present in the Viking metal scene,..., can you guess it ?
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Answer: Varg


The answer to the question: What is the name of the song that the artist who secured a record deal with XL Recordings added a a bass line and new vocals while working with Cavemen? is inside the article: In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on..., can you guess it ?
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Answer: Galang


The answer to the question: What were the two suites Holst wrote for military band? is inside the article: Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite A Somerset Rhapsody (1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's Norfolk Rhapsody, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of A Somerset Rhapsody did much to banish the chromaticisms that had dominated his early compositions. In the Two Songs without Words of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy Songs of the West, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by James Curnow. In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the Beni Mora suite of 1908 the composer's most individual work to that date; the third movement gives a preview of minimalism in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in E flat (1909) and F major (1911) respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote Hecuba's Lament, a setting of Gilbert Murray's translation from Euripides built on a seven-beat refrain designed, says Dickinson, to represent Hecuba's defiance of divine wrath. In 1912 Holst composed two psalm settings, in which..., can you guess it ?
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Answer:
E flat