OpenLLM-France/wikimedia huggingface dataset:
# Klir Beck House

The Klir Beck House, also known as The Gnomes, was a historic house in Vienna, Maine. It was an architecturally idiosyncratic house, built by the artist Klir Beck as a summer residence. It was listed on the National Register of Historic Places in 1977, and was destroyed by fire in 2000. It was delisted in 2017.

## Description and history

The Klir Beck House stood in a rural area of Vienna, west of the village center of adjacent Mount Vernon, in a setting of woods, fields, and lakes. It was a 1+1⁄2-story structure, built out of a combination of materials. It had an irregularly coursed stone foundation, a ground floor finished in half-timbered brick, and the half story was finished in half-timbered stucco. The roof was gabled, with a cross gable section and main gable end that each feature a projecting hipped overhang, with a carved wooden balcony in the style of a Swiss chateau. Some of the wall sections created by the half-timbering were further decorated, several exhibiting a lotus pattern on a brick background. The interior was equally rich and fanciful, including a compass set in stone on the living room floor.
The house was built in 1927 by Klir Beck, in part by adapting and altering an existing 19th-century farmhouse. Beck was well known in artistic circles, and is credited with creating dioramas that are displayed in the Maine State Museum. In January 2000, a fire broke out in the basement, resulting in the destruction of the house.
# Time Out of Mind (Grover Washington Jr. album)

Time Out of Mind is a studio album by American jazz musician Grover Washington Jr. The album was recorded in Philadelphia with a large band and released in 1989 via Columbia label. Phyllis Hyman was invited as a guest artist.

## Reception

Professional ratings :
| Review scores ||
| Source | Rating |
| AllMusic | |
| The Penguin Guide to Jazz Recordings | |
| The Rolling Stone Jazz & Blues Album Guide | |
Scott Yanow of AllMusic commented: "One of the most electrifieds of Grover Washington, Jr.'s albums, this Columbia set features the popular saxophonist (who plays soprano, alto and tenor) joined by oversized rhythm sections and plenty of keyboards on a variety of funky and danceable material. Not one of Washington's more essential releases (his Columbias overall have not been that memorable), the pacesetter among r&bish saxmen is actually in fine form; if only the material were better".

## Personnel

* Grover Washington, Jr. – baritone saxophone (1), tenor saxophone (1, 2, 4, 6, 7), horn section (2, 7), alto saxophone (3, 4, 10, 11), soprano saxophone (5, 8, 9), arrangements (8, 11)
* Ronnie Foster – all other instruments (1), arrangements (1)
* Bill Jolly – electric piano (2, 4, 7), arrangements (2, 4–7, 11), all other instruments (5, 6), synthesizer programming (5, 6), sequencing (5, 6), BGV arrangements and conductor (5), keyboards (11)
* Philip Woo – keyboards (2), synthesizers (2, 4, 7)
* Jim Salamone – keyboard and synthesizer programming (2, 10, 11), programming (2, 3, 5, 6, 9, 10), sequencing (2, 11), drums (2, 3, 5, 6, 9–11), percussion (2, 3, 5, 6, 9–11)
* Donald Robinson – keyboards (3, 9), arrangements (3, 9)
* James "Sid" Simmons – keyboards (8)
* Randy Bowland – guitars (3, 9)
* Richard Lee Steacker – guitars (4, 7, 8, 11)
* Gerald Veasley – bass (2–5, 7–11), sequencing (10), arrangements (10)
* Darryl Washington – drums (4, 7, 8)
* Daryl Burgee – percussion (3, 9)
* Miguel Fuentes – congas (4, 7, 8), percussion (4, 7, 8)
* Leonard Gibbs – congas (8)
* Phyllis Hyman – vocals (3)
* Tracy Alston – backing vocals (5, 7)
* Spencer Harrison – backing vocals (5, 7)
* Paula Holloway – backing vocals (5, 7)
* Lawrence Newton – backing vocals (5)

## Production

* George Butler – executive producer
* Grover Washington, Jr. – producer (1, 2, 4–8, 10, 11), mixing (1–8, 10, 11)
* Ronnie Foster – co-producer (1), mixing (1)
* Donald Robinson – producer (3, 9), mixing (9)
* Calvin Harris – pre-production engineer (1)
* Peter Humphreys – recording engineer (1, 2, 4, 5, 7, 8, 10, 11), mixing (1–8, 10, 11)
* Al Alberts Jr. – recording engineer (3, 9)
* Scott MacMinn – recording engineer (6)
* Sal Viarellie – assistant engineer (1, 2, 4–8, 10, 11)
* Carl Angstadt – assistant engineer (3, 9)
* Nimitr Sarkananda – mastering at Masterwork Recording, Inc. (Philadelphia, Pennsylvania)
* Paul Silverthorn – production coordinator (3, 9)
* Eileen Whelihan – production coordinator (3, 9)
* Christopher Austopchuk – art direction
* Chip Simons – photography
* David Carrington – hair, make-up
# Gae Gae

Gae Gae (ဂေဂေး) is a Burmese singer. Her debut album "Nin Thar Shi Yin", was released in 2015. She has released her second albrum Yainhkone lhoet mha hoteyaelarr in 2017.

## Discography
### Solo albums

* Nin Thar Shi Yin (နင်သာရှိရင်) (2015)
* Yinhkone lhoet mha hoteyaelarr (ရင်ခုန်လို့မှဟုတ်ရဲ့လား) (2017)
* Friend (2019)

### Duo albums

* Nar Mal Kyee (နာမည်ကြီး) 2019

## Personal life

She has been in a relationship with model Swe Zin Htet who was crowned Miss Universe Myanmar 2019.
# Kue talam

Kue talam is an Indonesian kue or traditional steamed snack made of a rice flour, coconut milk and other ingredients in a mold pan called talam which means "tray" in Indonesian. The cake mold used to create kue talam are either larger rectangular aluminium tray or smaller singular cups made from ceramics, aluminium, melamine or plastic.
Kue talam and its variations are commonly found in various Indonesian regional cuisine traditions; from Betawi, Minang, Malay, Batak, to Sundanese and Javanese. Kue talam was introduced by the Sino-Burmese to Lower Myanmar, where it is known as kway talan (ကွေတာလန်း).
Kue talam usually has two layers; the top one is white made from savoury creamy coconut milk, while the bottom one is coloured according to each variant's recipe. The green pandan flavour, the yellow yam and the brown coconut sugar flavours are the most common one.

## Ingredients

The basic ingredients of kue talam are rice flour, coconut milk, granulated sugar, salt, and pandan leaves. Other ingredients might be included to create the lower coloured part.
The top one is white and made simply using more coconut milk, rice flour, sugar and salt, and usually tastes savoury, mild sweet with softer creamy consistency. The bottom one is a little bit firmer and has colours according to added ingredients. The bottom coloured layer are poured first into the mold. After being half cooked being steamed for some times, the white layer is added on top and steamed further.
The mold being used traditionally is rectangular aluminium tray mold, hence the name talam (tray), thus the cake is required to be cut into rectangular or square shape prior of serving. Today however, the singular small cups akin to chawan (Chinese teacup) are often used as mold; either made from ceramics, aluminium, plastic or melamine.

## Variations
### Sweet

Kue talam normally tastes sweet and consists of two layers, white top and coloured bottom. Kue talam could be made in various flavours which contributes to the colours of the bottom part, they are:
* Green: the green bottom kue talam is using suji or the green juice acquired from pandan leaf.
* Brown: the brown colour is acquired from gula merah or gula jawa (coconut sugar).
* Yellow: the yellow bottom is acquired from red or yellow sweet potato, pumpkin or corn.
* Purple: the purple colour is acquired from ubi ungu or purple yam or taro.

### Savoury

Most of kue talam tastes sweet, however there is also a salty and savoury variants that uses ebi or dried shrimp for flavour, which is called talam udang or "shrimp talam" in Betawi cuisine of Jakarta.
# Ngwe Kyi

Ngwe Kyi (ငွေကြည်; born 26 March 1948) is a cartoonist and painter from Myanmar.
His Lawka Hma Bya (လောကကြီးမှာဗျာ) and Myanma Yoya Hatha (မြန်မာ့ရိုးရာဟာသ, lit. 'Traditional Burmese Humor') comics are particularly successful.

## Biography and career

He was born on 26 May 1948 in Yangon. He graduated from the Royal Government of the Arts (SSFH) in 1969.
He studied cartoon and painting art at the painting and sculpture school, Yangon and Cartoonist Aung Shein. Since 1969, he has been drawing cartoons under the penname Ngwe Kyi and is a well-known cartoonist in Myanmar.

### Painting career

During the year 1969 to 2007, he was involved in a series of local group exhibitions. In August 2007, his first solo exhibition was exhibited at the New Treasure Art Gallery.
# Beryllium azide

Beryllium azide, Be(N$_3$)$_2$, is an inorganic compound. It is the beryllium analog of hydrazoic acid (HN$_3$).

## Synthesis

Beryllium azide has been synthesised by the reaction of beryllium chloride with neat trimethylsilyl azide:
    BeCl$_2$ + 2 Me$_3$SiN$_3$ → Be(N$_3$)$_2$ + 2 Me$_3$SiCl
Alternatively, dimethylberyllium reacts with hydrazoic acid in dry diethyl ether at −116 °C:
    Be(CH$_3$)$_2$ + 2 HN$_3$ → Be(N$_3$)$_2$ + 2 CH$_4$

## Structure

Infrared and Raman spectra suggest that beryllium azide consists of infinite chains, with tetrahedrally coordinated beryllium(II) atoms covalently bridged by one end of the azide units.
# Shubert Theatre (Los Angeles)

The Shubert Theatre was a 2,100-seat show house that opened in 1972 at 2020 Avenue of the Stars, Century City, Los Angeles, California. The theatre was demolished in October 2002 to make way for the 2000 Avenue of the Stars office building. The Shubert opened on July 22, 1972, with a production of Follies directed by Harold Prince and Michael Bennett. Other notable productions included A Chorus Line, Les Misérables, Cats, Evita, Sunset Boulevard, Dreamgirls, Ragtime, and Beauty and the Beast and the 1990 Miss Universe pageant.
On November 4, 2001, eleven months before its demolition, the theatre served as a one-off venue for the 2001 Primetime Emmy Awards when the event lost its scheduled venue, the Shrine Auditorium, due to postponement following the September 11 attacks. It had previously hosted the awards in 1973 and 1976.
The theatre closed in January 2002 due to a lack of bookings for the 2002 season and was demolished in October 2002 to make way for an office complex.
# Table of Indexing Chinese Character Components

The Table of Indexing Chinese Character Components (simplified Chinese: 汉字部首表; traditional Chinese: 漢字部首表; pinyin: hànzì bùshǒu biǎo; lit. 'Chinese character radicals table') is a lexicographic tool used to order the Chinese characters in mainland China. The specification is also known as GF 0011-2009.
In China's normative documents, "radical" is defined as any component or 偏旁 piānpáng of Chinese characters, while 部首 is translated as "indexing component".

## History

In 1983, the Committee for Reforming the Chinese Written Language and the State Administration of Publication of China published The Table of Unified Indexing Chinese Character Components (Draft) (汉字统一部首表（草案）), a draft version of the current standard. In 2009, the Ministry of Education of the People's Republic of China and the State Language Work Committee issued The Table of Indexing Chinese Character Components (GF 0011-2009 汉字部首表), which includes 201 principal indexing components and 100 associated indexing components.

## Usage

This table has been adopted in the newer versions of Xinhua Zidian and Xiandai Hanyu Cidian. While mainland China has a different method to identify a Chinese character's indexing component (as prescribed in "GB13000.1字符集汉字部首归部规范" Specification for Identifying Indexing Components of GB 13000.1 Chinese Characters Set [sic]) from Traditional Chinese dictionaries, many dictionaries (usually arranged in hanyu pinyin order) index Chinese character in a "multi-entry" way which allow readers to look up a character through different radicals.
The specification specifies the table may also be used in Traditional Chinese dictionaries or dictionaries that collect both traditional and simplified forms of Chinese characters with some necessary adjustments.

## List of radicals

* 1 stroke: 一 丨 丿 丶 乛
* 2 strokes: 十 厂 匚 卜 冂 八 人 勹 儿 匕 几 亠 冫 冖 凵 卩 刀 力 又 厶 廴
* 3 strokes: 干 工 土 艹 寸 廾 大 尢 弋 小 口 囗 山 巾 彳 彡 夕 夂 丬 广 门 宀 辶 彐 尸 己 弓 子 屮 女 飞 马 么 巛
* 4 strokes: 王 无 韦 木 支 犬 歹 车 牙 戈 比 瓦 止 攴 日 贝 水 见 牛 手 气 毛 长 片 斤 爪 父 月 氏 欠 风 殳 文 方 火 斗 户 心 毋
* 5 strokes: 示 甘 石 龙 业 目 田 罒 皿 生 矢 禾 白 瓜 鸟 疒 立 穴 疋 皮 癶 矛
* 6 strokes: 耒 老 耳 臣 覀 而 页 至 虍 虫 肉 缶 舌 竹 臼 自 血 舟 色 齐 衣 羊 米 聿 艮 羽 糸
* 7 strokes: 麦 走 赤 豆 酉 辰 豕 卤 里 足 邑 身 釆 谷 豸 龟 角 言 辛
* 8 strokes: 青 龺 雨 非 齿 黾 隹 阜 金 鱼 隶
* 9 strokes: 革 面 韭 骨 香 鬼 食 音 首
* 10 strokes: 髟 鬲 鬥 高
* 11 strokes: 黄 麻 鹿
* 12 strokes: 鼎 黑 黍
* 13 strokes: 鼓 鼠
* 14 strokes: 鼻
* 17 strokes: 龠
# North Point Estate

North Point Estate (Chinese: 北角邨) was a public housing estate at the harbour front of North Point, Hong Kong near North Point Ferry Pier and its bus terminus, approaching Victoria Harbour. It was the largest public housing estate in the Eastern District. It was the second public housing estate built by the Hong Kong Housing Authority and enjoyed a reputation as one of the most impressive construction schemes in Asia and as a public housing estate in one of the most "luxurious" areas on Hong Kong Island.

## History

North Point Estate was developed by the Hong Kong Housing Authority and completed in 1957. It comprised seven 11-storey blocks with a total of 1,956 flats. The project cost 33,000,000 HK$, and was designed by architect Eric Cumine.
The estate featured extensive planning that set it apart from the existing public housing developments at the time. For example, the line of flats were broken at regular intervals to ensure cross-ventilation for every flat, each block features its own covered play area, while 20 automatic lifts service the estate. There are also many facilities planned in conjunction with the estate, including: a primary school accommodating 800 pupils; assembly hall; clinic; post office; bus terminus, and a ferry pier (North Point Ferry Pier). It employed 2700 workers during its construction.
When completed in 1957, the then governor of Hong Kong Alexander Grantham attended its inauguration ceremony. The thoughtful design was enjoyed by the community, such as kids who enjoyed the play spaces and open corridors at close proximity to the seafront. Although widely seen as a success, the estate was very expensive to build. As a result, in subsequent years the Hong Kong Housing Authority would did not adopt this design for other public housing estates as to balance costs.
Although North Point Estate was structurally safe, the Housing Authority decided to redevelop the estate due to increasing maintenance problems and costs. The estate was cleared in 2002 and demolished in 2003. Its tenants were rehoused to new units on the Oi Tung Estate at Aldrich Bay, Shau Kei Wan and Hing Wah Estate at Chai Wan.

## The site today

On 2 March 2000, the Housing Authority announced the redevelopment of North Point Estate by February 2002. Upon completion of rehousing, the site will be redeveloped after comprehensive planning. This is in line with the Long Term Housing Strategy (LTHS) published in 1998 on the redevelopment of older housing estates on a need basis. Under the Authority's Comprehensive Redevelopment Programme (CRP), 566 housing blocks in 57 estates were redeveloped in 2005. Over 400 buildings were demolished to improve the living conditions of the residents.
After North Point Estate was demolished, the east and central part of the site were used as temporary open car parks and the rest left vacant, for more than ten years. In 2007, the Housing Authority decided to return the site to the government for redevelopment.
From 2017 to 2019, the site was redeveloped. The eastern section became private housing, with a new bus terminus at ground level, while the western section is occupied by Hotel Vic.
# Bunshaft Residence

The Bunshaft Residence, sometimes called the Travertine House was an iconic modernist home designed by architect Gordon Bunshaft for himself and his wife on a 2.4-acre (0.97 ha) lot on the shore of Georgica Pond in East Hampton, New York. It was designed in 1962 and completed in 1963. It was one of the few residences designed by Bunshaft.

## Design

The house was contained within a rectangular box, 100 feet (30.5 m) long by 26 feet (7.9 m) wide, with its long dimension tangent to the lagoon's shoreline to the south and raised on a broad six-foot berm above the floodplain. The exterior walls were poured-in-place concrete clad with travertine and the exposed roof structure was made up of pre-stressed concrete beams with a "double T" shape, exposed on either edge with the openings filled with plate glass clerestory windows. The ends of the house were shaded by a 4-foot (1.2 m) extension of the roof and side walls with a paved strip extending the stone flooring to the edge of the walls.
The main living spaces had floor-to-ceiling plate glass openings. Interior walls were white-painted plaster and the floors were travertine over a concrete slab foundation. The entry door, one of only two openings in the solid north wall, opened directly into a small entry hall between the central living room and the master bedroom. Opposite the open living area was a smaller guest bedroom and a study, separated from the living space by a U-shaped kitchen and the guest bath.

### Art

The Bunshafts decorated their retreat primarily in off-whites with natural wood and glass and occasional red accents. Lighting was designed to highlight their art collection which included works by Pablo Picasso, Le Corbusier, Jack Youngerman, and Henry Moore as well as rocks with faces painted on them by Mrs Bunshaft.

### Sale

When Bunshaft's widow, Nina Wayler, died in 1994, the house and its artworks were willed to the Museum of Modern Art in New York, New York. The Museum stripped the house of its valuable artwork and then sold the property, without any covenants or restrictions, to Martha Stewart for $3.2 million. In the 1990s, she commissioned a renovation by Minimalist British architect John Pawson, for which interior demolition was begun but the project stalled, reportedly, in part, due to a dispute with her neighbor, developer Harry Macklowe. Around the time that Stewart was embroiled in unrelated legal difficulties that resulted in a prison sentence, she transferred the property to her daughter, Alexis, who in turn sold it to Donald Maharam in 2004 for $9.5 million. He demolished it in July 2004 for construction of a new house by his son-in-law, David Pill.
# Lochside distillery

Lochside distillery was a Highland single malt Scotch whisky and grain whisky distillery in Montrose, Angus.
The distillery was owned by Macnab Distilleries Ltd. and latterly, by Allied Distillers, a subsidiary of the former British drinks and restaurant group Allied Domecq that was bought by Pernod Richard.

## History

The distillery started life as a brewery and the actual buildings were built in 1781. James Deuchar & Sons Ltd., a Newcastle upon Tyne based brewery (which would go on to form Scottish & Newcastle) owned the building during the 19th Century. The brewery was closed by Scottish & Newcastle before being quickly purchased in 1957 by Macnab Distilleries Ltd of which Joseph W. Hobbs, the proprietor of the Ben Nevis Distillery in Fort William, was a shareholder. The brewery was converted to a distillery and followed the Ben Nevis Distillery in producing both malt and grain whisky. The blended whisky brand Sandy Macnab, was created around this time.
Macnab Distilleries Ltd was purchased by Spanish whisky manufacturer Destilerías y Crianza del Whisky S.A. (popularly known as DYC) in 1973. They were in turn purchased by British drinks company Allied Distillers to form Allied Domecq, who were purchased by Pernod Ricard in 2005.
The distillery was closed during 1992 and the site earmarked for redevelopment. The distillery was finally demolished during 2004-2005 and the site has been turned into housing.
The Sandy Macnab brand name and the Macnab Distilleries Ltd company name are now owned by Pernod Ricard through their Chivas Regal subsidiary, following several takeovers.

## Production

Lochside was latterly fitted with a cast iron mash tun and open stainless steel washbacks. Distillation was carried out using 2 wash stills and 2 spirit stills. The distillery was also fitted with grain stills, which, under DYC's tenure, were unused. Spirit was matured in ex-bourbon casks.
The majority of the spirit produced at this time was shipped to Spain for use in DYC Spanish whisky, and the remainder used for the firm's Sandy Macnab brand of blended whisky or for bottling as a single malt aged 10 Years.
Sandy Macnab was generally an export only brand and was widely available in Southern European markets.
Limited stocks of Lochside Single Malt remain available.
# Nanotechnology Industries Association

The Nanotechnology Industries Association (NIA) is the sector-independent expert, membership and advocacy organisation providing a responsible voice for the industrial nanotechnologies supply chains. The NIA works with regulators and stakeholders on the national, European and international levels so as to secure a supportive environment for the continuing advancement and establishment of nanotechnologies.
Members of the NIA are represented on globally influential fora, such the OECD Working Party on Manufactured Nanomaterials, and the OECD Working Party on Nanotechnology, International Organization for Standardization (ISO), European Committee for Standardization (CEN) as well as national and international advisory groups.
The NIA was originally founded in London in 2005 as a limited company with initial funding from the UK Government's MNT (micro and nanotechnology) funding scheme with the aim of creating an industrial association that could support companies working in the area of nanotechnology. The NIA's board was drawn from some of the founding companies, including Oxonica and QinetiQ Nanomaterials Limited (QNL) and its founding Director General was Dr Steffi Friedrichs. In 2009 the NIA moved to Brussels, the centre of chemical regulations in Europe and established its new Belgium registered aisbl.

## The NIA stands for

The Nanotechnology Industries Association, NIA, promotes a responsible and sustainable innovation in nanotechnology following an approach based on scientific and technical evidence. The NIA stands for:
* a framework of shared principles for the safe, sustainable and socially supportive development and use of nanotechnologies,
* a publicly and regulatory supportive environment for the continuing advancement and establishment of nanotechnology innovation.

## How the NIA operates

The NIA's Corporate Membership is open to all companies or organisations involved in, or seeking to be involved in the research, development, manufacturing, marketing or sale of nanotechnology products and processes as well as those who provide the equipment or the technical and engineering services required for their production (including all forms of information technology). The activities of the NIA are driven and conducted by its collective membership, supported by broad-based Associate Membership and Affiliate Membership with expertises in matters such as scientific research, IP protection, regulation, legislation, insurance, and finance.