nc33/multispan_quoref huggingface dataset:
In the 18th century, Shakespeare became associated with rising British nationalism, and Boydell tapped into the same mood that many other entrepreneurs were exploiting. Shakespeare appealed not only to a social elite who prided themselves on their artistic taste, but also to the emerging middle class who saw in Shakespeare's works a vision of a diversified society. The mid-century Shakespearean theatrical revival was probably most responsible for reintroducing the British public to Shakespeare. Shakespeare's plays were integral to the theatre's resurgence at this time. Despite the upsurge in theatre-going, writing tragedies was not profitable, and thus few good tragedies were written. Shakespeare's works filled the gap in the repertoire, and his reputation grew as a result. By the end of the 18th century, one out of every six plays performed in London was by Shakespeare.The actor, director, and producer David Garrick was a key figure in Shakespeare's theatrical renaissance.  His reportedly superb acting, unrivalled productions, numerous and important Shakespearean portraits, and his spectacular 1769 Shakespeare Jubilee helped promote Shakespeare as a marketable product and the national playwright. Garrick's Drury Lane theatre was the centre of the Shakespeare mania which swept the nation.The visual arts also played a significant role in expanding Shakespeare's popular appeal. In particular, the conversation pieces designed chiefly for homes generated a wide audience for literary art, especially Shakespearean art. This tradition began with William Hogarth (whose prints reached all levels of society) and attained its peak in the Royal Academy exhibitions, which displayed paintings, drawings, and sculptures. The exhibitions became important public events: thousands flocked to see them, and newspapers reported in detail on the works displayed.  They became a fashionable place to be seen (as did Boydell's Shakespeare Gallery, later in the century).  In the process, the public was refamiliarized with Shakespeare's works.

Question: What repertoire did Shakespeare's work fill in the gap for?
Answer: tragedies
In the 18th century, Shakespeare became associated with rising British nationalism, and Boydell tapped into the same mood that many other entrepreneurs were exploiting. Shakespeare appealed not only to a social elite who prided themselves on their artistic taste, but also to the emerging middle class who saw in Shakespeare's works a vision of a diversified society. The mid-century Shakespearean theatrical revival was probably most responsible for reintroducing the British public to Shakespeare. Shakespeare's plays were integral to the theatre's resurgence at this time. Despite the upsurge in theatre-going, writing tragedies was not profitable, and thus few good tragedies were written. Shakespeare's works filled the gap in the repertoire, and his reputation grew as a result. By the end of the 18th century, one out of every six plays performed in London was by Shakespeare.The actor, director, and producer David Garrick was a key figure in Shakespeare's theatrical renaissance.  His reportedly superb acting, unrivalled productions, numerous and important Shakespearean portraits, and his spectacular 1769 Shakespeare Jubilee helped promote Shakespeare as a marketable product and the national playwright. Garrick's Drury Lane theatre was the centre of the Shakespeare mania which swept the nation.The visual arts also played a significant role in expanding Shakespeare's popular appeal. In particular, the conversation pieces designed chiefly for homes generated a wide audience for literary art, especially Shakespearean art. This tradition began with William Hogarth (whose prints reached all levels of society) and attained its peak in the Royal Academy exhibitions, which displayed paintings, drawings, and sculptures. The exhibitions became important public events: thousands flocked to see them, and newspapers reported in detail on the works displayed.  They became a fashionable place to be seen (as did Boydell's Shakespeare Gallery, later in the century).  In the process, the public was refamiliarized with Shakespeare's works.

Question: What was the last name of the person whose jubilee helped promote Shakespeare as a marketable product?
Answer: Garrick
The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.

Question: What is the first name of the person who  who had already edited two complete Shakespeare editions?
Answer: George
The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.

Question: What is the first name of the person who studied the history of the Boydell edition, and was "at first an ardent advocate of the plan?"
Answer: George
The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.

Question: What was the first name of the person who was ultimately disappointed in the quality of the prints?
Answer: George
The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.

Question: What is the first name of the person who said nothing to jeopardize the edition's sales?
Answer: George
The "magnificent and accurate" Shakespeare edition which Boydell began in 1786 was to be the focus of his enterprise—he viewed the print folio and the gallery as offshoots of the main project. In an advertisement prefacing the first volume of the edition, Nicol wrote that "splendor and magnificence, united with correctness of text were the great objects of this Edition".  The volumes themselves were handsome, with gilded pages that, unlike those in previous scholarly editions, were unencumbered by footnotes.  Each play had its own title page followed by a list of "Persons in the Drama".   Boydell spared no expense.  He hired the typography experts William Bulmer and William Martin to develop and cut a new typeface specifically for the edition.  Nicol explains in the preface that they "established a printing-house ... [and] a foundry to cast the types; and even a manufactory to make the ink". Boydell also chose to use high-quality wove Whatman paper. The illustrations were printed independently and could be inserted and removed as the purchaser desired. The first volumes of the Dramatic Works were published in 1791 and the last in 1805.
Boydell was responsible for the "splendor", and George Steevens, the general editor, was responsible for the "correctness of text". Steevens, according to Evelyn Wenner, who has studied the history of the Boydell edition, was "at first an ardent advocate of the plan" but "soon realized that the editor of this text must in the very scheme of things give way to painters, publishers and engravers". He was also ultimately disappointed in the quality of the prints, but he said nothing to jeopardize the edition's sales. Steevens, who had already edited two complete Shakespeare editions, was not asked to edit the text anew; instead, he picked which version of the text to reprint. Wenner describes the resulting hybrid edition:
The thirty-six plays, printed from the texts of Reed and Malone, divide into the following three groups: (1) five plays of the first three numbers printed from Reed's edition of 1785 with many changes adopted from the Malone text of 1790 (2) King Lear and the six plays of the next three numbers printed from Malone's edition of 1790 but exhibiting conspicuous deviations from his basic text (3) twenty-four plays of the last twelve numbers also printed from Malone's text but made to conform to Steevens's own edition of 1793.
Throughout the edition, modern (i.e. 18th-century) spelling was preferred as were First Folio readings.Boydell sought out the most eminent painters and engravers of the day to contribute paintings for the gallery, engravings for the folio, and illustrations for the edition. Artists included Richard Westall, Thomas Stothard, George Romney, Henry Fuseli, Benjamin West, Angelica Kauffman, Robert Smirke, James Durno, John Opie, Francesco Bartolozzi, Thomas Kirk, Henry Thomson, and Boydell's nephew and business partner, Josiah Boydell.

Question: What is the first name of the person who picked which version of the text to reprint?
Answer: George
The Shakespeare Gallery, when it opened on 4 May 1789, contained 34 paintings, and by the end of its run it had between 167 and 170.  (The exact inventory is uncertain and most of the paintings have disappeared; only around 40 paintings can be identified with any certainty.) According to Frederick Burwick, during its sixteen-year operation, the Gallery reflected the transition from Neoclassicism to Romanticism. Works by artists such as James Northcote represent the conservative, neoclassical elements of the gallery, while those of Henry Fuseli represent the newly emerging Romantic movement. William Hazlitt praised Northcote in an essay entitled "On the Old Age of Artists", writing "I conceive any person would be more struck with Mr. Fuseli at first sight, but would wish to visit Mr. Northcote oftener."The gallery itself was a fashionable hit with the public. Newspapers carried updates of the construction of the gallery, down to drawings for the proposed façade. The Daily Advertiser featured a weekly column on the gallery from May through August (exhibition season). Artists who had influence with the press, and Boydell himself, published anonymous articles to heighten interest in the gallery, which they hoped would increase sales of the edition.At the beginning of the enterprise, reactions were generally positive. The Public Advertiser wrote on 6 May 1789: "the pictures in general give a mirror of the poet ... [The Shakespeare Gallery] bids fair to form such an epoch in the History of the Fine Arts, as will establish and confirm the superiority of the English School". The Times wrote a day later:
This establishment may be considered with great truth, as the first stone of an English School of Painting; and it is peculiarly honourable to a great commercial country, that it is indebted for such a distinguished circumstance to a commercial character—such an institution—will place, in the Calendar of Arts, the name of Boydell in the same rank with the Medici of Italy.
Fuseli himself may have written the review in the Analytical Review, which praised the general plan of the gallery while at the same time hesitating: "such a variety of subjects, it may be supposed, must exhibit a variety of powers; all cannot be the first; while some must soar, others must skim the meadow, and others content themselves to walk with dignity". However, according to Frederick Burwick, critics in Germany "responded to the Shakespeare Gallery with far more thorough and meticulous attention than did the critics in England".Criticism increased as the project dragged on: the first volume did not appear until 1791. James Gillray published a cartoon labelled "Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags". The essayist and soon-to-be co-author of the children's book Tales from Shakespeare (1807) Charles Lamb criticised the venture from the outset:

Question: What is the last name of the essayist that critcised gallery that opened on 4 May 1789 from the outset?
Answer: Lamb
By 1796, subscriptions to the edition had dropped by two-thirds. The painter and diarist Joseph Farington recorded that this was a result of the poor engravings:
West said He looked over the Shakespeare prints and was sorry to see them of such inferior quality.  He said that excepting that from His Lear by Sharpe, that from Northcote's children in the Tower, and some small ones, there were few that could be approved.  Such a mixture of dotting and engraving, and such a general deficiency in respect of drawing which He observed the Engravers seemed to know little of, that the volumes presented a mass of works which He did not wonder many subscribers had declined to continue their subscription.
The mix of engraving styles was criticised; line engraving was considered the superior form and artists and subscribers disliked the mixture of lesser forms with it. Moreover, Boydell's engravers fell behind schedule, delaying the entire project. He was forced to engage lesser artists, such as Hamilton and Smirke, at a lower price to finish the volumes as his business started to fail. Modern art historians have generally concurred that the quality of the engravings, particularly in the folio, was poor. Moreover, the use of so many different artists and engravers led to a lack of stylistic cohesion.Although the Boydells ended with 1,384 subscriptions, the rate of subscriptions dropped, and remaining subscriptions were also increasingly in doubt.  Like many businesses at the time, the Boydell firm kept few records. Only the customers knew what they had purchased.  This caused numerous difficulties with debtors who claimed they had never subscribed or had subscribed for less.  Many subscribers also defaulted, and Josiah Boydell spent years after John's death attempting to force them to pay.

Question: What is the last name of the person who said said that excepting that from His Lear by Sharpe, that from Northcote's children in the Tower, and some small ones, there were few that could be approved?
Answer: West
By 1796, subscriptions to the edition had dropped by two-thirds. The painter and diarist Joseph Farington recorded that this was a result of the poor engravings:
West said He looked over the Shakespeare prints and was sorry to see them of such inferior quality.  He said that excepting that from His Lear by Sharpe, that from Northcote's children in the Tower, and some small ones, there were few that could be approved.  Such a mixture of dotting and engraving, and such a general deficiency in respect of drawing which He observed the Engravers seemed to know little of, that the volumes presented a mass of works which He did not wonder many subscribers had declined to continue their subscription.
The mix of engraving styles was criticised; line engraving was considered the superior form and artists and subscribers disliked the mixture of lesser forms with it. Moreover, Boydell's engravers fell behind schedule, delaying the entire project. He was forced to engage lesser artists, such as Hamilton and Smirke, at a lower price to finish the volumes as his business started to fail. Modern art historians have generally concurred that the quality of the engravings, particularly in the folio, was poor. Moreover, the use of so many different artists and engravers led to a lack of stylistic cohesion.Although the Boydells ended with 1,384 subscriptions, the rate of subscriptions dropped, and remaining subscriptions were also increasingly in doubt.  Like many businesses at the time, the Boydell firm kept few records. Only the customers knew what they had purchased.  This caused numerous difficulties with debtors who claimed they had never subscribed or had subscribed for less.  Many subscribers also defaulted, and Josiah Boydell spent years after John's death attempting to force them to pay.

Question: What is the last name of the person who felt that the volumes presented a mass of works which He did not wonder many subscribers had declined to continue their subscription?
Answer: West
The Boydells focused all their attention on the Shakespeare edition and other large projects, such as The History of the River Thames and The Complete Works of John Milton, rather than on lesser, more profitable ventures.  When both the Shakespeare enterprise and the Thames book failed, the firm had no capital to fall back upon. Beginning in 1789, with the onset of the French revolution, John Boydell's export business to Europe was cut off.  By the late 1790s and early 19th century, the two-thirds of his business that depended upon the export trade was in serious financial difficulty.In 1804, John Boydell decided to appeal to Parliament for a private bill to authorise a lottery to dispose of everything in his business.  The bill received royal assent on 23 March, and by November the Boydells were ready to sell tickets. John Boydell died before the lottery was drawn on 28 January 1805, but lived long enough to see each of the 22,000 tickets purchased at three guineas apiece (£270 each in modern terms).  To encourage ticket sales and reduce unsold inventory, every purchaser was guaranteed to receive a print worth one guinea from the Boydell company's stock.  There were 64 winning tickets for major prizes, the highest being the Gallery itself and its collection of paintings.  This went to William Tassie, a gem engraver and cameo modeller, of Leicester Fields (now Leicester Square).  Josiah offered to buy the gallery and its paintings back from Tassie for £10,000 (worth about £800,000 now), but Tassie refused and auctioned the paintings at Christie's.  The painting collection and two reliefs by Anne Damer fetched a total of £6,181 18s. 6d.  The Banks sculpture group from the façade was initially intended to be kept as a monument for Boydell's tomb. Instead, it remained part of the façade of the building in its new guise as the British Institution until the building was torn down in 1868–69. The Banks sculpture was then moved to Stratford-upon-Avon and re-erected in New Place Garden between June and November 1870. The lottery saved Josiah from bankruptcy and earned him £45,000, enabling him to begin business again as a printer.

Question: What is the first name of the person who auctioned the paintings at Christie's?
Answer: William
The film opens with two small-time crooks Tommy Uva and Rosie DeToma getting high and robbing a florist on Valentine's Day. Tommy holds up the cashier with a pistol while Rosie waited in the car she inherited from her father. Tommy is arrested and sent to prison for 18 months. In the meantime, Rosie gets a job at a debt collection agency run by Dave Lovell, who went to jail for bilking major companies out of $800,000 through fraudulent invoices. Lovell reformed his life and mainly hires ex-cons at his firm. He is happy to give Tommy a job and a second chance. Tommy is restless and instead of following the call script, he often counsels people on how to defraud Lovell's company.
When Tommy sees some mafiosos in his neighborhood, he grows enraged. He calls them fat old guys living off their reputation, and he resents the way the mafia treated his father. Over the course of the film, it is revealed that Tommy's father started his shop with a mafia loan, and he suffered frequent beatings when he was late with payments. Tommy's mother and brother still run the shop, but his mother blames Tommy's criminal activity for breaking her husband's heart and leading to his death. Whereas, Tommy blames his father's death completely on the humiliation he suffered at the hands of the mafia.
Tommy skips work one day to attend the trial of John Gotti. He watches Sammy the Bull's testimony, and he perks up when Sammy explains that no guns are allowed in mafia social clubs. He cases one of the clubs that Sammy mentioned, and then he pitches the idea to rob the club to Rosie. He explains that it will be safe since no one will have a gun, and that the mafia would never call the cops to report the crime. He gets an Uzi, which he does not know how to use. Rosie reluctantly shows him how to load it, and agrees to the plan.

Question: Who does Tommy call names?
Answer: mafiosos
The film opens with two small-time crooks Tommy Uva and Rosie DeToma getting high and robbing a florist on Valentine's Day. Tommy holds up the cashier with a pistol while Rosie waited in the car she inherited from her father. Tommy is arrested and sent to prison for 18 months. In the meantime, Rosie gets a job at a debt collection agency run by Dave Lovell, who went to jail for bilking major companies out of $800,000 through fraudulent invoices. Lovell reformed his life and mainly hires ex-cons at his firm. He is happy to give Tommy a job and a second chance. Tommy is restless and instead of following the call script, he often counsels people on how to defraud Lovell's company.
When Tommy sees some mafiosos in his neighborhood, he grows enraged. He calls them fat old guys living off their reputation, and he resents the way the mafia treated his father. Over the course of the film, it is revealed that Tommy's father started his shop with a mafia loan, and he suffered frequent beatings when he was late with payments. Tommy's mother and brother still run the shop, but his mother blames Tommy's criminal activity for breaking her husband's heart and leading to his death. Whereas, Tommy blames his father's death completely on the humiliation he suffered at the hands of the mafia.
Tommy skips work one day to attend the trial of John Gotti. He watches Sammy the Bull's testimony, and he perks up when Sammy explains that no guns are allowed in mafia social clubs. He cases one of the clubs that Sammy mentioned, and then he pitches the idea to rob the club to Rosie. He explains that it will be safe since no one will have a gun, and that the mafia would never call the cops to report the crime. He gets an Uzi, which he does not know how to use. Rosie reluctantly shows him how to load it, and agrees to the plan.

Question: Who watches one of the clubs that were talked about at the trial?
Answer: Tommy
The film opens with two small-time crooks Tommy Uva and Rosie DeToma getting high and robbing a florist on Valentine's Day. Tommy holds up the cashier with a pistol while Rosie waited in the car she inherited from her father. Tommy is arrested and sent to prison for 18 months. In the meantime, Rosie gets a job at a debt collection agency run by Dave Lovell, who went to jail for bilking major companies out of $800,000 through fraudulent invoices. Lovell reformed his life and mainly hires ex-cons at his firm. He is happy to give Tommy a job and a second chance. Tommy is restless and instead of following the call script, he often counsels people on how to defraud Lovell's company.
When Tommy sees some mafiosos in his neighborhood, he grows enraged. He calls them fat old guys living off their reputation, and he resents the way the mafia treated his father. Over the course of the film, it is revealed that Tommy's father started his shop with a mafia loan, and he suffered frequent beatings when he was late with payments. Tommy's mother and brother still run the shop, but his mother blames Tommy's criminal activity for breaking her husband's heart and leading to his death. Whereas, Tommy blames his father's death completely on the humiliation he suffered at the hands of the mafia.
Tommy skips work one day to attend the trial of John Gotti. He watches Sammy the Bull's testimony, and he perks up when Sammy explains that no guns are allowed in mafia social clubs. He cases one of the clubs that Sammy mentioned, and then he pitches the idea to rob the club to Rosie. He explains that it will be safe since no one will have a gun, and that the mafia would never call the cops to report the crime. He gets an Uzi, which he does not know how to use. Rosie reluctantly shows him how to load it, and agrees to the plan.

Question: Who convinces Rosie to rob a mafia club?
Answer: Tommy
The film opens with two small-time crooks Tommy Uva and Rosie DeToma getting high and robbing a florist on Valentine's Day. Tommy holds up the cashier with a pistol while Rosie waited in the car she inherited from her father. Tommy is arrested and sent to prison for 18 months. In the meantime, Rosie gets a job at a debt collection agency run by Dave Lovell, who went to jail for bilking major companies out of $800,000 through fraudulent invoices. Lovell reformed his life and mainly hires ex-cons at his firm. He is happy to give Tommy a job and a second chance. Tommy is restless and instead of following the call script, he often counsels people on how to defraud Lovell's company.
When Tommy sees some mafiosos in his neighborhood, he grows enraged. He calls them fat old guys living off their reputation, and he resents the way the mafia treated his father. Over the course of the film, it is revealed that Tommy's father started his shop with a mafia loan, and he suffered frequent beatings when he was late with payments. Tommy's mother and brother still run the shop, but his mother blames Tommy's criminal activity for breaking her husband's heart and leading to his death. Whereas, Tommy blames his father's death completely on the humiliation he suffered at the hands of the mafia.
Tommy skips work one day to attend the trial of John Gotti. He watches Sammy the Bull's testimony, and he perks up when Sammy explains that no guns are allowed in mafia social clubs. He cases one of the clubs that Sammy mentioned, and then he pitches the idea to rob the club to Rosie. He explains that it will be safe since no one will have a gun, and that the mafia would never call the cops to report the crime. He gets an Uzi, which he does not know how to use. Rosie reluctantly shows him how to load it, and agrees to the plan.

Question: Who does Rosie show how to load an Uzi?
Answer: Tommy
Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.
By mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.
Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: "Purple Haze", "Hey Joe", and "The Wind Cries Mary".
In 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: "Purple Haze" (17), "Foxy Lady" (153), "Hey Joe" (201), and "The Wind Cries Mary" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses."

Question: What is the full name of the man who had an LP that was an immediate critical and commercial success?
Answer: Jimi Hendrix
Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.
By mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.
Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: "Purple Haze", "Hey Joe", and "The Wind Cries Mary".
In 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: "Purple Haze" (17), "Foxy Lady" (153), "Hey Joe" (201), and "The Wind Cries Mary" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses."

Question: What is the name of the former band of the person who began managing and producing artists?
Answer: the Animals
Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.
By mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.
Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: "Purple Haze", "Hey Joe", and "The Wind Cries Mary".
In 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: "Purple Haze" (17), "Foxy Lady" (153), "Hey Joe" (201), and "The Wind Cries Mary" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses."

Question: What is the full name of the person that was signed by the ex member of the Animals?
Answer: Jimi Hendrix
Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.
By mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.
Are You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: "Purple Haze", "Hey Joe", and "The Wind Cries Mary".
In 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: "Purple Haze" (17), "Foxy Lady" (153), "Hey Joe" (201), and "The Wind Cries Mary" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: "it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses."

Question: What is the name of the label that passed on signing the band that debuted with the album "Are You Experienced"?
Answer: Decca Records