nc33/multispan_quoref huggingface dataset:
Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s.In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London. It is believed to be the only surviving sound film of Elgar, who makes a brief remark before conducting the London Symphony Orchestra, asking the musicians to "play this tune as though you've never heard it before." A memorial plaque to Elgar at Abbey Road was unveiled on 24 June 1993.A late piece of Elgar's, the Nursery Suite, was an early example of a studio premiere: its first performance was in the Abbey Road studios. For this work, dedicated to the wife and daughters of the Duke of York, Elgar once again drew on his youthful sketch-books.
In his final years, Elgar experienced a musical revival. The BBC organised a festival of his works to celebrate his seventy-fifth birthday, in 1932. He flew to Paris in 1933 to conduct the Violin Concerto for Menuhin. While in France, he visited his fellow composer Frederick Delius at his house at Grez-sur-Loing. He was sought out by younger musicians such as Adrian Boult, Malcolm Sargent and John Barbirolli, who championed his music when it was out of fashion. He began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness, however, prevented their completion. He fretted about the unfinished works. He asked Reed to ensure that nobody would "tinker" with the sketches and attempt a completion of the symphony, but at other times he said, "If I can't complete the Third Symphony, somebody will complete it – or write a better one." After Elgar's death, Percy M. Young, in co-operation with the BBC and Elgar's daughter Carice, produced a version of The Spanish Lady, which was issued on CD. The Third Symphony sketches were elaborated by the composer Anthony Payne into a complete score in 1998.Inoperable colorectal cancer was discovered during an operation on 8 October 1933. He told his consulting doctor, Arthur Thomson, that he had no faith in an afterlife: "I believe there is nothing but complete oblivion." Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St. Wulstan's Roman Catholic Church in Little Malvern.

Question: What is the name of the person whose wife was buried at St. Wulstan's Roman Catholic Church in Little Malvern?
Answer: Elgar
Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s.In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London. It is believed to be the only surviving sound film of Elgar, who makes a brief remark before conducting the London Symphony Orchestra, asking the musicians to "play this tune as though you've never heard it before." A memorial plaque to Elgar at Abbey Road was unveiled on 24 June 1993.A late piece of Elgar's, the Nursery Suite, was an early example of a studio premiere: its first performance was in the Abbey Road studios. For this work, dedicated to the wife and daughters of the Duke of York, Elgar once again drew on his youthful sketch-books.
In his final years, Elgar experienced a musical revival. The BBC organised a festival of his works to celebrate his seventy-fifth birthday, in 1932. He flew to Paris in 1933 to conduct the Violin Concerto for Menuhin. While in France, he visited his fellow composer Frederick Delius at his house at Grez-sur-Loing. He was sought out by younger musicians such as Adrian Boult, Malcolm Sargent and John Barbirolli, who championed his music when it was out of fashion. He began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness, however, prevented their completion. He fretted about the unfinished works. He asked Reed to ensure that nobody would "tinker" with the sketches and attempt a completion of the symphony, but at other times he said, "If I can't complete the Third Symphony, somebody will complete it – or write a better one." After Elgar's death, Percy M. Young, in co-operation with the BBC and Elgar's daughter Carice, produced a version of The Spanish Lady, which was issued on CD. The Third Symphony sketches were elaborated by the composer Anthony Payne into a complete score in 1998.Inoperable colorectal cancer was discovered during an operation on 8 October 1933. He told his consulting doctor, Arthur Thomson, that he had no faith in an afterlife: "I believe there is nothing but complete oblivion." Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St. Wulstan's Roman Catholic Church in Little Malvern.

Question: Whose doctor was Arthur Thomson?
Answer: Elgar
Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s.In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London. It is believed to be the only surviving sound film of Elgar, who makes a brief remark before conducting the London Symphony Orchestra, asking the musicians to "play this tune as though you've never heard it before." A memorial plaque to Elgar at Abbey Road was unveiled on 24 June 1993.A late piece of Elgar's, the Nursery Suite, was an early example of a studio premiere: its first performance was in the Abbey Road studios. For this work, dedicated to the wife and daughters of the Duke of York, Elgar once again drew on his youthful sketch-books.
In his final years, Elgar experienced a musical revival. The BBC organised a festival of his works to celebrate his seventy-fifth birthday, in 1932. He flew to Paris in 1933 to conduct the Violin Concerto for Menuhin. While in France, he visited his fellow composer Frederick Delius at his house at Grez-sur-Loing. He was sought out by younger musicians such as Adrian Boult, Malcolm Sargent and John Barbirolli, who championed his music when it was out of fashion. He began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness, however, prevented their completion. He fretted about the unfinished works. He asked Reed to ensure that nobody would "tinker" with the sketches and attempt a completion of the symphony, but at other times he said, "If I can't complete the Third Symphony, somebody will complete it – or write a better one." After Elgar's death, Percy M. Young, in co-operation with the BBC and Elgar's daughter Carice, produced a version of The Spanish Lady, which was issued on CD. The Third Symphony sketches were elaborated by the composer Anthony Payne into a complete score in 1998.Inoperable colorectal cancer was discovered during an operation on 8 October 1933. He told his consulting doctor, Arthur Thomson, that he had no faith in an afterlife: "I believe there is nothing but complete oblivion." Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St. Wulstan's Roman Catholic Church in Little Malvern.

Question: Who told his doctor he had no faith in the afterlife?
Answer: Elgar
Elgar's recordings were released on 78-rpm discs by both HMV and RCA Victor. After World War II, the 1932 recording of the Violin Concerto with the teenage Menuhin as soloist remained available on 78 and later on LP, but the other recordings were out of the catalogues for some years. When they were reissued by EMI on LP in the 1970s, they caused surprise to many by their fast tempi, in contrast to the slower speeds adopted by many conductors in the years since Elgar's death. The recordings were reissued on CD in the 1990s.In November 1931, Elgar was filmed by Pathé for a newsreel depicting a recording session of Pomp and Circumstance March No. 1 at the opening of EMI's Abbey Road Studios in London. It is believed to be the only surviving sound film of Elgar, who makes a brief remark before conducting the London Symphony Orchestra, asking the musicians to "play this tune as though you've never heard it before." A memorial plaque to Elgar at Abbey Road was unveiled on 24 June 1993.A late piece of Elgar's, the Nursery Suite, was an early example of a studio premiere: its first performance was in the Abbey Road studios. For this work, dedicated to the wife and daughters of the Duke of York, Elgar once again drew on his youthful sketch-books.
In his final years, Elgar experienced a musical revival. The BBC organised a festival of his works to celebrate his seventy-fifth birthday, in 1932. He flew to Paris in 1933 to conduct the Violin Concerto for Menuhin. While in France, he visited his fellow composer Frederick Delius at his house at Grez-sur-Loing. He was sought out by younger musicians such as Adrian Boult, Malcolm Sargent and John Barbirolli, who championed his music when it was out of fashion. He began work on an opera, The Spanish Lady, and accepted a commission from the BBC to compose a Third Symphony. His final illness, however, prevented their completion. He fretted about the unfinished works. He asked Reed to ensure that nobody would "tinker" with the sketches and attempt a completion of the symphony, but at other times he said, "If I can't complete the Third Symphony, somebody will complete it – or write a better one." After Elgar's death, Percy M. Young, in co-operation with the BBC and Elgar's daughter Carice, produced a version of The Spanish Lady, which was issued on CD. The Third Symphony sketches were elaborated by the composer Anthony Payne into a complete score in 1998.Inoperable colorectal cancer was discovered during an operation on 8 October 1933. He told his consulting doctor, Arthur Thomson, that he had no faith in an afterlife: "I believe there is nothing but complete oblivion." Elgar died on 23 February 1934 at the age of seventy-six and was buried next to his wife at St. Wulstan's Roman Catholic Church in Little Malvern.

Question: What was reissued by EMI in the 1970s?
Answer: Elgar's recordings
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Question: What is the first name of the person who comments favourably on Elgar's lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration?
Answer: Diana
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Question: What is the name of the person whose orchestral skills had been building up throughout the decade, according to McVeagh?
Answer: Elgar
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Question: What is the name of the person who wrote a Te Deum and Benedictus for the Hereford Festival?
Answer: Elgar
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Question: What is the last name of the person who all his life he drew on his early sketchbooks for themes and inspiration?
Answer: Elgar
Elgar was contemptuous of folk music and had little interest in or respect for the early English composers, calling William Byrd and his contemporaries "museum pieces". Of later English composers, he regarded Purcell as the greatest, and he said that he had learned much of his own technique from studying Hubert Parry's writings. The continental composers who most influenced Elgar were Handel, Dvořák and, to some degree, Brahms. In Elgar's chromaticism, the influence of Wagner is apparent, but Elgar's individual style of orchestration owes much to the clarity of nineteenth-century French composers, Berlioz, Massenet, Saint-Saëns and, particularly, Delibes, whose music Elgar played and conducted at Worcester and greatly admired.Elgar began composing when still a child, and all his life he drew on his early sketchbooks for themes and inspiration. The habit of assembling his compositions, even large-scale ones, from scraps of themes jotted down randomly remained throughout his life. His early adult works included violin and piano pieces, music for the wind quintet in which he and his brother played between 1878 and 1881, and music of many types for the Powick Asylum band. Diana McVeagh in Grove's Dictionary finds many embryonic Elgarian touches in these pieces, but few of them are regularly played, except Salut d'Amour and (as arranged decades later into The Wand of Youth Suites) some of the childhood sketches. Elgar's sole work of note during his first spell in London in 1889–91, the overture Froissart, was a romantic-bravura piece, influenced by Mendelssohn and Wagner, but also showing further Elgarian characteristics. Orchestral works composed during the subsequent years in Worcestershire include the Serenade for Strings and Three Bavarian Dances. In this period and later, Elgar wrote songs and partsongs. W. H. Reed expressed reservations about these pieces, but praised the partsong The Snow, for female voices, and Sea Pictures, a cycle of five songs for contralto and orchestra which remains in the repertory.Elgar's principal large-scale early works were for chorus and orchestra for the Three Choirs and other festivals. These were The Black Knight, King Olaf, The Light of Life, The Banner of St George and Caractacus. He also wrote a Te Deum and Benedictus for the Hereford Festival. Of these, McVeagh comments favourably on his lavish orchestration and innovative use of leitmotifs, but less favourably on the qualities of his chosen texts and the patchiness of his inspiration. McVeagh makes the point that, because these works of the 1890s were for many years little known (and performances remain rare), the mastery of his first great success, the Enigma Variations, appeared to be a sudden transformation from mediocrity to genius, but in fact his orchestral skills had been building up throughout the decade.

Question: What is the last name of the person who wrote a Te Deum and Benedictus for the Hereford Festival?
Answer: Elgar
Ambitious, up-and-coming reporter Nina Dunham interviews an underage video chat-room stripper named Kyle. Kyle, a runaway, works for a man named Harvey in a "house" with other chat-room strippers. However, after the interview achieves some prominence, the FBI demands that she reveal the address of the house so that they can shut down the operation. Since she has paid Kyle in order to make initial contact, she may have broken the law. As a result, police and her employer also put pressure on her to cooperate. Nina wants to save him from the business, yet fears losing his trust in the process. Kyle reluctantly gives her the address, but Harvey is tipped off and the entire household flees. Nina follows them to a motel where they're staying and asks Kyle to leave with her. Kyle is willing to do so at first, but when Nina is hesitant to guarantee him safe haven in her home, he refuses. Harvey watches them argue, then slaps Nina. The entire group of chat-room strippers leave and Nina drives away in tears.

Question: Who was given money in order for the reporter to conduct her interview?
Answer: Kyle
Chrissy, Ping and Mackenzie (nicknamed "Mac") are a trio of best friends and cheerleaders from Bay City High School in Bay City. The three are your typical teenage girls: they're concerned with their looks, boys, getting ready for school dances and are busy preparing for an upcoming cheerleading competition. But one day, while at a hair salon that's owned and operated by Chrissy's friend, Adrienne, the girls get zapped by a jolt of electricity, but a lot more changes than just their hairstyles. The jolt of electricity ends up giving the girls superpowers: Chrissy gains superhuman strength (and a red supersuit), Ping gains the ability to fly (and a blue supersuit) and Mac gains the power of X-ray vision (and a green supersuit). The girls soon find themselves facing a much greater responsibility than simply preparing for their upcoming cheerleading competition: thwarting the plans of total world domination by the evil Dr. Nightingale (who also happens to be the father of one of Chrissy, Ping and Mac's fellow cheerleaders).
While the girls are excited to use their new powers to become superheroes (especially Chrissy), they soon learn that becoming a superhero won't be as simple as they think—they need to practice how to properly use their powers and work together as a team (especially since they each only have one superpower). Also, the girls' superpowers only be activated when they drink a fruit smoothie, which also triggers their transformations. Ultimately, the girls manage to defeat Dr. Nightingale and his cronies, at least for the time being, and they also manage to win the cheerleading competition they had spent most of the movie preparing for.
Popular teen lingo pervades this feature-length presentation that's packed with humorous detail like flower power hippies, a fully equipped car à la James Bond, and a character who sounds like a cross between Austin Powers and Officer Tom Hanson.

Question: Whose friend owns the salon where the girls get electrocuted?
Answer: Chrissy's
Chrissy, Ping and Mackenzie (nicknamed "Mac") are a trio of best friends and cheerleaders from Bay City High School in Bay City. The three are your typical teenage girls: they're concerned with their looks, boys, getting ready for school dances and are busy preparing for an upcoming cheerleading competition. But one day, while at a hair salon that's owned and operated by Chrissy's friend, Adrienne, the girls get zapped by a jolt of electricity, but a lot more changes than just their hairstyles. The jolt of electricity ends up giving the girls superpowers: Chrissy gains superhuman strength (and a red supersuit), Ping gains the ability to fly (and a blue supersuit) and Mac gains the power of X-ray vision (and a green supersuit). The girls soon find themselves facing a much greater responsibility than simply preparing for their upcoming cheerleading competition: thwarting the plans of total world domination by the evil Dr. Nightingale (who also happens to be the father of one of Chrissy, Ping and Mac's fellow cheerleaders).
While the girls are excited to use their new powers to become superheroes (especially Chrissy), they soon learn that becoming a superhero won't be as simple as they think—they need to practice how to properly use their powers and work together as a team (especially since they each only have one superpower). Also, the girls' superpowers only be activated when they drink a fruit smoothie, which also triggers their transformations. Ultimately, the girls manage to defeat Dr. Nightingale and his cronies, at least for the time being, and they also manage to win the cheerleading competition they had spent most of the movie preparing for.
Popular teen lingo pervades this feature-length presentation that's packed with humorous detail like flower power hippies, a fully equipped car à la James Bond, and a character who sounds like a cross between Austin Powers and Officer Tom Hanson.

Question: What power does the girl who is most excited to use it have?
Answer: superhuman strength
Chrissy, Ping and Mackenzie (nicknamed "Mac") are a trio of best friends and cheerleaders from Bay City High School in Bay City. The three are your typical teenage girls: they're concerned with their looks, boys, getting ready for school dances and are busy preparing for an upcoming cheerleading competition. But one day, while at a hair salon that's owned and operated by Chrissy's friend, Adrienne, the girls get zapped by a jolt of electricity, but a lot more changes than just their hairstyles. The jolt of electricity ends up giving the girls superpowers: Chrissy gains superhuman strength (and a red supersuit), Ping gains the ability to fly (and a blue supersuit) and Mac gains the power of X-ray vision (and a green supersuit). The girls soon find themselves facing a much greater responsibility than simply preparing for their upcoming cheerleading competition: thwarting the plans of total world domination by the evil Dr. Nightingale (who also happens to be the father of one of Chrissy, Ping and Mac's fellow cheerleaders).
While the girls are excited to use their new powers to become superheroes (especially Chrissy), they soon learn that becoming a superhero won't be as simple as they think—they need to practice how to properly use their powers and work together as a team (especially since they each only have one superpower). Also, the girls' superpowers only be activated when they drink a fruit smoothie, which also triggers their transformations. Ultimately, the girls manage to defeat Dr. Nightingale and his cronies, at least for the time being, and they also manage to win the cheerleading competition they had spent most of the movie preparing for.
Popular teen lingo pervades this feature-length presentation that's packed with humorous detail like flower power hippies, a fully equipped car à la James Bond, and a character who sounds like a cross between Austin Powers and Officer Tom Hanson.

Question: What are the three powers that can be activated with a drink?
Answer: superhuman strength, the ability to fly, X-ray vision
In the fictional town of It Had To Be, Indiana, fullback Blue Grange scores the winning touchdown for It Had To Be University in the 1963 National Championship game. Afterwards, a shunned cheerleader named Bambi is seen fawning over Grange's locker before the on-field celebration pours into the locker room. As a group of cheerleaders are cleaning up the field after the game, all five are skewered with a javelin thrown by an unknown assailant. The bizarre murder makes headlines, as does a subsequent murder involving exploding pompons. As a result, the college's summer cheerleading camp is closed down. In 1982, the camp reopens with Bambi as the instructor. After arriving on campus, she meets Pepe the maintenance man and his mother Salt, both of whom warn her against reopening the camp as they believe it to be cursed with death, but Bambi is undeterred.
At a bus station, a young woman named Candy (labeled Victim #1) prepares to board a bus to the cheerleading camp but her religious fanatic mother tries to dissuade her. As they quarrel, red beams of light suddenly streak from Candy's eyes and levitate her mother into the air. As she hangs suspended, Candy tells her that she just wants to be normal and marches away to catch the bus. In another part of town, a male cheerleader named Glenn Dandy (Victim #2) says goodbye to his unconventional family before leaving for camp. Next, Mandy (Victim #3) is introduced by her father in a beauty pageant-style interview, revealing her obsession with dental hygiene. Sandy (Victim #4) asks for directions to the camp at a food truck and decides to hitchhike, but insists on getting references from every driver she passes (eventually accepting a ride with then-U.S. President Ronald Reagan). Andy and Randy (Victims #5 and #6 respectively), two lecherous cheerleaders, are shown smoking marijuana while driving to the camp. The cheerleaders assemble at the camp and are greeted by Bambi.

Question: What is the first name of the person whose mother tries to discourage her?
Answer: Candy
In the fictional town of It Had To Be, Indiana, fullback Blue Grange scores the winning touchdown for It Had To Be University in the 1963 National Championship game. Afterwards, a shunned cheerleader named Bambi is seen fawning over Grange's locker before the on-field celebration pours into the locker room. As a group of cheerleaders are cleaning up the field after the game, all five are skewered with a javelin thrown by an unknown assailant. The bizarre murder makes headlines, as does a subsequent murder involving exploding pompons. As a result, the college's summer cheerleading camp is closed down. In 1982, the camp reopens with Bambi as the instructor. After arriving on campus, she meets Pepe the maintenance man and his mother Salt, both of whom warn her against reopening the camp as they believe it to be cursed with death, but Bambi is undeterred.
At a bus station, a young woman named Candy (labeled Victim #1) prepares to board a bus to the cheerleading camp but her religious fanatic mother tries to dissuade her. As they quarrel, red beams of light suddenly streak from Candy's eyes and levitate her mother into the air. As she hangs suspended, Candy tells her that she just wants to be normal and marches away to catch the bus. In another part of town, a male cheerleader named Glenn Dandy (Victim #2) says goodbye to his unconventional family before leaving for camp. Next, Mandy (Victim #3) is introduced by her father in a beauty pageant-style interview, revealing her obsession with dental hygiene. Sandy (Victim #4) asks for directions to the camp at a food truck and decides to hitchhike, but insists on getting references from every driver she passes (eventually accepting a ride with then-U.S. President Ronald Reagan). Andy and Randy (Victims #5 and #6 respectively), two lecherous cheerleaders, are shown smoking marijuana while driving to the camp. The cheerleaders assemble at the camp and are greeted by Bambi.

Question: What is the first name of the cheerleader that has an unconventional family?
Answer: Glenn
In the fictional town of It Had To Be, Indiana, fullback Blue Grange scores the winning touchdown for It Had To Be University in the 1963 National Championship game. Afterwards, a shunned cheerleader named Bambi is seen fawning over Grange's locker before the on-field celebration pours into the locker room. As a group of cheerleaders are cleaning up the field after the game, all five are skewered with a javelin thrown by an unknown assailant. The bizarre murder makes headlines, as does a subsequent murder involving exploding pompons. As a result, the college's summer cheerleading camp is closed down. In 1982, the camp reopens with Bambi as the instructor. After arriving on campus, she meets Pepe the maintenance man and his mother Salt, both of whom warn her against reopening the camp as they believe it to be cursed with death, but Bambi is undeterred.
At a bus station, a young woman named Candy (labeled Victim #1) prepares to board a bus to the cheerleading camp but her religious fanatic mother tries to dissuade her. As they quarrel, red beams of light suddenly streak from Candy's eyes and levitate her mother into the air. As she hangs suspended, Candy tells her that she just wants to be normal and marches away to catch the bus. In another part of town, a male cheerleader named Glenn Dandy (Victim #2) says goodbye to his unconventional family before leaving for camp. Next, Mandy (Victim #3) is introduced by her father in a beauty pageant-style interview, revealing her obsession with dental hygiene. Sandy (Victim #4) asks for directions to the camp at a food truck and decides to hitchhike, but insists on getting references from every driver she passes (eventually accepting a ride with then-U.S. President Ronald Reagan). Andy and Randy (Victims #5 and #6 respectively), two lecherous cheerleaders, are shown smoking marijuana while driving to the camp. The cheerleaders assemble at the camp and are greeted by Bambi.

Question: What is the first name of the cheerleader that has a dental hygiene obsession?
Answer: Mandy
In New Orleans, Will Montgomery and Vincent Kinsey are preparing for a heist, aided by Riley, their getaway driver, and Hoyt, a computer security expert. They are watched by FBI agent Tim Harland, who knows that Will and Vincent have been casing a jewelry store for several weeks and plans to arrest them mid-crime.
Will and Vincent break into the neighboring toy store, blowing the adjacent wall. Harland gives them a few minutes before sending his agents into the jewelry store, but Will and Vincent are not there, having instead used the jewelry store to gain access to a bank. In the vault, Will collects $10 million in wrapped bills and drags away Vincent, who had been eyeing a stack of gold bars. They come across a janitor in a back alley. Vincent attempts to kill the man, but Will stops him, and Vincent accidentally shoots himself in the leg. As their escape van pulls up, Vincent gets in and tells the others to drive off, leaving Will stranded with the money and the FBI closing fast. After a car chase, Will is cornered in an abandoned building. Agents arrest him but find no evidence of the money.
Eight years later, Will is released from prison. He is taken back to New Orleans by Harland, believing that Will stashed the money before his arrest. He warns that he will be watching Will closely. Will returns to his daughter Alison, finding that she is struggling with abandonment issues. She refuses to let him talk to her, instead handing over a package addressed to him that was left there that morning. She goes off in a taxi, which is shown to have been trailing Will since his release.

Question: Who hands over a package?
Answer: Alison
In New Orleans, Will Montgomery and Vincent Kinsey are preparing for a heist, aided by Riley, their getaway driver, and Hoyt, a computer security expert. They are watched by FBI agent Tim Harland, who knows that Will and Vincent have been casing a jewelry store for several weeks and plans to arrest them mid-crime.
Will and Vincent break into the neighboring toy store, blowing the adjacent wall. Harland gives them a few minutes before sending his agents into the jewelry store, but Will and Vincent are not there, having instead used the jewelry store to gain access to a bank. In the vault, Will collects $10 million in wrapped bills and drags away Vincent, who had been eyeing a stack of gold bars. They come across a janitor in a back alley. Vincent attempts to kill the man, but Will stops him, and Vincent accidentally shoots himself in the leg. As their escape van pulls up, Vincent gets in and tells the others to drive off, leaving Will stranded with the money and the FBI closing fast. After a car chase, Will is cornered in an abandoned building. Agents arrest him but find no evidence of the money.
Eight years later, Will is released from prison. He is taken back to New Orleans by Harland, believing that Will stashed the money before his arrest. He warns that he will be watching Will closely. Will returns to his daughter Alison, finding that she is struggling with abandonment issues. She refuses to let him talk to her, instead handing over a package addressed to him that was left there that morning. She goes off in a taxi, which is shown to have been trailing Will since his release.

Question: Who goes off in a taxi?
Answer: Alison
In New Orleans, Will Montgomery and Vincent Kinsey are preparing for a heist, aided by Riley, their getaway driver, and Hoyt, a computer security expert. They are watched by FBI agent Tim Harland, who knows that Will and Vincent have been casing a jewelry store for several weeks and plans to arrest them mid-crime.
Will and Vincent break into the neighboring toy store, blowing the adjacent wall. Harland gives them a few minutes before sending his agents into the jewelry store, but Will and Vincent are not there, having instead used the jewelry store to gain access to a bank. In the vault, Will collects $10 million in wrapped bills and drags away Vincent, who had been eyeing a stack of gold bars. They come across a janitor in a back alley. Vincent attempts to kill the man, but Will stops him, and Vincent accidentally shoots himself in the leg. As their escape van pulls up, Vincent gets in and tells the others to drive off, leaving Will stranded with the money and the FBI closing fast. After a car chase, Will is cornered in an abandoned building. Agents arrest him but find no evidence of the money.
Eight years later, Will is released from prison. He is taken back to New Orleans by Harland, believing that Will stashed the money before his arrest. He warns that he will be watching Will closely. Will returns to his daughter Alison, finding that she is struggling with abandonment issues. She refuses to let him talk to her, instead handing over a package addressed to him that was left there that morning. She goes off in a taxi, which is shown to have been trailing Will since his release.

Question: What is the first name of the person who gets arrested?
Answer: Will
In New Orleans, Will Montgomery and Vincent Kinsey are preparing for a heist, aided by Riley, their getaway driver, and Hoyt, a computer security expert. They are watched by FBI agent Tim Harland, who knows that Will and Vincent have been casing a jewelry store for several weeks and plans to arrest them mid-crime.
Will and Vincent break into the neighboring toy store, blowing the adjacent wall. Harland gives them a few minutes before sending his agents into the jewelry store, but Will and Vincent are not there, having instead used the jewelry store to gain access to a bank. In the vault, Will collects $10 million in wrapped bills and drags away Vincent, who had been eyeing a stack of gold bars. They come across a janitor in a back alley. Vincent attempts to kill the man, but Will stops him, and Vincent accidentally shoots himself in the leg. As their escape van pulls up, Vincent gets in and tells the others to drive off, leaving Will stranded with the money and the FBI closing fast. After a car chase, Will is cornered in an abandoned building. Agents arrest him but find no evidence of the money.
Eight years later, Will is released from prison. He is taken back to New Orleans by Harland, believing that Will stashed the money before his arrest. He warns that he will be watching Will closely. Will returns to his daughter Alison, finding that she is struggling with abandonment issues. She refuses to let him talk to her, instead handing over a package addressed to him that was left there that morning. She goes off in a taxi, which is shown to have been trailing Will since his release.

Question: What is the first name of the person taken back to New Orleans?
Answer: Will
Gibraltar's appearance in prehistory was very different. Whereas today it is surrounded by sea, the water level was much lower in prehistoric times, when the polar ice caps were larger. The current peninsula was surrounded by a fertile coastal plain, with marshes and sand dunes supporting an abundant variety of animals and plants.Neanderthals are known to have lived in caves around the Rock of Gibraltar; in 1848 the first known adult Neanderthal skull, and only the second Neanderthal fossil ever found, was excavated at Forbes' Quarry on the north face of the Rock. Had the skull been recognised for what it was, the species might have been named Gibraltarians rather than Neanderthals. The date of the skull is unclear but it has been attributed to around the start of the last glacial period about 50,000 years ago.More Neanderthal remains have been found elsewhere on the Rock at Devil's Tower and in Ibex, Vanguard and Gorham's Caves on the east side of Gibraltar. Excavations in Gorham's Cave have found evidence of Neanderthal occupation dated as recently as 28,000–24,000 years ago, well after they were believed to have died out elsewhere in Europe. The caves of Gibraltar continued to be used by Homo sapiens after the final extinction of the Neanderthals. Stone tools, ancient hearths and animal bones dating from around 40,000 years ago to about 5,000 years ago have been found in deposits left in Gorham's Cave. Numerous potsherds dating from the Neolithic period have been found in Gibraltar's caves, mostly of types typical of the Almerian culture found elsewhere in Andalusia, especially around the town of Almería, from which it takes its name. There is little evidence of habitation in the Bronze Age, when people had largely abandoned the tradition of living in caves.

Question: What was the name of the location where Forbes' Quarry was and where the second Neanderthal fossil was found?
Answer: Rock of Gibraltar