nc33/multispan_quoref huggingface dataset:
American NASA spacecraft Jupiter 16 is hijacked from orbit by an unidentified spaceship. The United States suspects it to be the work of the Soviets, but the British suspect Japanese involvement since the spacecraft, after having "swallowed" Jupiter 16, landed in the Sea of Japan. To investigate, MI6 operative James Bond is sent to Tokyo, after faking his own death in Hong Kong and being buried at sea from HMS Tenby.
Upon his arrival, Bond meets a mysterious Japanese woman while watching a sumo match. She introduces Bond to local MI6 operative Dikko Henderson, who claims to have critical evidence about the rogue craft, but is killed before he can elaborate. Bond chases and kills the assailant, taking the assailant's clothing as a disguise, and is driven in the getaway car to Osato Chemicals. Once there, Bond subdues the driver and breaks into the office safe of president Mr. Osato. After obtaining certain documents, Bond is pursued by armed security, but is rescued by the woman he had met earlier, who flees to a secluded subway station. Bond chases her, but falls down a trap door leading to the office of the head of the Japanese secret service, Tiger Tanaka, who reveals that the woman is his assistant Aki. The stolen documents are examined, and found to include a photograph of the cargo ship Ning-Po, with a microdot message saying the tourist who took the photo was killed as a security precaution. While at Tanaka's spa, Bond meets with Aki again and they spend the night together.

Question: What secret organization does the woman Bond meets at a sumo match work for?
Answer: the Japanese secret service
American NASA spacecraft Jupiter 16 is hijacked from orbit by an unidentified spaceship. The United States suspects it to be the work of the Soviets, but the British suspect Japanese involvement since the spacecraft, after having "swallowed" Jupiter 16, landed in the Sea of Japan. To investigate, MI6 operative James Bond is sent to Tokyo, after faking his own death in Hong Kong and being buried at sea from HMS Tenby.
Upon his arrival, Bond meets a mysterious Japanese woman while watching a sumo match. She introduces Bond to local MI6 operative Dikko Henderson, who claims to have critical evidence about the rogue craft, but is killed before he can elaborate. Bond chases and kills the assailant, taking the assailant's clothing as a disguise, and is driven in the getaway car to Osato Chemicals. Once there, Bond subdues the driver and breaks into the office safe of president Mr. Osato. After obtaining certain documents, Bond is pursued by armed security, but is rescued by the woman he had met earlier, who flees to a secluded subway station. Bond chases her, but falls down a trap door leading to the office of the head of the Japanese secret service, Tiger Tanaka, who reveals that the woman is his assistant Aki. The stolen documents are examined, and found to include a photograph of the cargo ship Ning-Po, with a microdot message saying the tourist who took the photo was killed as a security precaution. While at Tanaka's spa, Bond meets with Aki again and they spend the night together.

Question: Whose assistant saved Bond when he was being chased by security?
Answer: Tiger Tanaka
Marion Post is a New York philosophy professor past the age of 50 on a leave of absence to write a new book.  Due to construction work in their building, she sublets a furnished flat downtown to have peace and quiet.
Her work there is interrupted by voices from a neighboring office in the building where a therapist conducts his analysis.  She quickly realizes that she is privy to the despairing sessions of another woman, Hope, who is disturbed by a growing feeling that her life is false and empty.  Her words strike a chord in Marion, who begins to question herself in the same way.
She comes to realize that, like her father, she has been unfair, unkind and judgmental to the people closest to her: her unsuccessful brother Paul and his wife Lynn, who feel they embarrass her; her best friend from high school Claire, who feels eclipsed by her; her first husband Sam, who eventually committed suicide; and her stepdaughter Laura, who admires her but resents her high-handedness.
She also realizes that her marriage to her second husband, Ken, is unfulfilling and that she missed her one chance at love with his best friend Larry.  She finally manages to meet the woman in therapy as she contemplates a Klimt painting called "Hope".  Although she wants to know more about the woman, she ends up talking more about herself, realizing that she made a mistake by having an abortion years ago and that at her age there are many things in life she will not have anymore.
She leaves Ken after catching him having an affair. She resolves to change her life for the better, and takes steps to repair her relationship with Paul and Laura.  By the end of the film, she reflects that, for the first time in years, she feels hopeful.

Question: What is the professor trying to do while being interrupted by the neighboring office?
Answer: write a new book
Marion Post is a New York philosophy professor past the age of 50 on a leave of absence to write a new book.  Due to construction work in their building, she sublets a furnished flat downtown to have peace and quiet.
Her work there is interrupted by voices from a neighboring office in the building where a therapist conducts his analysis.  She quickly realizes that she is privy to the despairing sessions of another woman, Hope, who is disturbed by a growing feeling that her life is false and empty.  Her words strike a chord in Marion, who begins to question herself in the same way.
She comes to realize that, like her father, she has been unfair, unkind and judgmental to the people closest to her: her unsuccessful brother Paul and his wife Lynn, who feel they embarrass her; her best friend from high school Claire, who feels eclipsed by her; her first husband Sam, who eventually committed suicide; and her stepdaughter Laura, who admires her but resents her high-handedness.
She also realizes that her marriage to her second husband, Ken, is unfulfilling and that she missed her one chance at love with his best friend Larry.  She finally manages to meet the woman in therapy as she contemplates a Klimt painting called "Hope".  Although she wants to know more about the woman, she ends up talking more about herself, realizing that she made a mistake by having an abortion years ago and that at her age there are many things in life she will not have anymore.
She leaves Ken after catching him having an affair. She resolves to change her life for the better, and takes steps to repair her relationship with Paul and Laura.  By the end of the film, she reflects that, for the first time in years, she feels hopeful.

Question: Who is the husband of the person who had an abortion years ago?
Answer: Ken
After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.

Question: Whose grandson wrote music?
Answer: G. G. Sparrow
After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.

Question: What is the name of the person that the director's widow has begun to care for?
Answer: Randy
After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.

Question: What are the first names of Vi Rose Hill's two teens?
Answer: Walter, Olivia
After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.

Question: What is the first name of the person who said that the church will not sponsor the choir unless they use their reverent, traditional style?
Answer: Dale
Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment."

Question: What was the last name of the person who expressed his dissatisfaction with the music industry in an interview for People magazine?
Answer: Wiggins
Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment."

Question: What were the names of the three films the band recorded soundtracks for?
Answer: Boyz n the Hood, House Party 2, Poetic Justice
Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment."

Question: What were the names of the three older artists that the band wanted to pay homage to?
Answer: Temptations, Sly and the Family Stone, Earth, Wind and Fire
Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation."

Question: Who garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists?
Answer: Tony! Toni! Toné!
Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation."

Question: Whose concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting?
Answer: Tony! Toni! Toné!
Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation."

Question: What is the name of the group that Weitz said was aesthetically akin to acts such as Prince and P.M. Dawn?
Answer: Tony! Toni! Toné!
Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation."

Question: What group was Raphael Wiggins in?
Answer: Tony! Toni! Toné!
Sons of Soul bridged the gap between commercial and critical success for Tony! Toni! Toné!, helping them become one of the most popular acts in R&B at the time. Its success exemplified the genre's commercial resurgence during the early 1990s, when hip hop became the predominant African-American music genre in the mainstream. In 1994, Greg Kot of the Chicago Tribune attributed its resurgence to younger artists' blend of live instrumentation and hip hop production values, and cited Sons of Soul as "the most accomplished merger of hip-hop attitude with a '70s R&B aesthetic." The Atlanta Journal-Constitution hailed it as "a gentle reminder of those glory days" and felt that the group having both vocal and musical talents is most indicative of a return to early R&B's aesthetics. Furthermore, they garnered mainstream attention in a year of several high-profile controversies with R&B and hip hop artists such as Michael Jackson and Snoop Dogg. David W. Brown of The Harvard Crimson wrote that Tony! Toni! Toné! is "known primarily for the quality of its music, not its extracurricular reputation, unlike other groups such as Jodeci who rely on a playa-gangsta-mack image to sell-records."Along with acts such as Mint Condition and R. Kelly, Tony! Toni! Toné! played live instruments that complemented their hip hop sensibilities. Their concerts featured visual elements such as incense smoke and kaleidoscopic stage lighting, the group's eccentric wardrobe, and additional instrumentalists, including another guitarist, two drummers, two keyboardists, a violinist, a trumpeter, and a saxophonist. The Charlotte Observer remarked on the group in 1994: "[T]heir use of live instruments on record and onstage makes them an anomaly in the synthesized and sampled world of modern R&B." With the group's reliance on traditional soul and R&B values of songwriting and instrumentation, Sons of Soul was a precursor to the neo soul movement of the 1990s. Matt Weitz of The Dallas Morning News wrote in 1993 that the group had distinguished themselves from their New jack swing contemporaries with Sons of Soul and found them aesthetically akin to acts such as Prince and P.M. Dawn. Raphael Wiggins said of their success with the album:
"We've been very blessed to be able to be a group that writes our own songs and people have accepted us from both sides, hip hop and the R&B crowd or whatever you might want to say. I feel very fortunate to be able to do that here in 1993–94, because like you know, it was starting to be a dying thing that was happening. But I guess we were like the bridge between hip hop and soul and R&B, and being a little bit commercial also helped us. A lot of humor, a lot of nice slow songs and being able to play kind of brought us a foundation."

Question: What group had distinguished themselves from their New jack swing contemporaries?
Answer: Tony! Toni! Toné!
In 1714 Farrukhsiyar, the Mughal emperor, appointed Asif Jah I to be Viceroy of the Deccan, with the title Nizam-ul-Mulk (Administrator of the Realm). In 1724, Asif Jah I defeated Mubariz Khan to establish autonomy over the Deccan Suba, named the region Hyderabad Deccan, and started what came to be known as the Asaf Jahi dynasty. Subsequent rulers retained the title Nizam ul-Mulk and were referred to as Asif Jahi Nizams, or Nizams of Hyderabad. The death of Asif Jah I in 1748 resulted in a period of political unrest as his sons, backed by opportunistic neighbouring states and colonial foreign forces, contended for the throne. The accession of Asif Jah II, who reigned from 1762 to 1803, ended the instability. In 1768 he signed the treaty of Machilipatnam, surrendering the coastal region to the East India Company in return for a fixed annual rent.In 1769 Hyderabad city became the formal capital of the Nizams. In response to regular threats from Hyder Ali (Dalwai of Mysore), Baji Rao I (Peshwa of the Maratha Empire), and Basalath Jung (Asif Jah II's elder brother, who was supported by the Marquis de Bussy-Castelnau), the Nizam signed a subsidiary alliance with the East India Company in 1798, allowing the British Indian Army to occupy Bolarum (modern Secunderabad) to protect the state's capital, for which the Nizams paid an annual maintenance to the British.Until 1874 there were no modern industries in Hyderabad. With the introduction of railways in the 1880s, four factories were built to the south and east of Hussain Sagar Lake, and during the early 20th century, Hyderabad was transformed into a modern city with the establishment of transport services, underground drainage, running water, electricity, telecommunications, universities, industries, and Begumpet Airport. The Nizams ruled their princely state from Hyderabad during the British Raj.After India gained independence, the Nizam declared his intention to remain independent rather than become part of the Indian Union. The Hyderabad State Congress, with the support of the Indian National Congress and the Communist Party of India, began agitating against Nizam VII in 1948. On 17 September that year, the Indian Army took control of Hyderabad State after an invasion codenamed Operation Polo. With the defeat of his forces, Nizam VII capitulated to the Indian Union by signing an Instrument of Accession, which made him the Rajpramukh (Princely Governor) of the state until 31 October 1956.

Question: What is the full name of the person that took the throne from Asif Jah I?
Answer: Asif Jah II
In 1714 Farrukhsiyar, the Mughal emperor, appointed Asif Jah I to be Viceroy of the Deccan, with the title Nizam-ul-Mulk (Administrator of the Realm). In 1724, Asif Jah I defeated Mubariz Khan to establish autonomy over the Deccan Suba, named the region Hyderabad Deccan, and started what came to be known as the Asaf Jahi dynasty. Subsequent rulers retained the title Nizam ul-Mulk and were referred to as Asif Jahi Nizams, or Nizams of Hyderabad. The death of Asif Jah I in 1748 resulted in a period of political unrest as his sons, backed by opportunistic neighbouring states and colonial foreign forces, contended for the throne. The accession of Asif Jah II, who reigned from 1762 to 1803, ended the instability. In 1768 he signed the treaty of Machilipatnam, surrendering the coastal region to the East India Company in return for a fixed annual rent.In 1769 Hyderabad city became the formal capital of the Nizams. In response to regular threats from Hyder Ali (Dalwai of Mysore), Baji Rao I (Peshwa of the Maratha Empire), and Basalath Jung (Asif Jah II's elder brother, who was supported by the Marquis de Bussy-Castelnau), the Nizam signed a subsidiary alliance with the East India Company in 1798, allowing the British Indian Army to occupy Bolarum (modern Secunderabad) to protect the state's capital, for which the Nizams paid an annual maintenance to the British.Until 1874 there were no modern industries in Hyderabad. With the introduction of railways in the 1880s, four factories were built to the south and east of Hussain Sagar Lake, and during the early 20th century, Hyderabad was transformed into a modern city with the establishment of transport services, underground drainage, running water, electricity, telecommunications, universities, industries, and Begumpet Airport. The Nizams ruled their princely state from Hyderabad during the British Raj.After India gained independence, the Nizam declared his intention to remain independent rather than become part of the Indian Union. The Hyderabad State Congress, with the support of the Indian National Congress and the Communist Party of India, began agitating against Nizam VII in 1948. On 17 September that year, the Indian Army took control of Hyderabad State after an invasion codenamed Operation Polo. With the defeat of his forces, Nizam VII capitulated to the Indian Union by signing an Instrument of Accession, which made him the Rajpramukh (Princely Governor) of the state until 31 October 1956.

Question: What is the full name of the person that signed a subsidiary alliance with the East India Company?
Answer: Asif Jah II
In 1714 Farrukhsiyar, the Mughal emperor, appointed Asif Jah I to be Viceroy of the Deccan, with the title Nizam-ul-Mulk (Administrator of the Realm). In 1724, Asif Jah I defeated Mubariz Khan to establish autonomy over the Deccan Suba, named the region Hyderabad Deccan, and started what came to be known as the Asaf Jahi dynasty. Subsequent rulers retained the title Nizam ul-Mulk and were referred to as Asif Jahi Nizams, or Nizams of Hyderabad. The death of Asif Jah I in 1748 resulted in a period of political unrest as his sons, backed by opportunistic neighbouring states and colonial foreign forces, contended for the throne. The accession of Asif Jah II, who reigned from 1762 to 1803, ended the instability. In 1768 he signed the treaty of Machilipatnam, surrendering the coastal region to the East India Company in return for a fixed annual rent.In 1769 Hyderabad city became the formal capital of the Nizams. In response to regular threats from Hyder Ali (Dalwai of Mysore), Baji Rao I (Peshwa of the Maratha Empire), and Basalath Jung (Asif Jah II's elder brother, who was supported by the Marquis de Bussy-Castelnau), the Nizam signed a subsidiary alliance with the East India Company in 1798, allowing the British Indian Army to occupy Bolarum (modern Secunderabad) to protect the state's capital, for which the Nizams paid an annual maintenance to the British.Until 1874 there were no modern industries in Hyderabad. With the introduction of railways in the 1880s, four factories were built to the south and east of Hussain Sagar Lake, and during the early 20th century, Hyderabad was transformed into a modern city with the establishment of transport services, underground drainage, running water, electricity, telecommunications, universities, industries, and Begumpet Airport. The Nizams ruled their princely state from Hyderabad during the British Raj.After India gained independence, the Nizam declared his intention to remain independent rather than become part of the Indian Union. The Hyderabad State Congress, with the support of the Indian National Congress and the Communist Party of India, began agitating against Nizam VII in 1948. On 17 September that year, the Indian Army took control of Hyderabad State after an invasion codenamed Operation Polo. With the defeat of his forces, Nizam VII capitulated to the Indian Union by signing an Instrument of Accession, which made him the Rajpramukh (Princely Governor) of the state until 31 October 1956.

Question: What is the full name of the person that received regular threats from Hyder Ali?
Answer: Asif Jah II
In 1714 Farrukhsiyar, the Mughal emperor, appointed Asif Jah I to be Viceroy of the Deccan, with the title Nizam-ul-Mulk (Administrator of the Realm). In 1724, Asif Jah I defeated Mubariz Khan to establish autonomy over the Deccan Suba, named the region Hyderabad Deccan, and started what came to be known as the Asaf Jahi dynasty. Subsequent rulers retained the title Nizam ul-Mulk and were referred to as Asif Jahi Nizams, or Nizams of Hyderabad. The death of Asif Jah I in 1748 resulted in a period of political unrest as his sons, backed by opportunistic neighbouring states and colonial foreign forces, contended for the throne. The accession of Asif Jah II, who reigned from 1762 to 1803, ended the instability. In 1768 he signed the treaty of Machilipatnam, surrendering the coastal region to the East India Company in return for a fixed annual rent.In 1769 Hyderabad city became the formal capital of the Nizams. In response to regular threats from Hyder Ali (Dalwai of Mysore), Baji Rao I (Peshwa of the Maratha Empire), and Basalath Jung (Asif Jah II's elder brother, who was supported by the Marquis de Bussy-Castelnau), the Nizam signed a subsidiary alliance with the East India Company in 1798, allowing the British Indian Army to occupy Bolarum (modern Secunderabad) to protect the state's capital, for which the Nizams paid an annual maintenance to the British.Until 1874 there were no modern industries in Hyderabad. With the introduction of railways in the 1880s, four factories were built to the south and east of Hussain Sagar Lake, and during the early 20th century, Hyderabad was transformed into a modern city with the establishment of transport services, underground drainage, running water, electricity, telecommunications, universities, industries, and Begumpet Airport. The Nizams ruled their princely state from Hyderabad during the British Raj.After India gained independence, the Nizam declared his intention to remain independent rather than become part of the Indian Union. The Hyderabad State Congress, with the support of the Indian National Congress and the Communist Party of India, began agitating against Nizam VII in 1948. On 17 September that year, the Indian Army took control of Hyderabad State after an invasion codenamed Operation Polo. With the defeat of his forces, Nizam VII capitulated to the Indian Union by signing an Instrument of Accession, which made him the Rajpramukh (Princely Governor) of the state until 31 October 1956.

Question: What is the full name of the person that received regular threats from Baji Rao I?
Answer: Asif Jah II
South Indian music and dances such as the Kuchipudi and Bharatanatyam styles are popular in the Deccan region. As a result of their culture policies, North Indian music and dance gained popularity during the rule of the Mughals and Nizams, and it was also during their reign that it became a tradition among the nobility to associate themselves with tawaif (courtesans). These courtesans were revered as the epitome of etiquette and culture, and were appointed to teach singing, poetry and classical dance to many children of the aristocracy. This gave rise to certain styles of court music, dance and poetry. Besides western and Indian popular music genres such as filmi music, the residents of Hyderabad play city-based marfa music, dholak ke geet (household songs based on local folklore), and qawwali, especially at weddings, festivals and other celebratory events. The state government organises the Golconda Music and Dance Festival, the Taramati Music Festival and the Premavathi Dance Festival to further encourage the development of music.Although the city is not particularly noted for theatre and drama, the state government promotes theatre with multiple programmes and festivals in such venues as the Ravindra Bharati, Shilpakala Vedika and Lalithakala Thoranam. Although not a purely music oriented event, Numaish, a popular annual exhibition of local and national consumer products, does feature some musical performances.The city is home to the Telugu film industry, popularly known as Tollywood and as of 2012, produces the second largest number of films in India behind Bollywood. Films in the local Hyderabadi dialect known as Deccani film industry, Deccanwood/Dollywood are also produced and have been gaining popularity since 2005. The city has hosted international film festivals such as the International Children's Film Festival and the Hyderabad International Film Festival. In 2005, Guinness World Records declared Ramoji Film City to be the world's largest film studio.

Question: What was the name of people that were appointed to teach singing, poetry and classical dance to many children of the aristocracy?
Answer: tawaif