niryuu/sni-each-converted huggingface dataset:
Passage: The governor of an unnamed western state, Hubert "Happy" Hopper, has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor, pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith, the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge – and next to a newspaper story on one of Smith's accomplishments – he chooses Smith, calculating that his wholesome image will please the people while his naïveté will make him easy to manipulate.
Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine, who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan. At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's naïve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin.
To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders, who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor political machine and supported by Senator Paine.
Output: What is the name of the person who is described as a young socialite?
Passage: The governor of an unnamed western state, Hubert "Happy" Hopper, has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor, pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith, the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge – and next to a newspaper story on one of Smith's accomplishments – he chooses Smith, calculating that his wholesome image will please the people while his naïveté will make him easy to manipulate.
Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine, who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan. At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's naïve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin.
To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders, who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor political machine and supported by Senator Paine.
Output: What is the full name of the person who is branded as a bumpkin?
Passage: The governor of an unnamed western state, Hubert "Happy" Hopper, has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor, pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith, the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge – and next to a newspaper story on one of Smith's accomplishments – he chooses Smith, calculating that his wholesome image will please the people while his naïveté will make him easy to manipulate.
Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine, who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan. At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's naïve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin.
To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders, who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor political machine and supported by Senator Paine.
Output: What is the name of Jefferson Smith's predecessor?
Passage: The governor of an unnamed western state, Hubert "Happy" Hopper, has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor, pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith, the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge – and next to a newspaper story on one of Smith's accomplishments – he chooses Smith, calculating that his wholesome image will please the people while his naïveté will make him easy to manipulate.
Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine, who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan. At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's naïve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin.
To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders, who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor political machine and supported by Senator Paine.
Output: What is the name of the person who believes that Jefferson Smith's naïveté will make him easy to manipulate?
Passage: The governor of an unnamed western state, Hubert "Happy" Hopper, has to pick a replacement for recently deceased U.S. Senator Sam Foley. His corrupt political boss, Jim Taylor, pressures Hopper to choose his handpicked stooge, while popular committees want a reformer, Henry Hill. The governor's children want him to select Jefferson Smith, the head of the Boy Rangers. Unable to make up his mind between Taylor's stooge and the reformer, Hopper decides to flip a coin. When it lands on edge – and next to a newspaper story on one of Smith's accomplishments – he chooses Smith, calculating that his wholesome image will please the people while his naïveté will make him easy to manipulate.
Junior Senator Smith is taken under the wing of the publicly esteemed, but secretly crooked, Senator Joseph Paine, who was Smith's late father's friend. Smith develops an immediate attraction to the senator's daughter, Susan. At Senator Paine's home, Smith has a conversation with Susan, fidgeting and bumbling, entranced by the young socialite. Smith's naïve and honest nature allows the unforgiving Washington press to take advantage of him, quickly tarnishing Smith's reputation with ridiculous front page pictures and headlines branding him a bumpkin.
To keep Smith busy, Paine suggests he propose a bill. With the help of his secretary, Clarissa Saunders, who was the aide to Smith's predecessor and had been around Washington and politics for years, Smith comes up with a bill to authorize a federal government loan to buy some land in his home state for a national boys' camp, to be paid back by youngsters across America. Donations pour in immediately. However, the proposed campsite is already part of a dam-building graft scheme included in an appropriations bill framed by the Taylor political machine and supported by Senator Paine.
Output: What is the name of the person that Clarissa Saunders was secretary to before Jefferson Smith?
Passage: The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the Toreador Song from act 2, and the motif that, in two slightly differing forms, represents both Carmen herself and the fate that she personifies. This motif, played on clarinet, bassoon, cornet and cellos over tremolo strings, concludes the prelude with an abrupt crescendo. When the curtain rises a light and sunny atmosphere is soon established, and pervades the opening scenes. The mock solemnities of the changing of the guard, and the flirtatious exchanges between the townsfolk and the factory girls, precede a mood change when a brief phrase from the fate motif announces Carmen's entrance. After her provocative habanera, with its persistent insidious rhythm and changes of key, the fate motif sounds in full when Carmen throws her flower to José before departing. This action elicits from José a passionate A major solo that Dean suggests is the turning-point in his musical characterisation. The softer vein returns briefly, as Micaëla reappears and joins with José in a duet to a warm clarinet and strings accompaniment. The tranquillity is shattered by the women's noisy quarrel, Carmen's dramatic re-entry and her defiant interaction with Zuniga. After her beguiling "Seguidilla" provokes José to an exasperated high A sharp shout, Carmen's escape is preceded by the brief but disconcerting reprise of a fragment from the habanera. Bizet revised this finale several times to increase its dramatic effect.
Act 2 begins with a short prelude, based on a melody that José will sing offstage before his next entry. A festive scene in the inn precedes Escamillo's tumultuous entrance, in which brass and percussion provide prominent backing while the crowd sings along. The quintet that follows is described by Newman as "of incomparable verve and musical wit". José's appearance precipitates a long mutual wooing scene; Carmen sings, dances and plays the castanets; a distant cornet-call summoning José to duty is blended with Carmen's melody so as to be barely discernible. A muted reference to the fate motif on an English horn leads to José's "Flower Song", a flowing continuous melody that ends pianissimo on a sustained high B-flat. José's insistence that, despite Carmen's blandishments, he must return to duty leads to a quarrel; the arrival of Zuniga, the consequent fight and José's unavoidable ensnarement into the lawless life culminates musically in the triumphant hymn to freedom that closes the act.
Output: What was the name of the person that shattered the tranquil sounds of the duet?
Passage: With Galleria at the University of Cambridge in England, Chanel, Dorinda, and Aqua are left as a trio and are cast in the lavish new Bollywood movie "Namaste Bombay". The Cheetah Girls travel across the globe to India. There, they meet Rahim, the man cast as the lead, whom they realize is attractive, yet somewhat clumsy. After meeting the movie's choreographer, Gita, a dance battle erupts between themselves and Gita with her backup dancers. They subsequently discover that the musical's director, Vikram "Vik" (Michael Steger), must choose only one Cheetah for the role as the budget is only enough for one star.
When it becomes apparent that they must travel home, they are upset, until realizing they may each try out for the lead. Though they all make a promise to be fair in the competition, situations arise in which each member becomes jealous of the others' specific talents. Chanel befriends Vik, Dorinda befriends Rahim, and Aqua befriends a boy she has been in contact with since before leaving America, Amar. Each girl is led to believe the producer of the film, Khamal, Vik's uncle, will choose her after the audition. Chanel is told because she is the better singer, she will receive the role, while Dorinda is promised the role as she is the best dancer, while Aqua is convinced the coveted role will be hers as she is the best actress. The three Cheetahs audition against one another with Chanel being awarded the role, which she later refuses realizing, as do the other Cheetahs, that friendship and unity are more important than furthering their individual or group careers.
After refusing the role, they set to convince Khamal to award Gita as the lead, to which he reluctantly agrees, ending in a scene from "Namaste Bombay" in which the Cheetahs sing and dance the titular song, "One World".
Output: What female gets the lead role in Namaste Bombay?
Passage: With Galleria at the University of Cambridge in England, Chanel, Dorinda, and Aqua are left as a trio and are cast in the lavish new Bollywood movie "Namaste Bombay". The Cheetah Girls travel across the globe to India. There, they meet Rahim, the man cast as the lead, whom they realize is attractive, yet somewhat clumsy. After meeting the movie's choreographer, Gita, a dance battle erupts between themselves and Gita with her backup dancers. They subsequently discover that the musical's director, Vikram "Vik" (Michael Steger), must choose only one Cheetah for the role as the budget is only enough for one star.
When it becomes apparent that they must travel home, they are upset, until realizing they may each try out for the lead. Though they all make a promise to be fair in the competition, situations arise in which each member becomes jealous of the others' specific talents. Chanel befriends Vik, Dorinda befriends Rahim, and Aqua befriends a boy she has been in contact with since before leaving America, Amar. Each girl is led to believe the producer of the film, Khamal, Vik's uncle, will choose her after the audition. Chanel is told because she is the better singer, she will receive the role, while Dorinda is promised the role as she is the best dancer, while Aqua is convinced the coveted role will be hers as she is the best actress. The three Cheetahs audition against one another with Chanel being awarded the role, which she later refuses realizing, as do the other Cheetahs, that friendship and unity are more important than furthering their individual or group careers.
After refusing the role, they set to convince Khamal to award Gita as the lead, to which he reluctantly agrees, ending in a scene from "Namaste Bombay" in which the Cheetahs sing and dance the titular song, "One World".
Output: Which one of the Cheetah girls is given the lead role?
Passage: With Galleria at the University of Cambridge in England, Chanel, Dorinda, and Aqua are left as a trio and are cast in the lavish new Bollywood movie "Namaste Bombay". The Cheetah Girls travel across the globe to India. There, they meet Rahim, the man cast as the lead, whom they realize is attractive, yet somewhat clumsy. After meeting the movie's choreographer, Gita, a dance battle erupts between themselves and Gita with her backup dancers. They subsequently discover that the musical's director, Vikram "Vik" (Michael Steger), must choose only one Cheetah for the role as the budget is only enough for one star.
When it becomes apparent that they must travel home, they are upset, until realizing they may each try out for the lead. Though they all make a promise to be fair in the competition, situations arise in which each member becomes jealous of the others' specific talents. Chanel befriends Vik, Dorinda befriends Rahim, and Aqua befriends a boy she has been in contact with since before leaving America, Amar. Each girl is led to believe the producer of the film, Khamal, Vik's uncle, will choose her after the audition. Chanel is told because she is the better singer, she will receive the role, while Dorinda is promised the role as she is the best dancer, while Aqua is convinced the coveted role will be hers as she is the best actress. The three Cheetahs audition against one another with Chanel being awarded the role, which she later refuses realizing, as do the other Cheetahs, that friendship and unity are more important than furthering their individual or group careers.
After refusing the role, they set to convince Khamal to award Gita as the lead, to which he reluctantly agrees, ending in a scene from "Namaste Bombay" in which the Cheetahs sing and dance the titular song, "One World".
Output: Which one of the Cheetah girls is the best dancer?
Passage: Thompson dubbed his new band "Frank Black and the Catholics," and recorded their eponymous first album in 1997. Recorded live-to-two-track initially as merely a demo, he was so pleased with the results that he decided to release the sessions with no further production. The album was delayed for over a year by conflicts at American, both internal and over its production, and was ultimately released in late 1998 by SpinArt Records in the US. Since leaving American, Black has avoided long-term contracts with labels, and has maintained ownership of his album masters, licensing each album individually for release.Frank Black and the Catholics became the first album to be posted to the eMusic service; they claim it is "the first album ever made legally available for commercial download." Critical reception to the album was mixed, with some writers noting Thompson's seemingly deliberate turn away from the "quirkiness" of the Pixies and his early solo work for a self-consciously straightforward approach, and the "disappointingly straightforward punk-pop" musical style present on the album.He would continue to eschew multi-track recording for the live-to-two-track technique for all subsequent releases under the group name. Live-to-two-track recording precludes the use of overdubs to correct errors or add texture; all takes are recorded continuously, and mixing is done "on the fly." On later albums, he incorporated more musicians into the sessions to allow for more varied instrumental textures. Explaining his rationale behind the method, he commented:
Well, it's real. It's a recording of a performance, of a real performance between a group of people, an entourage, a band, as opposed to a facsimile of that, which is frequently what people do with multi-track recording ... I prefer it. It's a little more real. It's got a little more heart.
Workman left the Catholics in 1998 to pursue session and sideman work; Rich Gilbert was added to the band to replace him. Frank Black and the Catholics released Pistolero in 1999 and Dog in the Sand in 2001. Dog in the Sand added Dave Philips on pedal steel guitar and lead guitar, and Santiago and Feldman began making occasional appearances with the group live and on record. Both Pistolero and Dog in the Sand were produced by Nick Vincent.
Output: What is the first name of the person who has maintained ownership of his album masters?
Passage: Thompson dubbed his new band "Frank Black and the Catholics," and recorded their eponymous first album in 1997. Recorded live-to-two-track initially as merely a demo, he was so pleased with the results that he decided to release the sessions with no further production. The album was delayed for over a year by conflicts at American, both internal and over its production, and was ultimately released in late 1998 by SpinArt Records in the US. Since leaving American, Black has avoided long-term contracts with labels, and has maintained ownership of his album masters, licensing each album individually for release.Frank Black and the Catholics became the first album to be posted to the eMusic service; they claim it is "the first album ever made legally available for commercial download." Critical reception to the album was mixed, with some writers noting Thompson's seemingly deliberate turn away from the "quirkiness" of the Pixies and his early solo work for a self-consciously straightforward approach, and the "disappointingly straightforward punk-pop" musical style present on the album.He would continue to eschew multi-track recording for the live-to-two-track technique for all subsequent releases under the group name. Live-to-two-track recording precludes the use of overdubs to correct errors or add texture; all takes are recorded continuously, and mixing is done "on the fly." On later albums, he incorporated more musicians into the sessions to allow for more varied instrumental textures. Explaining his rationale behind the method, he commented:
Well, it's real. It's a recording of a performance, of a real performance between a group of people, an entourage, a band, as opposed to a facsimile of that, which is frequently what people do with multi-track recording ... I prefer it. It's a little more real. It's got a little more heart.
Workman left the Catholics in 1998 to pursue session and sideman work; Rich Gilbert was added to the band to replace him. Frank Black and the Catholics released Pistolero in 1999 and Dog in the Sand in 2001. Dog in the Sand added Dave Philips on pedal steel guitar and lead guitar, and Santiago and Feldman began making occasional appearances with the group live and on record. Both Pistolero and Dog in the Sand were produced by Nick Vincent.
Output: What band claimed that Frank Black and the Catholics became the first album ever made legally available for download?
Passage: Thompson dubbed his new band "Frank Black and the Catholics," and recorded their eponymous first album in 1997. Recorded live-to-two-track initially as merely a demo, he was so pleased with the results that he decided to release the sessions with no further production. The album was delayed for over a year by conflicts at American, both internal and over its production, and was ultimately released in late 1998 by SpinArt Records in the US. Since leaving American, Black has avoided long-term contracts with labels, and has maintained ownership of his album masters, licensing each album individually for release.Frank Black and the Catholics became the first album to be posted to the eMusic service; they claim it is "the first album ever made legally available for commercial download." Critical reception to the album was mixed, with some writers noting Thompson's seemingly deliberate turn away from the "quirkiness" of the Pixies and his early solo work for a self-consciously straightforward approach, and the "disappointingly straightforward punk-pop" musical style present on the album.He would continue to eschew multi-track recording for the live-to-two-track technique for all subsequent releases under the group name. Live-to-two-track recording precludes the use of overdubs to correct errors or add texture; all takes are recorded continuously, and mixing is done "on the fly." On later albums, he incorporated more musicians into the sessions to allow for more varied instrumental textures. Explaining his rationale behind the method, he commented:
Well, it's real. It's a recording of a performance, of a real performance between a group of people, an entourage, a band, as opposed to a facsimile of that, which is frequently what people do with multi-track recording ... I prefer it. It's a little more real. It's got a little more heart.
Workman left the Catholics in 1998 to pursue session and sideman work; Rich Gilbert was added to the band to replace him. Frank Black and the Catholics released Pistolero in 1999 and Dog in the Sand in 2001. Dog in the Sand added Dave Philips on pedal steel guitar and lead guitar, and Santiago and Feldman began making occasional appearances with the group live and on record. Both Pistolero and Dog in the Sand were produced by Nick Vincent.
Output: What is the last name of the person who would continue to eschew multi-track recording for the live-to-two-track technique for all subsequent releases under the group name?
Passage: The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry.
Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full due—all the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all of the kuchka were talented but also "infected to the core" with conceit and "a purely dilettantish confidence in their superiority." He went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, and his efforts to remedy this situation for himself. Tchaikovsky then called Cui "a talented dilettante" whose music "has no originality, but is clever and graceful"; Borodin a man who "has talent, even a strong one, but it has perished through neglect ... and his technique is so weak that he cannot write a single line [of music] without outside help"; Mussorgsky "a hopeless case", superior in talent but "narrow-minded, devoid of any urge towards self-perfection"; and Balakirev as one with "enormous talent" yet who had also "done much harm" as "the general inventor of all the theories of this strange group".
Output: What are the individual names of each of the five members about whom Tchaikovsky wrote to Mrs. von Meck?
Passage: The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry.
Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full due—all the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all of the kuchka were talented but also "infected to the core" with conceit and "a purely dilettantish confidence in their superiority." He went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, and his efforts to remedy this situation for himself. Tchaikovsky then called Cui "a talented dilettante" whose music "has no originality, but is clever and graceful"; Borodin a man who "has talent, even a strong one, but it has perished through neglect ... and his technique is so weak that he cannot write a single line [of music] without outside help"; Mussorgsky "a hopeless case", superior in talent but "narrow-minded, devoid of any urge towards self-perfection"; and Balakirev as one with "enormous talent" yet who had also "done much harm" as "the general inventor of all the theories of this strange group".
Output: What is the name of the person whose diagnosis of Rimsky-Korsakov's creative crisis is very accurate?
Passage: The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry.
Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full due—all the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all of the kuchka were talented but also "infected to the core" with conceit and "a purely dilettantish confidence in their superiority." He went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, and his efforts to remedy this situation for himself. Tchaikovsky then called Cui "a talented dilettante" whose music "has no originality, but is clever and graceful"; Borodin a man who "has talent, even a strong one, but it has perished through neglect ... and his technique is so weak that he cannot write a single line [of music] without outside help"; Mussorgsky "a hopeless case", superior in talent but "narrow-minded, devoid of any urge towards self-perfection"; and Balakirev as one with "enormous talent" yet who had also "done much harm" as "the general inventor of all the theories of this strange group".
Output: What is the name of the person who went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, as well as his efforts to remedy this situation for himself?
Passage: The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry.
Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full due—all the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all of the kuchka were talented but also "infected to the core" with conceit and "a purely dilettantish confidence in their superiority." He went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, and his efforts to remedy this situation for himself. Tchaikovsky then called Cui "a talented dilettante" whose music "has no originality, but is clever and graceful"; Borodin a man who "has talent, even a strong one, but it has perished through neglect ... and his technique is so weak that he cannot write a single line [of music] without outside help"; Mussorgsky "a hopeless case", superior in talent but "narrow-minded, devoid of any urge towards self-perfection"; and Balakirev as one with "enormous talent" yet who had also "done much harm" as "the general inventor of all the theories of this strange group".
Output: What is the name of the person who went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, and his efforts to remedy this situation for himself?
Passage: The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry.
Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full due—all the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all of the kuchka were talented but also "infected to the core" with conceit and "a purely dilettantish confidence in their superiority." He went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, and his efforts to remedy this situation for himself. Tchaikovsky then called Cui "a talented dilettante" whose music "has no originality, but is clever and graceful"; Borodin a man who "has talent, even a strong one, but it has perished through neglect ... and his technique is so weak that he cannot write a single line [of music] without outside help"; Mussorgsky "a hopeless case", superior in talent but "narrow-minded, devoid of any urge towards self-perfection"; and Balakirev as one with "enormous talent" yet who had also "done much harm" as "the general inventor of all the theories of this strange group".
Output: What is the name of the person who badly underestimates Borodin's technique and gives Balakirev far less than his full due—all the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet?
Passage: On their 35th wedding anniversary, we hear the story of how the couple met in college.
P. J. "Petey" Simmons is a wealthy newcomer, so rival fraternities fight over him. His ego swells as frat boys and comely co-eds alike bid for his time. Petey keeps getting into trouble, too, including an arrest.
At a school dance, Petey's shy roommate has worked up the nerve to invite campus beauty Mirabel Allstairs to be his date. The increasingly arrogant Petey ignores his own date, Martha Scroggs, dancing with other girls instead.
Petey pulls pranks on campus, going so far as to change a professor's clocks to delay an exam. A later act of vandalism leads to yet another arrest. This time the judge threatens to throw the book at Petey, sentencing him to six months in jail. Petey asks for a week's continuance before sentencing, then uses the time to court Martha, having discovered her to be the daughter of the judge.
Once his scheme is revealed, Petey is locked in the town jail by the angry judge. Martha is smitten with him now, however, throws a rock to get arrested so she can end up in the next cell, holding hands with Petey between the bars.
Back in the present, the old judge still can't believe how his daughter and son-in-law ended up together. They also hear that Petey Jr. has just been placed under arrest, which doesn't surprise the judge a bit.
Output: What are the full names of the characters who celebrate their 35th anniversary?
Passage: On their 35th wedding anniversary, we hear the story of how the couple met in college.
P. J. "Petey" Simmons is a wealthy newcomer, so rival fraternities fight over him. His ego swells as frat boys and comely co-eds alike bid for his time. Petey keeps getting into trouble, too, including an arrest.
At a school dance, Petey's shy roommate has worked up the nerve to invite campus beauty Mirabel Allstairs to be his date. The increasingly arrogant Petey ignores his own date, Martha Scroggs, dancing with other girls instead.
Petey pulls pranks on campus, going so far as to change a professor's clocks to delay an exam. A later act of vandalism leads to yet another arrest. This time the judge threatens to throw the book at Petey, sentencing him to six months in jail. Petey asks for a week's continuance before sentencing, then uses the time to court Martha, having discovered her to be the daughter of the judge.
Once his scheme is revealed, Petey is locked in the town jail by the angry judge. Martha is smitten with him now, however, throws a rock to get arrested so she can end up in the next cell, holding hands with Petey between the bars.
Back in the present, the old judge still can't believe how his daughter and son-in-law ended up together. They also hear that Petey Jr. has just been placed under arrest, which doesn't surprise the judge a bit.
Output: What is the full name of the judge's daughter?
Passage: On their 35th wedding anniversary, we hear the story of how the couple met in college.
P. J. "Petey" Simmons is a wealthy newcomer, so rival fraternities fight over him. His ego swells as frat boys and comely co-eds alike bid for his time. Petey keeps getting into trouble, too, including an arrest.
At a school dance, Petey's shy roommate has worked up the nerve to invite campus beauty Mirabel Allstairs to be his date. The increasingly arrogant Petey ignores his own date, Martha Scroggs, dancing with other girls instead.
Petey pulls pranks on campus, going so far as to change a professor's clocks to delay an exam. A later act of vandalism leads to yet another arrest. This time the judge threatens to throw the book at Petey, sentencing him to six months in jail. Petey asks for a week's continuance before sentencing, then uses the time to court Martha, having discovered her to be the daughter of the judge.
Once his scheme is revealed, Petey is locked in the town jail by the angry judge. Martha is smitten with him now, however, throws a rock to get arrested so she can end up in the next cell, holding hands with Petey between the bars.
Back in the present, the old judge still can't believe how his daughter and son-in-law ended up together. They also hear that Petey Jr. has just been placed under arrest, which doesn't surprise the judge a bit.
Output: What is the full name of the judge's son-in-law?
Passage: On their 35th wedding anniversary, we hear the story of how the couple met in college.
P. J. "Petey" Simmons is a wealthy newcomer, so rival fraternities fight over him. His ego swells as frat boys and comely co-eds alike bid for his time. Petey keeps getting into trouble, too, including an arrest.
At a school dance, Petey's shy roommate has worked up the nerve to invite campus beauty Mirabel Allstairs to be his date. The increasingly arrogant Petey ignores his own date, Martha Scroggs, dancing with other girls instead.
Petey pulls pranks on campus, going so far as to change a professor's clocks to delay an exam. A later act of vandalism leads to yet another arrest. This time the judge threatens to throw the book at Petey, sentencing him to six months in jail. Petey asks for a week's continuance before sentencing, then uses the time to court Martha, having discovered her to be the daughter of the judge.
Once his scheme is revealed, Petey is locked in the town jail by the angry judge. Martha is smitten with him now, however, throws a rock to get arrested so she can end up in the next cell, holding hands with Petey between the bars.
Back in the present, the old judge still can't believe how his daughter and son-in-law ended up together. They also hear that Petey Jr. has just been placed under arrest, which doesn't surprise the judge a bit.
Output: What is the full name of the character who purposely gets herself arrested so that she can spend time with her future husband?
Passage: The plan of the rooms at Belton was passé for a grand house of its time. Following the Restoration and the influx of European ideas, it had become popular for large houses to follow the continental fashion of a suite of state rooms consisting of a withdrawing room, dressing room, and bedroom proceeding from either side of a central saloon or hall. These rooms were permanently reserved for use by a high ranking guest, such as a visiting monarch. While Belton does have a saloon at its centre, enfilades of state rooms of lessening grandeur do not flank it. The possible reason for this unusual layout is that, while the Brownlows possessed great wealth, their title was only a baronetcy, and their fortune was barely a century old. They would have been regarded as gentry, not aristocracy. As a result, building a suite of state rooms would have been in hope rather than anticipation of a royal guest. However, the lack of a fashionable and formal suite of state apartments coupled with the Brownlows' lack of social credentials did not prevent a visit from King William III to the newly completed house in 1695. The King occupied the "Best bedchamber", a large room with an adjoining closet, directly above the saloon, that led directly from the second floor Great Dining Chamber.This design followed the older style of having reception rooms and bedrooms scattered over the two main floors. The layout used followed Roger Pratt's theory that guest and family rooms should be quite separate. As a consequence of this philosophy, the family occupied the rooms on the first and second floors of the west and east wings, with the state rooms in the centre. The great staircase, designed to be grand and imposing, rose to the east side of the house, and formed part of the guest's state route from the Hall and Saloon on the first floor to the principal dining room and bedroom on the second.The principal entrance hall, reception and family bedrooms were placed on the ground and first floors above a low semi-basement containing service rooms. The two principal entrances to the mansion in the centre of both the north and south facades were accessed by external staircases, originally a single flared flight on the north side and a double staircase on the south, each of which have since been replaced by single broad flights of steps.
Output: What is the first name of the king who occupied the "best bedchamber"?