niryuu/sni-each-converted huggingface dataset:
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.
Output: What is the full name of the person that is greeted coldly?
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.
Output: What are the full names of the two people who play heads-up?
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.
Output: What is the first name of the person who runs into someone who has just landed a job signing at a club?
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.
Output: What is the first name of the person that is shown how to play poker?
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.
Output: What are first names of the two people who make love after dinner?
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse.
Output: What is the first name of the person who had a father who stole form their mother?
Passage: Set during the Middle Ages in Europe, a king is seeking a brave warrior to kill a giant which has been terrorizing the small kingdom. There is much discussion in the village, but no one is willing to take on the task. Nearby in the same village, a young peasant tailor kills seven flies at once while at his work, and accidentally interjects several other peasants' discussion of the problems with the giant to brag loudly about his accomplishment:

Peasant (to his friends): "Say, did you ever kill a giant?"
Mickey (interjecting unwittingly): "I killed seven with one blow!"Gossip that Mickey has killed seven giants with one blow quickly spreads around the kingdom. The king summons Mickey, and asks if he really "killed seven at one blow". Mickey goes into an elaborate re-telling of how he killed the seven (flies, not giants as the king believes), which impresses the king enough to appoint Mickey "Royal High Killer of the Giant". Upon learning the misunderstanding, all of Mickey's confidence disappears and he attempts to stammer his way out of the assignment. The king offers Mickey both vast riches and the hand of his only daughter, Princess Minnie, in marriage if he can kill (or at least subdue) the giant. Smitten with the princess, Mickey proclaims that he'll "cut [the giant] down to my size", and sets off for the giant's lair.
After only a few minutes, however, he is ready to turn back and give up, but the townspeople and Minnie are counting on him. "Gosh," Mickey sighs to himself, wondering what to do. "I dunno how to catch a giant.".
Output: Who kills seven flies at once while at work?
Passage: Set during the Middle Ages in Europe, a king is seeking a brave warrior to kill a giant which has been terrorizing the small kingdom. There is much discussion in the village, but no one is willing to take on the task. Nearby in the same village, a young peasant tailor kills seven flies at once while at his work, and accidentally interjects several other peasants' discussion of the problems with the giant to brag loudly about his accomplishment:

Peasant (to his friends): "Say, did you ever kill a giant?"
Mickey (interjecting unwittingly): "I killed seven with one blow!"Gossip that Mickey has killed seven giants with one blow quickly spreads around the kingdom. The king summons Mickey, and asks if he really "killed seven at one blow". Mickey goes into an elaborate re-telling of how he killed the seven (flies, not giants as the king believes), which impresses the king enough to appoint Mickey "Royal High Killer of the Giant". Upon learning the misunderstanding, all of Mickey's confidence disappears and he attempts to stammer his way out of the assignment. The king offers Mickey both vast riches and the hand of his only daughter, Princess Minnie, in marriage if he can kill (or at least subdue) the giant. Smitten with the princess, Mickey proclaims that he'll "cut [the giant] down to my size", and sets off for the giant's lair.
After only a few minutes, however, he is ready to turn back and give up, but the townspeople and Minnie are counting on him. "Gosh," Mickey sighs to himself, wondering what to do. "I dunno how to catch a giant.".
Output: Who is asked if they really "killed seven at one blow"?
Passage: With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal façade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. In the principal façade Ammanati also created the finestre inginocchiate ("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's), replacing the entrance bays at each end. During the years 1558–70, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement.  On the garden side of the courtyard Amannati constructed a grotto, called the "grotto of Moses" on account of the porphyry statue that inhabits it. On the terrace above it, level with the piano nobile windows, Ammanati constructed a fountain centered on the axis; it was later replaced by the Fontana del Carciofo ("Fountain of the Artichoke"), designed by Giambologna's former assistant, Francesco Susini, and completed in 1641.In 1616, a competition was held to design extensions to the principal urban façade by three bays at either end. Giulio Parigi won the commission; work on the north side began in 1618, and on the south side in 1631 by Alfonso Parigi.  During the 18th century, two perpendicular wings were constructed by the architect Giuseppe Ruggeri to enhance and stress the widening of via Romana, which creates a piazza centered on the façade, the prototype of the cour d'honneur that was copied in France.  Sporadic lesser additions and alterations were made for many years thereafter under other rulers and architects.To one side of the Gardens is the bizarre grotto designed by Bernardo Buontalenti. The lower façade was begun by Vasari  but the architecture of the upper storey is subverted by "dripping" pumice stalactites with the Medici coat of arms at the centre. The interior is similarly poised between architecture and nature; the first chamber has copies of Michelangelo's four unfinished slaves emerging from the corners which seem to carry the vault with an open oculus at its centre and painted as a rustic bower with animals, figures and vegetation. Figures, animals and trees made of stucco and rough pumice adorn the lower walls. A short passage leads to a small second chamber and to a third which has a central fountain with Giambologna's Venus in the centre of the basin, peering fearfully over her shoulder at the four satyrs spitting jets of water at her from the edge.
Output: What is the name of the character who had four satyrs spitting jets of water at her?
Passage: With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal façade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. In the principal façade Ammanati also created the finestre inginocchiate ("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's), replacing the entrance bays at each end. During the years 1558–70, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement.  On the garden side of the courtyard Amannati constructed a grotto, called the "grotto of Moses" on account of the porphyry statue that inhabits it. On the terrace above it, level with the piano nobile windows, Ammanati constructed a fountain centered on the axis; it was later replaced by the Fontana del Carciofo ("Fountain of the Artichoke"), designed by Giambologna's former assistant, Francesco Susini, and completed in 1641.In 1616, a competition was held to design extensions to the principal urban façade by three bays at either end. Giulio Parigi won the commission; work on the north side began in 1618, and on the south side in 1631 by Alfonso Parigi.  During the 18th century, two perpendicular wings were constructed by the architect Giuseppe Ruggeri to enhance and stress the widening of via Romana, which creates a piazza centered on the façade, the prototype of the cour d'honneur that was copied in France.  Sporadic lesser additions and alterations were made for many years thereafter under other rulers and architects.To one side of the Gardens is the bizarre grotto designed by Bernardo Buontalenti. The lower façade was begun by Vasari  but the architecture of the upper storey is subverted by "dripping" pumice stalactites with the Medici coat of arms at the centre. The interior is similarly poised between architecture and nature; the first chamber has copies of Michelangelo's four unfinished slaves emerging from the corners which seem to carry the vault with an open oculus at its centre and painted as a rustic bower with animals, figures and vegetation. Figures, animals and trees made of stucco and rough pumice adorn the lower walls. A short passage leads to a small second chamber and to a third which has a central fountain with Giambologna's Venus in the centre of the basin, peering fearfully over her shoulder at the four satyrs spitting jets of water at her from the edge.
Output: What is the name of the person that is made into a statue in the grotto?
Passage: With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal façade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. In the principal façade Ammanati also created the finestre inginocchiate ("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's), replacing the entrance bays at each end. During the years 1558–70, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement.  On the garden side of the courtyard Amannati constructed a grotto, called the "grotto of Moses" on account of the porphyry statue that inhabits it. On the terrace above it, level with the piano nobile windows, Ammanati constructed a fountain centered on the axis; it was later replaced by the Fontana del Carciofo ("Fountain of the Artichoke"), designed by Giambologna's former assistant, Francesco Susini, and completed in 1641.In 1616, a competition was held to design extensions to the principal urban façade by three bays at either end. Giulio Parigi won the commission; work on the north side began in 1618, and on the south side in 1631 by Alfonso Parigi.  During the 18th century, two perpendicular wings were constructed by the architect Giuseppe Ruggeri to enhance and stress the widening of via Romana, which creates a piazza centered on the façade, the prototype of the cour d'honneur that was copied in France.  Sporadic lesser additions and alterations were made for many years thereafter under other rulers and architects.To one side of the Gardens is the bizarre grotto designed by Bernardo Buontalenti. The lower façade was begun by Vasari  but the architecture of the upper storey is subverted by "dripping" pumice stalactites with the Medici coat of arms at the centre. The interior is similarly poised between architecture and nature; the first chamber has copies of Michelangelo's four unfinished slaves emerging from the corners which seem to carry the vault with an open oculus at its centre and painted as a rustic bower with animals, figures and vegetation. Figures, animals and trees made of stucco and rough pumice adorn the lower walls. A short passage leads to a small second chamber and to a third which has a central fountain with Giambologna's Venus in the centre of the basin, peering fearfully over her shoulder at the four satyrs spitting jets of water at her from the edge.
Output: What is the terrace with the fountain constructed above?
Passage: American Ernest Fenollosa was the earliest Western devotee of Japanese culture, and did much to promote Japanese art—Hokusai's works featured prominently at his inaugural exhibition as first curator of Japanese art Museum of Fine Arts in Boston, and in Tokyo in 1898 he curated the first ukiyo-e exhibition in Japan. By the end of the 19th century, the popularity of ukiyo-e in the West drove prices beyond the means of most collectors—some, such as Degas, traded their own paintings for such prints.  Tadamasa Hayashi was a prominent Paris-based dealer of respected tastes whose Tokyo office was responsible for evaluating and exporting large quantities of ukiyo-e prints to the West in such quantities that Japanese critics later accused him of siphoning Japan of its national treasure.  The drain first went unnoticed in Japan, as Japanese artists were immersing themselves in the classical painting techniques of the West.Japanese art, and particularly ukiyo-e prints, came to influence Western art from the time of the early Impressionists.  Early painter-collectors incorporated Japanese themes and compositional techniques into their works as early as the 1860s: the patterned wallpapers and rugs in Manet's paintings were inspired by ukiyo-e's patterned kimonos, and Whistler focused his attention on ephemeral elements of nature as in ukiyo-e landscapes.  Van Gogh was an avid collector, and painted copies in oil of prints by Hiroshige and Eisen.  Degas and Cassatt depicted fleeting, everyday moments in Japanese-influenced compositions and perspectives.  Ukiyo-e's flat perspective and unmodulated colours were a particular influence on graphic designers and poster makers.  Toulouse-Lautrec's lithographs displayed his interest not only in ukiyo-e's flat colours and outlined forms, but also in their subject matter: performers and prostitutes.  He signed much of this work with his initials in a circle, imitating the seals on Japanese prints.  Other artists of the time who drew influence from ukiyo-e include Monet, La Farge, Gauguin, and Les Nabis members such as Bonnard and Vuillard.  French composer Claude Debussy drew inspiration for his music from the prints of Hokusai and Hiroshige, most prominently in La mer (1905).  Imagist poets such as Amy Lowell and Ezra Pound found inspiration in ukiyo-e prints; Lowell published a book of poetry called Pictures of the Floating World (1919) on oriental themes or in an oriental style.
Ukiyo-e influence on Western art.
Output: What are the full names of the imagist poets who drew inspiration from the Japanese style that in the West drove prices beyond the means of most collectors?
Passage: Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.
Output: What is the last name of the person who named their fake child Cyrus?
Passage: Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.
Output: What is the full name of the person who has a fake child?
Passage: Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.
Output: What is the full name of the person who works for Sam and Barry?
Passage: Patsy Douglas comes up with an ingenious way to get a seat on the crowded New York subway: she pretends to have a baby, using a doll discarded by the advertising agency where she works. One day, however, her agency's primary client, short-tempered Cyrus Baxter, happens to be seated beside her. (His chauffeur had abruptly quit after Baxter berated him for getting stuck in a traffic jam.) He is delighted when he overhears that she named her "child" Cyrus after him. He becomes acquainted with her, letting her assume that he works for Baxter as a watchman.
Later, when the agency's two bosses, Sam Morley and Barry Holmes see Baxter to try to get him to sign a contract for a new advertising campaign, he insists they keep her happy, to their puzzlement. Morley and Holmes discover that she has been fired; they quickly hire her back and promote her from her secretarial duties.
Meanwhile, Baxter keeps seeing Patsy, trying to help her with his namesake. She manages to maintain her charade, but Morley sees them together and assumes that she is Baxter's mistress. Patsy discovers her new friend's identity when her bosses send her to present their latest idea. Meanwhile, Baxter's temper improves under Patsy's influence.
When Morley and Holmes finally learn the truth, Patsy wants to confess all to Baxter, but they insist she carry on the masquerade until they get his signature on the contract. She reluctantly agrees, after they point out that they will probably have to close if they do not get Baxter's business, throwing hundreds out of work.
When Morley shows Baxter a photograph of the baby (actually a picture of his partner as a child), Baxter notices a resemblance to Holmes and assumes he is the father. To placate him, Morley arranges for Holmes to start dating Patsy. In the process, however, he becomes jealous, having fallen in love without realizing it.
Output: What is the first name of the person Cyrus believes is the father of the baby?
Passage: Stephen Thomas Erlewine of AllMusic said that releasing the Spanish-language Fijación Oral, Vol. 1 after the success of the English-language Laundry Service was a "sharp move", complimenting the album for demonstrating that Shakira "can not only return to her roots, but expand upon them". He described "La Tortura" as a "natural for American radio", and felt that the parent album generated anticipation for the upcoming Oral Fixation, Vol. 2. Writing for PopMatters, Matt Cibula praised the album for its musical departure from Laundry Service, applauding the integration of subtle samples across several songs as "great nods to the sounds of the 1980s". Dave Simpson of The Guardian compared Shakira to a "Latin American Madonna", describing her vocals as reminiscent of "Cher and Hazel O'Connor, produced by Julio Iglesias".Jon Pareles of The New York Times found Shakira's "smart or ambitious" image to be uncharacteristic of a sex symbol. He praised the versatility of her multilingual lyrics and her experimentation in a number of genres, citing the "multiplicity" in "the arrangements, in the mixed emotions of the lyrics, [and] in Shakira's mercurial voice". Writing for Paste, Mark Kemp complimented Shakira for dispelling notions she is "the Latin Britney, the female Ricky Martin [and] the pretty pop tart who sings in Spanish and sounds like Alanis"; he compared the mix of musical elements in Fijación Oral, Vol. 1 to a Pop-Tart with a "rich and nutritious filling". Tom Townsend of Yahoo! Music called her "the greatest pop star we have", comparing her "consuming artistry" to that of Madonna and Prince. He credited the album for inspiring a revival of pop music, saying that the release proved that the genre "wasn't dead, just sleeping".Shakira's international success was solidified with Fijación Oral, Vol. 1's strong commercial performance. After it debuted at number 4 on the US Billboard 200 and became the highest-debuting full-length Spanish album in the country, her label Epic Records called her "the biggest female crossover artist in the world". The album is her third-highest-charting release in the nation, behind Laundry Service's peak position at number 3 and Shakira's number 2 peak. According to Billboard, it was the second best-selling Latin album of the decade in the US after Barrio Fino by Daddy Yankee.
Output: Who compared the mix of musical elements with "a rich and nutritious filling"?
Passage: Stephen Thomas Erlewine of AllMusic said that releasing the Spanish-language Fijación Oral, Vol. 1 after the success of the English-language Laundry Service was a "sharp move", complimenting the album for demonstrating that Shakira "can not only return to her roots, but expand upon them". He described "La Tortura" as a "natural for American radio", and felt that the parent album generated anticipation for the upcoming Oral Fixation, Vol. 2. Writing for PopMatters, Matt Cibula praised the album for its musical departure from Laundry Service, applauding the integration of subtle samples across several songs as "great nods to the sounds of the 1980s". Dave Simpson of The Guardian compared Shakira to a "Latin American Madonna", describing her vocals as reminiscent of "Cher and Hazel O'Connor, produced by Julio Iglesias".Jon Pareles of The New York Times found Shakira's "smart or ambitious" image to be uncharacteristic of a sex symbol. He praised the versatility of her multilingual lyrics and her experimentation in a number of genres, citing the "multiplicity" in "the arrangements, in the mixed emotions of the lyrics, [and] in Shakira's mercurial voice". Writing for Paste, Mark Kemp complimented Shakira for dispelling notions she is "the Latin Britney, the female Ricky Martin [and] the pretty pop tart who sings in Spanish and sounds like Alanis"; he compared the mix of musical elements in Fijación Oral, Vol. 1 to a Pop-Tart with a "rich and nutritious filling". Tom Townsend of Yahoo! Music called her "the greatest pop star we have", comparing her "consuming artistry" to that of Madonna and Prince. He credited the album for inspiring a revival of pop music, saying that the release proved that the genre "wasn't dead, just sleeping".Shakira's international success was solidified with Fijación Oral, Vol. 1's strong commercial performance. After it debuted at number 4 on the US Billboard 200 and became the highest-debuting full-length Spanish album in the country, her label Epic Records called her "the biggest female crossover artist in the world". The album is her third-highest-charting release in the nation, behind Laundry Service's peak position at number 3 and Shakira's number 2 peak. According to Billboard, it was the second best-selling Latin album of the decade in the US after Barrio Fino by Daddy Yankee.
Output: Who credited an album for inspiring a revival of pop music?
Passage: Stephen Thomas Erlewine of AllMusic said that releasing the Spanish-language Fijación Oral, Vol. 1 after the success of the English-language Laundry Service was a "sharp move", complimenting the album for demonstrating that Shakira "can not only return to her roots, but expand upon them". He described "La Tortura" as a "natural for American radio", and felt that the parent album generated anticipation for the upcoming Oral Fixation, Vol. 2. Writing for PopMatters, Matt Cibula praised the album for its musical departure from Laundry Service, applauding the integration of subtle samples across several songs as "great nods to the sounds of the 1980s". Dave Simpson of The Guardian compared Shakira to a "Latin American Madonna", describing her vocals as reminiscent of "Cher and Hazel O'Connor, produced by Julio Iglesias".Jon Pareles of The New York Times found Shakira's "smart or ambitious" image to be uncharacteristic of a sex symbol. He praised the versatility of her multilingual lyrics and her experimentation in a number of genres, citing the "multiplicity" in "the arrangements, in the mixed emotions of the lyrics, [and] in Shakira's mercurial voice". Writing for Paste, Mark Kemp complimented Shakira for dispelling notions she is "the Latin Britney, the female Ricky Martin [and] the pretty pop tart who sings in Spanish and sounds like Alanis"; he compared the mix of musical elements in Fijación Oral, Vol. 1 to a Pop-Tart with a "rich and nutritious filling". Tom Townsend of Yahoo! Music called her "the greatest pop star we have", comparing her "consuming artistry" to that of Madonna and Prince. He credited the album for inspiring a revival of pop music, saying that the release proved that the genre "wasn't dead, just sleeping".Shakira's international success was solidified with Fijación Oral, Vol. 1's strong commercial performance. After it debuted at number 4 on the US Billboard 200 and became the highest-debuting full-length Spanish album in the country, her label Epic Records called her "the biggest female crossover artist in the world". The album is her third-highest-charting release in the nation, behind Laundry Service's peak position at number 3 and Shakira's number 2 peak. According to Billboard, it was the second best-selling Latin album of the decade in the US after Barrio Fino by Daddy Yankee.
Output: Who said that the release proved that the genre "wasn't dead, just sleeping"?
Passage: Stephen Thomas Erlewine of AllMusic said that releasing the Spanish-language Fijación Oral, Vol. 1 after the success of the English-language Laundry Service was a "sharp move", complimenting the album for demonstrating that Shakira "can not only return to her roots, but expand upon them". He described "La Tortura" as a "natural for American radio", and felt that the parent album generated anticipation for the upcoming Oral Fixation, Vol. 2. Writing for PopMatters, Matt Cibula praised the album for its musical departure from Laundry Service, applauding the integration of subtle samples across several songs as "great nods to the sounds of the 1980s". Dave Simpson of The Guardian compared Shakira to a "Latin American Madonna", describing her vocals as reminiscent of "Cher and Hazel O'Connor, produced by Julio Iglesias".Jon Pareles of The New York Times found Shakira's "smart or ambitious" image to be uncharacteristic of a sex symbol. He praised the versatility of her multilingual lyrics and her experimentation in a number of genres, citing the "multiplicity" in "the arrangements, in the mixed emotions of the lyrics, [and] in Shakira's mercurial voice". Writing for Paste, Mark Kemp complimented Shakira for dispelling notions she is "the Latin Britney, the female Ricky Martin [and] the pretty pop tart who sings in Spanish and sounds like Alanis"; he compared the mix of musical elements in Fijación Oral, Vol. 1 to a Pop-Tart with a "rich and nutritious filling". Tom Townsend of Yahoo! Music called her "the greatest pop star we have", comparing her "consuming artistry" to that of Madonna and Prince. He credited the album for inspiring a revival of pop music, saying that the release proved that the genre "wasn't dead, just sleeping".Shakira's international success was solidified with Fijación Oral, Vol. 1's strong commercial performance. After it debuted at number 4 on the US Billboard 200 and became the highest-debuting full-length Spanish album in the country, her label Epic Records called her "the biggest female crossover artist in the world". The album is her third-highest-charting release in the nation, behind Laundry Service's peak position at number 3 and Shakira's number 2 peak. According to Billboard, it was the second best-selling Latin album of the decade in the US after Barrio Fino by Daddy Yankee.
Output: Whose label called them the "biggest crossover artist in the world"?
Passage: In August 2013, Jared Leto told MTV News that he was preparing to shoot a short film for "City of Angels". While he did not reveal much about the music video concept, he added: "It's going to be powerful and emotional and definitely something special." The shooting took place from August 16–17 in Los Angeles, filming multiple monoliths and murals. Leto interviewed celebrities who joined the three members of Thirty Seconds to Mars in sharing their visions about Los Angeles. He also recruited Michael Jackson and Marilyn Monroe impersonators as well as homeless people in the production of the video. After filming, Leto talked about the inspiration behind the video, stating, "Telling stories is a big part of what I do, so it was a really natural and comfortable thing. I think because I did all the interviews myself—I talked to fellow artists and they felt really comfortable. They shared a side of themselves that we don't share very often." Footage from the song's lyric video, which was shot atop the Hollywood Hills, was used for a part of the short film that featured Leto singing the song against the backdrop of a Los Angeles sunset.The short film was produced by Emma Ludbrook, Allan Wachs and Jared Leto, who also directed. Although it is billed as a "Bartholomew Cubbins Film" (Leto's  longtime pseudonym), "City of Angels" is the first directorial project directly credited to Jared Leto. He explained, "It was the first time I'd ever done that. I'd used several different names, but it was just such a personal thing. I thought it was appropriate to put my name on that piece." Previous collaborator Devid Levlin served as director of photography. It was edited by Leto, Benjamin Entrup and Mischa Meyer. The short film included commentary from Kanye West, Christopher Lloyd Dennis, Juliette Lewis, Heather Levinger, Haywood, Lindsay Lohan, Olivia Wilde, Steve Nash, Ashley Olsen, Lily Collins, James Franco, Selena Gomez, Alan Cumming, Anthony Warfield, Jovan Rameau, Holly Beavon, Shaun White, Corey Feldman, and Yosh. "City of Angels" marked the second collaboration of Thirty Seconds to Mars with Kanye West, as they first worked together on the track "Hurricane" (2010).
Output: What is the last name of the person who recruited Michael Jackson and Marilyn Monroe impersonators?
Passage: In August 2013, Jared Leto told MTV News that he was preparing to shoot a short film for "City of Angels". While he did not reveal much about the music video concept, he added: "It's going to be powerful and emotional and definitely something special." The shooting took place from August 16–17 in Los Angeles, filming multiple monoliths and murals. Leto interviewed celebrities who joined the three members of Thirty Seconds to Mars in sharing their visions about Los Angeles. He also recruited Michael Jackson and Marilyn Monroe impersonators as well as homeless people in the production of the video. After filming, Leto talked about the inspiration behind the video, stating, "Telling stories is a big part of what I do, so it was a really natural and comfortable thing. I think because I did all the interviews myself—I talked to fellow artists and they felt really comfortable. They shared a side of themselves that we don't share very often." Footage from the song's lyric video, which was shot atop the Hollywood Hills, was used for a part of the short film that featured Leto singing the song against the backdrop of a Los Angeles sunset.The short film was produced by Emma Ludbrook, Allan Wachs and Jared Leto, who also directed. Although it is billed as a "Bartholomew Cubbins Film" (Leto's  longtime pseudonym), "City of Angels" is the first directorial project directly credited to Jared Leto. He explained, "It was the first time I'd ever done that. I'd used several different names, but it was just such a personal thing. I thought it was appropriate to put my name on that piece." Previous collaborator Devid Levlin served as director of photography. It was edited by Leto, Benjamin Entrup and Mischa Meyer. The short film included commentary from Kanye West, Christopher Lloyd Dennis, Juliette Lewis, Heather Levinger, Haywood, Lindsay Lohan, Olivia Wilde, Steve Nash, Ashley Olsen, Lily Collins, James Franco, Selena Gomez, Alan Cumming, Anthony Warfield, Jovan Rameau, Holly Beavon, Shaun White, Corey Feldman, and Yosh. "City of Angels" marked the second collaboration of Thirty Seconds to Mars with Kanye West, as they first worked together on the track "Hurricane" (2010).
Output: What type of people shared a side of themselves?