niryuu/sni-each-converted huggingface dataset:
Passage: Although The Big Cypress is the largest growth of cypress swamps in South Florida, such swamps—as well as portions of sawgrass marshes—can be found near the Atlantic Coastal Ridge and between Lake Okeechobee and the Eastern flatwoods. Hardwood hammocks and pineland are often interspersed with the cypress ecosystem. Much like tree islands that are colloquially referred to as "heads", cypress trees grow in formations that resemble domes, with the tallest and thickest trunks in the center, rooted in the deepest peat. As the peat thins out, cypresses continue to grow, but are smaller and thinner, giving the small forest the appearance of a dome. They also grow in strands, slightly elevated on a plateau of limestone and surrounded on two sides by sloughs. Other hardwood trees can be found in cypress domes, such as red maple (Acer rubrum), swamp bay (Persea palustris), and pop ash (Fraxinus caroliniana). If cypresses are removed, hardwoods take over, and the ecosystem is recategorized as a mixed swamp forest.
Because the cypress domes and strands retain moisture and block out much of the sunlight, plants such as orchids, bromeliads, and ferns thrive in cypress domes and strands. Orchids bloom throughout the year in cypress heads, and bromeliads appear in many varieties; on Fakahatchee Strand alone, thirteen species have been documented. Bromeliads collect moisture from rain and humidity in the bases of their leaves, which also nurture frogs, lizards and various insects. Wood storks (Mycteria americana) nest almost exclusively in cypress forests and in the past 100 years have seen a dramatic decline, probably due to lack of reproduction tied to controlled water. Wood storks' reproductive cycles coincide with the dry season, when small fish and amphibians are trapped in shallow pools and puddles. When water from canals or locks is released too soon or not at all, storks are unable to find enough food for themselves and their offspring. An estimated 20,000 wood storks nested in The Big Cypress in the 1930s, but by the 1990s less than 2,000 were counted.
Output: What nurtures frogs, lizards and various insects?
Passage: Although The Big Cypress is the largest growth of cypress swamps in South Florida, such swamps—as well as portions of sawgrass marshes—can be found near the Atlantic Coastal Ridge and between Lake Okeechobee and the Eastern flatwoods. Hardwood hammocks and pineland are often interspersed with the cypress ecosystem. Much like tree islands that are colloquially referred to as "heads", cypress trees grow in formations that resemble domes, with the tallest and thickest trunks in the center, rooted in the deepest peat. As the peat thins out, cypresses continue to grow, but are smaller and thinner, giving the small forest the appearance of a dome. They also grow in strands, slightly elevated on a plateau of limestone and surrounded on two sides by sloughs. Other hardwood trees can be found in cypress domes, such as red maple (Acer rubrum), swamp bay (Persea palustris), and pop ash (Fraxinus caroliniana). If cypresses are removed, hardwoods take over, and the ecosystem is recategorized as a mixed swamp forest.
Because the cypress domes and strands retain moisture and block out much of the sunlight, plants such as orchids, bromeliads, and ferns thrive in cypress domes and strands. Orchids bloom throughout the year in cypress heads, and bromeliads appear in many varieties; on Fakahatchee Strand alone, thirteen species have been documented. Bromeliads collect moisture from rain and humidity in the bases of their leaves, which also nurture frogs, lizards and various insects. Wood storks (Mycteria americana) nest almost exclusively in cypress forests and in the past 100 years have seen a dramatic decline, probably due to lack of reproduction tied to controlled water. Wood storks' reproductive cycles coincide with the dry season, when small fish and amphibians are trapped in shallow pools and puddles. When water from canals or locks is released too soon or not at all, storks are unable to find enough food for themselves and their offspring. An estimated 20,000 wood storks nested in The Big Cypress in the 1930s, but by the 1990s less than 2,000 were counted.
Output: What has there been a drastic decline in over the past 100 years that is probably due to lack of reproduction tied to controlled water?
Passage: Although The Big Cypress is the largest growth of cypress swamps in South Florida, such swamps—as well as portions of sawgrass marshes—can be found near the Atlantic Coastal Ridge and between Lake Okeechobee and the Eastern flatwoods. Hardwood hammocks and pineland are often interspersed with the cypress ecosystem. Much like tree islands that are colloquially referred to as "heads", cypress trees grow in formations that resemble domes, with the tallest and thickest trunks in the center, rooted in the deepest peat. As the peat thins out, cypresses continue to grow, but are smaller and thinner, giving the small forest the appearance of a dome. They also grow in strands, slightly elevated on a plateau of limestone and surrounded on two sides by sloughs. Other hardwood trees can be found in cypress domes, such as red maple (Acer rubrum), swamp bay (Persea palustris), and pop ash (Fraxinus caroliniana). If cypresses are removed, hardwoods take over, and the ecosystem is recategorized as a mixed swamp forest.
Because the cypress domes and strands retain moisture and block out much of the sunlight, plants such as orchids, bromeliads, and ferns thrive in cypress domes and strands. Orchids bloom throughout the year in cypress heads, and bromeliads appear in many varieties; on Fakahatchee Strand alone, thirteen species have been documented. Bromeliads collect moisture from rain and humidity in the bases of their leaves, which also nurture frogs, lizards and various insects. Wood storks (Mycteria americana) nest almost exclusively in cypress forests and in the past 100 years have seen a dramatic decline, probably due to lack of reproduction tied to controlled water. Wood storks' reproductive cycles coincide with the dry season, when small fish and amphibians are trapped in shallow pools and puddles. When water from canals or locks is released too soon or not at all, storks are unable to find enough food for themselves and their offspring. An estimated 20,000 wood storks nested in The Big Cypress in the 1930s, but by the 1990s less than 2,000 were counted.
Output: What is the name of the species that has a reproductive cycle that coincides with the dry season?
Passage: Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers.
Lætitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music.  In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing", and for Sadier, "you trust that there is more and that it can be done more interesting.".
Output: What is the first name of the person who would often trade vocals with Mary Hansen back-and-forth in a sing-song manner?
Passage: Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers.
Lætitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music.  In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing", and for Sadier, "you trust that there is more and that it can be done more interesting.".
Output: What is the first name of the person who died in 2002?
Passage: Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers.
Lætitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music.  In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing", and for Sadier, "you trust that there is more and that it can be done more interesting.".
Output: What is the full name of the person whose absence was noticeable on live performances of Stereolab's older tracks?
Passage: Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers.
Lætitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music.  In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing", and for Sadier, "you trust that there is more and that it can be done more interesting.".
Output: What is the first name of the person whose vocals were unintelligible for some?
Passage: In August 2005, elderly Daisy Fuller is on her deathbed in a New Orleans hospital as Hurricane Katrina approaches. She tells her daughter, Caroline, about a train station built in 1918 and the blind clockmaker, Mr. Gateau, who was hired to make a clock for it. When it was unveiled at the station, the public was surprised to see the clock running backwards. Mr. Gateau says he made it that way as a memorial, so that the boys they lost in the war, including his own son, could come home again and live full lives. Mr. Gateau was never seen again. Daisy then asks Caroline to read aloud from the diary of Benjamin Button.
On the evening of November 11, 1918, a boy is born with the appearance and maladies of an elderly man. After the baby's mother, Caroline, dies during childbirth, the father, Thomas Button, abandons the infant on the porch of a nursing home. Queenie and Mr. "Tizzy" Weathers find the baby, and Queenie decides to raise him as her own, naming him Benjamin.
Benjamin learns to walk in 1925, after which he uses crutches in place of a wheelchair. On Thanksgiving 1930, Benjamin meets seven-year-old Daisy, whose grandmother lives in the nursing home. He and Daisy become good friends. Later, he accepts work on a tugboat captained by Mike Clark. Benjamin also meets Thomas who does not reveal that he is Benjamin's father. In Autumn 1936, Benjamin leaves New Orleans for a long-term work engagement with the tugboat crew; Daisy later is accepted into a dance company in New York City under choreographer George Balanchine.
Output: Who had a son who died in the war?
Passage: In August 2005, elderly Daisy Fuller is on her deathbed in a New Orleans hospital as Hurricane Katrina approaches. She tells her daughter, Caroline, about a train station built in 1918 and the blind clockmaker, Mr. Gateau, who was hired to make a clock for it. When it was unveiled at the station, the public was surprised to see the clock running backwards. Mr. Gateau says he made it that way as a memorial, so that the boys they lost in the war, including his own son, could come home again and live full lives. Mr. Gateau was never seen again. Daisy then asks Caroline to read aloud from the diary of Benjamin Button.
On the evening of November 11, 1918, a boy is born with the appearance and maladies of an elderly man. After the baby's mother, Caroline, dies during childbirth, the father, Thomas Button, abandons the infant on the porch of a nursing home. Queenie and Mr. "Tizzy" Weathers find the baby, and Queenie decides to raise him as her own, naming him Benjamin.
Benjamin learns to walk in 1925, after which he uses crutches in place of a wheelchair. On Thanksgiving 1930, Benjamin meets seven-year-old Daisy, whose grandmother lives in the nursing home. He and Daisy become good friends. Later, he accepts work on a tugboat captained by Mike Clark. Benjamin also meets Thomas who does not reveal that he is Benjamin's father. In Autumn 1936, Benjamin leaves New Orleans for a long-term work engagement with the tugboat crew; Daisy later is accepted into a dance company in New York City under choreographer George Balanchine.
Output: Who disappeared after the unveiling of the train station clock?
Passage: In August 2005, elderly Daisy Fuller is on her deathbed in a New Orleans hospital as Hurricane Katrina approaches. She tells her daughter, Caroline, about a train station built in 1918 and the blind clockmaker, Mr. Gateau, who was hired to make a clock for it. When it was unveiled at the station, the public was surprised to see the clock running backwards. Mr. Gateau says he made it that way as a memorial, so that the boys they lost in the war, including his own son, could come home again and live full lives. Mr. Gateau was never seen again. Daisy then asks Caroline to read aloud from the diary of Benjamin Button.
On the evening of November 11, 1918, a boy is born with the appearance and maladies of an elderly man. After the baby's mother, Caroline, dies during childbirth, the father, Thomas Button, abandons the infant on the porch of a nursing home. Queenie and Mr. "Tizzy" Weathers find the baby, and Queenie decides to raise him as her own, naming him Benjamin.
Benjamin learns to walk in 1925, after which he uses crutches in place of a wheelchair. On Thanksgiving 1930, Benjamin meets seven-year-old Daisy, whose grandmother lives in the nursing home. He and Daisy become good friends. Later, he accepts work on a tugboat captained by Mike Clark. Benjamin also meets Thomas who does not reveal that he is Benjamin's father. In Autumn 1936, Benjamin leaves New Orleans for a long-term work engagement with the tugboat crew; Daisy later is accepted into a dance company in New York City under choreographer George Balanchine.
Output: Who does Benjamin Button share his last name with?
Passage: In August 2005, elderly Daisy Fuller is on her deathbed in a New Orleans hospital as Hurricane Katrina approaches. She tells her daughter, Caroline, about a train station built in 1918 and the blind clockmaker, Mr. Gateau, who was hired to make a clock for it. When it was unveiled at the station, the public was surprised to see the clock running backwards. Mr. Gateau says he made it that way as a memorial, so that the boys they lost in the war, including his own son, could come home again and live full lives. Mr. Gateau was never seen again. Daisy then asks Caroline to read aloud from the diary of Benjamin Button.
On the evening of November 11, 1918, a boy is born with the appearance and maladies of an elderly man. After the baby's mother, Caroline, dies during childbirth, the father, Thomas Button, abandons the infant on the porch of a nursing home. Queenie and Mr. "Tizzy" Weathers find the baby, and Queenie decides to raise him as her own, naming him Benjamin.
Benjamin learns to walk in 1925, after which he uses crutches in place of a wheelchair. On Thanksgiving 1930, Benjamin meets seven-year-old Daisy, whose grandmother lives in the nursing home. He and Daisy become good friends. Later, he accepts work on a tugboat captained by Mike Clark. Benjamin also meets Thomas who does not reveal that he is Benjamin's father. In Autumn 1936, Benjamin leaves New Orleans for a long-term work engagement with the tugboat crew; Daisy later is accepted into a dance company in New York City under choreographer George Balanchine.
Output: What year does the boy on crutches meet Caroline's mother?
Passage: Overall, reception of the album was positive. Stephen Holden of Blender called Wainwright's tribute "a fabulous stunt in which a gay singer channeled the spirit of the ultimate gay icon", and declared the album was "as good an introduction to the great American songbook as any". Pitchfork Media's Stephen Troussé wrote that Wainwright "elegantly outdoes [Garland] on a couple of the ballads" and also compliments guest performer Martha Wainwright, "who turns in a stunning, showstopping 'Stormy Weather' in an appropriately brazen bid to steal the show". In his review for Rolling Stone, Robert Christgau stated it was "a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album". Furthermore, he wrote that the songs "expand [Wainwright's] melodic compass", allowing him to "bring something new to them too – namely, sexuality in the sensuality as opposed to gender-preference sense". Dave Hughes of Slant Magazine had positive comments about the album: "That Wainwright has the temerity to cover such a bona fide classic—and the chops to pull it off without breaking a limb or his brain—speaks both to his ambition and to his prodigious abilities."The album did receive some criticism. After noting Garland's lifelong attempt to master pitch and articulation, Christgau claimed Wainwright's habit of "slid[ing] past notes and draw[ing] out the final syllables of lines are signatures indistinguishable from tics". Entertainment Weekly's Chris Willman wrote that Wainwright's "delicate upper range is nicely attuned to some of the ballads, but anything that requires belting is pretty much a loss". Mark Edwards of The Times called Wainwright's performance an acquired taste, stating his "trademark delivery" is "lazy and somewhat slurred". Dave Hughes' review pointed out Wainwright's "problem with the brassy high notes in an otherwise energetic take on 'That's Entertainment'", but admits it would be unfair to hold this against him since Garland's live performance was not perfect either. Hughes appropriately notes, "Ain't nobody perfect".
Output: What is the full name of the person that said Martha Wainwright had a brazen bid to steal the show?
Passage: Overall, reception of the album was positive. Stephen Holden of Blender called Wainwright's tribute "a fabulous stunt in which a gay singer channeled the spirit of the ultimate gay icon", and declared the album was "as good an introduction to the great American songbook as any". Pitchfork Media's Stephen Troussé wrote that Wainwright "elegantly outdoes [Garland] on a couple of the ballads" and also compliments guest performer Martha Wainwright, "who turns in a stunning, showstopping 'Stormy Weather' in an appropriately brazen bid to steal the show". In his review for Rolling Stone, Robert Christgau stated it was "a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album". Furthermore, he wrote that the songs "expand [Wainwright's] melodic compass", allowing him to "bring something new to them too – namely, sexuality in the sensuality as opposed to gender-preference sense". Dave Hughes of Slant Magazine had positive comments about the album: "That Wainwright has the temerity to cover such a bona fide classic—and the chops to pull it off without breaking a limb or his brain—speaks both to his ambition and to his prodigious abilities."The album did receive some criticism. After noting Garland's lifelong attempt to master pitch and articulation, Christgau claimed Wainwright's habit of "slid[ing] past notes and draw[ing] out the final syllables of lines are signatures indistinguishable from tics". Entertainment Weekly's Chris Willman wrote that Wainwright's "delicate upper range is nicely attuned to some of the ballads, but anything that requires belting is pretty much a loss". Mark Edwards of The Times called Wainwright's performance an acquired taste, stating his "trademark delivery" is "lazy and somewhat slurred". Dave Hughes' review pointed out Wainwright's "problem with the brassy high notes in an otherwise energetic take on 'That's Entertainment'", but admits it would be unfair to hold this against him since Garland's live performance was not perfect either. Hughes appropriately notes, "Ain't nobody perfect".
Output: What is the name of the person that Robert Christgau stated it was a relief to hear him eassay the show tunes?
Passage: Overall, reception of the album was positive. Stephen Holden of Blender called Wainwright's tribute "a fabulous stunt in which a gay singer channeled the spirit of the ultimate gay icon", and declared the album was "as good an introduction to the great American songbook as any". Pitchfork Media's Stephen Troussé wrote that Wainwright "elegantly outdoes [Garland] on a couple of the ballads" and also compliments guest performer Martha Wainwright, "who turns in a stunning, showstopping 'Stormy Weather' in an appropriately brazen bid to steal the show". In his review for Rolling Stone, Robert Christgau stated it was "a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album". Furthermore, he wrote that the songs "expand [Wainwright's] melodic compass", allowing him to "bring something new to them too – namely, sexuality in the sensuality as opposed to gender-preference sense". Dave Hughes of Slant Magazine had positive comments about the album: "That Wainwright has the temerity to cover such a bona fide classic—and the chops to pull it off without breaking a limb or his brain—speaks both to his ambition and to his prodigious abilities."The album did receive some criticism. After noting Garland's lifelong attempt to master pitch and articulation, Christgau claimed Wainwright's habit of "slid[ing] past notes and draw[ing] out the final syllables of lines are signatures indistinguishable from tics". Entertainment Weekly's Chris Willman wrote that Wainwright's "delicate upper range is nicely attuned to some of the ballads, but anything that requires belting is pretty much a loss". Mark Edwards of The Times called Wainwright's performance an acquired taste, stating his "trademark delivery" is "lazy and somewhat slurred". Dave Hughes' review pointed out Wainwright's "problem with the brassy high notes in an otherwise energetic take on 'That's Entertainment'", but admits it would be unfair to hold this against him since Garland's live performance was not perfect either. Hughes appropriately notes, "Ain't nobody perfect".
Output: What is the name of the person that essayed Tin Pan Alley chestnusts on the tribute album?
Passage: Overall, reception of the album was positive. Stephen Holden of Blender called Wainwright's tribute "a fabulous stunt in which a gay singer channeled the spirit of the ultimate gay icon", and declared the album was "as good an introduction to the great American songbook as any". Pitchfork Media's Stephen Troussé wrote that Wainwright "elegantly outdoes [Garland] on a couple of the ballads" and also compliments guest performer Martha Wainwright, "who turns in a stunning, showstopping 'Stormy Weather' in an appropriately brazen bid to steal the show". In his review for Rolling Stone, Robert Christgau stated it was "a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album". Furthermore, he wrote that the songs "expand [Wainwright's] melodic compass", allowing him to "bring something new to them too – namely, sexuality in the sensuality as opposed to gender-preference sense". Dave Hughes of Slant Magazine had positive comments about the album: "That Wainwright has the temerity to cover such a bona fide classic—and the chops to pull it off without breaking a limb or his brain—speaks both to his ambition and to his prodigious abilities."The album did receive some criticism. After noting Garland's lifelong attempt to master pitch and articulation, Christgau claimed Wainwright's habit of "slid[ing] past notes and draw[ing] out the final syllables of lines are signatures indistinguishable from tics". Entertainment Weekly's Chris Willman wrote that Wainwright's "delicate upper range is nicely attuned to some of the ballads, but anything that requires belting is pretty much a loss". Mark Edwards of The Times called Wainwright's performance an acquired taste, stating his "trademark delivery" is "lazy and somewhat slurred". Dave Hughes' review pointed out Wainwright's "problem with the brassy high notes in an otherwise energetic take on 'That's Entertainment'", but admits it would be unfair to hold this against him since Garland's live performance was not perfect either. Hughes appropriately notes, "Ain't nobody perfect".
Output: What is the name of the person that had the ambition and the prodigious abilities?
Passage: Overall, reception of the album was positive. Stephen Holden of Blender called Wainwright's tribute "a fabulous stunt in which a gay singer channeled the spirit of the ultimate gay icon", and declared the album was "as good an introduction to the great American songbook as any". Pitchfork Media's Stephen Troussé wrote that Wainwright "elegantly outdoes [Garland] on a couple of the ballads" and also compliments guest performer Martha Wainwright, "who turns in a stunning, showstopping 'Stormy Weather' in an appropriately brazen bid to steal the show". In his review for Rolling Stone, Robert Christgau stated it was "a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album". Furthermore, he wrote that the songs "expand [Wainwright's] melodic compass", allowing him to "bring something new to them too – namely, sexuality in the sensuality as opposed to gender-preference sense". Dave Hughes of Slant Magazine had positive comments about the album: "That Wainwright has the temerity to cover such a bona fide classic—and the chops to pull it off without breaking a limb or his brain—speaks both to his ambition and to his prodigious abilities."The album did receive some criticism. After noting Garland's lifelong attempt to master pitch and articulation, Christgau claimed Wainwright's habit of "slid[ing] past notes and draw[ing] out the final syllables of lines are signatures indistinguishable from tics". Entertainment Weekly's Chris Willman wrote that Wainwright's "delicate upper range is nicely attuned to some of the ballads, but anything that requires belting is pretty much a loss". Mark Edwards of The Times called Wainwright's performance an acquired taste, stating his "trademark delivery" is "lazy and somewhat slurred". Dave Hughes' review pointed out Wainwright's "problem with the brassy high notes in an otherwise energetic take on 'That's Entertainment'", but admits it would be unfair to hold this against him since Garland's live performance was not perfect either. Hughes appropriately notes, "Ain't nobody perfect".
Output: What is the name of the person that had a lazy and somewhat slerred approach?
Passage: Overall, reception of the album was positive. Stephen Holden of Blender called Wainwright's tribute "a fabulous stunt in which a gay singer channeled the spirit of the ultimate gay icon", and declared the album was "as good an introduction to the great American songbook as any". Pitchfork Media's Stephen Troussé wrote that Wainwright "elegantly outdoes [Garland] on a couple of the ballads" and also compliments guest performer Martha Wainwright, "who turns in a stunning, showstopping 'Stormy Weather' in an appropriately brazen bid to steal the show". In his review for Rolling Stone, Robert Christgau stated it was "a relief to hear him essay the show tunes and Tin Pan Alley chestnuts of this tribute album". Furthermore, he wrote that the songs "expand [Wainwright's] melodic compass", allowing him to "bring something new to them too – namely, sexuality in the sensuality as opposed to gender-preference sense". Dave Hughes of Slant Magazine had positive comments about the album: "That Wainwright has the temerity to cover such a bona fide classic—and the chops to pull it off without breaking a limb or his brain—speaks both to his ambition and to his prodigious abilities."The album did receive some criticism. After noting Garland's lifelong attempt to master pitch and articulation, Christgau claimed Wainwright's habit of "slid[ing] past notes and draw[ing] out the final syllables of lines are signatures indistinguishable from tics". Entertainment Weekly's Chris Willman wrote that Wainwright's "delicate upper range is nicely attuned to some of the ballads, but anything that requires belting is pretty much a loss". Mark Edwards of The Times called Wainwright's performance an acquired taste, stating his "trademark delivery" is "lazy and somewhat slurred". Dave Hughes' review pointed out Wainwright's "problem with the brassy high notes in an otherwise energetic take on 'That's Entertainment'", but admits it would be unfair to hold this against him since Garland's live performance was not perfect either. Hughes appropriately notes, "Ain't nobody perfect".
Output: What is the name of the person that Dave Hushes was talking about when he said "Ain't nobody perfect"?
Passage: Diana Whitcombe works at her aunt's country inn, but dreams of escaping to London and making her way in society. When chance provides her with the necessary funds, she makes her way to the big city and takes up employment in a hairdressing salon where she befriends French fellow assistant Annette, and moves into the same hostel in which Annette is living.
One day Diana spots a kitten in danger on a busy road, and dashes into the traffic to rescue it. Her kind action is witnessed by singer Jerry Dean, who strikes up a conversation and invites her for lunch the next day at the Ritz Hotel. Diana is worried that has nothing suitable to wear to such a rarefied establishment, but is delighted when Annette produces a beautiful dress which she offers to loan to her. Unknown to Diana however, the dress has been stolen by a maid friend of Annette's from her wealthy employer, and passed to Annette for safe-keeping before it is sold to a dealer.
Diana and Jerry meet for their Ritz rendezvous. Unfortunately, also present is the Countess Delavell lunching with her theatrical friend Dudley Chalfont, and it is the Countess' stolen dress which Diana is wearing. At the end of the meeting Jerry, explaining that he has to leave to fulfil engagements in Scotland, proposes to Diana and she accepts. Meanwhile, the Countess' maid, aware that she is already under suspicion, steals some valuable jewellery, alerts Annette and the pair take off for France.
Output: What are the first names of the people who work at the hairdressing salon?
Passage: Diana Whitcombe works at her aunt's country inn, but dreams of escaping to London and making her way in society. When chance provides her with the necessary funds, she makes her way to the big city and takes up employment in a hairdressing salon where she befriends French fellow assistant Annette, and moves into the same hostel in which Annette is living.
One day Diana spots a kitten in danger on a busy road, and dashes into the traffic to rescue it. Her kind action is witnessed by singer Jerry Dean, who strikes up a conversation and invites her for lunch the next day at the Ritz Hotel. Diana is worried that has nothing suitable to wear to such a rarefied establishment, but is delighted when Annette produces a beautiful dress which she offers to loan to her. Unknown to Diana however, the dress has been stolen by a maid friend of Annette's from her wealthy employer, and passed to Annette for safe-keeping before it is sold to a dealer.
Diana and Jerry meet for their Ritz rendezvous. Unfortunately, also present is the Countess Delavell lunching with her theatrical friend Dudley Chalfont, and it is the Countess' stolen dress which Diana is wearing. At the end of the meeting Jerry, explaining that he has to leave to fulfil engagements in Scotland, proposes to Diana and she accepts. Meanwhile, the Countess' maid, aware that she is already under suspicion, steals some valuable jewellery, alerts Annette and the pair take off for France.
Output: What is the full name of the person Jerry invites to lunch?
Passage: Diana Whitcombe works at her aunt's country inn, but dreams of escaping to London and making her way in society. When chance provides her with the necessary funds, she makes her way to the big city and takes up employment in a hairdressing salon where she befriends French fellow assistant Annette, and moves into the same hostel in which Annette is living.
One day Diana spots a kitten in danger on a busy road, and dashes into the traffic to rescue it. Her kind action is witnessed by singer Jerry Dean, who strikes up a conversation and invites her for lunch the next day at the Ritz Hotel. Diana is worried that has nothing suitable to wear to such a rarefied establishment, but is delighted when Annette produces a beautiful dress which she offers to loan to her. Unknown to Diana however, the dress has been stolen by a maid friend of Annette's from her wealthy employer, and passed to Annette for safe-keeping before it is sold to a dealer.
Diana and Jerry meet for their Ritz rendezvous. Unfortunately, also present is the Countess Delavell lunching with her theatrical friend Dudley Chalfont, and it is the Countess' stolen dress which Diana is wearing. At the end of the meeting Jerry, explaining that he has to leave to fulfil engagements in Scotland, proposes to Diana and she accepts. Meanwhile, the Countess' maid, aware that she is already under suspicion, steals some valuable jewellery, alerts Annette and the pair take off for France.
Output: What is the full name of the person who saved the kitten?
Passage: Diana Whitcombe works at her aunt's country inn, but dreams of escaping to London and making her way in society. When chance provides her with the necessary funds, she makes her way to the big city and takes up employment in a hairdressing salon where she befriends French fellow assistant Annette, and moves into the same hostel in which Annette is living.
One day Diana spots a kitten in danger on a busy road, and dashes into the traffic to rescue it. Her kind action is witnessed by singer Jerry Dean, who strikes up a conversation and invites her for lunch the next day at the Ritz Hotel. Diana is worried that has nothing suitable to wear to such a rarefied establishment, but is delighted when Annette produces a beautiful dress which she offers to loan to her. Unknown to Diana however, the dress has been stolen by a maid friend of Annette's from her wealthy employer, and passed to Annette for safe-keeping before it is sold to a dealer.
Diana and Jerry meet for their Ritz rendezvous. Unfortunately, also present is the Countess Delavell lunching with her theatrical friend Dudley Chalfont, and it is the Countess' stolen dress which Diana is wearing. At the end of the meeting Jerry, explaining that he has to leave to fulfil engagements in Scotland, proposes to Diana and she accepts. Meanwhile, the Countess' maid, aware that she is already under suspicion, steals some valuable jewellery, alerts Annette and the pair take off for France.
Output: What is the full name of the real owner of the dress?
Passage: Diana Whitcombe works at her aunt's country inn, but dreams of escaping to London and making her way in society. When chance provides her with the necessary funds, she makes her way to the big city and takes up employment in a hairdressing salon where she befriends French fellow assistant Annette, and moves into the same hostel in which Annette is living.
One day Diana spots a kitten in danger on a busy road, and dashes into the traffic to rescue it. Her kind action is witnessed by singer Jerry Dean, who strikes up a conversation and invites her for lunch the next day at the Ritz Hotel. Diana is worried that has nothing suitable to wear to such a rarefied establishment, but is delighted when Annette produces a beautiful dress which she offers to loan to her. Unknown to Diana however, the dress has been stolen by a maid friend of Annette's from her wealthy employer, and passed to Annette for safe-keeping before it is sold to a dealer.
Diana and Jerry meet for their Ritz rendezvous. Unfortunately, also present is the Countess Delavell lunching with her theatrical friend Dudley Chalfont, and it is the Countess' stolen dress which Diana is wearing. At the end of the meeting Jerry, explaining that he has to leave to fulfil engagements in Scotland, proposes to Diana and she accepts. Meanwhile, the Countess' maid, aware that she is already under suspicion, steals some valuable jewellery, alerts Annette and the pair take off for France.
Output: What is the full name of the person Diana gets engaged to at the end of the passage?
Passage: Operation Kugown was the name given to the psychological warfare operation that had played an important part in the overthrow of Árbenz. During the coup, its primary targets had been the Árbenz government. After the conclusion of the coup, Kugown continued, targeting the rest of Guatemala, and the wider international audience. The aim of the operation was to disseminate derogatory information about Árbenz, and to convince Guatemalans—and the rest of the world—that Árbenz's regime had been communist-dominated. The use of documents from PBHistory for Operation Kugown began in August 1954. The standard method employed by the CIA was to select a document that could be portrayed as incriminating and write an explanation covering it. This would then be released to the press by the Comité, so that the local agency could receive some credit. The Comité also released a short documentary film, titled Despues Descubrimos La Verdad ("Later We Discover the Truth"). Through these avenues news media in Guatemala and elsewhere in Central America were saturated with stories of how the Árbenz government had been controlled by communists.While the press releases had a substantial impact within Guatemala, the CIA was unable to staunch the continued criticism of the US role in the coup, which came from virtually all countries except for West Germany and the US itself. Very few news agencies chose to run the press releases from the Comité, even though a number of them were put out. Information was sent to press agencies worldwide describing infiltration by the PGT and links among Communists elsewhere; nonetheless, their impact remained minimal. The lack of attention frustrated the PBHistory agents to the point where they planned to stage a false flag attack on their own headquarters, which would later be described as the work of Guatemala's remaining communists. However, the CIA decided that such an attack would need the cooperation of too many "indigenous" people, and the plan was scrapped as being too risky. Operation Kugown also released a large quantity of communist propaganda material that had entered Guatemala from countries within the Soviet sphere of influence; these convinced American journalists such as Donald Grant, of the St. Louis Post-Dispatch, that there must have been a connection between Árbenz and the Soviet government. Ultimately, these operations were unsuccessful in convincing Latin America that the 1954 coup was justified.
Output: Who did very few news agency choose to run press releases from?
Passage: Operation Kugown was the name given to the psychological warfare operation that had played an important part in the overthrow of Árbenz. During the coup, its primary targets had been the Árbenz government. After the conclusion of the coup, Kugown continued, targeting the rest of Guatemala, and the wider international audience. The aim of the operation was to disseminate derogatory information about Árbenz, and to convince Guatemalans—and the rest of the world—that Árbenz's regime had been communist-dominated. The use of documents from PBHistory for Operation Kugown began in August 1954. The standard method employed by the CIA was to select a document that could be portrayed as incriminating and write an explanation covering it. This would then be released to the press by the Comité, so that the local agency could receive some credit. The Comité also released a short documentary film, titled Despues Descubrimos La Verdad ("Later We Discover the Truth"). Through these avenues news media in Guatemala and elsewhere in Central America were saturated with stories of how the Árbenz government had been controlled by communists.While the press releases had a substantial impact within Guatemala, the CIA was unable to staunch the continued criticism of the US role in the coup, which came from virtually all countries except for West Germany and the US itself. Very few news agencies chose to run the press releases from the Comité, even though a number of them were put out. Information was sent to press agencies worldwide describing infiltration by the PGT and links among Communists elsewhere; nonetheless, their impact remained minimal. The lack of attention frustrated the PBHistory agents to the point where they planned to stage a false flag attack on their own headquarters, which would later be described as the work of Guatemala's remaining communists. However, the CIA decided that such an attack would need the cooperation of too many "indigenous" people, and the plan was scrapped as being too risky. Operation Kugown also released a large quantity of communist propaganda material that had entered Guatemala from countries within the Soviet sphere of influence; these convinced American journalists such as Donald Grant, of the St. Louis Post-Dispatch, that there must have been a connection between Árbenz and the Soviet government. Ultimately, these operations were unsuccessful in convincing Latin America that the 1954 coup was justified.
Output: What was the full name of the person who was convinced that there must have been a connection between Árbenz and the Soviet government?