niryuu/sni-each-converted huggingface dataset:
Passage: The museum's founder Sigurður Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavík's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurður gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurður was able to continue to collect whale penises by harvesting them from the 12–16 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurður was assisted by his family, though not without some occasional embarrassment. His daughter Þorgerður recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurður, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one."
The collection was at first housed in Sigurður's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavík and was awarded a grant from the city council of ISK 200,000 to support the opening of a museum in August 1997. By 2003, it was attracting 5,200 visitors a year, of which 4,200 were from abroad. He put the museum up for sale in 2003, but also offered it to the city of Reykjavík as a gift. However, he was unsuccessful in obtaining financial support from the state or city. When he retired in 2004, he could no longer afford the rent on the museum's premises.
Output: What type of animal did a fisherman obtain from an animal that was drifting on drift ice off the Westfjords?
Passage: The museum's founder Sigurður Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavík's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurður gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurður was able to continue to collect whale penises by harvesting them from the 12–16 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurður was assisted by his family, though not without some occasional embarrassment. His daughter Þorgerður recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurður, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one."
The collection was at first housed in Sigurður's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavík and was awarded a grant from the city council of ISK 200,000 to support the opening of a museum in August 1997. By 2003, it was attracting 5,200 visitors a year, of which 4,200 were from abroad. He put the museum up for sale in 2003, but also offered it to the city of Reykjavík as a gift. However, he was unsuccessful in obtaining financial support from the state or city. When he retired in 2004, he could no longer afford the rent on the museum's premises.
Output: What is the first name of the person who could no longer afford the rent on the museum's premises when he retired in 2004?
Passage: Since 1991, the anniversary of the massacre has been designated the National Day of Remembrance and Action on Violence Against Women, intended as a call to action against discrimination against women.  A White Ribbon Campaign was launched in 1991 by a group of men in London, Ontario, in the wake of the massacre, for the purpose of raising awareness about the prevalence of male violence against women, with the ribbon symbolizing "the idea of men giving up their arms." Commemorative demonstrations are held across the country each year on December 6 in memory of the slain women and numerous memorials have been built.
The Place du 6-Décembre-1989 in the Côte-des-Neiges/Notre-Dame-de-Grâce borough of Montreal was created as a memorial to the victims of the massacre. Located at the corner of Decelles Avenue and Queen Mary Road, a short distance from the university, it includes the art installation Nef pour quatorze reines (Nave for Fourteen Queens) by Rose-Marie Goulet. It is the site of annual commemorations on December 6.A memorial erected in Vancouver sparked controversy because it was dedicated to "all women murdered by men", which critics say implies all men are potential murderers. As a result, women involved in the project ironically received death threats and the Vancouver Park Board subsequently banned any future memorials that might "antagonize" other groups.The event has also been commemorated through references in television, theatre, and popular music. A play about the shootings by Adam Kelly called The Anorak was named as one of the best plays of 2004 by the Montreal Gazette.  Colleen Murphy's  play "December Man" was first staged in Calgary in 2007  The movie  Polytechnique, directed by Denis Villeneuve was released in 2009, and sparked controversy over the desirability of reliving the tragedy in a commercial film.  Several songs have been written about the events,  including "This Memory" by the folk duo the Wyrd Sisters,  and "6 December 1989" by the Australian singer Judy Small.In 2013, a new science building at John Abbott College was named in honour of Anne-Marie Edward, a victim of the massacre who attended the college before going on to university.
For the commemorative ceremony on the 25th anniversary of the massacre in 2014,  fourteen searchlights representing the 14 victims of the massacre were installed on the summit of Mount Royal and turned skyward at the exact time when the attack had started 25 years earlier.  Also in 2014, the Order of the White Rose was established, a $30,000 national scholarship for female engineering graduate students.  The selection committee was made up of presidents, principals and deans of engineering from several prestigious Canadian universities and chaired by Michèle Thibodeau-DeGuire, the first female graduate of École Polytechnique.
Output: What groups selection committee was made up of presidents, principals and deans of engineering from several prestigious Canadian universities?
Passage: Since 1991, the anniversary of the massacre has been designated the National Day of Remembrance and Action on Violence Against Women, intended as a call to action against discrimination against women.  A White Ribbon Campaign was launched in 1991 by a group of men in London, Ontario, in the wake of the massacre, for the purpose of raising awareness about the prevalence of male violence against women, with the ribbon symbolizing "the idea of men giving up their arms." Commemorative demonstrations are held across the country each year on December 6 in memory of the slain women and numerous memorials have been built.
The Place du 6-Décembre-1989 in the Côte-des-Neiges/Notre-Dame-de-Grâce borough of Montreal was created as a memorial to the victims of the massacre. Located at the corner of Decelles Avenue and Queen Mary Road, a short distance from the university, it includes the art installation Nef pour quatorze reines (Nave for Fourteen Queens) by Rose-Marie Goulet. It is the site of annual commemorations on December 6.A memorial erected in Vancouver sparked controversy because it was dedicated to "all women murdered by men", which critics say implies all men are potential murderers. As a result, women involved in the project ironically received death threats and the Vancouver Park Board subsequently banned any future memorials that might "antagonize" other groups.The event has also been commemorated through references in television, theatre, and popular music. A play about the shootings by Adam Kelly called The Anorak was named as one of the best plays of 2004 by the Montreal Gazette.  Colleen Murphy's  play "December Man" was first staged in Calgary in 2007  The movie  Polytechnique, directed by Denis Villeneuve was released in 2009, and sparked controversy over the desirability of reliving the tragedy in a commercial film.  Several songs have been written about the events,  including "This Memory" by the folk duo the Wyrd Sisters,  and "6 December 1989" by the Australian singer Judy Small.In 2013, a new science building at John Abbott College was named in honour of Anne-Marie Edward, a victim of the massacre who attended the college before going on to university.
For the commemorative ceremony on the 25th anniversary of the massacre in 2014,  fourteen searchlights representing the 14 victims of the massacre were installed on the summit of Mount Royal and turned skyward at the exact time when the attack had started 25 years earlier.  Also in 2014, the Order of the White Rose was established, a $30,000 national scholarship for female engineering graduate students.  The selection committee was made up of presidents, principals and deans of engineering from several prestigious Canadian universities and chaired by Michèle Thibodeau-DeGuire, the first female graduate of École Polytechnique.
Output: What is the name of that which includes the art installation Nef pour quatorze reines?
Passage: Since 1991, the anniversary of the massacre has been designated the National Day of Remembrance and Action on Violence Against Women, intended as a call to action against discrimination against women.  A White Ribbon Campaign was launched in 1991 by a group of men in London, Ontario, in the wake of the massacre, for the purpose of raising awareness about the prevalence of male violence against women, with the ribbon symbolizing "the idea of men giving up their arms." Commemorative demonstrations are held across the country each year on December 6 in memory of the slain women and numerous memorials have been built.
The Place du 6-Décembre-1989 in the Côte-des-Neiges/Notre-Dame-de-Grâce borough of Montreal was created as a memorial to the victims of the massacre. Located at the corner of Decelles Avenue and Queen Mary Road, a short distance from the university, it includes the art installation Nef pour quatorze reines (Nave for Fourteen Queens) by Rose-Marie Goulet. It is the site of annual commemorations on December 6.A memorial erected in Vancouver sparked controversy because it was dedicated to "all women murdered by men", which critics say implies all men are potential murderers. As a result, women involved in the project ironically received death threats and the Vancouver Park Board subsequently banned any future memorials that might "antagonize" other groups.The event has also been commemorated through references in television, theatre, and popular music. A play about the shootings by Adam Kelly called The Anorak was named as one of the best plays of 2004 by the Montreal Gazette.  Colleen Murphy's  play "December Man" was first staged in Calgary in 2007  The movie  Polytechnique, directed by Denis Villeneuve was released in 2009, and sparked controversy over the desirability of reliving the tragedy in a commercial film.  Several songs have been written about the events,  including "This Memory" by the folk duo the Wyrd Sisters,  and "6 December 1989" by the Australian singer Judy Small.In 2013, a new science building at John Abbott College was named in honour of Anne-Marie Edward, a victim of the massacre who attended the college before going on to university.
For the commemorative ceremony on the 25th anniversary of the massacre in 2014,  fourteen searchlights representing the 14 victims of the massacre were installed on the summit of Mount Royal and turned skyward at the exact time when the attack had started 25 years earlier.  Also in 2014, the Order of the White Rose was established, a $30,000 national scholarship for female engineering graduate students.  The selection committee was made up of presidents, principals and deans of engineering from several prestigious Canadian universities and chaired by Michèle Thibodeau-DeGuire, the first female graduate of École Polytechnique.
Output: What is the name of the memorial that is is the site of annual commemorations on December 6?
Passage: House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was generally characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals; some had singing throughout the song with lyrics; and some had singing but no actual words.
House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines. As well, these DJs began to mix synth pop, rap, Latin, and even jazz into their tracks. Latin music, particularly salsa clave rhythm, became a dominating riff of house music. It was pioneered by Chicago DJs such as  Chip E., and Steve Hurley. It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, and the Tennessee DJ/producer Mr. Fingers. The genre was originally associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London, then to American cities such as New York City and Detroit, and eventually globally.Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists. These same acts also experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts suddenly found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide. In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies widely in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer.
Output: What is the name of the subgenre of music that can range from soulful to minimalistic that is based around squelchy, deep electronic tones?
Passage: House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was generally characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals; some had singing throughout the song with lyrics; and some had singing but no actual words.
House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines. As well, these DJs began to mix synth pop, rap, Latin, and even jazz into their tracks. Latin music, particularly salsa clave rhythm, became a dominating riff of house music. It was pioneered by Chicago DJs such as  Chip E., and Steve Hurley. It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, and the Tennessee DJ/producer Mr. Fingers. The genre was originally associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London, then to American cities such as New York City and Detroit, and eventually globally.Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists. These same acts also experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts suddenly found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide. In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies widely in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer.
Output: What are the four listed fusion subgenres of the music genre that was developed  in Chicago's underground dance club culture?
Passage: House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was generally characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, and synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic. The mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals; some had singing throughout the song with lyrics; and some had singing but no actual words.
House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines. As well, these DJs began to mix synth pop, rap, Latin, and even jazz into their tracks. Latin music, particularly salsa clave rhythm, became a dominating riff of house music. It was pioneered by Chicago DJs such as  Chip E., and Steve Hurley. It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, and the Tennessee DJ/producer Mr. Fingers. The genre was originally associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London, then to American cities such as New York City and Detroit, and eventually globally.Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists. These same acts also experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts suddenly found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew increasingly popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide. In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies widely in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has also fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer.
Output: What subculture was the music that was created by club DJs originally associated with?
Passage: Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment.".
Output: What was the last name of the person who expressed his dissatisfaction with the music industry in an interview for People magazine?
Passage: Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment.".
Output: What were the names of the three films the band recorded soundtracks for?
Passage: Inspired by live instrumentation, turntablism, and classic soul music, Tony! Toni! Toné! recorded and produced their second album, The Revival, mostly themselves and released it in 1990 to commercial success. The record broadened the group's exposure to fans beyond their initial R&B audience. However, they became ambivalent about their newfound mainstream success and their music being labeled "retro" by critics. In an interview for People magazine, lead singer and bassist Raphael Wiggins expressed his dissatisfaction with the music industry, saying that "every record company wants to get a group and put 'em in a Benz with a car phone and a beeper, show them dressing in three different outfits, put them in a video shot on a beach with lots of swinging bikinis. You won't ever see us on a beach. We're just down-to-earth, funky, like-to-play guys." Before considering a follow-up album, the band recorded several songs for film soundtracks, including "Me and You" for Boyz n the Hood (1991), "House Party (I Don't Know What You Come to Do)" for House Party 2 (1991), and "Waiting on You" for Poetic Justice (1993).Having fulfilled their creative intentions with The Revival, Tony! Toni! Toné! wanted to pay homage to their musical influences with Sons of Soul. In a 1993 interview for The New York Times, Wiggins elaborated on their direction for the album, stating "We're paying homage to a lot of older artists who paved the way for us artists like the Temptations, Sly and the Family Stone, Earth, Wind and Fire. They're the people who inspired us when we were growing up, people like Aretha Franklin, James Brown. We feel we're the sons of everything and all those people who came before us." He also explained the album's title as a declaration of them being descendants of those artists, "not in a grandiose sense, but from the standpoint that we really are the musical offspring of all that's come before us ... paying homage to our past, but creating in a contemporary environment.".
Output: What were the names of the three older artists that the band wanted to pay homage to?
Passage: In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.
Output: What is the last name of the person that did not like orchestral concerts?
Passage: In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.
Output: What is the name of the band that the three members of another band joined?
Passage: American World War II veteran Jerry Mulligan is an exuberant expatriate in Paris trying to make a reputation as a painter. His friend and neighbor, Adam Cook, is a struggling concert pianist and longtime associate of a French singer, Henri Baurel. At the ground-floor bar, Henri tells Adam about his cultured girlfriend, Lise Bouvier.  Jerry joins them later, before going out to sell his art.
A lonely society woman and heiress, Milo Roberts, finds Jerry displaying his paintings in Montmartre and takes an interest in him and his art.  She brings him to her apartment to pay for his works, and invites him to a dinner party she is throwing later that night. After singing with French children on the way home ("I Got Rhythm"), Jerry goes up to Milo's apartment.  He quickly finds out the "party" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort.  When he attempts to leave after giving her money back, she insists she is only interested in his art.
They go to a crowded bar, and Milo offers to sponsor an art show for Jerry as a friendly gesture.  Some of Milo's friends arrive, and while sitting with them, Jerry sees Lise seated with friends at the next table, and is instantly smitten. He ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her.  She is standoffish and gives Jerry a wrong phone number, but is innocently corrected by someone at her table.  Milo is upset by Jerry's behaviour and suddenly decides to go home. On their way home she tells Jerry he was very rude cavorting with a girl he does not know while in her presence; tired of Milo, Jerry gets out of the car and bids her farewell.
Output: Where does the veteran see the singer's girlfriend?
Passage: American World War II veteran Jerry Mulligan is an exuberant expatriate in Paris trying to make a reputation as a painter. His friend and neighbor, Adam Cook, is a struggling concert pianist and longtime associate of a French singer, Henri Baurel. At the ground-floor bar, Henri tells Adam about his cultured girlfriend, Lise Bouvier.  Jerry joins them later, before going out to sell his art.
A lonely society woman and heiress, Milo Roberts, finds Jerry displaying his paintings in Montmartre and takes an interest in him and his art.  She brings him to her apartment to pay for his works, and invites him to a dinner party she is throwing later that night. After singing with French children on the way home ("I Got Rhythm"), Jerry goes up to Milo's apartment.  He quickly finds out the "party" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort.  When he attempts to leave after giving her money back, she insists she is only interested in his art.
They go to a crowded bar, and Milo offers to sponsor an art show for Jerry as a friendly gesture.  Some of Milo's friends arrive, and while sitting with them, Jerry sees Lise seated with friends at the next table, and is instantly smitten. He ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her.  She is standoffish and gives Jerry a wrong phone number, but is innocently corrected by someone at her table.  Milo is upset by Jerry's behaviour and suddenly decides to go home. On their way home she tells Jerry he was very rude cavorting with a girl he does not know while in her presence; tired of Milo, Jerry gets out of the car and bids her farewell.
Output: How does the singer know Lise?
Passage: American World War II veteran Jerry Mulligan is an exuberant expatriate in Paris trying to make a reputation as a painter. His friend and neighbor, Adam Cook, is a struggling concert pianist and longtime associate of a French singer, Henri Baurel. At the ground-floor bar, Henri tells Adam about his cultured girlfriend, Lise Bouvier.  Jerry joins them later, before going out to sell his art.
A lonely society woman and heiress, Milo Roberts, finds Jerry displaying his paintings in Montmartre and takes an interest in him and his art.  She brings him to her apartment to pay for his works, and invites him to a dinner party she is throwing later that night. After singing with French children on the way home ("I Got Rhythm"), Jerry goes up to Milo's apartment.  He quickly finds out the "party" is actually a one-on-one date, and tells Milo he has no interest in being a paid escort.  When he attempts to leave after giving her money back, she insists she is only interested in his art.
They go to a crowded bar, and Milo offers to sponsor an art show for Jerry as a friendly gesture.  Some of Milo's friends arrive, and while sitting with them, Jerry sees Lise seated with friends at the next table, and is instantly smitten. He ignores Milo and her acquaintances, and instead pretends to know Lise already and dances with her.  She is standoffish and gives Jerry a wrong phone number, but is innocently corrected by someone at her table.  Milo is upset by Jerry's behaviour and suddenly decides to go home. On their way home she tells Jerry he was very rude cavorting with a girl he does not know while in her presence; tired of Milo, Jerry gets out of the car and bids her farewell.
Output: What is the position of the person who offered to sponsor an art show?
Passage: Thomas Bilbe (1811 in Sheerness - 1896)  shipbuilder and shipowner. He built tea clippers  and was involved in the opium trade with China
Sir Edward James Reed, KCB, FRS (1830–1906)  naval architect, author, politician and railroad magnate, also a Liberal politician in the House of Commons from 1874 to 1906.  Reed was born in Sheerness and was a naval apprentice there
Charles Hezlet DSO (1891 in Sheerness – 1965)  soldier and Irish amateur golfer. He was runner-up in the 1914 Amateur Championship and was in the British Walker Cup team in 1924, 1926 and 1928.
Sir Stanley Hooker, FRS, DPhil, BSc, FRAeS, MIMechE, FAAAS, (1907 in Sheerness – 1984)  was a Mathematician and jet engine engineer, first inventor of the VTOL engine
William Penney, Baron Penney OM KBE FRS FRSE, (1909–1991)  mathematician and professor of mathematical physics and leading figure in Britain's nuclear weapons development. Penney was raised in Sheerness, Kent and was educated at Sheerness Technical School for Boys from 1924 to 1926
Dr Richard Beeching (1913 in Sheerness – 1985)  commonly known simply as Dr Beeching, was a physicist and engineer who for a short but very notable time was chairman of British Railways, severely cutting the British rail network
Uwe Johnson German writer and scholar, lived on Marine Parade
Geoff Beynon (1926 in Sheerness – 2012)  teacher and trade union leader, joint general secretary of the Assistant Masters and Mistresses Association
Rod Hull (1935–1999)  English comedian, appeared with Emu, a mute, highly aggressive arms-length puppet. Hull was born in the Isle of Sheppey and attended Delemark Road School and the County Technical School, Sheerness
Richard Carpenter (born 1972 in Sheerness)  footballer and midfielder, made approx. 500 pro. appearances mainly for Gillingham F.C. and Brighton & Hove Albion F.C.
Output: What is the last name of the naval apprentice born in Sheerness?
Passage: Thomas Bilbe (1811 in Sheerness - 1896)  shipbuilder and shipowner. He built tea clippers  and was involved in the opium trade with China
Sir Edward James Reed, KCB, FRS (1830–1906)  naval architect, author, politician and railroad magnate, also a Liberal politician in the House of Commons from 1874 to 1906.  Reed was born in Sheerness and was a naval apprentice there
Charles Hezlet DSO (1891 in Sheerness – 1965)  soldier and Irish amateur golfer. He was runner-up in the 1914 Amateur Championship and was in the British Walker Cup team in 1924, 1926 and 1928.
Sir Stanley Hooker, FRS, DPhil, BSc, FRAeS, MIMechE, FAAAS, (1907 in Sheerness – 1984)  was a Mathematician and jet engine engineer, first inventor of the VTOL engine
William Penney, Baron Penney OM KBE FRS FRSE, (1909–1991)  mathematician and professor of mathematical physics and leading figure in Britain's nuclear weapons development. Penney was raised in Sheerness, Kent and was educated at Sheerness Technical School for Boys from 1924 to 1926
Dr Richard Beeching (1913 in Sheerness – 1985)  commonly known simply as Dr Beeching, was a physicist and engineer who for a short but very notable time was chairman of British Railways, severely cutting the British rail network
Uwe Johnson German writer and scholar, lived on Marine Parade
Geoff Beynon (1926 in Sheerness – 2012)  teacher and trade union leader, joint general secretary of the Assistant Masters and Mistresses Association
Rod Hull (1935–1999)  English comedian, appeared with Emu, a mute, highly aggressive arms-length puppet. Hull was born in the Isle of Sheppey and attended Delemark Road School and the County Technical School, Sheerness
Richard Carpenter (born 1972 in Sheerness)  footballer and midfielder, made approx. 500 pro. appearances mainly for Gillingham F.C. and Brighton & Hove Albion F.C.
Output: What is the full name of the first inventor of the VTOL engine?
Passage: After completing Romeo Must Die, Aaliyah began to work on her second film, Queen of the Damned. She played the role of an ancient vampire, Queen Akasha, which she described as a "manipulative, crazy, sexual being". Filming both Romeo Must Die and Queen of the Damned delayed the release of the album. Aaliyah had not intended for her albums to have such a gap between them. "I wanted to take a break after One in a Million to just relax, think about how I wanted to approach the next album. Then, when I was ready to start back up, "Romeo" happened, and so I had to take another break and do that film and then do the soundtrack, then promote it. The break turned into a longer break than I anticipated." Aaliyah enjoyed balancing her singing and acting careers. Though she called music a "first" for her, she also had been acting since she was young and had wanted to begin acting "at some point in my career," but "wanted it to be the right time and the right vehicle" and felt Romeo Must Die "was it".
The role was subsequently recast to Nona Gaye. Aaliyah's scenes were included in the tribute section of the Matrix Ultimate Collection series.In November 2001, Ronald Isley stated that Aaliyah and the Isley Brothers had discussed a collaboration prior to her death. She had previously covered the Isley Brothers' single "At Your Best (You Are Love)". Prior to her death, she expressed the possibility of recording songs for the Queen of The Damned soundtrack and welcomed the possibility of collaborating with Jonathan Davis. By 2001, Aaliyah had enjoyed her now seven-year career and felt a sense of accomplishment. "This is what I always wanted," she said of her career in Vibe magazine. "I breathe to perform, to entertain, I can't imagine myself doing anything else. I'm just a really happy girl right now. I honestly love every aspect of this business. I really do. I feel very fulfilled and complete.".
Output: What was the name of the film Aaliyah worked on before beginning her second film?
Passage: After completing Romeo Must Die, Aaliyah began to work on her second film, Queen of the Damned. She played the role of an ancient vampire, Queen Akasha, which she described as a "manipulative, crazy, sexual being". Filming both Romeo Must Die and Queen of the Damned delayed the release of the album. Aaliyah had not intended for her albums to have such a gap between them. "I wanted to take a break after One in a Million to just relax, think about how I wanted to approach the next album. Then, when I was ready to start back up, "Romeo" happened, and so I had to take another break and do that film and then do the soundtrack, then promote it. The break turned into a longer break than I anticipated." Aaliyah enjoyed balancing her singing and acting careers. Though she called music a "first" for her, she also had been acting since she was young and had wanted to begin acting "at some point in my career," but "wanted it to be the right time and the right vehicle" and felt Romeo Must Die "was it".
The role was subsequently recast to Nona Gaye. Aaliyah's scenes were included in the tribute section of the Matrix Ultimate Collection series.In November 2001, Ronald Isley stated that Aaliyah and the Isley Brothers had discussed a collaboration prior to her death. She had previously covered the Isley Brothers' single "At Your Best (You Are Love)". Prior to her death, she expressed the possibility of recording songs for the Queen of The Damned soundtrack and welcomed the possibility of collaborating with Jonathan Davis. By 2001, Aaliyah had enjoyed her now seven-year career and felt a sense of accomplishment. "This is what I always wanted," she said of her career in Vibe magazine. "I breathe to perform, to entertain, I can't imagine myself doing anything else. I'm just a really happy girl right now. I honestly love every aspect of this business. I really do. I feel very fulfilled and complete.".
Output: What was the full name of the film Aaliyah said happened when she was ready to start back up with her next album?