niryuu/sni-each-converted huggingface dataset:
Passage: In February 1954 Gao Gang, the head of the State Planning Council, was purged from government; he killed himself only months later.  His presence in the painting immediately on Mao's left placed arts officials in a quandary.  Given its popularity among officials and the people, The Founding of the Nation had to be shown at the Second National Arts Exhibition (1955), but it was unthinkable that Gao, deemed a traitor, should be depicted.  Accordingly Dong was ordered to remove Gao from the painting, which he did.
Wu Hung described The Founding of the Nation as "arguably the most celebrated work of official Chinese art".  He noted that the painting is the only "canonized" one depicting the October 1 ceremony, and that other artists have tended to give the people's perspective, subjecting themselves to Mao's gaze.  The painting is a modern-day example of damnatio memoriae, the alteration of artworks or other objects to remove the image or name of a disfavored person.  Deng Zhangyu, in a 2014 article, called the painting "the most significant historical image of China's founding".  Wu Hung suggested that the alterations to it over the years, while always showing Mao proclaiming the new government, parallel the changes that have come to China's leadership during the years of Communist governance.  Andrews wrote that "its greatest importance to the art world was its elevation as a model of party-approved oil painting".  Writer Wu Bing in 2009 called it "a milestone in Chinese oil painting, boldly incorporating national styles".  The painting has never been as highly regarded in the West as in China; according to Andrews, "art history students have been known to roar with laughter when slides of it appear on the screen".  Art historian Michael Sullivan dismissed it as mere propaganda.  Today, following a merger of museums, both paintings are in the National Museum of China, on Tiananmen Square.
Output: What is the name of that which Michael Sullivan dismissed as mere propaganda?
Passage: Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.
Output: What had almost entirely disappeared from Bach's compositions?
Passage: Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.
Output: The brass instruments were only used for the 1 April 1725 version of what?
Passage: Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.
Output: Who wrote the scoring of the cantata Christ lag in Todes Banden?
Passage: Bach structured the cantata in eight movements: an instrumental sinfonia and seven vocal movements corresponding to the stanzas of the hymn. The duration is given as 22 minutes.The title of the original parts of the first Leipzig performance is (in Johann Christoph Altnickol's handwriting): "Feria Paschatos / Christ lag in Todes Banden / a.4. Voc: / Cornetto / 3 Trombon. / 2 Violini / 2 Viole / con / Continuo / Di Sign. Joh.Seb.Bach", In this late version, Bach scored the work for four vocal parts (soprano (S), alto (A), tenor (T), and bass (B)), and a Baroque instrumental ensemble consisting of strings, brass and continuo. The brass parts, a choir of cornetto (Ct) and three trombones (Tb) playing colla parte with the voices at times, may have been added in the 1720s. They may also possibly represent the original scoring, in the style of the 17th-century polychoral tradition.The scoring of the cantata Christ lag in Todes Banden has been described as "archaic" and its style "medieval":
The string section consists of two violin parts (Vl) and two viola parts (VA); this indicates an older practice as for instance found in 17th-century church cantatas by Bach's ancestors (see Altbachisches Archiv), and in Jesus Christus ist um unsrer Missetat willen verwundet, a Passion setting from the early 18th century (or older) which Bach had performed a few years after composing the cantata Christ lag in Todes Banden. In the first half of the 18th century the standard for a string section soon evolved to two violin parts, one viola part and continuo.
The cornett used in the cantata was an instrument that belonged to an earlier age: by the second quarter of the 18th century it had almost entirely disappeared from Bach's compositions.
The brass instruments were only used for the 1 April 1725 version of the work.  The other performances (24 April 1707, 8 April 1708, and 9 April 1724) were performed without brass instruments (i.e., Cornetto and three Trombones).
The first version (1707 and 1708) concluded with the words of Verse 7 of the Chorale, but the music was that of Movement 2 (Verse 1 of Chorale).  In 1724 and 1725, Bach changed this out to the now-used 4-part Chorale setting.
There is relatively little distinction between choral sections of the cantata and sections for vocal soloists; one editor commented that the "whole cantata may be sung as chorus". This compares to the clearer demarcation between choral movements and movements for vocal soloists in Bach's later works.  However, the number of voices the composer intended per part remains somewhat contentious, and recordings of the work differ considerably in the configurations deployed.
Output: What had almost entirely disappeared from Bach's compositions by the second quarter of the 18th century?
Passage: The story takes place entirely in New York. Armando works part-time at his parents' restaurant and is also a custodian at a dance studio, where he secretly practices dance moves. He befriends the beautiful Mia Franklin, a dancer who is having a relationship with the studio's owner Daniel. She catches Armando dancing alone, likes what she sees, gives him a few tips, and they dance together briefly, but are discovered by Daniel. Trying to avoid an awkward situation, Mia leaves. When Armando realizes that Mia has left her scarf behind, he calls out to her from the studio's second floor window.
On the sidewalk below, Mia turns to cross the street, when she struck by a taxi and rendered a paraplegic, paralyzed from the waist down. Upon learning of this, Daniel jilts her. Armando tries to boost her confidence and persuades her and other disabled people in the local rehabilitation center, including a "punky" Latina, Nikki and a wounded Iraq-war veteran, Kenny, (Morgan Spector) to enter a wheelchair ballroom dancing competition. Despite the opposition of his mother, Armando and Mia gradually fall in love and enter into a relationship, while Armando's uncle Wilfredo falls in love with Chantelle, a disabled trans woman at the rehab center. Before the competition, Armando's mother, who has been maneuvering to get Armando hooked up with the beautiful Rosa, does her best to undermine (even to the point of "casting spells") the relationship between him and Mia, which has become sexually intimate by now. But Rosa understands, and generously breaks off with Armando.
Output: Who leaves the girl that is caught dancing with Armando?
Passage: The story takes place entirely in New York. Armando works part-time at his parents' restaurant and is also a custodian at a dance studio, where he secretly practices dance moves. He befriends the beautiful Mia Franklin, a dancer who is having a relationship with the studio's owner Daniel. She catches Armando dancing alone, likes what she sees, gives him a few tips, and they dance together briefly, but are discovered by Daniel. Trying to avoid an awkward situation, Mia leaves. When Armando realizes that Mia has left her scarf behind, he calls out to her from the studio's second floor window.
On the sidewalk below, Mia turns to cross the street, when she struck by a taxi and rendered a paraplegic, paralyzed from the waist down. Upon learning of this, Daniel jilts her. Armando tries to boost her confidence and persuades her and other disabled people in the local rehabilitation center, including a "punky" Latina, Nikki and a wounded Iraq-war veteran, Kenny, (Morgan Spector) to enter a wheelchair ballroom dancing competition. Despite the opposition of his mother, Armando and Mia gradually fall in love and enter into a relationship, while Armando's uncle Wilfredo falls in love with Chantelle, a disabled trans woman at the rehab center. Before the competition, Armando's mother, who has been maneuvering to get Armando hooked up with the beautiful Rosa, does her best to undermine (even to the point of "casting spells") the relationship between him and Mia, which has become sexually intimate by now. But Rosa understands, and generously breaks off with Armando.
Output: Who does the paraplegic girl fall in love with?
Passage: The story takes place entirely in New York. Armando works part-time at his parents' restaurant and is also a custodian at a dance studio, where he secretly practices dance moves. He befriends the beautiful Mia Franklin, a dancer who is having a relationship with the studio's owner Daniel. She catches Armando dancing alone, likes what she sees, gives him a few tips, and they dance together briefly, but are discovered by Daniel. Trying to avoid an awkward situation, Mia leaves. When Armando realizes that Mia has left her scarf behind, he calls out to her from the studio's second floor window.
On the sidewalk below, Mia turns to cross the street, when she struck by a taxi and rendered a paraplegic, paralyzed from the waist down. Upon learning of this, Daniel jilts her. Armando tries to boost her confidence and persuades her and other disabled people in the local rehabilitation center, including a "punky" Latina, Nikki and a wounded Iraq-war veteran, Kenny, (Morgan Spector) to enter a wheelchair ballroom dancing competition. Despite the opposition of his mother, Armando and Mia gradually fall in love and enter into a relationship, while Armando's uncle Wilfredo falls in love with Chantelle, a disabled trans woman at the rehab center. Before the competition, Armando's mother, who has been maneuvering to get Armando hooked up with the beautiful Rosa, does her best to undermine (even to the point of "casting spells") the relationship between him and Mia, which has become sexually intimate by now. But Rosa understands, and generously breaks off with Armando.
Output: What two jobs does Armando work?
Passage: The story takes place entirely in New York. Armando works part-time at his parents' restaurant and is also a custodian at a dance studio, where he secretly practices dance moves. He befriends the beautiful Mia Franklin, a dancer who is having a relationship with the studio's owner Daniel. She catches Armando dancing alone, likes what she sees, gives him a few tips, and they dance together briefly, but are discovered by Daniel. Trying to avoid an awkward situation, Mia leaves. When Armando realizes that Mia has left her scarf behind, he calls out to her from the studio's second floor window.
On the sidewalk below, Mia turns to cross the street, when she struck by a taxi and rendered a paraplegic, paralyzed from the waist down. Upon learning of this, Daniel jilts her. Armando tries to boost her confidence and persuades her and other disabled people in the local rehabilitation center, including a "punky" Latina, Nikki and a wounded Iraq-war veteran, Kenny, (Morgan Spector) to enter a wheelchair ballroom dancing competition. Despite the opposition of his mother, Armando and Mia gradually fall in love and enter into a relationship, while Armando's uncle Wilfredo falls in love with Chantelle, a disabled trans woman at the rehab center. Before the competition, Armando's mother, who has been maneuvering to get Armando hooked up with the beautiful Rosa, does her best to undermine (even to the point of "casting spells") the relationship between him and Mia, which has become sexually intimate by now. But Rosa understands, and generously breaks off with Armando.
Output: What are the first names of the two people who Daniel catches dancing together briefly?
Passage: On a visit to Belgium, married couple Bob and Susie Westlake become involved with wealthy financier, Steve Mordaunt, in the sale and transfer of a collection of rare books. In an attempted burglary at Mordaunt's home, his love interest, Mrs. Rosemary Delgado, is suspected. She was once romantically linked to a gangster and she leads the Westlakes in a search for Achemd's writings, a middle eastern 14th Century seer which has inspired an extreme political group, and thought to be in the collection of rare books that Mourdaunt now owns.
The Westlakes become embroiled in a struggle over the valuable Arabic manuscripts, and when Susie is kidnapped by extremists, Bob works as an assistant to Tom Cookson, a manuscript smuggler who is importing the rare texts the gang are seeking. The extremists demand Mourdaunt turn over his collection of rare books, and plot to incite a revolution across the Middle East but can the Westlakes prevent a serious international situation?.
Output: What relationship does the wealthy financier have with the person who may have burgled his home?
Passage: On a visit to Belgium, married couple Bob and Susie Westlake become involved with wealthy financier, Steve Mordaunt, in the sale and transfer of a collection of rare books. In an attempted burglary at Mordaunt's home, his love interest, Mrs. Rosemary Delgado, is suspected. She was once romantically linked to a gangster and she leads the Westlakes in a search for Achemd's writings, a middle eastern 14th Century seer which has inspired an extreme political group, and thought to be in the collection of rare books that Mourdaunt now owns.
The Westlakes become embroiled in a struggle over the valuable Arabic manuscripts, and when Susie is kidnapped by extremists, Bob works as an assistant to Tom Cookson, a manuscript smuggler who is importing the rare texts the gang are seeking. The extremists demand Mourdaunt turn over his collection of rare books, and plot to incite a revolution across the Middle East but can the Westlakes prevent a serious international situation?.
Output: Whose books is the wealthy financier thought to have?
Passage: On a visit to Belgium, married couple Bob and Susie Westlake become involved with wealthy financier, Steve Mordaunt, in the sale and transfer of a collection of rare books. In an attempted burglary at Mordaunt's home, his love interest, Mrs. Rosemary Delgado, is suspected. She was once romantically linked to a gangster and she leads the Westlakes in a search for Achemd's writings, a middle eastern 14th Century seer which has inspired an extreme political group, and thought to be in the collection of rare books that Mourdaunt now owns.
The Westlakes become embroiled in a struggle over the valuable Arabic manuscripts, and when Susie is kidnapped by extremists, Bob works as an assistant to Tom Cookson, a manuscript smuggler who is importing the rare texts the gang are seeking. The extremists demand Mourdaunt turn over his collection of rare books, and plot to incite a revolution across the Middle East but can the Westlakes prevent a serious international situation?.
Output: Who takes Bob's wife?
Passage: On a visit to Belgium, married couple Bob and Susie Westlake become involved with wealthy financier, Steve Mordaunt, in the sale and transfer of a collection of rare books. In an attempted burglary at Mordaunt's home, his love interest, Mrs. Rosemary Delgado, is suspected. She was once romantically linked to a gangster and she leads the Westlakes in a search for Achemd's writings, a middle eastern 14th Century seer which has inspired an extreme political group, and thought to be in the collection of rare books that Mourdaunt now owns.
The Westlakes become embroiled in a struggle over the valuable Arabic manuscripts, and when Susie is kidnapped by extremists, Bob works as an assistant to Tom Cookson, a manuscript smuggler who is importing the rare texts the gang are seeking. The extremists demand Mourdaunt turn over his collection of rare books, and plot to incite a revolution across the Middle East but can the Westlakes prevent a serious international situation?.
Output: What does the man Susie's husband assists do for a living?
Passage: On a visit to Belgium, married couple Bob and Susie Westlake become involved with wealthy financier, Steve Mordaunt, in the sale and transfer of a collection of rare books. In an attempted burglary at Mordaunt's home, his love interest, Mrs. Rosemary Delgado, is suspected. She was once romantically linked to a gangster and she leads the Westlakes in a search for Achemd's writings, a middle eastern 14th Century seer which has inspired an extreme political group, and thought to be in the collection of rare books that Mourdaunt now owns.
The Westlakes become embroiled in a struggle over the valuable Arabic manuscripts, and when Susie is kidnapped by extremists, Bob works as an assistant to Tom Cookson, a manuscript smuggler who is importing the rare texts the gang are seeking. The extremists demand Mourdaunt turn over his collection of rare books, and plot to incite a revolution across the Middle East but can the Westlakes prevent a serious international situation?.
Output: What's the last name of the person Susie's kidnappers want Achmed's writings from?
Passage: Constance Stokes (née Parkin, 22 February 1906 – 14 July 1991) was a modernist Australian painter who worked in Victoria. She trained at the National Gallery of Victoria Art School until 1929, winning a scholarship to continue her study at London's Royal Academy of Arts. Although Stokes painted few works in the 1930s, her paintings and drawings were exhibited from the 1940s onwards. She was one of only two women, and two Victorians, included in a major exhibition of twelve Australian artists that travelled to Canada, the United Kingdom and Italy in the early 1950s.
Influenced by George Bell, Stokes was part of the Melbourne Contemporary Artists, a group Bell established in 1940. Her works continued to be well-regarded for many years after the group's formation, in contrast to those by many of her Victorian modernist colleagues, with favourable reviews from critics such as Sir Philip Hendy in the United Kingdom and Bernard William Smith in Australia.
Her husband's early death in 1962 forced Stokes to return to painting as a career, resulting in a successful one-woman show in 1964, her first in thirty years. She continued to paint and exhibit through the 1970s and 1980s, and was the subject of a retrospective exhibition that toured Victorian regional galleries including Swan Hill Regional Art Gallery and Geelong Art Gallery in 1985. She died in 1991 and is little-known in comparison to some other women artists including Grace Cossington Smith and Clarice Beckett, but her fortunes were revived somewhat as a central figure in Anne Summers' 2009 book The Lost Mother. Her art is represented in most major Australian galleries, including the National Gallery of Australia and the National Gallery of Victoria; the Art Gallery of New South Wales is the only significant Australian collecting institution not to hold one of her works.
Output: What was the full name of the person whose work continued to be well-regarded for many years after the group's formation?
Passage: Constance Stokes (née Parkin, 22 February 1906 – 14 July 1991) was a modernist Australian painter who worked in Victoria. She trained at the National Gallery of Victoria Art School until 1929, winning a scholarship to continue her study at London's Royal Academy of Arts. Although Stokes painted few works in the 1930s, her paintings and drawings were exhibited from the 1940s onwards. She was one of only two women, and two Victorians, included in a major exhibition of twelve Australian artists that travelled to Canada, the United Kingdom and Italy in the early 1950s.
Influenced by George Bell, Stokes was part of the Melbourne Contemporary Artists, a group Bell established in 1940. Her works continued to be well-regarded for many years after the group's formation, in contrast to those by many of her Victorian modernist colleagues, with favourable reviews from critics such as Sir Philip Hendy in the United Kingdom and Bernard William Smith in Australia.
Her husband's early death in 1962 forced Stokes to return to painting as a career, resulting in a successful one-woman show in 1964, her first in thirty years. She continued to paint and exhibit through the 1970s and 1980s, and was the subject of a retrospective exhibition that toured Victorian regional galleries including Swan Hill Regional Art Gallery and Geelong Art Gallery in 1985. She died in 1991 and is little-known in comparison to some other women artists including Grace Cossington Smith and Clarice Beckett, but her fortunes were revived somewhat as a central figure in Anne Summers' 2009 book The Lost Mother. Her art is represented in most major Australian galleries, including the National Gallery of Australia and the National Gallery of Victoria; the Art Gallery of New South Wales is the only significant Australian collecting institution not to hold one of her works.
Output: What was the full name of the person who died in 1991 and is little-known comparison to some other women artists?
Passage: A lady shepherd owns dozens of lambs. She even runs a school where she teaches them. One day, while giving roll call in a class, she notices one of her lambs is missing. She then abandons her teaching session, and goes out to find the lost one.
Out in the open, the missing lamb is playing with some blossoms instead of attending school. She is momentarily spotted by a jackal in luxury car. To deceive the lamb, the jackal, disguised as a person in a mask, greets and offers her a ride. But the lamb is uninterested and just walks away. In his second plan, the jackal dresses as a sheep and carries a picnic basket. He then asks the lamb if she would like to come along. This time the lamb accepts.
Meanwhile, the lady shepherd, after being unable to locate her lamb, comes to a detective agency owned by Krazy Kat. When he hears about her problem, Krazy takes out a pair of hounds, and sets off.
Up on a hill in the open, the missing lamb and the jackal, who's still in his sheep disguise, are having their "picnic." Eventually, Krazy and the hounds come to the scene. Krazy warns the lamb that her companion is actually a vicious jackal. When the lamb is doubtful of the idea, the hounds rush forth at the impostor sheep, tearing up his disguise. Upon getting exposed, the jackal quickly picks up the lamb, and flees in a nearby car. Krazy and the hounds go on a chase and struggle to rescue the lamb. Moments later, the agitated lamb strikes the jackal who then loses control, causing both of them to be thrown out of the car. And before he could do anything else, the jackal is tackled by the hounds.
Krazy returns to the lady shepherd's school, dragging the jackal with him. The other lambs celebrate his deed in cheering him on.
Output: What costume does the animal that drives a car use to trick the lamb into a picnic?
Passage: Anthony is a man with an American father and a deceased Japanese mother living and working in Tokyo. One day his son is run over and killed by Yatsu, this film's version of "The Metal Fetishist". Shortly afterward Anthony begins to transform into metal. He discovers that the work of his scientist father may be the key to his transformation. In his father's house he discovers a secret room with files and papers detailing the Tetsuo Project as a way to turn people into androids. He also learns that his father met his mother while they each researched the project. Anthony's wife arrives but before she sees her transformed husband a S.W.A.T. team arrives and she is taken hostage. Anthony's transformation finishes its hold and he defeats the S.W.A.T. team with bullets fired from his body, but refrains from killing them. The severely injured team is extracted, but then killed by Yatsu.
Output: Who loses a son to "The Metal Fetishist"?
Passage: Anthony is a man with an American father and a deceased Japanese mother living and working in Tokyo. One day his son is run over and killed by Yatsu, this film's version of "The Metal Fetishist". Shortly afterward Anthony begins to transform into metal. He discovers that the work of his scientist father may be the key to his transformation. In his father's house he discovers a secret room with files and papers detailing the Tetsuo Project as a way to turn people into androids. He also learns that his father met his mother while they each researched the project. Anthony's wife arrives but before she sees her transformed husband a S.W.A.T. team arrives and she is taken hostage. Anthony's transformation finishes its hold and he defeats the S.W.A.T. team with bullets fired from his body, but refrains from killing them. The severely injured team is extracted, but then killed by Yatsu.
Output: Whose parent's worked on the Tetsuo Project?
Passage: Anthony is a man with an American father and a deceased Japanese mother living and working in Tokyo. One day his son is run over and killed by Yatsu, this film's version of "The Metal Fetishist". Shortly afterward Anthony begins to transform into metal. He discovers that the work of his scientist father may be the key to his transformation. In his father's house he discovers a secret room with files and papers detailing the Tetsuo Project as a way to turn people into androids. He also learns that his father met his mother while they each researched the project. Anthony's wife arrives but before she sees her transformed husband a S.W.A.T. team arrives and she is taken hostage. Anthony's transformation finishes its hold and he defeats the S.W.A.T. team with bullets fired from his body, but refrains from killing them. The severely injured team is extracted, but then killed by Yatsu.
Output: Who saves the woman taken hostage?
Passage: Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of Peel's statue, a large bronze sculpture of the Minotaur by Michael Ayrton was unveiled in 1973. Dominating the small park, in 1997 the Minotaur sculpture was moved to a new position on the raised walkway above London Wall.
Output: What is the full name of the person who designed and built Watts Mortuary Chapel in Compton?
Passage: Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of Peel's statue, a large bronze sculpture of the Minotaur by Michael Ayrton was unveiled in 1973. Dominating the small park, in 1997 the Minotaur sculpture was moved to a new position on the raised walkway above London Wall.
Output: What is the full name of the person following whose death the memorial was abandoned half-finished?
Passage: Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of Peel's statue, a large bronze sculpture of the Minotaur by Michael Ayrton was unveiled in 1973. Dominating the small park, in 1997 the Minotaur sculpture was moved to a new position on the raised walkway above London Wall.
Output: What is the name of the English church whose location is in a now mainly commercial area with few local residents?
Passage: Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of Peel's statue, a large bronze sculpture of the Minotaur by Michael Ayrton was unveiled in 1973. Dominating the small park, in 1997 the Minotaur sculpture was moved to a new position on the raised walkway above London Wall.
Output: What is the name of the English church with services held on Tuesdays instead of the more traditional Sundays due to its unusual location?
Passage: The film takes place during a 24-hour period. Henry Hackett is the metro editor of the New York Sun, a fictional New York City tabloid. He is a workaholic who loves his job, but the long hours and low pay are leading to discontent. He is at risk of experiencing the same fate as his editor-in-chief, Bernie White, who put his work first at the expense of his family.
The paper's owner, Graham Keighley, faces dire financial straits, so he has Alicia Clark, the managing editor and Henry's nemesis, impose unpopular cutbacks. Henry's wife Martha, a fellow Sun reporter on leave and about to give birth, is fed up because Henry seems to have less and less time for her, and she really dislikes Alicia Clark. She urges him to seriously consider an offer to leave the Sun and become an assistant managing editor at the New York Sentinel, another fictional newspaper (based on The New York Times), which would mean more money, shorter hours, and more respectability, but might also be a bit boring for his tastes.
Minor subplots involve Alicia, Bernie, and Sun columnist Michael McDougal. McDougal is threatened by an angry city official named Sandusky whom McDougal's column had been tormenting for the past several weeks. Their drunken confrontation in a bar (later in the film) leads to gunfire, which gets Alicia shot in the leg through the wall. Alicia, who is having an affair with Sun reporter Carl and has expensive tastes, schemes to get a raise in her salary. Bernie reveals to Henry that he has recently been diagnosed with prostate cancer, which causes him to spend time tracking down his estranged daughter Deanne White, in an attempt to reconcile before his time is up.
Output: Where does the man who might end up like his editor-in-chief work?
Passage: The film takes place during a 24-hour period. Henry Hackett is the metro editor of the New York Sun, a fictional New York City tabloid. He is a workaholic who loves his job, but the long hours and low pay are leading to discontent. He is at risk of experiencing the same fate as his editor-in-chief, Bernie White, who put his work first at the expense of his family.
The paper's owner, Graham Keighley, faces dire financial straits, so he has Alicia Clark, the managing editor and Henry's nemesis, impose unpopular cutbacks. Henry's wife Martha, a fellow Sun reporter on leave and about to give birth, is fed up because Henry seems to have less and less time for her, and she really dislikes Alicia Clark. She urges him to seriously consider an offer to leave the Sun and become an assistant managing editor at the New York Sentinel, another fictional newspaper (based on The New York Times), which would mean more money, shorter hours, and more respectability, but might also be a bit boring for his tastes.
Minor subplots involve Alicia, Bernie, and Sun columnist Michael McDougal. McDougal is threatened by an angry city official named Sandusky whom McDougal's column had been tormenting for the past several weeks. Their drunken confrontation in a bar (later in the film) leads to gunfire, which gets Alicia shot in the leg through the wall. Alicia, who is having an affair with Sun reporter Carl and has expensive tastes, schemes to get a raise in her salary. Bernie reveals to Henry that he has recently been diagnosed with prostate cancer, which causes him to spend time tracking down his estranged daughter Deanne White, in an attempt to reconcile before his time is up.
Output: What position at the paper would Henry be leaving if he went to work at the New York Sentinel?
Passage: The film takes place during a 24-hour period. Henry Hackett is the metro editor of the New York Sun, a fictional New York City tabloid. He is a workaholic who loves his job, but the long hours and low pay are leading to discontent. He is at risk of experiencing the same fate as his editor-in-chief, Bernie White, who put his work first at the expense of his family.
The paper's owner, Graham Keighley, faces dire financial straits, so he has Alicia Clark, the managing editor and Henry's nemesis, impose unpopular cutbacks. Henry's wife Martha, a fellow Sun reporter on leave and about to give birth, is fed up because Henry seems to have less and less time for her, and she really dislikes Alicia Clark. She urges him to seriously consider an offer to leave the Sun and become an assistant managing editor at the New York Sentinel, another fictional newspaper (based on The New York Times), which would mean more money, shorter hours, and more respectability, but might also be a bit boring for his tastes.
Minor subplots involve Alicia, Bernie, and Sun columnist Michael McDougal. McDougal is threatened by an angry city official named Sandusky whom McDougal's column had been tormenting for the past several weeks. Their drunken confrontation in a bar (later in the film) leads to gunfire, which gets Alicia shot in the leg through the wall. Alicia, who is having an affair with Sun reporter Carl and has expensive tastes, schemes to get a raise in her salary. Bernie reveals to Henry that he has recently been diagnosed with prostate cancer, which causes him to spend time tracking down his estranged daughter Deanne White, in an attempt to reconcile before his time is up.
Output: Who tells the woman Martha dislikes to put cutbacks in place at the paper?