niryuu/sni-each-converted huggingface dataset:
Passage: The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.
Output: What were the last names of the critics who compared Deal's work with the Pixies?
Passage: The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.
Output: What was the full name of the person who said Pod never let it rip like the Pixies?
Passage: The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.
Output: What was the name of the band that debuted Pod?
Passage: The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.
Output: What was the last name of the person who was impressed with Deal's ability to move from bass to guitar?
Passage: The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.
Output: What was the full name of the person who considered side 2 of Pod damn near perfect?
Passage: When a British secret agent is murdered in the line of duty, agent Karen Bentley inherits the mission from her partner. The mission is to deliver a flight plan for a hundred American bomber planes to a British agent in Chicago. The plans are hidden in a small medallion of a scorpion that Karen wears.
Karen arrives to New York City from Europe by ship and escapes the clutches of enemy agents by hiding in a variety theatre. To improve her chances of getting away and get a good cover, she charms an actor named Larry Haines, who performs a small act called "Percy" involving his penguin. Larry tells her that he and his penguin are heading west to Hollywood to appear in a film. They have a contract paying $500 a week for Percy and $30 for him as his trainer.
Karen accompanies Larry to the train and plants the medallion on him before he boards the train. Unaware of what he is now carrying, Larry leaves New York, and the German agents, Mme. Stephanie Runick and Dr. Hugo Streger, are also on board the same train, keeping a close eye on Larry. The agents manage to scare up Larry with their odd behavior, and in Albany, Karen boards the train.
Larry meets Karen and finds her a little too odd, since she didn't board the train back in New York with him. When the train stops for three hours in Chicago, Karen manages to steal Larry's suitcase, which now contains the jacket where the medallion is hidden. Larry follows Karen and the suitcase to an address where she is supposed to meet an agent, but Karen finds the agent murdered and has to change her plans. She is instructed to continue to Los Angeles instead.
Output: What is the name of the penguin being transported by the actor?
Passage: When a British secret agent is murdered in the line of duty, agent Karen Bentley inherits the mission from her partner. The mission is to deliver a flight plan for a hundred American bomber planes to a British agent in Chicago. The plans are hidden in a small medallion of a scorpion that Karen wears.
Karen arrives to New York City from Europe by ship and escapes the clutches of enemy agents by hiding in a variety theatre. To improve her chances of getting away and get a good cover, she charms an actor named Larry Haines, who performs a small act called "Percy" involving his penguin. Larry tells her that he and his penguin are heading west to Hollywood to appear in a film. They have a contract paying $500 a week for Percy and $30 for him as his trainer.
Karen accompanies Larry to the train and plants the medallion on him before he boards the train. Unaware of what he is now carrying, Larry leaves New York, and the German agents, Mme. Stephanie Runick and Dr. Hugo Streger, are also on board the same train, keeping a close eye on Larry. The agents manage to scare up Larry with their odd behavior, and in Albany, Karen boards the train.
Larry meets Karen and finds her a little too odd, since she didn't board the train back in New York with him. When the train stops for three hours in Chicago, Karen manages to steal Larry's suitcase, which now contains the jacket where the medallion is hidden. Larry follows Karen and the suitcase to an address where she is supposed to meet an agent, but Karen finds the agent murdered and has to change her plans. She is instructed to continue to Los Angeles instead.
Output: What is the first name of the person the actor believes is a little too odd?
Passage: The reliability of the results can be improved by lengthening the testing time. For example, if counting beta decays for 250 minutes is enough to give an error of ± 80 years, with 68% confidence, then doubling the counting time to 500 minutes will allow a sample with only half as much 14C to be measured with the same error term of 80 years.Radiocarbon dating is generally limited to dating samples no more than 50,000 years old, as samples older than that have insufficient 14C to be measurable.  Older dates have been obtained by using special sample preparation techniques, large samples, and very long measurement times.  These techniques can allow measurement of dates up to 60,000 and in some cases up to 75,000 years before the present.Radiocarbon dates are generally presented with a range of one standard deviation (usually represented by the Greek letter sigma as 1σ) on either side of the mean. However, a date range of 1σ represents only 68% confidence level, so the true age of the object being measured may lie outside the range of dates quoted. This was demonstrated in 1970 by an experiment run by the British Museum radiocarbon laboratory, in which weekly measurements were taken on the same sample for six months. The results varied widely (though consistently with a normal distribution of errors in the measurements), and included multiple date ranges (of 1σ confidence) that did not overlap with each other. The measurements included one with a range from about 4250 to about 4390 years ago, and another with a range from about 4520 to about 4690.Errors in procedure can also lead to errors in the results. If 1% of the benzene in a modern reference sample accidentally evaporates, scintillation counting will give a radiocarbon age that is too young by about 80 years.
Output: What type of techniques can allow measurement of dates up to 60,000 and in some cases up to 75,000 years before the present?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What is the full name of the person who meets their first teenage crush?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What are the first names of the people who are sent to live with their aunt?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What is the first name of the person who offers someone beer?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What is the first name of the person who sees someone tickling someone?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What is the first name of the person who runs from a room?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What is the first name of the person who meets their teenage crush in the summer of 1958?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What are the first names of the people that David sees tickling Meg?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What are the first names of the people who restrain Meg?
Passage: In 2007, David Moran, a Wall Street player, witnesses a man hit and run by a car. He responds to the situation and tries to resuscitate the victim. That evening, he reflects on his past to the summer of 1958, when he meets his first teenage crush Meg Loughlin. Meg and her disabled sister Susan have lost their parents in a car accident and because of this, they are sent to live with their reclusive aunt, Ruth Chandler, and her sons, Willie, Ralphie, and Donny (Graham Patrick Martin, Austin Williams and Benjamin Ross Kaplan).
Living next door to the Chandlers, David is aware of the charisma Ruth has, since she freely allows her sons and their neighborhood friends to her house, where she entertains them and offers them beer and cigarettes. Meanwhile, Ruth starves Meg, accuses her of being a whore and subjects her to misogynistic lectures, whilst her children listen. One day, David visits the Chandler residence, where he sees the Chandler sons tickling Meg. Ralphie inappropriately tickles Meg's breasts, prompting her to fend him off as she runs from the room. His brothers humiliate Susan and when Ralphie brings Ruth to the situation, Ruth reprimands her for forgiving Meg's actions. Ruth beats Susan's bare buttocks as the Chandler sons restrain a horrified Meg, who came back to the room to save Susan. Ruth then takes the ring that Meg wears around her neck, which belonged to her mother.
Output: What are the first names of the people who humiliate Susan?
Passage: Lancaster's career designing for the theatre began and ended with Gilbert and Sullivan. His first costumes and scenery were for the Sadler's Wells Ballet's Pineapple Poll (1951), John Cranko's ballet with a story based on a Gilbert poem and music by Sullivan. His last were for the D'Oyly Carte Opera Company's revival of The Sorcerer (1973). In between, he designed more productions for the Royal Ballet, as well as for Glyndebourne Festival Opera, the Old Vic and the West End. It was a matter of mild regret to him that of the twenty plays, operas and ballets that he designed between the two, only one was for a thoroughly serious piece, Britten's Peter Grimes, for the Bulgarian National Opera in Sofia in 1964.Only two of Lancaster's theatre designs have remained in use in 21st-century productions, both by the Royal Ballet: Pineapple Poll and La fille mal gardée. In an article on the latter in 2016, Danielle Buckley wrote, "Lancaster's surrealist and stylized designs for Fille amplify the story's pantomime quality, and the exaggerated burlesque of its comedy – but the backdrops of fields that roll into the distance, bundles of hay, dreamy skies and village cottages provide the idealized, pastoral context that the story needs". Buckley adds that Lancaster’s designs have been criticised for locating the ballet in no particular time or place – "except, that is, of a 1960s London view of idyllic country life".Lancaster's stated view was that stage sets and costumes should reflect reality, but "through a lens, magnifying and slightly over-emphasising everything which it reflects". Sir Geraint Evans commented on how Lancaster's designs helped the performer: "[His] design for Falstaff was superb: it gave me clues to understanding the character, and reflected that marvellous, subtle sense of humour which was present in all his work.".
Output: What is the name of the person whose first costumes and scenery were for the Sadler's Wells Ballet's Pineapple Poll?
Passage: Lancaster's career designing for the theatre began and ended with Gilbert and Sullivan. His first costumes and scenery were for the Sadler's Wells Ballet's Pineapple Poll (1951), John Cranko's ballet with a story based on a Gilbert poem and music by Sullivan. His last were for the D'Oyly Carte Opera Company's revival of The Sorcerer (1973). In between, he designed more productions for the Royal Ballet, as well as for Glyndebourne Festival Opera, the Old Vic and the West End. It was a matter of mild regret to him that of the twenty plays, operas and ballets that he designed between the two, only one was for a thoroughly serious piece, Britten's Peter Grimes, for the Bulgarian National Opera in Sofia in 1964.Only two of Lancaster's theatre designs have remained in use in 21st-century productions, both by the Royal Ballet: Pineapple Poll and La fille mal gardée. In an article on the latter in 2016, Danielle Buckley wrote, "Lancaster's surrealist and stylized designs for Fille amplify the story's pantomime quality, and the exaggerated burlesque of its comedy – but the backdrops of fields that roll into the distance, bundles of hay, dreamy skies and village cottages provide the idealized, pastoral context that the story needs". Buckley adds that Lancaster’s designs have been criticised for locating the ballet in no particular time or place – "except, that is, of a 1960s London view of idyllic country life".Lancaster's stated view was that stage sets and costumes should reflect reality, but "through a lens, magnifying and slightly over-emphasising everything which it reflects". Sir Geraint Evans commented on how Lancaster's designs helped the performer: "[His] design for Falstaff was superb: it gave me clues to understanding the character, and reflected that marvellous, subtle sense of humour which was present in all his work.".
Output: What is the name of the person whose first costumes and scenery were for John Cranko's ballet?
Passage: Lancaster's career designing for the theatre began and ended with Gilbert and Sullivan. His first costumes and scenery were for the Sadler's Wells Ballet's Pineapple Poll (1951), John Cranko's ballet with a story based on a Gilbert poem and music by Sullivan. His last were for the D'Oyly Carte Opera Company's revival of The Sorcerer (1973). In between, he designed more productions for the Royal Ballet, as well as for Glyndebourne Festival Opera, the Old Vic and the West End. It was a matter of mild regret to him that of the twenty plays, operas and ballets that he designed between the two, only one was for a thoroughly serious piece, Britten's Peter Grimes, for the Bulgarian National Opera in Sofia in 1964.Only two of Lancaster's theatre designs have remained in use in 21st-century productions, both by the Royal Ballet: Pineapple Poll and La fille mal gardée. In an article on the latter in 2016, Danielle Buckley wrote, "Lancaster's surrealist and stylized designs for Fille amplify the story's pantomime quality, and the exaggerated burlesque of its comedy – but the backdrops of fields that roll into the distance, bundles of hay, dreamy skies and village cottages provide the idealized, pastoral context that the story needs". Buckley adds that Lancaster’s designs have been criticised for locating the ballet in no particular time or place – "except, that is, of a 1960s London view of idyllic country life".Lancaster's stated view was that stage sets and costumes should reflect reality, but "through a lens, magnifying and slightly over-emphasising everything which it reflects". Sir Geraint Evans commented on how Lancaster's designs helped the performer: "[His] design for Falstaff was superb: it gave me clues to understanding the character, and reflected that marvellous, subtle sense of humour which was present in all his work.".
Output: What was the last year Lancaster created costumes and scenery?
Passage: Curiously, it appears that the Greeks did not "breed" their slaves, at least during the Classical Era, though the proportion of houseborn slaves appears to have been rather large in Ptolemaic Egypt and in manumission inscriptions at Delphi. Sometimes the cause of this was natural; mines, for instance, were exclusively a male domain. On the other hand, there were many female domestic slaves. The example of African slaves in the American South on the other hand demonstrates that slave populations can multiply.Xenophon advised that male and female slaves should be lodged separately, that "…nor children born and bred by our domestics without our knowledge and consent—no unimportant matter, since, if the act of rearing children tends to make good servants still more loyally disposed, cohabiting but sharpens ingenuity for mischief in the bad." The explanation is perhaps economic; even a skilled slave was cheap, so it may have been cheaper to purchase a slave than to raise one. Additionally, childbirth placed the slave-mother's life at risk, and the baby was not guaranteed to survive to adulthood.Houseborn slaves (oikogeneis) often constituted a privileged class. They were, for example, entrusted to take the children to school; they were "pedagogues" in the first sense of the term. Some of them were the offspring of the master of the house, but in most cities, notably Athens, a child inherited the status of its mother.
Output: What were entrusted to take children to school?
Passage: Curiously, it appears that the Greeks did not "breed" their slaves, at least during the Classical Era, though the proportion of houseborn slaves appears to have been rather large in Ptolemaic Egypt and in manumission inscriptions at Delphi. Sometimes the cause of this was natural; mines, for instance, were exclusively a male domain. On the other hand, there were many female domestic slaves. The example of African slaves in the American South on the other hand demonstrates that slave populations can multiply.Xenophon advised that male and female slaves should be lodged separately, that "…nor children born and bred by our domestics without our knowledge and consent—no unimportant matter, since, if the act of rearing children tends to make good servants still more loyally disposed, cohabiting but sharpens ingenuity for mischief in the bad." The explanation is perhaps economic; even a skilled slave was cheap, so it may have been cheaper to purchase a slave than to raise one. Additionally, childbirth placed the slave-mother's life at risk, and the baby was not guaranteed to survive to adulthood.Houseborn slaves (oikogeneis) often constituted a privileged class. They were, for example, entrusted to take the children to school; they were "pedagogues" in the first sense of the term. Some of them were the offspring of the master of the house, but in most cities, notably Athens, a child inherited the status of its mother.
Output: What were pedagogues in the first sense of the term?
Passage: After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
Output: What was the name of band that realesed The Downward Spiral?
Passage: After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
Output: What was the name of the band that went on the Self-Destruct tour?
Passage: After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
Output: What is the name of the Nine Inch Nails guitarist on the Self Destruct tour?
Passage: After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
Output: What band received a Grammy Award in 1995 for Best Metal Performance?
Passage: After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
Output: What did the back stage have very little of?