niryuu/sni-each-converted huggingface dataset:
Passage: Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.
Output: What is the title of the single that did not receive a nomination for Best Original Song though was included in the list of contenders?
Passage: Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.
Output: What is the title of the film from which featured clips were included in a minute and 35 seconds video uploaded to The Weinstein Company's YouTube channel?
Passage: Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.
Output: What is the title of the track Idolator's Christina Lee wrote was an exclusive release for the United States and Canada?
Passage: Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.
Output: What is the name of the song that was exluded from the film's soundtrack album?
Passage: Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.
Output: What is the title of the track Ryan Seacrest erroneously announced was available for purchase on the iTunes Store?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the full name of the person who resigned his conductorship of the Russian Music Society orchestra?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: Whose opera, The Voyevoda, contained a piece that had been promised to the Russian Music Society?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the name of the person who composed a symphonic poem entitled Fatum?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the name of the piece with which Tchaikovsky was initially pleased when Rubinstein conducted it in Moscow?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the name of the piece Tchaikovsky dedicated to Balakirev?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the name of the piece Tchaikovsky sent to Balakriev to conduct in Saint Petersburg?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the name of the place in which Balakirev's conductorship of Fatum recieved a lukewarm reception?
Passage: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky was too self-critical not to see the truth behind these comments. He accepted Balakirev's criticism, and the two continued to correspond. Tchaikovsky would later destroy the score of Fatum. (The score would be reconstructed posthumously by using the orchestral parts.).
Output: What is the name of the person who accepted Balakirev's criticism of Fatum, after which the two continued to correspond?
Passage: Zack Siler is the big man on campus at his Southern California high school. His popular and narcissistic girlfriend, Taylor Vaughan, ditches him for a faded reality TV star from The Real World, Brock Hudson, whom she met on Spring Break in Florida. Although bitter over the break-up, Zack consoles himself by claiming that Taylor is replaceable by any girl in the school. Zack's friend, Dean Sampson, Jr., disagrees and challenges him to a bet on whether Zack can turn any random girl into the Prom Queen within six weeks, a coveted position held by the most popular girl in school. Dean picks out Laney Boggs, a dorky, solitary, unpopular art student, as his choice for Zack.
Zack approaches and attempts to befriend Laney in the hope of subsequently transforming her into prom queen material. His first encounter with her is a complete failure, when she pointedly ignores his advance and walks away from him. With help from Laney's friend, Jesse Jackson, Zack eventually is successful in getting Laney to take him to a theater lounge frequented by artists and performers. Intending to deter him, Laney arranges for Zack to be called onto the stage and perform to his surprise. Zack manages to improvise a show with the Hacky Sack he happens to carry in his pocket. Laney is impressed by the performance, but rejects him again after he attempts to charm her.
Output: Which two people make a bet?
Passage: Zack Siler is the big man on campus at his Southern California high school. His popular and narcissistic girlfriend, Taylor Vaughan, ditches him for a faded reality TV star from The Real World, Brock Hudson, whom she met on Spring Break in Florida. Although bitter over the break-up, Zack consoles himself by claiming that Taylor is replaceable by any girl in the school. Zack's friend, Dean Sampson, Jr., disagrees and challenges him to a bet on whether Zack can turn any random girl into the Prom Queen within six weeks, a coveted position held by the most popular girl in school. Dean picks out Laney Boggs, a dorky, solitary, unpopular art student, as his choice for Zack.
Zack approaches and attempts to befriend Laney in the hope of subsequently transforming her into prom queen material. His first encounter with her is a complete failure, when she pointedly ignores his advance and walks away from him. With help from Laney's friend, Jesse Jackson, Zack eventually is successful in getting Laney to take him to a theater lounge frequented by artists and performers. Intending to deter him, Laney arranges for Zack to be called onto the stage and perform to his surprise. Zack manages to improvise a show with the Hacky Sack he happens to carry in his pocket. Laney is impressed by the performance, but rejects him again after he attempts to charm her.
Output: Who is friends with the random girl?
Passage: Zack Siler is the big man on campus at his Southern California high school. His popular and narcissistic girlfriend, Taylor Vaughan, ditches him for a faded reality TV star from The Real World, Brock Hudson, whom she met on Spring Break in Florida. Although bitter over the break-up, Zack consoles himself by claiming that Taylor is replaceable by any girl in the school. Zack's friend, Dean Sampson, Jr., disagrees and challenges him to a bet on whether Zack can turn any random girl into the Prom Queen within six weeks, a coveted position held by the most popular girl in school. Dean picks out Laney Boggs, a dorky, solitary, unpopular art student, as his choice for Zack.
Zack approaches and attempts to befriend Laney in the hope of subsequently transforming her into prom queen material. His first encounter with her is a complete failure, when she pointedly ignores his advance and walks away from him. With help from Laney's friend, Jesse Jackson, Zack eventually is successful in getting Laney to take him to a theater lounge frequented by artists and performers. Intending to deter him, Laney arranges for Zack to be called onto the stage and perform to his surprise. Zack manages to improvise a show with the Hacky Sack he happens to carry in his pocket. Laney is impressed by the performance, but rejects him again after he attempts to charm her.
Output: Who is friends with the big man on campus?
Passage: Zack Siler is the big man on campus at his Southern California high school. His popular and narcissistic girlfriend, Taylor Vaughan, ditches him for a faded reality TV star from The Real World, Brock Hudson, whom she met on Spring Break in Florida. Although bitter over the break-up, Zack consoles himself by claiming that Taylor is replaceable by any girl in the school. Zack's friend, Dean Sampson, Jr., disagrees and challenges him to a bet on whether Zack can turn any random girl into the Prom Queen within six weeks, a coveted position held by the most popular girl in school. Dean picks out Laney Boggs, a dorky, solitary, unpopular art student, as his choice for Zack.
Zack approaches and attempts to befriend Laney in the hope of subsequently transforming her into prom queen material. His first encounter with her is a complete failure, when she pointedly ignores his advance and walks away from him. With help from Laney's friend, Jesse Jackson, Zack eventually is successful in getting Laney to take him to a theater lounge frequented by artists and performers. Intending to deter him, Laney arranges for Zack to be called onto the stage and perform to his surprise. Zack manages to improvise a show with the Hacky Sack he happens to carry in his pocket. Laney is impressed by the performance, but rejects him again after he attempts to charm her.
Output: Who starts dating the popular and narcissistic girl?
Passage: After a tornado in Kansas causes a loose gate to knock Dorothy unconscious, she re-appears in the Land of Oz with Toto, and encounters a talking Signpost (voiced by Jack E. Leonard), whose three signs point in different directions, all marked "Emerald City". They later meet Pumpkinhead (voiced by Paul Lynde), the unwilling servant of antagonist Mombi - cousin of the deceased Wicked Witch of the West. Toto chases a cat to a small cottage where Dorothy is captured by Mombi's pet crow (voiced by Mel Blanc) and Mombi (voiced by Ethel Merman) herself. Pumpkinhead sneaks into the house in Mombi's absence, and discovers her creation of green elephants, to use as her army to conquer the Emerald City. Pumpkinhead frees Dorothy, and they flee. After finding Dorothy gone, Mombi threatens that their warning the Scarecrow will not help when her green elephants "come crashing through the gate".
Dorothy and Pumpkinhead acquire Woodenhead Stallion III (voiced by Herschel Bernardi), a former merry-go-round horse (a combination of the Sawhorse from The Marvelous Land of Oz and the title character of the last Oz book of all, Merry Go Round in Oz), who takes them to the Emerald City, where Dorothy warns the Scarecrow (voiced by Mickey Rooney) about Mombi's green elephants. Mombi arrives moments later, and Toto and the Scarecrow are captured. Dorothy, Pumpkinhead, and Woodenhead flee to Tinland to convince the Tin Man (voiced by Danny Thomas, who spoke, and Larry Storch, who sang) to help them. He declines upon being afraid of the green elephants and suggests that they ask the Cowardly Lion (voiced by Milton Berle), who promises to slay the elephants, but suggests consulting Glinda the Good Witch (voiced by Rise Stevens), who appears to them with a "Glinda Bird" that uses its Tattle Tail to show what is occurring at the palace. She then gives Dorothy a little silver box, to open only in the Emerald City, and only in a dire emergency.
Output: Who gave Dorothy a little silver box?
Passage: After a tornado in Kansas causes a loose gate to knock Dorothy unconscious, she re-appears in the Land of Oz with Toto, and encounters a talking Signpost (voiced by Jack E. Leonard), whose three signs point in different directions, all marked "Emerald City". They later meet Pumpkinhead (voiced by Paul Lynde), the unwilling servant of antagonist Mombi - cousin of the deceased Wicked Witch of the West. Toto chases a cat to a small cottage where Dorothy is captured by Mombi's pet crow (voiced by Mel Blanc) and Mombi (voiced by Ethel Merman) herself. Pumpkinhead sneaks into the house in Mombi's absence, and discovers her creation of green elephants, to use as her army to conquer the Emerald City. Pumpkinhead frees Dorothy, and they flee. After finding Dorothy gone, Mombi threatens that their warning the Scarecrow will not help when her green elephants "come crashing through the gate".
Dorothy and Pumpkinhead acquire Woodenhead Stallion III (voiced by Herschel Bernardi), a former merry-go-round horse (a combination of the Sawhorse from The Marvelous Land of Oz and the title character of the last Oz book of all, Merry Go Round in Oz), who takes them to the Emerald City, where Dorothy warns the Scarecrow (voiced by Mickey Rooney) about Mombi's green elephants. Mombi arrives moments later, and Toto and the Scarecrow are captured. Dorothy, Pumpkinhead, and Woodenhead flee to Tinland to convince the Tin Man (voiced by Danny Thomas, who spoke, and Larry Storch, who sang) to help them. He declines upon being afraid of the green elephants and suggests that they ask the Cowardly Lion (voiced by Milton Berle), who promises to slay the elephants, but suggests consulting Glinda the Good Witch (voiced by Rise Stevens), who appears to them with a "Glinda Bird" that uses its Tattle Tail to show what is occurring at the palace. She then gives Dorothy a little silver box, to open only in the Emerald City, and only in a dire emergency.
Output: What is the name of the person who created the green elephants to use as her army to conquer the Emerald City?
Passage: After a tornado in Kansas causes a loose gate to knock Dorothy unconscious, she re-appears in the Land of Oz with Toto, and encounters a talking Signpost (voiced by Jack E. Leonard), whose three signs point in different directions, all marked "Emerald City". They later meet Pumpkinhead (voiced by Paul Lynde), the unwilling servant of antagonist Mombi - cousin of the deceased Wicked Witch of the West. Toto chases a cat to a small cottage where Dorothy is captured by Mombi's pet crow (voiced by Mel Blanc) and Mombi (voiced by Ethel Merman) herself. Pumpkinhead sneaks into the house in Mombi's absence, and discovers her creation of green elephants, to use as her army to conquer the Emerald City. Pumpkinhead frees Dorothy, and they flee. After finding Dorothy gone, Mombi threatens that their warning the Scarecrow will not help when her green elephants "come crashing through the gate".
Dorothy and Pumpkinhead acquire Woodenhead Stallion III (voiced by Herschel Bernardi), a former merry-go-round horse (a combination of the Sawhorse from The Marvelous Land of Oz and the title character of the last Oz book of all, Merry Go Round in Oz), who takes them to the Emerald City, where Dorothy warns the Scarecrow (voiced by Mickey Rooney) about Mombi's green elephants. Mombi arrives moments later, and Toto and the Scarecrow are captured. Dorothy, Pumpkinhead, and Woodenhead flee to Tinland to convince the Tin Man (voiced by Danny Thomas, who spoke, and Larry Storch, who sang) to help them. He declines upon being afraid of the green elephants and suggests that they ask the Cowardly Lion (voiced by Milton Berle), who promises to slay the elephants, but suggests consulting Glinda the Good Witch (voiced by Rise Stevens), who appears to them with a "Glinda Bird" that uses its Tattle Tail to show what is occurring at the palace. She then gives Dorothy a little silver box, to open only in the Emerald City, and only in a dire emergency.
Output: Who declines to help Dorothy because they are afraid of green elephants?
Passage: After a tornado in Kansas causes a loose gate to knock Dorothy unconscious, she re-appears in the Land of Oz with Toto, and encounters a talking Signpost (voiced by Jack E. Leonard), whose three signs point in different directions, all marked "Emerald City". They later meet Pumpkinhead (voiced by Paul Lynde), the unwilling servant of antagonist Mombi - cousin of the deceased Wicked Witch of the West. Toto chases a cat to a small cottage where Dorothy is captured by Mombi's pet crow (voiced by Mel Blanc) and Mombi (voiced by Ethel Merman) herself. Pumpkinhead sneaks into the house in Mombi's absence, and discovers her creation of green elephants, to use as her army to conquer the Emerald City. Pumpkinhead frees Dorothy, and they flee. After finding Dorothy gone, Mombi threatens that their warning the Scarecrow will not help when her green elephants "come crashing through the gate".
Dorothy and Pumpkinhead acquire Woodenhead Stallion III (voiced by Herschel Bernardi), a former merry-go-round horse (a combination of the Sawhorse from The Marvelous Land of Oz and the title character of the last Oz book of all, Merry Go Round in Oz), who takes them to the Emerald City, where Dorothy warns the Scarecrow (voiced by Mickey Rooney) about Mombi's green elephants. Mombi arrives moments later, and Toto and the Scarecrow are captured. Dorothy, Pumpkinhead, and Woodenhead flee to Tinland to convince the Tin Man (voiced by Danny Thomas, who spoke, and Larry Storch, who sang) to help them. He declines upon being afraid of the green elephants and suggests that they ask the Cowardly Lion (voiced by Milton Berle), who promises to slay the elephants, but suggests consulting Glinda the Good Witch (voiced by Rise Stevens), who appears to them with a "Glinda Bird" that uses its Tattle Tail to show what is occurring at the palace. She then gives Dorothy a little silver box, to open only in the Emerald City, and only in a dire emergency.
Output: What is the full name of the person that gives Dorothy a little silver box?
Passage: Diaz followed Imelda Marcos, the former First Lady of the Philippines, for a month and interviewed her daughter Imee and her son Ferdinand, Jr. The film incorporates third party interviews and archive material; it recounts Imelda's life, including her marriage to her husband, Philippine president Ferdinand Marcos. Discussing the Marcos presidency, Imelda says that there were no human rights abuses in her country; she says that her husband abolished Congress and declared martial law in 1972 to protect democracy. She says that she took 3,000 pairs of shoes with her when she went into exile, and justifies her extravagant clothing by saying that it "inspired the poor to dress better". She also says that she had enormous museums and theaters constructed to enrich the lives of Filipinos.Imelda says in one vignette that she had met United States Army General Douglas MacArthur during his landing in Tacloban at the end of World War II, and that McArthur insisted that she should perform for the composer Irving Berlin, She sang "God Bless the Philippines" and when Berlin asked her why she sang the lyrics incorrectly she said, "what's the difference between America and the Philippines?" The assassination attempt on Imelda and the assassination of Benigno Aquino, Jr. are featured in the film. Footage from parties held by the Marcos couple, including one during which actor George Hamilton sang "I can't give you anything but love, Imelda", are also used in the film.
Output: What is the last name of Ferdinand, Jr.?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What year was a long letter written by the man who provided music for an opera based on a Greek myth chiefly concerned with financial matters?