niryuu/sni-each-converted huggingface dataset:
Passage: Radical rebuilding schemes poured in for the gutted City and were encouraged by Charles. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence (see Evelyn's plan on the right). The Crown and the City authorities attempted to establish "to whom all the houses and ground did in truth belong" to negotiate with their owners about compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight, and Richard Newcourt proposed rebuilding plans.
With the complexities of ownership unresolved, none of the grand Baroque schemes could be realised for a City of piazzas and avenues; there was nobody to negotiate with, and no means of calculating how much compensation should be paid. Instead, much of the old street plan was recreated in the new City, with improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. New public buildings were created on their predecessors' sites; perhaps the most famous is St Paul's Cathedral and its smaller cousins, Christopher Wren's 50 new churches.
On Charles' initiative, a Monument to the Great Fire of London was erected near Pudding Lane, designed by Christopher Wren and Robert Hooke, standing 61 metres (200 ft) tall and known simply as "The Monument". It is a familiar London landmark which has since given its name to a tube station. In 1668, accusations against the Catholics were added to the inscription on the Monument which read, in part:
The inscription remained until after the passage of the Roman Catholic Relief Act 1829 when it was removed in 1830 following a successful campaign by City Solicitor Charles Pearson.Another monument marks the spot where the fire stopped: the Golden Boy of Pye Corner in Smithfield. According to the inscription, it was evidence of God's wrath on the City of London for the sin of gluttony that the fire started at Pudding Lane and stopped at Pye Corner.
Output: What act removed the inscription that included accusations against Catholics?
Passage: Radical rebuilding schemes poured in for the gutted City and were encouraged by Charles. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence (see Evelyn's plan on the right). The Crown and the City authorities attempted to establish "to whom all the houses and ground did in truth belong" to negotiate with their owners about compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight, and Richard Newcourt proposed rebuilding plans.
With the complexities of ownership unresolved, none of the grand Baroque schemes could be realised for a City of piazzas and avenues; there was nobody to negotiate with, and no means of calculating how much compensation should be paid. Instead, much of the old street plan was recreated in the new City, with improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. New public buildings were created on their predecessors' sites; perhaps the most famous is St Paul's Cathedral and its smaller cousins, Christopher Wren's 50 new churches.
On Charles' initiative, a Monument to the Great Fire of London was erected near Pudding Lane, designed by Christopher Wren and Robert Hooke, standing 61 metres (200 ft) tall and known simply as "The Monument". It is a familiar London landmark which has since given its name to a tube station. In 1668, accusations against the Catholics were added to the inscription on the Monument which read, in part:
The inscription remained until after the passage of the Roman Catholic Relief Act 1829 when it was removed in 1830 following a successful campaign by City Solicitor Charles Pearson.Another monument marks the spot where the fire stopped: the Golden Boy of Pye Corner in Smithfield. According to the inscription, it was evidence of God's wrath on the City of London for the sin of gluttony that the fire started at Pudding Lane and stopped at Pye Corner.
Output: What year was the inscription that added accusations against Catholics in 1668?
Passage: Radical rebuilding schemes poured in for the gutted City and were encouraged by Charles. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence (see Evelyn's plan on the right). The Crown and the City authorities attempted to establish "to whom all the houses and ground did in truth belong" to negotiate with their owners about compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight, and Richard Newcourt proposed rebuilding plans.
With the complexities of ownership unresolved, none of the grand Baroque schemes could be realised for a City of piazzas and avenues; there was nobody to negotiate with, and no means of calculating how much compensation should be paid. Instead, much of the old street plan was recreated in the new City, with improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. New public buildings were created on their predecessors' sites; perhaps the most famous is St Paul's Cathedral and its smaller cousins, Christopher Wren's 50 new churches.
On Charles' initiative, a Monument to the Great Fire of London was erected near Pudding Lane, designed by Christopher Wren and Robert Hooke, standing 61 metres (200 ft) tall and known simply as "The Monument". It is a familiar London landmark which has since given its name to a tube station. In 1668, accusations against the Catholics were added to the inscription on the Monument which read, in part:
The inscription remained until after the passage of the Roman Catholic Relief Act 1829 when it was removed in 1830 following a successful campaign by City Solicitor Charles Pearson.Another monument marks the spot where the fire stopped: the Golden Boy of Pye Corner in Smithfield. According to the inscription, it was evidence of God's wrath on the City of London for the sin of gluttony that the fire started at Pudding Lane and stopped at Pye Corner.
Output: What is the full name of the person who campaigned to remove the inscription from the Monument to the Great Fire of London?
Passage: Radical rebuilding schemes poured in for the gutted City and were encouraged by Charles. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence (see Evelyn's plan on the right). The Crown and the City authorities attempted to establish "to whom all the houses and ground did in truth belong" to negotiate with their owners about compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight, and Richard Newcourt proposed rebuilding plans.
With the complexities of ownership unresolved, none of the grand Baroque schemes could be realised for a City of piazzas and avenues; there was nobody to negotiate with, and no means of calculating how much compensation should be paid. Instead, much of the old street plan was recreated in the new City, with improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. New public buildings were created on their predecessors' sites; perhaps the most famous is St Paul's Cathedral and its smaller cousins, Christopher Wren's 50 new churches.
On Charles' initiative, a Monument to the Great Fire of London was erected near Pudding Lane, designed by Christopher Wren and Robert Hooke, standing 61 metres (200 ft) tall and known simply as "The Monument". It is a familiar London landmark which has since given its name to a tube station. In 1668, accusations against the Catholics were added to the inscription on the Monument which read, in part:
The inscription remained until after the passage of the Roman Catholic Relief Act 1829 when it was removed in 1830 following a successful campaign by City Solicitor Charles Pearson.Another monument marks the spot where the fire stopped: the Golden Boy of Pye Corner in Smithfield. According to the inscription, it was evidence of God's wrath on the City of London for the sin of gluttony that the fire started at Pudding Lane and stopped at Pye Corner.
Output: What is the nickname for the monument erected near Puddding Lane?
Passage: Radical rebuilding schemes poured in for the gutted City and were encouraged by Charles. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence (see Evelyn's plan on the right). The Crown and the City authorities attempted to establish "to whom all the houses and ground did in truth belong" to negotiate with their owners about compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight, and Richard Newcourt proposed rebuilding plans.
With the complexities of ownership unresolved, none of the grand Baroque schemes could be realised for a City of piazzas and avenues; there was nobody to negotiate with, and no means of calculating how much compensation should be paid. Instead, much of the old street plan was recreated in the new City, with improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. New public buildings were created on their predecessors' sites; perhaps the most famous is St Paul's Cathedral and its smaller cousins, Christopher Wren's 50 new churches.
On Charles' initiative, a Monument to the Great Fire of London was erected near Pudding Lane, designed by Christopher Wren and Robert Hooke, standing 61 metres (200 ft) tall and known simply as "The Monument". It is a familiar London landmark which has since given its name to a tube station. In 1668, accusations against the Catholics were added to the inscription on the Monument which read, in part:
The inscription remained until after the passage of the Roman Catholic Relief Act 1829 when it was removed in 1830 following a successful campaign by City Solicitor Charles Pearson.Another monument marks the spot where the fire stopped: the Golden Boy of Pye Corner in Smithfield. According to the inscription, it was evidence of God's wrath on the City of London for the sin of gluttony that the fire started at Pudding Lane and stopped at Pye Corner.
Output: What is the full name of the person who designed the monument that had an inscription removed in 1830?
Passage: Prior to Christmas 2001, Bostaph sustained a chronic elbow injury which hindered his ability to drum, resulting in his decision to leave the band. His third-to-last performance with Slayer was recorded on War at the Warfield. To date, Bostaph has not viewed the footage; he has likened the experience to "breaking up with a girlfriend," and wants to move on with his life. Bostaph does not regret his time spent with the band, and described the period as a high point in his career. Bostaph eventually rejoined Slayer in 2013, once again replacing Dave Lombardo. Without a drummer the band were unable to finish their God Hates Us All tour. Hanneman contacted original drummer Dave Lombardo almost ten years after his departure, and asked him if he would be willing to play for the remainder of the tour. Lombardo accepted the offer, and played for the remaining 21 shows; however, he did not take on a permanent position with the band.Following the tour, the band continued their search for a permanent drummer, and sought solicitation via demo tape and snail mail. Interested fans sent video recordings of renditions of the songs "Disciple," "God Send Death," "Stain of Mind," "Angel of Death", "Postmortem/Raining Blood," "South of Heaven," "War Ensemble," and "Seasons in the Abyss"; complete with résumés. The band listened to hundreds of demo tapes, and created a "good pile" and "ungood pile," though the "ungood" was much larger. Those whose performances the band were pleased with were offered an audition in Dallas, San Francisco or Peoria, Illinois; many applicants, however, were unable to attend due to flight costs. The band auditioned roughly two to three drummers a day, and their top choice was one of Lombardo's recommendations. However, the band ultimately returned to Lombardo after deciding that they could not find a drummer who suited the job; Lombardo re-joined Slayer and attended music festivals worldwide to promote God Hates Us All and record drums on the 2006 album Christ Illusion.
Output: What is the full name of the person that started playing drums on the God Hates Us All tour?
Passage: Prior to Christmas 2001, Bostaph sustained a chronic elbow injury which hindered his ability to drum, resulting in his decision to leave the band. His third-to-last performance with Slayer was recorded on War at the Warfield. To date, Bostaph has not viewed the footage; he has likened the experience to "breaking up with a girlfriend," and wants to move on with his life. Bostaph does not regret his time spent with the band, and described the period as a high point in his career. Bostaph eventually rejoined Slayer in 2013, once again replacing Dave Lombardo. Without a drummer the band were unable to finish their God Hates Us All tour. Hanneman contacted original drummer Dave Lombardo almost ten years after his departure, and asked him if he would be willing to play for the remainder of the tour. Lombardo accepted the offer, and played for the remaining 21 shows; however, he did not take on a permanent position with the band.Following the tour, the band continued their search for a permanent drummer, and sought solicitation via demo tape and snail mail. Interested fans sent video recordings of renditions of the songs "Disciple," "God Send Death," "Stain of Mind," "Angel of Death", "Postmortem/Raining Blood," "South of Heaven," "War Ensemble," and "Seasons in the Abyss"; complete with résumés. The band listened to hundreds of demo tapes, and created a "good pile" and "ungood pile," though the "ungood" was much larger. Those whose performances the band were pleased with were offered an audition in Dallas, San Francisco or Peoria, Illinois; many applicants, however, were unable to attend due to flight costs. The band auditioned roughly two to three drummers a day, and their top choice was one of Lombardo's recommendations. However, the band ultimately returned to Lombardo after deciding that they could not find a drummer who suited the job; Lombardo re-joined Slayer and attended music festivals worldwide to promote God Hates Us All and record drums on the 2006 album Christ Illusion.
Output: What is the name of the person that felt their time spent with Slayer was the high point in their career?
Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
Output: Who thinks that business comes first?
Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
Output: Who wants to marry a German refugee?
Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
Output: Who turns on Cliff?
Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
Output: Whose company does George Salt want to takeover?
Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
Output: What is the full name of the character who falls in love with a German refugee?
Passage: Although he is scheduled to wed his boss George Salt's niece that weekend, Amalgamated World Metals vice chairman Cliff Barton is sent to London to conduct a business deal that will enrich the firm. Salt considers him a protege and intends to turn over control of the company to Barton someday, insisting to him that business always comes first.
Cliff must hide the fact from Mr. Carew, who runs the British company, that Salt intends to unscrupulously assume control of the company rather than simply merge with it. While following through on Mrs. Salt's request to drop by her pet London-based charity, Cliff learns that it is actually a front for prostitutes run by a German refugee named Miriam Linka.
Although his loyalties are with the company, Cliff wants no part of betraying Carew's trust. He also, against all odds, falls in love with Miriam and persuades her to return to America with him to be married. Salt angrily tries to spin the guilt so that it appears Cliff was the one defrauding the British, while false accusations fly that Miriam is not only a prostitute but a Communist as well. Cliff must fight for his reputation and the woman he loves.
Output: What is the full name of the character who insists that business comes first?
Passage: Penetration testing involves inserting a probe into snow to determine the snow's mechanical properties.  Experienced snow surveyors can use an ordinary ski pole to test snow hardness by pushing it into the snow; the results are recorded based on the change in resistance felt as the pole is inserted.  A more scientific tool, invented in the 1930s but still in widespread use, is a ram penetrometer.  This takes the form of a rod with a cone at the lower end.  The upper end of the rod passes through a weight that is used as a hammer; the weight is lifted and released, and hits an anvil—a ledge around the rod which it cannot pass—which drives the rod into the snow.  To take a measurement, the rod is placed on the snow and the hammer is dropped one or more times; the resulting depth of penetration is recorded.  In soft snow a lighter hammer can be used to obtain more precise results; hammer weights range from 2 kg down to 0.1 kg.  Even with lighter hammers, ram penetrometers have difficulty distinguishing thin layers of snow, which limits their usefulness with regard to avalanche studies, since thin and soft layers are often involved in avalanche formation.Two lightweight tools are in wide use that are more sensitive than ram penetrometers.  A snow micro-penetrometer uses a motor to drive a rod into snow, measuring the force required; it is sensitive to 0.01–0.05 newtons, depending on the snow strength.  A SABRE probe consists of a rod that is inserted manually into snow; accelerometer readings are then used to determine the penetrative force needed at each depth, and stored electronically.For testing dense polar snow, a cone penetrometer test (CPT) is use, based on the equivalent devices used for soil testing.  CPT measurements can be used in hard snow and firn to depths of 5–10 m.
Output: What is the full name of the test whose measurements can be used in hard snow and firn to depths of 5–10 m?
Passage: Penetration testing involves inserting a probe into snow to determine the snow's mechanical properties.  Experienced snow surveyors can use an ordinary ski pole to test snow hardness by pushing it into the snow; the results are recorded based on the change in resistance felt as the pole is inserted.  A more scientific tool, invented in the 1930s but still in widespread use, is a ram penetrometer.  This takes the form of a rod with a cone at the lower end.  The upper end of the rod passes through a weight that is used as a hammer; the weight is lifted and released, and hits an anvil—a ledge around the rod which it cannot pass—which drives the rod into the snow.  To take a measurement, the rod is placed on the snow and the hammer is dropped one or more times; the resulting depth of penetration is recorded.  In soft snow a lighter hammer can be used to obtain more precise results; hammer weights range from 2 kg down to 0.1 kg.  Even with lighter hammers, ram penetrometers have difficulty distinguishing thin layers of snow, which limits their usefulness with regard to avalanche studies, since thin and soft layers are often involved in avalanche formation.Two lightweight tools are in wide use that are more sensitive than ram penetrometers.  A snow micro-penetrometer uses a motor to drive a rod into snow, measuring the force required; it is sensitive to 0.01–0.05 newtons, depending on the snow strength.  A SABRE probe consists of a rod that is inserted manually into snow; accelerometer readings are then used to determine the penetrative force needed at each depth, and stored electronically.For testing dense polar snow, a cone penetrometer test (CPT) is use, based on the equivalent devices used for soil testing.  CPT measurements can be used in hard snow and firn to depths of 5–10 m.
Output: What is the acronym for cone penetrometer test?
Passage: This movie was inspired by a true story, following the life of a thug being released from prison after an 8 year prison sentence. In the beginning of the movie "G," who is played by The Game, leaves prison determined to not be locked up again. It doesn't take long for the streets to pull G in again, and he meets a lady named Alexis. However, both are hiding their secret lives (G being a hustler, Alexis being an undercover cop), who discusses 150 kilos of cocaine that G and Tone stole, which belonged to drug lord Tito Costa.
Coleman kidnaps Alexis and takes her to Costa. Coleman calls G to let him know his girlfriend has been kidnapped. G then gathers up his men and heads to Costa's garage, where a gun battle ensues. After the fight is over, all of G's and Tito's men are dead or injured.  G's right hand man kill Tito,Coleman shoot G's right hand man, G kill Coleman and then finds out that Alexis is an undercover cop. He then kills her. G walk off and want to start a new life in a good path and G's men who survived  also want to start a new life too after they come out of the hospital.
Output: What is the name of the last person killed in the passage?
Passage: In 1982, at Elder's instigation, Harewood appointed David Pountney director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year.  Peter Jonas succeeded Harewood as managing director. The 1980s leadership team of Elder, Pountney and Jonas became known as the "Powerhouse", initiated a new era of "director's opera". The three of them favoured productions described, contrastingly, by Elder as "groundbreaking, risky, probing and theatrically effective", and by the director Nicholas Hytner as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." Directors who did not, in Harewood's phrase, "want to splash paint in the face of the public" were sidelined. A 1980s audience survey showed that the two things that ENO audiences most disliked were poor diction and the extremes of "director's opera".
In the Grove Dictionary of Music and Musicians, Barry Millington has described the 'Powerhouse' style as "arresting images of dislocated reality, an inexhaustible repertory of stage contrivances, a determination to explore the social and psychological issues latent in the works, and above all an abundant sense of theatricality." As examples, Millington mentioned Rusalka (1983), with its Edwardian nursery setting and Freudian undertones, and Hansel and Gretel (1987), its dream pantomime peopled by fantasy figures from the children's imagination  ... Lady Macbeth of the Mtsensk District (1987) and Wozzeck (1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement.
Poor average box-office sales led to a financial crisis, exacerbated by backstage industrial relations problems. After 1983, the company ceased touring to other British venues. Assessing the achievements of the 'Powerhouse' years, Tom Sutcliffe wrote in The Musical Times:
ENO is not second best to Covent Garden. It is different, more theatrical, less vocal. ... The ENO now follows a policy like Covent Garden's in the early years after the war, when Peter Brook was scandalising the bourgeoisie with his opera stagings. The last two seasons at the ENO have been difficult, or at any rate sentiment has turned against the outgoing regime over the last nine months. Audience figures are well down. ... The presiding genius of the Elder years has, of course, been David Pountney. Not because his productions were all marvellous. Perhaps only a few were. But because, like Elder, he enabled so many other talents to thrive.
Output: What are the first names of the two people who along with Elder became known as the "Powerhouse?"?
Passage: In 1982, at Elder's instigation, Harewood appointed David Pountney director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year.  Peter Jonas succeeded Harewood as managing director. The 1980s leadership team of Elder, Pountney and Jonas became known as the "Powerhouse", initiated a new era of "director's opera". The three of them favoured productions described, contrastingly, by Elder as "groundbreaking, risky, probing and theatrically effective", and by the director Nicholas Hytner as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." Directors who did not, in Harewood's phrase, "want to splash paint in the face of the public" were sidelined. A 1980s audience survey showed that the two things that ENO audiences most disliked were poor diction and the extremes of "director's opera".
In the Grove Dictionary of Music and Musicians, Barry Millington has described the 'Powerhouse' style as "arresting images of dislocated reality, an inexhaustible repertory of stage contrivances, a determination to explore the social and psychological issues latent in the works, and above all an abundant sense of theatricality." As examples, Millington mentioned Rusalka (1983), with its Edwardian nursery setting and Freudian undertones, and Hansel and Gretel (1987), its dream pantomime peopled by fantasy figures from the children's imagination  ... Lady Macbeth of the Mtsensk District (1987) and Wozzeck (1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement.
Poor average box-office sales led to a financial crisis, exacerbated by backstage industrial relations problems. After 1983, the company ceased touring to other British venues. Assessing the achievements of the 'Powerhouse' years, Tom Sutcliffe wrote in The Musical Times:
ENO is not second best to Covent Garden. It is different, more theatrical, less vocal. ... The ENO now follows a policy like Covent Garden's in the early years after the war, when Peter Brook was scandalising the bourgeoisie with his opera stagings. The last two seasons at the ENO have been difficult, or at any rate sentiment has turned against the outgoing regime over the last nine months. Audience figures are well down. ... The presiding genius of the Elder years has, of course, been David Pountney. Not because his productions were all marvellous. Perhaps only a few were. But because, like Elder, he enabled so many other talents to thrive.
Output: What is the first name of the person who enabled so many other talents to thrive?
Passage: Two etymologies have been suggested for White Deer Hole Creek's unusual name. According to Donehoo, it is a translation of the Lenape (or Delaware) Woap-achtu-woalhen (meaning "white-deer digs a hole"). It is Opauchtooalin on the earliest map showing the creek (1755), while a 1759 map has both Opaghtanoten and its translation, "White Flint Creek". By 1770 (when the first settlers arrived) a map has "White Deer hole".
In 1870, 88-year-old John Farley gave a second explanation of the name. His family had settled on the banks of White Deer Hole Creek in 1787, and John's father John built a mill on the creek by 1789. The creek was named because "a white deer is said to have been killed at an early day in a low hole or pond of water that once existed where my father built his mill". The hole was "a large circular basin of low ground of some ten acres [(four ha)] in extent....after my father's mill and dam were built the water of the dam overflowed and covered the most of the hollow basin of ground." The mill was just west of the mouth at the unincorporated village of Allenwood (then called Uniontown), now in Gregg Township in Union County.The name "White Deer Hole Creek" is unique in the USGS Geographic Names Information System and on its maps of the United States. Although the whole creek is now referred to by this name, in 1870 the name applied only to the section from the confluence with Spring Creek east to its mouth, while the main branch west of Spring Creek was called "South Creek". Meginness used this name in 1892 and it appeared on a 1915 state map of Union County (but not the 1916 Lycoming County map). In 2009 the name "South Creek" has disappeared, but there is still a "South Creek Road" on the right bank of the creek in Gregg Township from near the mouth of Spring Creek west to the county line.According to Meginness, the 17-mile (27 km) long and 8-mile (13 km) wide White Deer Hole Creek valley was just called "White Deer valley" by many in 1892, and this is still common. Confusion about the names arises since White Deer Creek is the next creek south of White Deer Hole Creek (they are on opposite sides of South White Deer Ridge). The Lenape name for White Deer Creek was Woap'-achtu-hanne (translated as "white-deer stream").Spring Creek is the only named tributary of White Deer Hole Creek. Five unnamed tributaries flow through named features of South White Deer Ridge. Going upstream in order they are: Beartrap Hollow, First Gap, Second Gap, Third Gap, and Fourth Gap.
Output: What is the last name of the person whose father built him a mill?
Passage: Two etymologies have been suggested for White Deer Hole Creek's unusual name. According to Donehoo, it is a translation of the Lenape (or Delaware) Woap-achtu-woalhen (meaning "white-deer digs a hole"). It is Opauchtooalin on the earliest map showing the creek (1755), while a 1759 map has both Opaghtanoten and its translation, "White Flint Creek". By 1770 (when the first settlers arrived) a map has "White Deer hole".
In 1870, 88-year-old John Farley gave a second explanation of the name. His family had settled on the banks of White Deer Hole Creek in 1787, and John's father John built a mill on the creek by 1789. The creek was named because "a white deer is said to have been killed at an early day in a low hole or pond of water that once existed where my father built his mill". The hole was "a large circular basin of low ground of some ten acres [(four ha)] in extent....after my father's mill and dam were built the water of the dam overflowed and covered the most of the hollow basin of ground." The mill was just west of the mouth at the unincorporated village of Allenwood (then called Uniontown), now in Gregg Township in Union County.The name "White Deer Hole Creek" is unique in the USGS Geographic Names Information System and on its maps of the United States. Although the whole creek is now referred to by this name, in 1870 the name applied only to the section from the confluence with Spring Creek east to its mouth, while the main branch west of Spring Creek was called "South Creek". Meginness used this name in 1892 and it appeared on a 1915 state map of Union County (but not the 1916 Lycoming County map). In 2009 the name "South Creek" has disappeared, but there is still a "South Creek Road" on the right bank of the creek in Gregg Township from near the mouth of Spring Creek west to the county line.According to Meginness, the 17-mile (27 km) long and 8-mile (13 km) wide White Deer Hole Creek valley was just called "White Deer valley" by many in 1892, and this is still common. Confusion about the names arises since White Deer Creek is the next creek south of White Deer Hole Creek (they are on opposite sides of South White Deer Ridge). The Lenape name for White Deer Creek was Woap'-achtu-hanne (translated as "white-deer stream").Spring Creek is the only named tributary of White Deer Hole Creek. Five unnamed tributaries flow through named features of South White Deer Ridge. Going upstream in order they are: Beartrap Hollow, First Gap, Second Gap, Third Gap, and Fourth Gap.
Output: What is the last name of the owner of the mill that was just west of the mouth at the unincorporated village of Allenwood?
Passage: Two etymologies have been suggested for White Deer Hole Creek's unusual name. According to Donehoo, it is a translation of the Lenape (or Delaware) Woap-achtu-woalhen (meaning "white-deer digs a hole"). It is Opauchtooalin on the earliest map showing the creek (1755), while a 1759 map has both Opaghtanoten and its translation, "White Flint Creek". By 1770 (when the first settlers arrived) a map has "White Deer hole".
In 1870, 88-year-old John Farley gave a second explanation of the name. His family had settled on the banks of White Deer Hole Creek in 1787, and John's father John built a mill on the creek by 1789. The creek was named because "a white deer is said to have been killed at an early day in a low hole or pond of water that once existed where my father built his mill". The hole was "a large circular basin of low ground of some ten acres [(four ha)] in extent....after my father's mill and dam were built the water of the dam overflowed and covered the most of the hollow basin of ground." The mill was just west of the mouth at the unincorporated village of Allenwood (then called Uniontown), now in Gregg Township in Union County.The name "White Deer Hole Creek" is unique in the USGS Geographic Names Information System and on its maps of the United States. Although the whole creek is now referred to by this name, in 1870 the name applied only to the section from the confluence with Spring Creek east to its mouth, while the main branch west of Spring Creek was called "South Creek". Meginness used this name in 1892 and it appeared on a 1915 state map of Union County (but not the 1916 Lycoming County map). In 2009 the name "South Creek" has disappeared, but there is still a "South Creek Road" on the right bank of the creek in Gregg Township from near the mouth of Spring Creek west to the county line.According to Meginness, the 17-mile (27 km) long and 8-mile (13 km) wide White Deer Hole Creek valley was just called "White Deer valley" by many in 1892, and this is still common. Confusion about the names arises since White Deer Creek is the next creek south of White Deer Hole Creek (they are on opposite sides of South White Deer Ridge). The Lenape name for White Deer Creek was Woap'-achtu-hanne (translated as "white-deer stream").Spring Creek is the only named tributary of White Deer Hole Creek. Five unnamed tributaries flow through named features of South White Deer Ridge. Going upstream in order they are: Beartrap Hollow, First Gap, Second Gap, Third Gap, and Fourth Gap.
Output: What name did Meginness use in 1870?
Passage: Two etymologies have been suggested for White Deer Hole Creek's unusual name. According to Donehoo, it is a translation of the Lenape (or Delaware) Woap-achtu-woalhen (meaning "white-deer digs a hole"). It is Opauchtooalin on the earliest map showing the creek (1755), while a 1759 map has both Opaghtanoten and its translation, "White Flint Creek". By 1770 (when the first settlers arrived) a map has "White Deer hole".
In 1870, 88-year-old John Farley gave a second explanation of the name. His family had settled on the banks of White Deer Hole Creek in 1787, and John's father John built a mill on the creek by 1789. The creek was named because "a white deer is said to have been killed at an early day in a low hole or pond of water that once existed where my father built his mill". The hole was "a large circular basin of low ground of some ten acres [(four ha)] in extent....after my father's mill and dam were built the water of the dam overflowed and covered the most of the hollow basin of ground." The mill was just west of the mouth at the unincorporated village of Allenwood (then called Uniontown), now in Gregg Township in Union County.The name "White Deer Hole Creek" is unique in the USGS Geographic Names Information System and on its maps of the United States. Although the whole creek is now referred to by this name, in 1870 the name applied only to the section from the confluence with Spring Creek east to its mouth, while the main branch west of Spring Creek was called "South Creek". Meginness used this name in 1892 and it appeared on a 1915 state map of Union County (but not the 1916 Lycoming County map). In 2009 the name "South Creek" has disappeared, but there is still a "South Creek Road" on the right bank of the creek in Gregg Township from near the mouth of Spring Creek west to the county line.According to Meginness, the 17-mile (27 km) long and 8-mile (13 km) wide White Deer Hole Creek valley was just called "White Deer valley" by many in 1892, and this is still common. Confusion about the names arises since White Deer Creek is the next creek south of White Deer Hole Creek (they are on opposite sides of South White Deer Ridge). The Lenape name for White Deer Creek was Woap'-achtu-hanne (translated as "white-deer stream").Spring Creek is the only named tributary of White Deer Hole Creek. Five unnamed tributaries flow through named features of South White Deer Ridge. Going upstream in order they are: Beartrap Hollow, First Gap, Second Gap, Third Gap, and Fourth Gap.
Output: What name appeared on a 1915 state map of Union County?
Passage: The film begins with a voice-over by Lucy discussing what it's like being fat, and having skinny friends in college. She calls her friend Becky, crying and insinuating she is dying. She asks Becky to rally all of the women's college friends for one final trip to see Lucy, who now helps run Holland Lake Lodge in Condon, Montana.
Orchestrated by Becky, the circle of friends meet up in an airport in Montana. Becky brings her husband Richard and introduces him, for the first time, to commodities trader George, Grammy nominated rap producer Trevor, flight attendant Austin, and State Representative Raye who also brings his wife, Mary.  When the group is assembled a man named Sam approaches the group and tells them Lucy has sent him to drive them to the lodge where she is staying.
After arriving at the lodge, the group is greeted by an attractive blonde woman.  When no one recognizes her, Lucy reveals to her friends that it is her, no longer fat! Later at lunch, Lucy explains to her friends that she has had gastric bypass surgery and she remains four pounds away from her ideal weight.
Waking the group early the next morning, she informs them that they are going on a four-day hike in which she will drop her final four pounds of weight.  The majority of the film centers on the hiking trip. Over the course of the trip, various aspects of the lives of all of Lucy's friends are revealed.  George reveals himself as gay.  Raye and Mary are unhappy together and Mary ends up taking off her wedding ring and ending her marriage to Raye.  Similarly, Becky and Richard are unhappy in their marriage, and it is revealed that Becky is having an affair with a co-worker.
Output: Who insinuates she is dying?
Passage: The film begins with a voice-over by Lucy discussing what it's like being fat, and having skinny friends in college. She calls her friend Becky, crying and insinuating she is dying. She asks Becky to rally all of the women's college friends for one final trip to see Lucy, who now helps run Holland Lake Lodge in Condon, Montana.
Orchestrated by Becky, the circle of friends meet up in an airport in Montana. Becky brings her husband Richard and introduces him, for the first time, to commodities trader George, Grammy nominated rap producer Trevor, flight attendant Austin, and State Representative Raye who also brings his wife, Mary.  When the group is assembled a man named Sam approaches the group and tells them Lucy has sent him to drive them to the lodge where she is staying.
After arriving at the lodge, the group is greeted by an attractive blonde woman.  When no one recognizes her, Lucy reveals to her friends that it is her, no longer fat! Later at lunch, Lucy explains to her friends that she has had gastric bypass surgery and she remains four pounds away from her ideal weight.
Waking the group early the next morning, she informs them that they are going on a four-day hike in which she will drop her final four pounds of weight.  The majority of the film centers on the hiking trip. Over the course of the trip, various aspects of the lives of all of Lucy's friends are revealed.  George reveals himself as gay.  Raye and Mary are unhappy together and Mary ends up taking off her wedding ring and ending her marriage to Raye.  Similarly, Becky and Richard are unhappy in their marriage, and it is revealed that Becky is having an affair with a co-worker.
Output: Who tricked the group into believe she was dying?