niryuu/sni-each-converted huggingface dataset:
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: Whose progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans?
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: What is the last name of the person whose "Spinning Around" video led to some media outlets referring to her as "SexKylie"?
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: What is the last name of the person who has been declared by media as a sex symbol?
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: What is the last name of the person who entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records?
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: What has become in danger of eclipsing what she actually is?
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: What is the last name of the person who was said to be a "style icon who constantly reinvents herself"?
Passage: Minogue's efforts to be taken seriously as a recording artist were initially hindered by the perception that she had not "paid her dues" and was no more than a manufactured pop star exploiting the image she had created during her stint on Neighbours. Minogue acknowledged this viewpoint, saying, "If you're part of a record company, I think to a degree it's fair to say that you're a manufactured product. You're a product and you're selling a product. It doesn't mean that you're not talented and that you don't make creative and business decisions about what you will and won't do and where you want to go."In 1993, Baz Luhrmann introduced Minogue to photographer Bert Stern, notable for his work with Marilyn Monroe. Stern photographed her in Los Angeles and, comparing her to Monroe, commented that Minogue had a similar mix of vulnerability and eroticism. Throughout her career, Minogue has chosen photographers who attempt to create a new "look" for her, and the resulting photographs have appeared in a variety of magazines, from the cutting edge The Face to the more traditionally sophisticated Vogue and Vanity Fair, making the Minogue face and name known to a broad range of people. Stylist William Baker has suggested that this is part of the reason she entered mainstream pop culture in Europe more successfully than many other pop singers who concentrate solely on selling records.By 2000, Minogue was considered to have achieved a degree of musical credibility for having maintained her career longer than her critics had expected. Her progression from the wholesome "girl next door" to a more sophisticated performer with a flirtatious and playful persona attracted new fans. Her "Spinning Around" video led to some media outlets referring to her as "SexKylie", and sex became a stronger element in her subsequent videos. William Baker described her status as a sex symbol as a "double edged sword", observing that "we always attempted to use her sex appeal as an enhancement of her music and to sell a record. But now it has become in danger of eclipsing what she actually is: a pop singer." After 20 years as a performer, Minogue was described as a fashion "trend-setter" and a "style icon who constantly reinvents herself". Minogue has been declared by media as a sex symbol. In September 2002, she was ranked 27 on VH1's "100 Sexiest Artists" list.
Output: What is the last name of the person who maintained her career longer than her critics had expected?
Passage: Alkan was described by Marmontel (who refers to "a regrettable misunderstanding at a moment of our careers in 1848"), as follows:
We will not give the portrait of Valentin Alkan from the rear, as in some photographs we have seen. His intelligent and original physiognomy deserves to be taken in profile or head-on. The head is strong; the deep forehead is that of a thinker; the mouth large and smiling, the nose regular; the years have whitened the beard and hair ... the gaze fine, a little mocking. His stooped walk, his puritan comportment, give him the look of an Anglican minister or a rabbi – for which he has the abilities.
Alkan was not always remote or aloof. Chopin describes, in a letter to friend, visiting the theatre with Alkan in 1847 to see the comedian Arnal: "[Arnal] tells the audience how he was desperate to pee in a train, but couldn't get to a toilet before they stopped at Orléans. There wasn't a single vulgar word in what he said, but everyone understood and split their sides laughing." Hugh Macdonald notes that Alkan "particularly enjoyed the patronage of Russian aristocratic ladies, 'des dames très parfumées et froufroutantes [highly perfumed and frilled ladies]', as Isidore Philipp described them."Alkan's aversion to socialising and publicity, especially following 1850, appeared to be self-willed. Liszt is reported to have commented to the Danish pianist Frits Hartvigson that "Alkan possessed the finest technique he had ever known, but preferred the life of a recluse." Stephanie McCallum has suggested that Alkan may have suffered from Asperger syndrome, schizophrenia or obsessive–compulsive disorder.Alkan's later correspondence contains many despairing comments. In a letter of about 1861 he wrote to Hiller:
I'm becoming daily more and more misanthropic and misogynous ... nothing worthwhile, good or useful to do ... no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can't see the point or goal.".
Output: What is the full name of the person that their situation makes them horridly sad and wretched?
Passage: Alkan was described by Marmontel (who refers to "a regrettable misunderstanding at a moment of our careers in 1848"), as follows:
We will not give the portrait of Valentin Alkan from the rear, as in some photographs we have seen. His intelligent and original physiognomy deserves to be taken in profile or head-on. The head is strong; the deep forehead is that of a thinker; the mouth large and smiling, the nose regular; the years have whitened the beard and hair ... the gaze fine, a little mocking. His stooped walk, his puritan comportment, give him the look of an Anglican minister or a rabbi – for which he has the abilities.
Alkan was not always remote or aloof. Chopin describes, in a letter to friend, visiting the theatre with Alkan in 1847 to see the comedian Arnal: "[Arnal] tells the audience how he was desperate to pee in a train, but couldn't get to a toilet before they stopped at Orléans. There wasn't a single vulgar word in what he said, but everyone understood and split their sides laughing." Hugh Macdonald notes that Alkan "particularly enjoyed the patronage of Russian aristocratic ladies, 'des dames très parfumées et froufroutantes [highly perfumed and frilled ladies]', as Isidore Philipp described them."Alkan's aversion to socialising and publicity, especially following 1850, appeared to be self-willed. Liszt is reported to have commented to the Danish pianist Frits Hartvigson that "Alkan possessed the finest technique he had ever known, but preferred the life of a recluse." Stephanie McCallum has suggested that Alkan may have suffered from Asperger syndrome, schizophrenia or obsessive–compulsive disorder.Alkan's later correspondence contains many despairing comments. In a letter of about 1861 he wrote to Hiller:
I'm becoming daily more and more misanthropic and misogynous ... nothing worthwhile, good or useful to do ... no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can't see the point or goal.".
Output: What is the name of the person that Valentin Alkan wrote, even musical production has lost its attraction for me for I can't see the point or goal, to?
Passage: Alkan was described by Marmontel (who refers to "a regrettable misunderstanding at a moment of our careers in 1848"), as follows:
We will not give the portrait of Valentin Alkan from the rear, as in some photographs we have seen. His intelligent and original physiognomy deserves to be taken in profile or head-on. The head is strong; the deep forehead is that of a thinker; the mouth large and smiling, the nose regular; the years have whitened the beard and hair ... the gaze fine, a little mocking. His stooped walk, his puritan comportment, give him the look of an Anglican minister or a rabbi – for which he has the abilities.
Alkan was not always remote or aloof. Chopin describes, in a letter to friend, visiting the theatre with Alkan in 1847 to see the comedian Arnal: "[Arnal] tells the audience how he was desperate to pee in a train, but couldn't get to a toilet before they stopped at Orléans. There wasn't a single vulgar word in what he said, but everyone understood and split their sides laughing." Hugh Macdonald notes that Alkan "particularly enjoyed the patronage of Russian aristocratic ladies, 'des dames très parfumées et froufroutantes [highly perfumed and frilled ladies]', as Isidore Philipp described them."Alkan's aversion to socialising and publicity, especially following 1850, appeared to be self-willed. Liszt is reported to have commented to the Danish pianist Frits Hartvigson that "Alkan possessed the finest technique he had ever known, but preferred the life of a recluse." Stephanie McCallum has suggested that Alkan may have suffered from Asperger syndrome, schizophrenia or obsessive–compulsive disorder.Alkan's later correspondence contains many despairing comments. In a letter of about 1861 he wrote to Hiller:
I'm becoming daily more and more misanthropic and misogynous ... nothing worthwhile, good or useful to do ... no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can't see the point or goal.".
Output: What is the full name of the person that had a look of an Anglican Minister?
Passage: Burges inspired considerable loyalty within his team of assistants, and his partnerships were long-lived. John Starling Chapple was the office manager, joining Burges's practice in 1859. It was Chapple, designer of most of the furniture for Castell Coch, who completed its restoration after Burges's death. Second to Chapple was William Frame, who acted as clerk of works. Horatio Walter Lonsdale was Burges's chief artist, contributing extensive murals for both Castell Coch and Cardiff Castle. His main sculptor was Thomas Nicholls who started with Burges at Cork, completing hundreds of figures for Saint Fin Barre's Cathedral, worked with him on his two major churches in Yorkshire, and undertook all of the original carving for the Animal Wall at Cardiff.William Gualbert Saunders joined the Buckingham Street team in 1865 and worked with Burges on the development of the design and techniques of stained-glass manufacture, producing much of the best glass for Saint Fin Barre's. Ceccardo Egidio Fucigna was another long-time collaborator who sculpted the Madonna and Child above the drawbridge at Castell Coch, the figure of St John over the mantelpiece in Lord Bute's bedroom at Cardiff Castle and the bronze Madonna in the roof garden. Lastly, there was Axel Haig, a Swedish-born illustrator, who prepared many of the watercolour perspectives with which Burges entranced his clients. Crook calls them "a group of talented men, moulded in their master's image, art-architects and medievalists to a man – jokers and jesters too – devoted above all to art rather than to business.".
Output: What is the name of the person whose main sculptor was Thomas Nicholls?
Passage: A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.
Output: What is the full name of the character who helps America learn to forgive and forget so that he can move on with his life?
Passage: A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.
Output: What is the full name of the character referred to as Dr. B?
Passage: A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.
Output: What is the name of the character who does not want to discuss his childhood with Maureen Brennan?
Passage: Featuring a soft rock and pop rock sound, Rumours is built around a mix of acoustic and electric instrumentation. Buckingham's guitar work and Christine McVie's use of Fender Rhodes piano or Hammond B-3 organ are present on all but two tracks. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees' "Jive Talkin'", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke Celtic rock. "Dreams" includes "ethereal spaces" and a recurring two note pattern on the bass guitar. Nicks wrote the song in an afternoon and led the vocals, while the band played around her. The third track on Rumours, "Never Going Back Again", began as "Brushes", a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes; the band added vocals and further instrumental audio tracks to make it more layered. Inspired by triple step dancing patterns, "Don't Stop" includes both conventional acoustic and tack piano. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. "Go Your Own Way" is more guitar-oriented and has a four-to-the-floor dance beat influenced by The Rolling Stones' "Street Fighting Man". The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine-foot Steinway piano.
Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There", and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track. The whole of the band crafted the rest using an approach akin to creating a film score; John McVie provided a prominent solo using a fretless bass guitar, which marked a speeding up in tempo and the start of the song's final third. Inspired by R&B, "You Make Loving Fun" has a simpler composition and features a clavinet, a special type of keyboard instrument, while the rhythm section plays interlocking notes and beats. The ninth track on Rumours, "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. Influenced by the music of Buddy Holly, Buckingham and Nicks created it in 1974 before they were in Fleetwood Mac. "Oh Daddy" was crafted spontaneously and includes improvised bass guitar patterns from John McVie and keyboard blips from Christine McVie. The album ends with "Gold Dust Woman", a song inspired by free jazz, which has music from a harpsichord, a Fender Stratocaster guitar, and a dobro, an acoustic guitar whose sound is produced by one or more metal cones.
Output: Who created a song before they were in Fleetwood Mac?
Passage: Featuring a soft rock and pop rock sound, Rumours is built around a mix of acoustic and electric instrumentation. Buckingham's guitar work and Christine McVie's use of Fender Rhodes piano or Hammond B-3 organ are present on all but two tracks. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees' "Jive Talkin'", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke Celtic rock. "Dreams" includes "ethereal spaces" and a recurring two note pattern on the bass guitar. Nicks wrote the song in an afternoon and led the vocals, while the band played around her. The third track on Rumours, "Never Going Back Again", began as "Brushes", a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes; the band added vocals and further instrumental audio tracks to make it more layered. Inspired by triple step dancing patterns, "Don't Stop" includes both conventional acoustic and tack piano. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. "Go Your Own Way" is more guitar-oriented and has a four-to-the-floor dance beat influenced by The Rolling Stones' "Street Fighting Man". The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine-foot Steinway piano.
Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There", and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track. The whole of the band crafted the rest using an approach akin to creating a film score; John McVie provided a prominent solo using a fretless bass guitar, which marked a speeding up in tempo and the start of the song's final third. Inspired by R&B, "You Make Loving Fun" has a simpler composition and features a clavinet, a special type of keyboard instrument, while the rhythm section plays interlocking notes and beats. The ninth track on Rumours, "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. Influenced by the music of Buddy Holly, Buckingham and Nicks created it in 1974 before they were in Fleetwood Mac. "Oh Daddy" was crafted spontaneously and includes improvised bass guitar patterns from John McVie and keyboard blips from Christine McVie. The album ends with "Gold Dust Woman", a song inspired by free jazz, which has music from a harpsichord, a Fender Stratocaster guitar, and a dobro, an acoustic guitar whose sound is produced by one or more metal cones.
Output: What is the name of the group that crafted the song The Chain like a film score?
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially.
Output: What is the last name of the person whose guests asked him about the possibility of organizing a sea excursion?
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially.
Output: What is the full name of the person who put his guests in touch with Brown?
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially.
Output: What are the last names of the people who found enthusiasm for a sea trip had spread to many of the guests?
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially.
Output: What are the last names of the people who made an agreement to take a large party to Fowey following the 1966 FIFA World Cup Final?
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially.
Output: What was only granted to vessels in good condition with watertight hull compartments?
Passage: Robert Rainbird, proprietor of the Greatwood guest house at Mylor Creek, near Falmouth, was familiar with Darlwyne, having cruised with Bown in one of the earlier Tall Ships sailings. According to his later account, when two of his guests asked him about the possibility of organising a sea excursion, he put them in touch with Bown. On the evening of Saturday 30 July, amid celebrations following England's victory in the 1966 FIFA World Cup Final, Bown and his friend Jeffrey Stock, a qualified engineer, visited Greatwood. They found that enthusiasm for a sea trip had spread to many of the guests, and an agreement was made to take a large party to Fowey the following day. Different accounts were given later of the financial basis for the proposed hire – whether it was to be a fixed charge or a rate per head is uncertain.Barratt, the boat's legal owner, professed ignorance of the arrangements made at Greatwood, believing, he said, that Bown had gone there to discuss with Rainbird future charter work once the necessary licences had been obtained. Under local regulations, a licence for carrying up to 12 passengers was subject to examination of the boat by the harbourmaster, who would also require the person in charge to be a licensed skipper. Vessels proposing to carry more than 12 passengers needed a licensed master, a qualified marine engineer, and a Class III Passenger Certificate from the Board of Trade. This certificate was only granted to vessels in good condition with watertight hull compartments, a two-way radio, a qualified radio operator and a range of safety devices. Darlwyne had no radio, no distress flares, and carried only two lifebelts. Bown had apparently begun enquiries with the Falmouth Harbour Commission, but neither he nor Darlwyne possessed any of the licences needed for the boat to operate commercially.
Output: What is the last name of the person who, along with Darlwyne, did not possess any of the licenses needed to operate a boat commercially?
Passage: In July 1969, astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface.
Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that because of problems with Alan Shepard's crew, his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to the measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband getting killed in space, but goes to the Kennedy Space Center the night before launch to see him off.
On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the Command/Service Module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket.
Output: What was the first Apollo rocket that Lovell rode in?