niryuu/sni-each-converted huggingface dataset:
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the second Anglican church in Sydney?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the church in which the first Bishop of Australia, W G Broughton was installed in 1836?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the church in which the first ordinations of Anglican clergy were held in Australia?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the church whose role in education included the first attempt at kindergarten teaching in New South Wales?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the church to whose musical life a continuing sequence of notable choirmasters, organists and organ builders have contributed?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the place that is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales?
Passage: The second Anglican church in Sydney and now the oldest church building in the City of Sydney in continuous use for its original purpose since its consecration in February 1824. A part of the group of official buildings constructed for Governor Macquarie on the east side of Sydney which were an important element of Macquarie's town plan and improvements in Sydney. A building whose location was altered by the intervention of the British government's Commissioner of Enquiry, J T Bigge and whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission. An institution reflecting the association of government and religion in the colonial period and the role of the colonial chaplains in that establishment. The church in which the first Bishop of Australia, W G Broughton was installed in 1836 and the first church in which the Bishop regularly officiated. The church in which the first ordinations of Anglican clergy were held in Australia and classes held for the first theological college. For its role in education including the first attempt at kindergarten teaching in New South Wales. For the part played by the renovation of the building in 1900-1902 in a shift in attitude towards the retention of historic buildings and an appreciation of the church's architecture, despite the denigration in the later 19th century of the style of the building and its associations. For the important part played by the building in discussions of heritage, town planning and conservation generally.The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
St James' Church has strong associations with the life and work of:
Architects, Francis Greenway, John Verge, Varney Parkes and John Hingeston Buckeridge. Artists Ethel Anderson and the Turramurra Painters, Norman Carter, David Wright and Leon Sadubin, Bishop William Grant Broughton and a long line of significant clergy who have contributed to the life of the church and of the city Governor Lachlan Macquarie and Commissioner John Thomas Bigge. A continuing sequence of notable choirmasters, organists and organ builders who have contributed to the musical life of the church, city and state. The individuals and families commemorated in its memorials representative of 19th century colonial society and of its 20th century parishioners. The individuals and organisations commemorated in its war memorials, dating from the Maori wars to the present time.The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
St James' Church demonstrates aesthetic characteristics and a high degree of technical achievement:.
Output: What is the name of the building whose completion was adversely affected by the administrative consequences of the recommendations of the Bigge Commission?
Passage: The painting known as Queen Elizabeth going in procession to Blackfriars in 1601, or simply The Procession Picture  (see illustration), is now often accepted as the work of Peake. The attribution was made by Roy Strong, who called it "one of the great visual mysteries of the Elizabethan age". It is an example of the convention, prevalent in the later part of her reign, of painting Elizabeth as an icon, portraying her as much younger and more triumphant than she was. As Strong puts it, "[t]his is Gloriana in her sunset glory, the mistress of the set piece, of the calculated spectacular presentation of herself to her adoring subjects". George Vertue, the eighteenth-century antiquarian, called the painting "not well nor ill done".Strong reveals that the procession was connected to the marriage of Henry Somerset, Lord Herbert, and Lady Anne Russell, one of the queen's six maids of honour, on 16 June 1600. He identifies many of the individuals portrayed in the procession and shows that instead of a litter, as was previously assumed, Queen Elizabeth is sitting on a wheeled cart or chariot. Strong also suggests that the landscape and castles in the background are not intended to be realistic. In accordance with Elizabethan stylistic conventions, they are emblematic, here representing the Welsh properties of Edward Somerset, Earl of Worcester, to which his son Lord Herbert was the heir. The earl may have commissioned the picture to celebrate his appointment as Master of the Queen's Horse in 1601.Peake clearly did not paint the queen, or indeed the courtiers, from life but from the "types" or standard portraits used by the workshops of the day. Portraits of the queen were subject to restrictions, and from about 1594 there seems to have been an official policy that she always be depicted as youthful. In 1594, the Privy council ordered that unseemly portraits of the queen be found and destroyed, since they caused Elizabeth "great offence". The famous Ditchley portrait (c. 1592), by Marcus Gheeraerts the Younger, was used as a type, sometimes called the "Mask of Youth" face-pattern, for the remainder of the reign. It is clear that Gheeraerts' portrait provided the pattern for the queen's image in the procession picture. Other figures also show signs of being traced from patterns, leading to infelicities of perspective and proportion.
Output: What is the first name of the person who identifies many of the individuals portrayed in the procession?
Passage: The painting known as Queen Elizabeth going in procession to Blackfriars in 1601, or simply The Procession Picture  (see illustration), is now often accepted as the work of Peake. The attribution was made by Roy Strong, who called it "one of the great visual mysteries of the Elizabethan age". It is an example of the convention, prevalent in the later part of her reign, of painting Elizabeth as an icon, portraying her as much younger and more triumphant than she was. As Strong puts it, "[t]his is Gloriana in her sunset glory, the mistress of the set piece, of the calculated spectacular presentation of herself to her adoring subjects". George Vertue, the eighteenth-century antiquarian, called the painting "not well nor ill done".Strong reveals that the procession was connected to the marriage of Henry Somerset, Lord Herbert, and Lady Anne Russell, one of the queen's six maids of honour, on 16 June 1600. He identifies many of the individuals portrayed in the procession and shows that instead of a litter, as was previously assumed, Queen Elizabeth is sitting on a wheeled cart or chariot. Strong also suggests that the landscape and castles in the background are not intended to be realistic. In accordance with Elizabethan stylistic conventions, they are emblematic, here representing the Welsh properties of Edward Somerset, Earl of Worcester, to which his son Lord Herbert was the heir. The earl may have commissioned the picture to celebrate his appointment as Master of the Queen's Horse in 1601.Peake clearly did not paint the queen, or indeed the courtiers, from life but from the "types" or standard portraits used by the workshops of the day. Portraits of the queen were subject to restrictions, and from about 1594 there seems to have been an official policy that she always be depicted as youthful. In 1594, the Privy council ordered that unseemly portraits of the queen be found and destroyed, since they caused Elizabeth "great offence". The famous Ditchley portrait (c. 1592), by Marcus Gheeraerts the Younger, was used as a type, sometimes called the "Mask of Youth" face-pattern, for the remainder of the reign. It is clear that Gheeraerts' portrait provided the pattern for the queen's image in the procession picture. Other figures also show signs of being traced from patterns, leading to infelicities of perspective and proportion.
Output: What is the first name of the person who may have commissioned the picture to celebrate his appointment as Master of the Queen's Horse in 1601?
Passage: The painting known as Queen Elizabeth going in procession to Blackfriars in 1601, or simply The Procession Picture  (see illustration), is now often accepted as the work of Peake. The attribution was made by Roy Strong, who called it "one of the great visual mysteries of the Elizabethan age". It is an example of the convention, prevalent in the later part of her reign, of painting Elizabeth as an icon, portraying her as much younger and more triumphant than she was. As Strong puts it, "[t]his is Gloriana in her sunset glory, the mistress of the set piece, of the calculated spectacular presentation of herself to her adoring subjects". George Vertue, the eighteenth-century antiquarian, called the painting "not well nor ill done".Strong reveals that the procession was connected to the marriage of Henry Somerset, Lord Herbert, and Lady Anne Russell, one of the queen's six maids of honour, on 16 June 1600. He identifies many of the individuals portrayed in the procession and shows that instead of a litter, as was previously assumed, Queen Elizabeth is sitting on a wheeled cart or chariot. Strong also suggests that the landscape and castles in the background are not intended to be realistic. In accordance with Elizabethan stylistic conventions, they are emblematic, here representing the Welsh properties of Edward Somerset, Earl of Worcester, to which his son Lord Herbert was the heir. The earl may have commissioned the picture to celebrate his appointment as Master of the Queen's Horse in 1601.Peake clearly did not paint the queen, or indeed the courtiers, from life but from the "types" or standard portraits used by the workshops of the day. Portraits of the queen were subject to restrictions, and from about 1594 there seems to have been an official policy that she always be depicted as youthful. In 1594, the Privy council ordered that unseemly portraits of the queen be found and destroyed, since they caused Elizabeth "great offence". The famous Ditchley portrait (c. 1592), by Marcus Gheeraerts the Younger, was used as a type, sometimes called the "Mask of Youth" face-pattern, for the remainder of the reign. It is clear that Gheeraerts' portrait provided the pattern for the queen's image in the procession picture. Other figures also show signs of being traced from patterns, leading to infelicities of perspective and proportion.
Output: What is the first name of the person whose portrait provided the pattern for the queen's image in the procession picture?
Passage: Everett described Harrison's guitar solo from "Old Brown Shoe" as "stinging [and] highly Claptonesque". He identified two of the composition's significant motifs: a bluesy trichord and a diminished triad with roots in A and E. Huntley called the song "a sizzling rocker with a ferocious ... solo". In Greene's opinion, Harrison's demo for "Old Brown Shoe" contains "one of the most complex lead guitar solos on any Beatles song".Harrison's playing on Abbey Road, and in particular on "Something", marked a significant moment in his development as a guitarist. The song's guitar solo shows a varied range of influences, incorporating the blues guitar style of Clapton and the styles of Indian gamakas. According to author and musicologist Kenneth Womack: "'Something' meanders toward the most unforgettable of Harrison's guitar solos ... A masterpiece in simplicity, [it] reaches toward the sublime".After Delaney Bramlett inspired him to learn slide guitar, Harrison began to incorporate it into his solo work, which allowed him to mimic many traditional Indian instruments, including the sarangi and the dilruba. Leng described Harrison's slide guitar solo on Lennon's "How Do You Sleep?" as a departure for "the sweet soloist of 'Something'", calling his playing "rightly famed ... one of Harrison's greatest guitar statements". Lennon commented: "That's the best he's ever fucking played in his life."A Hawaiian influence is notable in much of Harrison's music, ranging from his slide guitar work on Gone Troppo (1982) to his televised performance of the Cab Calloway standard "Between the Devil and the Deep Blue Sea" on ukulele in 1992. Lavezzoli described Harrison's slide playing on the Grammy-winning instrumental "Marwa Blues" (2002) as demonstrating Hawaiian influences while comparing the melody to an Indian sarod or veena, calling it "yet another demonstration of Harrison's unique slide approach". Harrison was an admirer of George Formby and a member of the Ukulele Society of Great Britain, and played a ukulele solo in the style of Formby at the end of "Free as a Bird". He performed at a Formby convention in 1991, and served as the honorary president of the George Formby Appreciation Society. Harrison played bass guitar on numerous tracks, including the Beatles songs "She Said She Said", "Golden Slumbers", "Birthday" and "Honey Pie". He also played bass on several solo recordings, including "Faster", "Wake Up My Love" and "Bye Bye Love".
Output: What is the last name of the person whose solo incorporated the blues guitar style of Clapton and the styles of Indian gamakas?
Passage: Everett described Harrison's guitar solo from "Old Brown Shoe" as "stinging [and] highly Claptonesque". He identified two of the composition's significant motifs: a bluesy trichord and a diminished triad with roots in A and E. Huntley called the song "a sizzling rocker with a ferocious ... solo". In Greene's opinion, Harrison's demo for "Old Brown Shoe" contains "one of the most complex lead guitar solos on any Beatles song".Harrison's playing on Abbey Road, and in particular on "Something", marked a significant moment in his development as a guitarist. The song's guitar solo shows a varied range of influences, incorporating the blues guitar style of Clapton and the styles of Indian gamakas. According to author and musicologist Kenneth Womack: "'Something' meanders toward the most unforgettable of Harrison's guitar solos ... A masterpiece in simplicity, [it] reaches toward the sublime".After Delaney Bramlett inspired him to learn slide guitar, Harrison began to incorporate it into his solo work, which allowed him to mimic many traditional Indian instruments, including the sarangi and the dilruba. Leng described Harrison's slide guitar solo on Lennon's "How Do You Sleep?" as a departure for "the sweet soloist of 'Something'", calling his playing "rightly famed ... one of Harrison's greatest guitar statements". Lennon commented: "That's the best he's ever fucking played in his life."A Hawaiian influence is notable in much of Harrison's music, ranging from his slide guitar work on Gone Troppo (1982) to his televised performance of the Cab Calloway standard "Between the Devil and the Deep Blue Sea" on ukulele in 1992. Lavezzoli described Harrison's slide playing on the Grammy-winning instrumental "Marwa Blues" (2002) as demonstrating Hawaiian influences while comparing the melody to an Indian sarod or veena, calling it "yet another demonstration of Harrison's unique slide approach". Harrison was an admirer of George Formby and a member of the Ukulele Society of Great Britain, and played a ukulele solo in the style of Formby at the end of "Free as a Bird". He performed at a Formby convention in 1991, and served as the honorary president of the George Formby Appreciation Society. Harrison played bass guitar on numerous tracks, including the Beatles songs "She Said She Said", "Golden Slumbers", "Birthday" and "Honey Pie". He also played bass on several solo recordings, including "Faster", "Wake Up My Love" and "Bye Bye Love".
Output: What is the first name of the person whose style Harrison played a ukulele solo in?
Passage: Everett described Harrison's guitar solo from "Old Brown Shoe" as "stinging [and] highly Claptonesque". He identified two of the composition's significant motifs: a bluesy trichord and a diminished triad with roots in A and E. Huntley called the song "a sizzling rocker with a ferocious ... solo". In Greene's opinion, Harrison's demo for "Old Brown Shoe" contains "one of the most complex lead guitar solos on any Beatles song".Harrison's playing on Abbey Road, and in particular on "Something", marked a significant moment in his development as a guitarist. The song's guitar solo shows a varied range of influences, incorporating the blues guitar style of Clapton and the styles of Indian gamakas. According to author and musicologist Kenneth Womack: "'Something' meanders toward the most unforgettable of Harrison's guitar solos ... A masterpiece in simplicity, [it] reaches toward the sublime".After Delaney Bramlett inspired him to learn slide guitar, Harrison began to incorporate it into his solo work, which allowed him to mimic many traditional Indian instruments, including the sarangi and the dilruba. Leng described Harrison's slide guitar solo on Lennon's "How Do You Sleep?" as a departure for "the sweet soloist of 'Something'", calling his playing "rightly famed ... one of Harrison's greatest guitar statements". Lennon commented: "That's the best he's ever fucking played in his life."A Hawaiian influence is notable in much of Harrison's music, ranging from his slide guitar work on Gone Troppo (1982) to his televised performance of the Cab Calloway standard "Between the Devil and the Deep Blue Sea" on ukulele in 1992. Lavezzoli described Harrison's slide playing on the Grammy-winning instrumental "Marwa Blues" (2002) as demonstrating Hawaiian influences while comparing the melody to an Indian sarod or veena, calling it "yet another demonstration of Harrison's unique slide approach". Harrison was an admirer of George Formby and a member of the Ukulele Society of Great Britain, and played a ukulele solo in the style of Formby at the end of "Free as a Bird". He performed at a Formby convention in 1991, and served as the honorary president of the George Formby Appreciation Society. Harrison played bass guitar on numerous tracks, including the Beatles songs "She Said She Said", "Golden Slumbers", "Birthday" and "Honey Pie". He also played bass on several solo recordings, including "Faster", "Wake Up My Love" and "Bye Bye Love".
Output: What is the last name of the person who played bass on several solo recordings, including "Faster", "Wake Up My Love" and "Bye Bye Love?"?
Passage: Droopy is presented here as a manservant working for an unseen master, who is going away for a few days with the head butler, Mr. Theeves. As they are packing the master's clothes, Mr. Theeves requests that Droopy acquire someone to help him around the house while they are away, and the first person to come to Droopy's mind is his identical twin brother, Drippy. Droopy contacts Drippy at O'Brien's Gymnasium and explains the situation to him.
Drippy arrives later on and displays his superhuman strength by punching his way through the front door before greeting Droopy. Droopy introduces Drippy to Mr. Theeves, who is briefly astonished by Drippy's uncanny resemblance to Droopy, immediately startledly jumping up to the chandelier, thinking he was seeing double. However, Mr. Theeves is relieved enough to come down from the chandelier, and is also on the receiving end of Drippy's immense strength while shaking his hand. Mr. Theeves then explains Drippy's duties to him, and tells him that no matter what, no strangers are allowed on the premises.
Output: Who is hired to help around the house?
Passage: Droopy is presented here as a manservant working for an unseen master, who is going away for a few days with the head butler, Mr. Theeves. As they are packing the master's clothes, Mr. Theeves requests that Droopy acquire someone to help him around the house while they are away, and the first person to come to Droopy's mind is his identical twin brother, Drippy. Droopy contacts Drippy at O'Brien's Gymnasium and explains the situation to him.
Drippy arrives later on and displays his superhuman strength by punching his way through the front door before greeting Droopy. Droopy introduces Drippy to Mr. Theeves, who is briefly astonished by Drippy's uncanny resemblance to Droopy, immediately startledly jumping up to the chandelier, thinking he was seeing double. However, Mr. Theeves is relieved enough to come down from the chandelier, and is also on the receiving end of Drippy's immense strength while shaking his hand. Mr. Theeves then explains Drippy's duties to him, and tells him that no matter what, no strangers are allowed on the premises.
Output: Whose house is the chandelier in?
Passage: Droopy is presented here as a manservant working for an unseen master, who is going away for a few days with the head butler, Mr. Theeves. As they are packing the master's clothes, Mr. Theeves requests that Droopy acquire someone to help him around the house while they are away, and the first person to come to Droopy's mind is his identical twin brother, Drippy. Droopy contacts Drippy at O'Brien's Gymnasium and explains the situation to him.
Drippy arrives later on and displays his superhuman strength by punching his way through the front door before greeting Droopy. Droopy introduces Drippy to Mr. Theeves, who is briefly astonished by Drippy's uncanny resemblance to Droopy, immediately startledly jumping up to the chandelier, thinking he was seeing double. However, Mr. Theeves is relieved enough to come down from the chandelier, and is also on the receiving end of Drippy's immense strength while shaking his hand. Mr. Theeves then explains Drippy's duties to him, and tells him that no matter what, no strangers are allowed on the premises.
Output: What is the profession of Drippy's new boss?
Passage: Twenty Palaeolithic sites have been identified in the Mendips, of which eleven represent faunal remains and lithic artefacts recovered from caves. The remaining eight sites refer to surface lithic discoveries, and the artefacts found include points, scrapers, and handaxes. Twenty-seven Mesolithic finds are represented by flint and chert lithics. Large numbers of artefacts have been found near Neolithic, Iron Age, and Bronze Age features, such as the barrows and forts around Priddy and at Dolebury Warren. The caves of Cheddar Gorge have yielded many archaeological remains, as flood waters have washed artefacts and bones into the caves and preserved them in silt. The Cheddar Man, Britain's oldest complete skeleton, was found in Gough's Cave, part of the Cheddar Complex.Within the Mendip Hills AONB, good evidence exists for 286 definite examples of round barrows, including the Priddy Nine Barrows and Ashen Hill Barrow Cemeteries. The Historic England Archive holds over 1,200 entries for the area, and there are over 600 listed buildings, in addition to over 200 scheduled ancient monuments. These protected monuments range from prehistoric barrows and hillforts to the Black Down bombing decoy from the Second World War.Settlement on the Mendip Hills appears to fall into two types. The first, apparent in the Neolithic and Bronze Age Britain periods, and repeated on a small scale in the Middle Ages and post-medieval era, comprised occupation by self-sufficient groups in small communities or isolated farms. The second was represented in the Iron Age Britain and Roman periods by large sites with specialist functions, existing by virtue of their ability to exert power over lowland producers. From the Iron Age onward the ownership of land took on increasing importance, with large landholdings based on the mines or on stock grazing, denying settlers access to the plateau or forcing them off the hills.There is evidence of mining dating back to the late Bronze Age, when there were technological changes in metal-working indicating the use of lead. The Roman invasion, and possibly the preceding period of involvement in the internal affairs of the south of England, was inspired, in part, by the mineral wealth of the Mendips. Much of the attraction of the lead mines may have been the potential for the extraction of silver;
the Latin "EX ARG VEB" stamps on the Mendip lead pigs specify a de-silvering process and cast silver ingots have been found. The silver coinage of the Dobunni and Durotriges is also likely to reflect the availability of silver from the mines.
Output: What culture's invasion of the hills that were occupied by two types of settlements was most likely for silver?
Passage: Wōdejebato (formerly known as Sylvania) is a Cretaceous guyot or tablemount in the northern Marshall Islands, Pacific Ocean. Wōdejebato is probably a shield volcano and is connected through a submarine ridge to the smaller Pikinni Atoll 74 kilometres (46 mi) southeast of the guyot; unlike Wōdejebato, Pikinni rises above sea level. The seamount rises for 4,420 metres (14,500 ft) to 1,335 metres (4,380 ft) depth and is formed by basaltic rocks. The name Wōdejebato refers to a sea god of Pikinni.
It was probably formed by a hotspot in what is present-day French Polynesia before plate tectonics moved it to its present-day location. The Macdonald, Rarotonga, Rurutu and Society hotspots may have been involved in its formation. The first volcanic phase took place in the Cenomanian and was followed by the formation of a carbonate platform that quickly disappeared below the sea. A second volcanic episode between 85 and 78.4 million years ago (in the Campanian) led to the formation of an island. This island was eventually eroded and rudist reefs generated an atoll or atoll-like structure, covering the former island with carbonates and thus a second carbonate platform.
The second carbonate platform drowned about 68 million years ago (in the Maastrichtian), perhaps because at that time it was moving through the equatorial area which may have been too hot or too nutrient-rich to support the growth of a coral reef. Thermal subsidence lowered the drowned seamount to its present depth. After a hiatus, sedimentation commenced on the seamount and led to the deposition of manganese crusts and pelagic sediments, some of which were later modified by phosphate.
Output: What was the former name of the volcano that was created in present-day French Polynesia?
Passage: Wōdejebato (formerly known as Sylvania) is a Cretaceous guyot or tablemount in the northern Marshall Islands, Pacific Ocean. Wōdejebato is probably a shield volcano and is connected through a submarine ridge to the smaller Pikinni Atoll 74 kilometres (46 mi) southeast of the guyot; unlike Wōdejebato, Pikinni rises above sea level. The seamount rises for 4,420 metres (14,500 ft) to 1,335 metres (4,380 ft) depth and is formed by basaltic rocks. The name Wōdejebato refers to a sea god of Pikinni.
It was probably formed by a hotspot in what is present-day French Polynesia before plate tectonics moved it to its present-day location. The Macdonald, Rarotonga, Rurutu and Society hotspots may have been involved in its formation. The first volcanic phase took place in the Cenomanian and was followed by the formation of a carbonate platform that quickly disappeared below the sea. A second volcanic episode between 85 and 78.4 million years ago (in the Campanian) led to the formation of an island. This island was eventually eroded and rudist reefs generated an atoll or atoll-like structure, covering the former island with carbonates and thus a second carbonate platform.
The second carbonate platform drowned about 68 million years ago (in the Maastrichtian), perhaps because at that time it was moving through the equatorial area which may have been too hot or too nutrient-rich to support the growth of a coral reef. Thermal subsidence lowered the drowned seamount to its present depth. After a hiatus, sedimentation commenced on the seamount and led to the deposition of manganese crusts and pelagic sediments, some of which were later modified by phosphate.
Output: What was the former name of the volcano that had its first volcanic phase in the Cenomanian?