niryuu/sni-each-converted huggingface dataset:
Passage: The hub of activity in El Hatillo Town is Bolívar Plaza (Spanish: Plaza Bolívar), a garden square encompassing the central block in the town of El Hatillo. Constructed in 1785, the Plaza was originally called Plaza Mayor or Plaza del Mercado. In 1911, a bust honoring Manuel Escalona was placed in the square, which was renamed in his honor. In 1952, the bust was replaced with a statue of Simón Bolívar, and the plaza was again renamed after the Venezuelan hero.  Across from the Bolívar Square is the 18th century Santa Rosalía de Palermo Church, which was declared a National Historic Monument in 1960.
Between El Hatillo and La Lagunita is the smaller Manuel Escalona Plaza (Spanish: Plazoleta Manuel Escalona), another urban monument displaying the bust of Escalona that formerly occupied Bolívar Square. Sucre Plaza (Spanish: Plaza Sucre) – graced since 1915 with a ceiba tree at its center – is in the southern part of town; this was historically where people tied their mules while frequenting The Four Corners, and it is also known as Plaza La Ceiba. The Four Corners (Spanish: Las Cuatro Esquinas) was a convenient social gathering spot in El Hatillo, comprising a general store, hardware shop, gambling place and bar.La Lagunita is the site of the San Constantino and Santa Elena Romanian Orthodox Church. The building is an architectural work from the 16th century, brought from Romania, made completely from oak and fir woods, and detailed with more than 40,000 individually placed and carved tiles. It is one of only 15 churches of its type remaining in the world, and one of only two outside of Romania, the other being in Switzerland.For children, the Caicaguana hacienda in La Lagunita houses the Expanzoo, where visitors can see and touch exotic animals. The zoo is recognised for offering unique employment opportunities; the workers are from families with few resources, and the staff include the mentally ill.  The Baby Zoo is another place for children to interact with animals; visitors can feed and touch the animals, ride horses and rent the location for special events. More interaction with nature can be experienced by visiting the Morro la Guairita park in El Cafetal – commonly known as the Indian Caves (Spanish: Cuevas del Indio) – a system of 22 natural openings in the mountain, and the only place in Caracas where rock climbing is permitted. Guided tours are available, and views of El Ávila can be enjoyed while ascending the park.
Output: What is the full name of the building that is an architectural work from the 16th century, brought from Romania?
Passage: The hub of activity in El Hatillo Town is Bolívar Plaza (Spanish: Plaza Bolívar), a garden square encompassing the central block in the town of El Hatillo. Constructed in 1785, the Plaza was originally called Plaza Mayor or Plaza del Mercado. In 1911, a bust honoring Manuel Escalona was placed in the square, which was renamed in his honor. In 1952, the bust was replaced with a statue of Simón Bolívar, and the plaza was again renamed after the Venezuelan hero.  Across from the Bolívar Square is the 18th century Santa Rosalía de Palermo Church, which was declared a National Historic Monument in 1960.
Between El Hatillo and La Lagunita is the smaller Manuel Escalona Plaza (Spanish: Plazoleta Manuel Escalona), another urban monument displaying the bust of Escalona that formerly occupied Bolívar Square. Sucre Plaza (Spanish: Plaza Sucre) – graced since 1915 with a ceiba tree at its center – is in the southern part of town; this was historically where people tied their mules while frequenting The Four Corners, and it is also known as Plaza La Ceiba. The Four Corners (Spanish: Las Cuatro Esquinas) was a convenient social gathering spot in El Hatillo, comprising a general store, hardware shop, gambling place and bar.La Lagunita is the site of the San Constantino and Santa Elena Romanian Orthodox Church. The building is an architectural work from the 16th century, brought from Romania, made completely from oak and fir woods, and detailed with more than 40,000 individually placed and carved tiles. It is one of only 15 churches of its type remaining in the world, and one of only two outside of Romania, the other being in Switzerland.For children, the Caicaguana hacienda in La Lagunita houses the Expanzoo, where visitors can see and touch exotic animals. The zoo is recognised for offering unique employment opportunities; the workers are from families with few resources, and the staff include the mentally ill.  The Baby Zoo is another place for children to interact with animals; visitors can feed and touch the animals, ride horses and rent the location for special events. More interaction with nature can be experienced by visiting the Morro la Guairita park in El Cafetal – commonly known as the Indian Caves (Spanish: Cuevas del Indio) – a system of 22 natural openings in the mountain, and the only place in Caracas where rock climbing is permitted. Guided tours are available, and views of El Ávila can be enjoyed while ascending the park.
Output: What is the full name of the church in La Lagunita that is one of only 15 churches of its type remaining in the world?
Passage: The hub of activity in El Hatillo Town is Bolívar Plaza (Spanish: Plaza Bolívar), a garden square encompassing the central block in the town of El Hatillo. Constructed in 1785, the Plaza was originally called Plaza Mayor or Plaza del Mercado. In 1911, a bust honoring Manuel Escalona was placed in the square, which was renamed in his honor. In 1952, the bust was replaced with a statue of Simón Bolívar, and the plaza was again renamed after the Venezuelan hero.  Across from the Bolívar Square is the 18th century Santa Rosalía de Palermo Church, which was declared a National Historic Monument in 1960.
Between El Hatillo and La Lagunita is the smaller Manuel Escalona Plaza (Spanish: Plazoleta Manuel Escalona), another urban monument displaying the bust of Escalona that formerly occupied Bolívar Square. Sucre Plaza (Spanish: Plaza Sucre) – graced since 1915 with a ceiba tree at its center – is in the southern part of town; this was historically where people tied their mules while frequenting The Four Corners, and it is also known as Plaza La Ceiba. The Four Corners (Spanish: Las Cuatro Esquinas) was a convenient social gathering spot in El Hatillo, comprising a general store, hardware shop, gambling place and bar.La Lagunita is the site of the San Constantino and Santa Elena Romanian Orthodox Church. The building is an architectural work from the 16th century, brought from Romania, made completely from oak and fir woods, and detailed with more than 40,000 individually placed and carved tiles. It is one of only 15 churches of its type remaining in the world, and one of only two outside of Romania, the other being in Switzerland.For children, the Caicaguana hacienda in La Lagunita houses the Expanzoo, where visitors can see and touch exotic animals. The zoo is recognised for offering unique employment opportunities; the workers are from families with few resources, and the staff include the mentally ill.  The Baby Zoo is another place for children to interact with animals; visitors can feed and touch the animals, ride horses and rent the location for special events. More interaction with nature can be experienced by visiting the Morro la Guairita park in El Cafetal – commonly known as the Indian Caves (Spanish: Cuevas del Indio) – a system of 22 natural openings in the mountain, and the only place in Caracas where rock climbing is permitted. Guided tours are available, and views of El Ávila can be enjoyed while ascending the park.
Output: What is the name of the zoo recognized for offering unique employment opportunities?
Passage: The hub of activity in El Hatillo Town is Bolívar Plaza (Spanish: Plaza Bolívar), a garden square encompassing the central block in the town of El Hatillo. Constructed in 1785, the Plaza was originally called Plaza Mayor or Plaza del Mercado. In 1911, a bust honoring Manuel Escalona was placed in the square, which was renamed in his honor. In 1952, the bust was replaced with a statue of Simón Bolívar, and the plaza was again renamed after the Venezuelan hero.  Across from the Bolívar Square is the 18th century Santa Rosalía de Palermo Church, which was declared a National Historic Monument in 1960.
Between El Hatillo and La Lagunita is the smaller Manuel Escalona Plaza (Spanish: Plazoleta Manuel Escalona), another urban monument displaying the bust of Escalona that formerly occupied Bolívar Square. Sucre Plaza (Spanish: Plaza Sucre) – graced since 1915 with a ceiba tree at its center – is in the southern part of town; this was historically where people tied their mules while frequenting The Four Corners, and it is also known as Plaza La Ceiba. The Four Corners (Spanish: Las Cuatro Esquinas) was a convenient social gathering spot in El Hatillo, comprising a general store, hardware shop, gambling place and bar.La Lagunita is the site of the San Constantino and Santa Elena Romanian Orthodox Church. The building is an architectural work from the 16th century, brought from Romania, made completely from oak and fir woods, and detailed with more than 40,000 individually placed and carved tiles. It is one of only 15 churches of its type remaining in the world, and one of only two outside of Romania, the other being in Switzerland.For children, the Caicaguana hacienda in La Lagunita houses the Expanzoo, where visitors can see and touch exotic animals. The zoo is recognised for offering unique employment opportunities; the workers are from families with few resources, and the staff include the mentally ill.  The Baby Zoo is another place for children to interact with animals; visitors can feed and touch the animals, ride horses and rent the location for special events. More interaction with nature can be experienced by visiting the Morro la Guairita park in El Cafetal – commonly known as the Indian Caves (Spanish: Cuevas del Indio) – a system of 22 natural openings in the mountain, and the only place in Caracas where rock climbing is permitted. Guided tours are available, and views of El Ávila can be enjoyed while ascending the park.
Output: What is the exact name of the park that is the only place in Caracas where rock climbing is permitted?
Passage: The hub of activity in El Hatillo Town is Bolívar Plaza (Spanish: Plaza Bolívar), a garden square encompassing the central block in the town of El Hatillo. Constructed in 1785, the Plaza was originally called Plaza Mayor or Plaza del Mercado. In 1911, a bust honoring Manuel Escalona was placed in the square, which was renamed in his honor. In 1952, the bust was replaced with a statue of Simón Bolívar, and the plaza was again renamed after the Venezuelan hero.  Across from the Bolívar Square is the 18th century Santa Rosalía de Palermo Church, which was declared a National Historic Monument in 1960.
Between El Hatillo and La Lagunita is the smaller Manuel Escalona Plaza (Spanish: Plazoleta Manuel Escalona), another urban monument displaying the bust of Escalona that formerly occupied Bolívar Square. Sucre Plaza (Spanish: Plaza Sucre) – graced since 1915 with a ceiba tree at its center – is in the southern part of town; this was historically where people tied their mules while frequenting The Four Corners, and it is also known as Plaza La Ceiba. The Four Corners (Spanish: Las Cuatro Esquinas) was a convenient social gathering spot in El Hatillo, comprising a general store, hardware shop, gambling place and bar.La Lagunita is the site of the San Constantino and Santa Elena Romanian Orthodox Church. The building is an architectural work from the 16th century, brought from Romania, made completely from oak and fir woods, and detailed with more than 40,000 individually placed and carved tiles. It is one of only 15 churches of its type remaining in the world, and one of only two outside of Romania, the other being in Switzerland.For children, the Caicaguana hacienda in La Lagunita houses the Expanzoo, where visitors can see and touch exotic animals. The zoo is recognised for offering unique employment opportunities; the workers are from families with few resources, and the staff include the mentally ill.  The Baby Zoo is another place for children to interact with animals; visitors can feed and touch the animals, ride horses and rent the location for special events. More interaction with nature can be experienced by visiting the Morro la Guairita park in El Cafetal – commonly known as the Indian Caves (Spanish: Cuevas del Indio) – a system of 22 natural openings in the mountain, and the only place in Caracas where rock climbing is permitted. Guided tours are available, and views of El Ávila can be enjoyed while ascending the park.
Output: What is the exact name of the park in which guided tours are available, and views of El Ávila can be enjoyed while ascending it?
Passage: Apart from the large decorative elements, carved friezes and mosaics which were left in situ, many artifacts were recovered and moved from the Eshmun Temple to the national museum, the Louvre or are in possession of the Lebanese directorate general of antiquities. Some of these smaller finds include a collection of inscribed ostraca unearthed by Dunand providing rare examples of cursive Phoenician writing in the Phoenician mainland. One of the recovered ostracon bears the theophoric Phoenician name "grtnt" which suggests that veneration of the lunar-goddess Tanit occurred in Sidon.A number of fragmented votive life-size sculptures of little children lying on their side and holding a pet animal or a small object were also recovered at the temple site; among the best known of these is a sculpture of a royal child holding a dove with his right hand; the boy's head is shaved, his torso is bare and his lower body is wrapped in a large cloth. The socle of this sculpture is inscribed with a dedication from Baalshillem, the son of a Sidonian king to Eshmun, which illustrates the importance of the site to the Sidonian monarchy. These votive sculptures appear to have been purposely broken after dedication to Eshmun and then ceremoniously cast into the sacred canal, probably simulating the sacrifice of the sick child. All of these sculptures represent boys. A31.5 cm × 27 cm (12.4 in × 10.6 in) limestone bust of a Kouros dating from the 6th century BC was found at the site, but unlike the archaic Greek kouroi this figure is not bare.Among the notable finds is a golden plaque showing a snake curling on a staff, a Hellenic symbol of Eshmun. and a granite altar bearing the name of Egyptian Pharaoh Achoris uncovered in the Eshmun sanctuary. This gift attests to the good relations between the Pharaoh and the kings of Sidon.The repute of the sanctuary was far reaching. Cypriot pilgrims from Paphos left marks of their devotion for Astarte on a marble stele inscribed both in Greek and Cypriot syllabary at Astarte's shrine; this stele is now in the custody of the Lebanese directorate general of antiquities.
Output: In what place was the rare examples of cursive Phoenician writing found?
Passage: In 1914 Tsarist Russia, Prince Peter Karagin is a captain of the Cossack Guards, riding home from manoeuvres to an evening of wine, women and song at St. Petersburg's Cafe Balalaika. The Balalaika's new star, Lydia Pavlovna Marakova, is blackmailed into attending the officers' party and is expected to choose a "favoured one." She intrigues Karagin when she makes good her escape instead.
Masquerading as a poor music student, Karagin insinuating himself into Lydia's family and circle of musician friends, unaware that they are dedicated revolutionaries. He discovers his larcenous orderly, Nikki Poppov, courting the Marakovs' maid, Masha. Karagin then bullies Ivan Danchenoff, Director of the Imperial Opera, into giving Lydia an audition; Danchenoff is pleasantly surprised to find that (unlike the 60 other women foisted on him by other aristocrats) she has real talent. Later, Karagin orders his usual arrangements for seduction, but falls in love instead and tries to cancel them. She understands both his former and current motives, and admits she loves him too.
Output: What is the full name of the person who finds Nikki courting Masha?
Passage: In 1914 Tsarist Russia, Prince Peter Karagin is a captain of the Cossack Guards, riding home from manoeuvres to an evening of wine, women and song at St. Petersburg's Cafe Balalaika. The Balalaika's new star, Lydia Pavlovna Marakova, is blackmailed into attending the officers' party and is expected to choose a "favoured one." She intrigues Karagin when she makes good her escape instead.
Masquerading as a poor music student, Karagin insinuating himself into Lydia's family and circle of musician friends, unaware that they are dedicated revolutionaries. He discovers his larcenous orderly, Nikki Poppov, courting the Marakovs' maid, Masha. Karagin then bullies Ivan Danchenoff, Director of the Imperial Opera, into giving Lydia an audition; Danchenoff is pleasantly surprised to find that (unlike the 60 other women foisted on him by other aristocrats) she has real talent. Later, Karagin orders his usual arrangements for seduction, but falls in love instead and tries to cancel them. She understands both his former and current motives, and admits she loves him too.
Output: What is the full name of the person Karagin falls in love with?
Passage: In 1914 Tsarist Russia, Prince Peter Karagin is a captain of the Cossack Guards, riding home from manoeuvres to an evening of wine, women and song at St. Petersburg's Cafe Balalaika. The Balalaika's new star, Lydia Pavlovna Marakova, is blackmailed into attending the officers' party and is expected to choose a "favoured one." She intrigues Karagin when she makes good her escape instead.
Masquerading as a poor music student, Karagin insinuating himself into Lydia's family and circle of musician friends, unaware that they are dedicated revolutionaries. He discovers his larcenous orderly, Nikki Poppov, courting the Marakovs' maid, Masha. Karagin then bullies Ivan Danchenoff, Director of the Imperial Opera, into giving Lydia an audition; Danchenoff is pleasantly surprised to find that (unlike the 60 other women foisted on him by other aristocrats) she has real talent. Later, Karagin orders his usual arrangements for seduction, but falls in love instead and tries to cancel them. She understands both his former and current motives, and admits she loves him too.
Output: What is the full name of the person that the Director of the Imperial Opera thinks has real talent?
Passage: In 1914 Tsarist Russia, Prince Peter Karagin is a captain of the Cossack Guards, riding home from manoeuvres to an evening of wine, women and song at St. Petersburg's Cafe Balalaika. The Balalaika's new star, Lydia Pavlovna Marakova, is blackmailed into attending the officers' party and is expected to choose a "favoured one." She intrigues Karagin when she makes good her escape instead.
Masquerading as a poor music student, Karagin insinuating himself into Lydia's family and circle of musician friends, unaware that they are dedicated revolutionaries. He discovers his larcenous orderly, Nikki Poppov, courting the Marakovs' maid, Masha. Karagin then bullies Ivan Danchenoff, Director of the Imperial Opera, into giving Lydia an audition; Danchenoff is pleasantly surprised to find that (unlike the 60 other women foisted on him by other aristocrats) she has real talent. Later, Karagin orders his usual arrangements for seduction, but falls in love instead and tries to cancel them. She understands both his former and current motives, and admits she loves him too.
Output: What is the full name of the character who Ivan Danchenoff discovers has real talent?
Passage: In 1914 Tsarist Russia, Prince Peter Karagin is a captain of the Cossack Guards, riding home from manoeuvres to an evening of wine, women and song at St. Petersburg's Cafe Balalaika. The Balalaika's new star, Lydia Pavlovna Marakova, is blackmailed into attending the officers' party and is expected to choose a "favoured one." She intrigues Karagin when she makes good her escape instead.
Masquerading as a poor music student, Karagin insinuating himself into Lydia's family and circle of musician friends, unaware that they are dedicated revolutionaries. He discovers his larcenous orderly, Nikki Poppov, courting the Marakovs' maid, Masha. Karagin then bullies Ivan Danchenoff, Director of the Imperial Opera, into giving Lydia an audition; Danchenoff is pleasantly surprised to find that (unlike the 60 other women foisted on him by other aristocrats) she has real talent. Later, Karagin orders his usual arrangements for seduction, but falls in love instead and tries to cancel them. She understands both his former and current motives, and admits she loves him too.
Output: What is the full name of the character who has a larcenous orderly?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What are the exact names of the two songs whose similarities Clarkson initially stated she was unaware of?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What are the exact name of the two songs whose resemblance Clarkson eventually realized when she listened to both closely?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What is the last name of the person whose album was already being printed when I Am...Sasha Fierce was released?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What is the last name of the person who complained that people would, incorrectly, assume she was stealing the arrangement for "Already Gone" from Beyoncé?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What is the last name of the person who accused Tedder of using the same arrangement on both "Already Gone" and "Halo"?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What is the last name of the person whose criticism Tedder described as "hurtful and absurd"?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What is the name of the person who asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different?
Passage: Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.
Output: What is the name of the label that went against Clarkson's will and released "Already Gone"?
Passage: The film is based on a real event that occurred in 1968 in Billings, Montana, the hometown of screenwriter T. J. Lynch.A popular locally produced children's television show, Happy Herb & Froggy Doo, features magician Happy Herb and his wisecracking marionette sidekick, Froggy Doo. Froggy Doo is stolen and held for ransom, and the Federal Bureau of Investigation is called in to investigate. Elliott Plumm used to watch the show, but now feels he is too grown up to do so any longer. His five-year-old brother, Rocky, is a Froggy Doo fan, however. Their father, Mick Plumm, is a recovering alcoholic and unemployed ex-boxer who believes Elliott's birth prevented him from going to the Olympic Games 12 years earlier. Mick's emotionally distant relationship with Elliott is causing Elliott to become emotionally troubled. Their mother, Roxie Plumm, is the only breadwinner in the family, and keeping her husband sober and attending to her job means she has little time for her children.
Output: What is the first name of the child that the father believes prevented him from making the Olympics?
Passage: The film is based on a real event that occurred in 1968 in Billings, Montana, the hometown of screenwriter T. J. Lynch.A popular locally produced children's television show, Happy Herb & Froggy Doo, features magician Happy Herb and his wisecracking marionette sidekick, Froggy Doo. Froggy Doo is stolen and held for ransom, and the Federal Bureau of Investigation is called in to investigate. Elliott Plumm used to watch the show, but now feels he is too grown up to do so any longer. His five-year-old brother, Rocky, is a Froggy Doo fan, however. Their father, Mick Plumm, is a recovering alcoholic and unemployed ex-boxer who believes Elliott's birth prevented him from going to the Olympic Games 12 years earlier. Mick's emotionally distant relationship with Elliott is causing Elliott to become emotionally troubled. Their mother, Roxie Plumm, is the only breadwinner in the family, and keeping her husband sober and attending to her job means she has little time for her children.
Output: Who is the stolen marionette a sidekick to?
Passage: The film is based on a real event that occurred in 1968 in Billings, Montana, the hometown of screenwriter T. J. Lynch.A popular locally produced children's television show, Happy Herb & Froggy Doo, features magician Happy Herb and his wisecracking marionette sidekick, Froggy Doo. Froggy Doo is stolen and held for ransom, and the Federal Bureau of Investigation is called in to investigate. Elliott Plumm used to watch the show, but now feels he is too grown up to do so any longer. His five-year-old brother, Rocky, is a Froggy Doo fan, however. Their father, Mick Plumm, is a recovering alcoholic and unemployed ex-boxer who believes Elliott's birth prevented him from going to the Olympic Games 12 years earlier. Mick's emotionally distant relationship with Elliott is causing Elliott to become emotionally troubled. Their mother, Roxie Plumm, is the only breadwinner in the family, and keeping her husband sober and attending to her job means she has little time for her children.
Output: Who has an older brother that believes he is too grown up to watch Happy Herb & Froggy Doo?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What is the name of the person that John Culshaw gave an opportunity to show what he could do?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What is the name of the person that James Walker produced his recordings?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What is the name of the person Carlo Bergonzi soloist his operatic recordings?
Passage: Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Régine Crespin, Plácido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and José van Dam. In concerto recordings, Solti conducted for, among others, András Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
Output: What is the name of the person Birgit Nilsson soloist his operatic recordings?