niryuu/sni-each-converted huggingface dataset:
Passage: James Hart starts his first year at Harvard Law School in a very bad way. In his contract law course with Professor Charles W. Kingsfield Jr., he assumes the first class will be an outline of the course. When Kingsfield immediately delves into the material using the Socratic method and asks Hart the first question, Hart is totally unprepared and feels so utterly humiliated that, after class, he throws up in the bathroom.
Hart is invited to join a study group with five other students:

Franklin Ford, the fifth generation of Fords at Harvard Law School
Kevin Brooks, a married man with a photographic memory, but no analytical skills
Thomas Anderson
Willis Bell, an abrasive individual who is devoted to property law
O'Connor (Robert Lydiard)While out getting pizza, Hart is asked by a woman, Susan Fields, to walk her home, due to her feeling uncomfortable with a man who had been following her. Hart returns to her house soon after and asks her on a date, after which they begin a relationship. Their relationship is complex; she resents the time he devotes to his studies, while he expects her to provide him with a great deal of attention and wants a firm commitment. When Hart and his classmates are invited to a cocktail party hosted by Kingsfield, he is stunned to discover that Susan is Kingsfield's married daughter. (She is, however, separated from her husband and eventually gets a divorce.) She and Hart break up and get back together several times.
Hart divides the class into three groups: those who have given up; those who are trying, but fear being called upon in class to respond to Kingsfield's questions; and the "upper echelon". As time goes on, he moves from the second classification to the third. Late one night, Hart and another student break into a secured room of the library and read personal notes Kingsfield had taken when he was a law student.
Output: What is the name of the person that is devoted to property law?
Passage: James Hart starts his first year at Harvard Law School in a very bad way. In his contract law course with Professor Charles W. Kingsfield Jr., he assumes the first class will be an outline of the course. When Kingsfield immediately delves into the material using the Socratic method and asks Hart the first question, Hart is totally unprepared and feels so utterly humiliated that, after class, he throws up in the bathroom.
Hart is invited to join a study group with five other students:

Franklin Ford, the fifth generation of Fords at Harvard Law School
Kevin Brooks, a married man with a photographic memory, but no analytical skills
Thomas Anderson
Willis Bell, an abrasive individual who is devoted to property law
O'Connor (Robert Lydiard)While out getting pizza, Hart is asked by a woman, Susan Fields, to walk her home, due to her feeling uncomfortable with a man who had been following her. Hart returns to her house soon after and asks her on a date, after which they begin a relationship. Their relationship is complex; she resents the time he devotes to his studies, while he expects her to provide him with a great deal of attention and wants a firm commitment. When Hart and his classmates are invited to a cocktail party hosted by Kingsfield, he is stunned to discover that Susan is Kingsfield's married daughter. (She is, however, separated from her husband and eventually gets a divorce.) She and Hart break up and get back together several times.
Hart divides the class into three groups: those who have given up; those who are trying, but fear being called upon in class to respond to Kingsfield's questions; and the "upper echelon". As time goes on, he moves from the second classification to the third. Late one night, Hart and another student break into a secured room of the library and read personal notes Kingsfield had taken when he was a law student.
Output: Which person wants a firm commitment from their relationship?
Passage: James Hart starts his first year at Harvard Law School in a very bad way. In his contract law course with Professor Charles W. Kingsfield Jr., he assumes the first class will be an outline of the course. When Kingsfield immediately delves into the material using the Socratic method and asks Hart the first question, Hart is totally unprepared and feels so utterly humiliated that, after class, he throws up in the bathroom.
Hart is invited to join a study group with five other students:

Franklin Ford, the fifth generation of Fords at Harvard Law School
Kevin Brooks, a married man with a photographic memory, but no analytical skills
Thomas Anderson
Willis Bell, an abrasive individual who is devoted to property law
O'Connor (Robert Lydiard)While out getting pizza, Hart is asked by a woman, Susan Fields, to walk her home, due to her feeling uncomfortable with a man who had been following her. Hart returns to her house soon after and asks her on a date, after which they begin a relationship. Their relationship is complex; she resents the time he devotes to his studies, while he expects her to provide him with a great deal of attention and wants a firm commitment. When Hart and his classmates are invited to a cocktail party hosted by Kingsfield, he is stunned to discover that Susan is Kingsfield's married daughter. (She is, however, separated from her husband and eventually gets a divorce.) She and Hart break up and get back together several times.
Hart divides the class into three groups: those who have given up; those who are trying, but fear being called upon in class to respond to Kingsfield's questions; and the "upper echelon". As time goes on, he moves from the second classification to the third. Late one night, Hart and another student break into a secured room of the library and read personal notes Kingsfield had taken when he was a law student.
Output: What is the name of the person that invites James Hart and his classmates to their cocktail party?
Passage: James Hart starts his first year at Harvard Law School in a very bad way. In his contract law course with Professor Charles W. Kingsfield Jr., he assumes the first class will be an outline of the course. When Kingsfield immediately delves into the material using the Socratic method and asks Hart the first question, Hart is totally unprepared and feels so utterly humiliated that, after class, he throws up in the bathroom.
Hart is invited to join a study group with five other students:

Franklin Ford, the fifth generation of Fords at Harvard Law School
Kevin Brooks, a married man with a photographic memory, but no analytical skills
Thomas Anderson
Willis Bell, an abrasive individual who is devoted to property law
O'Connor (Robert Lydiard)While out getting pizza, Hart is asked by a woman, Susan Fields, to walk her home, due to her feeling uncomfortable with a man who had been following her. Hart returns to her house soon after and asks her on a date, after which they begin a relationship. Their relationship is complex; she resents the time he devotes to his studies, while he expects her to provide him with a great deal of attention and wants a firm commitment. When Hart and his classmates are invited to a cocktail party hosted by Kingsfield, he is stunned to discover that Susan is Kingsfield's married daughter. (She is, however, separated from her husband and eventually gets a divorce.) She and Hart break up and get back together several times.
Hart divides the class into three groups: those who have given up; those who are trying, but fear being called upon in class to respond to Kingsfield's questions; and the "upper echelon". As time goes on, he moves from the second classification to the third. Late one night, Hart and another student break into a secured room of the library and read personal notes Kingsfield had taken when he was a law student.
Output: What is the name of Susan Fields father?
Passage: James Hart starts his first year at Harvard Law School in a very bad way. In his contract law course with Professor Charles W. Kingsfield Jr., he assumes the first class will be an outline of the course. When Kingsfield immediately delves into the material using the Socratic method and asks Hart the first question, Hart is totally unprepared and feels so utterly humiliated that, after class, he throws up in the bathroom.
Hart is invited to join a study group with five other students:

Franklin Ford, the fifth generation of Fords at Harvard Law School
Kevin Brooks, a married man with a photographic memory, but no analytical skills
Thomas Anderson
Willis Bell, an abrasive individual who is devoted to property law
O'Connor (Robert Lydiard)While out getting pizza, Hart is asked by a woman, Susan Fields, to walk her home, due to her feeling uncomfortable with a man who had been following her. Hart returns to her house soon after and asks her on a date, after which they begin a relationship. Their relationship is complex; she resents the time he devotes to his studies, while he expects her to provide him with a great deal of attention and wants a firm commitment. When Hart and his classmates are invited to a cocktail party hosted by Kingsfield, he is stunned to discover that Susan is Kingsfield's married daughter. (She is, however, separated from her husband and eventually gets a divorce.) She and Hart break up and get back together several times.
Hart divides the class into three groups: those who have given up; those who are trying, but fear being called upon in class to respond to Kingsfield's questions; and the "upper echelon". As time goes on, he moves from the second classification to the third. Late one night, Hart and another student break into a secured room of the library and read personal notes Kingsfield had taken when he was a law student.
Output: Which student feels he has moved from the second to the third echelon of students?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the name of the maestro that was present while the pianist that showed considerable skill from his early years demonstrated his virtuoso skills?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the last name of the composer that the musician who attended the Paris premiere of Tannhäuser declared "above and beyond all living composers"?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the name of the company that staged a shortened version of Berlioz's Les Troyens?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the name of the person who declared Wagner "above and beyond all living composers"?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the name of the person who, according to a contemporary, could have assured a future on the concert platform?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the name of the person who reportedly chose to conceal his talent "as though it were a vice"?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the name of the person who astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces?
Passage: Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opéra and the Opéra-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opéra. Although French composers were better represented at the Opéra-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Théâtre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Théâtre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Léon Carvalho. This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhäuser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces. Liszt commented: "I thought there were only two men able to surmount the difficulties ... there are three, and ... the youngest is perhaps the boldest and most brilliant.".
Output: What is the last name of the maestro who's music was played in May 1861 by the pianist who had shown considerable skill from his earliest years?
Passage: The existence of 400 churches has been recorded throughout the kingdom; most have yet to be located. Only seven have been identified so far, given the simple names of church "A", "B", "C", "E", the "Mound C" church in Soba, the church in Saqadi and the temple-church in Musawwarat as-Sufra. Churches "A"–"C" as well as the "Mound C" church were basilicas comparable to the largest Makurian churches. The Saqadi church was an insertion into a pre-existing structure. Church "E" and the church of Musawwarat es-Sufra were "normal" churches. Thus, the known Alodian houses of worship can be categorized into three classes.
On "Mound B" in Soba lay the standalone complex of the three churches "A", "B" and "C". Churches "A" and "B", both probably built in the mid-9th century, were large buildings, the first measuring 28 m × 24.5 m (92 ft × 80 ft) and the second 27 m × 22.5 m (89 ft × 74 ft). Church "C" was much smaller  and built after the other two churches, probably after c. 900. The three churches had many similarities, including having a narthex, wide entrances on the main east-west axis and a pulpit along the north side of the nave. Differences are evident in the thickness of the bricks used. Church "C" lacked outer aisles. It seems probable that the complex was the ecclesiastical center of Soba, if not the entire kingdom.
Church "E", on a natural mount, was 16.4 m × 10.6 m (54 ft × 35 ft) in size (and like all red brick structures in Soba heavily robbed). Its layout was unusual, such as its L-shaped narthex. The roof was supported by wooden beams resting on stone pedestals. The internal walls used to be covered by painted whitewashed mud; the external walls were rendered in white lime mortar.The "Mound C" church, perhaps the oldest of the churches of Soba, was around 13.5 m (44 ft) in length. It was the only Alodian church known to have incorporated stone columns. Very little remains of it and its walls, probably made of red bricks, have completely disappeared. Five capitals have been noted, belonging to a style that appeared in Nubia at the turn of the 8th century.
Output: Which church featured an L-shaped narthex?
Passage: The existence of 400 churches has been recorded throughout the kingdom; most have yet to be located. Only seven have been identified so far, given the simple names of church "A", "B", "C", "E", the "Mound C" church in Soba, the church in Saqadi and the temple-church in Musawwarat as-Sufra. Churches "A"–"C" as well as the "Mound C" church were basilicas comparable to the largest Makurian churches. The Saqadi church was an insertion into a pre-existing structure. Church "E" and the church of Musawwarat es-Sufra were "normal" churches. Thus, the known Alodian houses of worship can be categorized into three classes.
On "Mound B" in Soba lay the standalone complex of the three churches "A", "B" and "C". Churches "A" and "B", both probably built in the mid-9th century, were large buildings, the first measuring 28 m × 24.5 m (92 ft × 80 ft) and the second 27 m × 22.5 m (89 ft × 74 ft). Church "C" was much smaller  and built after the other two churches, probably after c. 900. The three churches had many similarities, including having a narthex, wide entrances on the main east-west axis and a pulpit along the north side of the nave. Differences are evident in the thickness of the bricks used. Church "C" lacked outer aisles. It seems probable that the complex was the ecclesiastical center of Soba, if not the entire kingdom.
Church "E", on a natural mount, was 16.4 m × 10.6 m (54 ft × 35 ft) in size (and like all red brick structures in Soba heavily robbed). Its layout was unusual, such as its L-shaped narthex. The roof was supported by wooden beams resting on stone pedestals. The internal walls used to be covered by painted whitewashed mud; the external walls were rendered in white lime mortar.The "Mound C" church, perhaps the oldest of the churches of Soba, was around 13.5 m (44 ft) in length. It was the only Alodian church known to have incorporated stone columns. Very little remains of it and its walls, probably made of red bricks, have completely disappeared. Five capitals have been noted, belonging to a style that appeared in Nubia at the turn of the 8th century.
Output: Which church incorporated stone columns?
Passage: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that had—and no discredit to them—I guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse.".
Output: What are the first names of the people who shared lyrics with each other through instant messaging?
Passage: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that had—and no discredit to them—I guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse.".
Output: What is the first name of the person who programmed electronic beats for their songs?
Passage: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that had—and no discredit to them—I guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse.".
Output: What are the first names of the two people whose bedrooms they rehearsed quietly in?
Passage: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that had—and no discredit to them—I guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse.".
Output: What is the name of the band that covered "Hot Like Fire?"?
Passage: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that had—and no discredit to them—I guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse.".
Output: What is the name of the band that covered "Teardrops?"?
Passage: In Erlewine's opinion, Marquee Moon was radical and groundbreaking primarily as "a guitar rock album unlike any other". Verlaine and Lloyd's dual playing on the record strongly influenced alternative rock groups such as the Pixies, noise rock acts such as Sonic Youth, and big arena bands like U2. Greg Kot from the Chicago Tribune wrote that Television "created a new template for guitar rock" because of how Verlaine's improvised playing was weaved together with Lloyd's precisely notated solos, particularly on the title track. As a member of U2, Irish guitarist The Edge simulated Television's guitar sound with an effects pedal. He later said he had wanted to "sound like them" and that Marquee Moon's title track had changed his "way of thinking about the guitar". Verlaine's jagged, expressive sound on the album made a great impression on American guitarist John Frusciante when he started developing as a guitarist in his early 20s, as it reminded him that "none of those things that are happening in the physical dimension mean anything, whether it's what kind of guitar you play or how your amp's set up. It's just ideas, you know, emotion." In Rolling Stone, Rob Sheffield called Marquee Moon "one of the all-time classic guitar albums" whose tremulous guitar twang was an inspiration behind bands such as R.E.M. and Joy Division. Joy Division's Stephen Morris cited it as one of his favorite albums, while R.E.M.'s Michael Stipe said his love of Marquee Moon was "second only to [Patti Smith's] Horses". English guitarist Will Sergeant said it was also one of his favorite records, and that Verlaine and Lloyd's guitar playing was a major influence on his band Echo & the Bunnymen.
Output: What is the last name of the Echo & the Bunnymen guitarist that said the album that introduced groups like the Pixies was one of his favorite records?
Passage: Okereke has discussed a natural progression in Bloc Party's compositional style to a more explorative, electronic direction. For the opening track on Intimacy, "Ares", Okereke was inspired to rap his lyrics after listening to the old-school hip hop of Afrika Bambaataa. According to Heather Phares of AllMusic, the song includes siren-like guitar chords and loud, complex drumming in the vein of dance acts The Prodigy and The Chemical Brothers. "Mercury" continues the complex drumming theme by incorporating layered percussion and contains a vocally manipulated chorus. The track is an attempt at drum and bass and features brass dissonance, effects Okereke has called "harsh, glacial, layered and energetic". "Zephyrus" begins with a solitary vocal line accompanied only by a drum machine pattern, while the Exmoor Singers provide background vocals in the rest of the composition. "Signs" is the only song that does not include guitars; instead, it is made up of a synthesiser pulse and multitracked samples of glockenspiel and mbira resembling the work of minimalist composer Steve Reich.Okereke has conceded that Intimacy covers Bloc Party's typical indie rock elements, but noted that the guitars have an artificial and manipulated sound, "almost like all the humanity has been bleached out". "Halo" has a fast tempo coupled with a guitar melody that uses only four chords, while "Trojan Horse" features syncopated guitars and distortion. "Talons" also incorporates distortion from both lead and rhythm guitars, while the final single "One Month Off" consists of tribal rhythms and sixteenth note guitar riffs. "Biko" has a slower tempo and includes guitar arpeggi throughout, while "Ion Square" incorporates guitar overdubbing and the use of hi-hat patterns throughout. According to Nick Southall of Drowned in Sound, "Better Than Heaven" encapsulates what Bloc Party had been trying to achieve in their previous works, "namely aligning all their different directional desires: to swoon, to rock, and to experiment all at once". The track features broken beats and layered vocals.
Output: What is the song on the album with an electronic direction that features syncopated guitars and distortion?