niryuu/sni-each-converted huggingface dataset:
Passage: Vere Gordon Childe (14 April 1892 – 19 October 1957) was an Australian archaeologist who specialized in the study of European prehistory. He spent most of his life in the United Kingdom, working as an academic for the University of Edinburgh and then the Institute of Archaeology, London, and wrote twenty-six books during his career. Initially an early proponent of culture-historical archaeology, he later became the first exponent of Marxist archaeology in the Western world.
Born in Sydney to a middle-class English migrant family, Childe studied classics at the University of Sydney before moving to England to study classical archaeology at the University of Oxford. There, he embraced the socialist movement and campaigned against the First World War, viewing it as a conflict waged by competing imperialists to the detriment of Europe's working class. Returning to Australia in 1917, he was prevented from working in academia because of his socialist activism, instead working for the Labor Party as the private secretary of the politician John Storey. Growing critical of Labor, he wrote an analysis of their policies and joined the far-left Industrial Workers of the World. Emigrating to London in 1921, he became librarian of the Royal Anthropological Institute and journeyed across Europe to pursue his research into the continent's prehistory, publishing his findings in academic papers and books. In doing so he introduced the continental European concept of an archaeological culture—the idea that a recurring assemblage of artefacts demarcates a distinct cultural group—to the British archaeological community.
Output: What is the last name of the person who returned to Australia in 1917?
Passage: Steamtown, U.S.A., was a steam locomotive museum that ran steam excursions out of North Walpole, New Hampshire, and Bellows Falls, Vermont, from the 1960s to 1983. The museum was founded by millionaire seafood industrialist F. Nelson Blount.  The non-profit Steamtown Foundation took over operations following his death in 1967. Because of Vermont's air quality regulations restricting steam excursions, declining visitor attendance, and disputes over the use of track, some pieces of the collection were relocated to Scranton, Pennsylvania, in the mid-1980s and the rest were auctioned off. After the move, Steamtown continued to operate in Scranton but failed to attract the expected 200,000–400,000 visitors.  Within two years the tourist attraction was facing bankruptcy, and more pieces of the collection were sold to pay off debt.
In 1986, the United States House of Representatives, under the urging of Pennsylvania Representative Joseph M. McDade, voted to approve $8 million to study the collection and to begin the process of making it a National Historic Site. As a result, the National Park Service (NPS) conducted historical research on the equipment that remained in the Foundation's possession. This research was used as a Scope of Collections Statement for the Steamtown National Historic Site.  The scope was published in 1991 under the title Steamtown Special History Study. The report provided concise histories of each piece of equipment and made recommendations as to whether or not each piece belonged in the soon-to-be government-funded collection.
By 1995, Steamtown had been acquired and developed by the NPS with a $66 million allocation. Several more pieces have been removed from the collection as a result of the government acquisition. Part of the Blount collection is still on display at the Steamtown National Historic Site in Scranton.
Output: What is the name of the research conducted by the NPS after it was released in 1991?
Passage: Steamtown, U.S.A., was a steam locomotive museum that ran steam excursions out of North Walpole, New Hampshire, and Bellows Falls, Vermont, from the 1960s to 1983. The museum was founded by millionaire seafood industrialist F. Nelson Blount.  The non-profit Steamtown Foundation took over operations following his death in 1967. Because of Vermont's air quality regulations restricting steam excursions, declining visitor attendance, and disputes over the use of track, some pieces of the collection were relocated to Scranton, Pennsylvania, in the mid-1980s and the rest were auctioned off. After the move, Steamtown continued to operate in Scranton but failed to attract the expected 200,000–400,000 visitors.  Within two years the tourist attraction was facing bankruptcy, and more pieces of the collection were sold to pay off debt.
In 1986, the United States House of Representatives, under the urging of Pennsylvania Representative Joseph M. McDade, voted to approve $8 million to study the collection and to begin the process of making it a National Historic Site. As a result, the National Park Service (NPS) conducted historical research on the equipment that remained in the Foundation's possession. This research was used as a Scope of Collections Statement for the Steamtown National Historic Site.  The scope was published in 1991 under the title Steamtown Special History Study. The report provided concise histories of each piece of equipment and made recommendations as to whether or not each piece belonged in the soon-to-be government-funded collection.
By 1995, Steamtown had been acquired and developed by the NPS with a $66 million allocation. Several more pieces have been removed from the collection as a result of the government acquisition. Part of the Blount collection is still on display at the Steamtown National Historic Site in Scranton.
Output: What is the partial collection that the government received from Steamtown that is still on display in Scranton?
Passage: Coleman received $25,000 for the publishing rights to Of Human Feelings but said his managers sold it for less than the recording costs and that he did not receive any of its royalties. According to Stan Bernstein, Coleman had financial expectations that were "unrealistic in this business unless you're Michael Jackson". Antilles label executive Ron Goldstein felt the $25,000 Coleman received was neither a great nor a fair amount for someone in jazz. After he had gone over budget to record a follow-up album, Island did not release it nor pick up their option on him, and in 1983, he left the Bernstein Agency. He chose Denardo Coleman to manage his career while overcoming his reticence of public performance, which had been rooted in his distrust of doing business with a predominantly White music industry. According to Nicholson, "the man once accused of standing on the throat of jazz was welcomed back to the touring circuits with both curiosity and affection" during the 1980s. Coleman did not record another album for six years and instead performed internationally with Prime Time.In a 1986 article for The New York Times on Coleman's work with Prime Time, Robert Palmer said Of Human Feelings was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its test pressing in 1979, the album's mix of jazz improvisation and gritty, punk and funk-derived energy sounded "prophetic" when it was released, Palmer explained. "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz." AllMusic critic Scott Yanow said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman's harmolodics-based music, while Chicago Tribune rock critic Greg Kot included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, New York magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk, Latin, and African music, all of which were encapsulated by music that retained a jazz identity.
Output: What is the first name of the person who owns the agency Coleman left?
Passage: Coleman received $25,000 for the publishing rights to Of Human Feelings but said his managers sold it for less than the recording costs and that he did not receive any of its royalties. According to Stan Bernstein, Coleman had financial expectations that were "unrealistic in this business unless you're Michael Jackson". Antilles label executive Ron Goldstein felt the $25,000 Coleman received was neither a great nor a fair amount for someone in jazz. After he had gone over budget to record a follow-up album, Island did not release it nor pick up their option on him, and in 1983, he left the Bernstein Agency. He chose Denardo Coleman to manage his career while overcoming his reticence of public performance, which had been rooted in his distrust of doing business with a predominantly White music industry. According to Nicholson, "the man once accused of standing on the throat of jazz was welcomed back to the touring circuits with both curiosity and affection" during the 1980s. Coleman did not record another album for six years and instead performed internationally with Prime Time.In a 1986 article for The New York Times on Coleman's work with Prime Time, Robert Palmer said Of Human Feelings was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its test pressing in 1979, the album's mix of jazz improvisation and gritty, punk and funk-derived energy sounded "prophetic" when it was released, Palmer explained. "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz." AllMusic critic Scott Yanow said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman's harmolodics-based music, while Chicago Tribune rock critic Greg Kot included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, New York magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk, Latin, and African music, all of which were encapsulated by music that retained a jazz identity.
Output: What was the last name of the person that was welcomed back to the touring circuits with both curiosity and affection?
Passage: Coleman received $25,000 for the publishing rights to Of Human Feelings but said his managers sold it for less than the recording costs and that he did not receive any of its royalties. According to Stan Bernstein, Coleman had financial expectations that were "unrealistic in this business unless you're Michael Jackson". Antilles label executive Ron Goldstein felt the $25,000 Coleman received was neither a great nor a fair amount for someone in jazz. After he had gone over budget to record a follow-up album, Island did not release it nor pick up their option on him, and in 1983, he left the Bernstein Agency. He chose Denardo Coleman to manage his career while overcoming his reticence of public performance, which had been rooted in his distrust of doing business with a predominantly White music industry. According to Nicholson, "the man once accused of standing on the throat of jazz was welcomed back to the touring circuits with both curiosity and affection" during the 1980s. Coleman did not record another album for six years and instead performed internationally with Prime Time.In a 1986 article for The New York Times on Coleman's work with Prime Time, Robert Palmer said Of Human Feelings was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its test pressing in 1979, the album's mix of jazz improvisation and gritty, punk and funk-derived energy sounded "prophetic" when it was released, Palmer explained. "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz." AllMusic critic Scott Yanow said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman's harmolodics-based music, while Chicago Tribune rock critic Greg Kot included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, New York magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk, Latin, and African music, all of which were encapsulated by music that retained a jazz identity.
Output: What is the first name of the person who said "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz?"?
Passage: Coleman received $25,000 for the publishing rights to Of Human Feelings but said his managers sold it for less than the recording costs and that he did not receive any of its royalties. According to Stan Bernstein, Coleman had financial expectations that were "unrealistic in this business unless you're Michael Jackson". Antilles label executive Ron Goldstein felt the $25,000 Coleman received was neither a great nor a fair amount for someone in jazz. After he had gone over budget to record a follow-up album, Island did not release it nor pick up their option on him, and in 1983, he left the Bernstein Agency. He chose Denardo Coleman to manage his career while overcoming his reticence of public performance, which had been rooted in his distrust of doing business with a predominantly White music industry. According to Nicholson, "the man once accused of standing on the throat of jazz was welcomed back to the touring circuits with both curiosity and affection" during the 1980s. Coleman did not record another album for six years and instead performed internationally with Prime Time.In a 1986 article for The New York Times on Coleman's work with Prime Time, Robert Palmer said Of Human Feelings was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its test pressing in 1979, the album's mix of jazz improvisation and gritty, punk and funk-derived energy sounded "prophetic" when it was released, Palmer explained. "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz." AllMusic critic Scott Yanow said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman's harmolodics-based music, while Chicago Tribune rock critic Greg Kot included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, New York magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk, Latin, and African music, all of which were encapsulated by music that retained a jazz identity.
Output: What is the first name of the person who said Of Human Feelings was one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz?
Passage: Coleman received $25,000 for the publishing rights to Of Human Feelings but said his managers sold it for less than the recording costs and that he did not receive any of its royalties. According to Stan Bernstein, Coleman had financial expectations that were "unrealistic in this business unless you're Michael Jackson". Antilles label executive Ron Goldstein felt the $25,000 Coleman received was neither a great nor a fair amount for someone in jazz. After he had gone over budget to record a follow-up album, Island did not release it nor pick up their option on him, and in 1983, he left the Bernstein Agency. He chose Denardo Coleman to manage his career while overcoming his reticence of public performance, which had been rooted in his distrust of doing business with a predominantly White music industry. According to Nicholson, "the man once accused of standing on the throat of jazz was welcomed back to the touring circuits with both curiosity and affection" during the 1980s. Coleman did not record another album for six years and instead performed internationally with Prime Time.In a 1986 article for The New York Times on Coleman's work with Prime Time, Robert Palmer said Of Human Feelings was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its test pressing in 1979, the album's mix of jazz improvisation and gritty, punk and funk-derived energy sounded "prophetic" when it was released, Palmer explained. "The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz." AllMusic critic Scott Yanow said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman's harmolodics-based music, while Chicago Tribune rock critic Greg Kot included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, New York magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk, Latin, and African music, all of which were encapsulated by music that retained a jazz identity.
Output: What is the full name of the person who said Of Human Feelings exuded a spirit of sophistication with elements of funk, Latin, and African music?
Passage: In May 1963, Dylan's political profile rose when he walked out of The Ed Sullivan Show. During rehearsals, Dylan had been told by CBS television's head of program practices that "Talkin' John Birch Paranoid Blues" was potentially libelous to the John Birch Society. Rather than comply with censorship, Dylan refused to appear.By this time, Dylan and Baez were prominent in the civil rights movement, singing together at the March on Washington on August 28, 1963. Dylan's third album, The Times They Are a-Changin', reflected a more politicized Dylan. The songs often took as their subject matter contemporary stories, with "Only a Pawn in Their Game" addressing the murder of civil rights worker Medgar Evers; and the Brechtian "The Lonesome Death of Hattie Carroll" the death of black hotel barmaid Hattie Carroll, at the hands of young white socialite William Zantzinger. On a more general theme, "Ballad of Hollis Brown" and "North Country Blues" addressed despair engendered by the breakdown of farming and mining communities. This political material was accompanied by two personal love songs, "Boots of Spanish Leather" and "One Too Many Mornings".By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest movements. Accepting the "Tom Paine Award" from the National Emergency Civil Liberties Committee shortly after the assassination of John F. Kennedy, an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy's assassin, Lee Harvey Oswald.
Output: What is the last name of the person who saw something of himself in Oswald?
Passage: In May 1963, Dylan's political profile rose when he walked out of The Ed Sullivan Show. During rehearsals, Dylan had been told by CBS television's head of program practices that "Talkin' John Birch Paranoid Blues" was potentially libelous to the John Birch Society. Rather than comply with censorship, Dylan refused to appear.By this time, Dylan and Baez were prominent in the civil rights movement, singing together at the March on Washington on August 28, 1963. Dylan's third album, The Times They Are a-Changin', reflected a more politicized Dylan. The songs often took as their subject matter contemporary stories, with "Only a Pawn in Their Game" addressing the murder of civil rights worker Medgar Evers; and the Brechtian "The Lonesome Death of Hattie Carroll" the death of black hotel barmaid Hattie Carroll, at the hands of young white socialite William Zantzinger. On a more general theme, "Ballad of Hollis Brown" and "North Country Blues" addressed despair engendered by the breakdown of farming and mining communities. This political material was accompanied by two personal love songs, "Boots of Spanish Leather" and "One Too Many Mornings".By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest movements. Accepting the "Tom Paine Award" from the National Emergency Civil Liberties Committee shortly after the assassination of John F. Kennedy, an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy's assassin, Lee Harvey Oswald.
Output: What is the last name of the person who won the "Tom Paine Award" from the National Emergency Civil Liberties Committee?
Passage: Following the round of touring for Vitalogy, the band went into the studio to record its follow-up, No Code. Vedder said, "Making No Code was all about gaining perspective." Released in 1996, No Code was seen as a deliberate break from the band's sound since Ten, favoring experimental ballads and noisy garage rockers. David Browne of Entertainment Weekly stated that "No Code displays a wider range of moods and instrumentation than on any previous Pearl Jam album." The lyrical themes on the album deal with issues of self-examination, with Ament stating, "In some ways, it's like the band's story. It's about growing up." Although the album debuted at number one on the Billboard charts, it quickly fell down the charts. No Code included the singles "Who You Are" (sample ), "Hail, Hail", and "Off He Goes". As with Vitalogy, very little touring was done to promote No Code because of the band's refusal to play in Ticketmaster's venue areas. A European tour took place in the fall of 1996. Gossard stated that there was "a lot of stress associated with trying to tour at that time" and that "it was growing more and more difficult to be excited about being part of the band."
Following the short tour for No Code, the band went into the studio in 1997 to record its follow-up. The sessions for the band's fifth album represented more of a team effort between all members of the group, with Ament stating that "everybody really got a little bit of their say on the record...because of that, everybody feels like they're an integral part of the band." On February 3, 1998, Pearl Jam released its fifth album, Yield. The album was cited as a return to the band's early, straightforward rock sound. Tom Sinclair of Entertainment Weekly stated that the band has "turned in an intermittently affecting album that veers between fiery garage rock and rootsy, acoustic-based ruminations. Perhaps mindful of their position as the last alt-rock ambassadors with any degree of clout, they've come up with their most cohesive album since their 1991 debut, Ten." Lyrically, Yield continued with the more contemplative type of writing found on No Code, with Vedder saying, "What was rage in the past has become reflection." Yield debuted at number two on the Billboard charts, but like No Code soon began dropping down the charts. It included the singles "Given to Fly" and "Wishlist". The band hired comic book artist Todd McFarlane to create an animated video for the song "Do the Evolution" from the album, its first music video since 1992. A documentary detailing the making of Yield, Single Video Theory, was released on VHS and DVD later that year.
Output: What is the full name of the artist that was hired to create an animated video for the band that's fifth album was titled Yield?
Passage: Following the round of touring for Vitalogy, the band went into the studio to record its follow-up, No Code. Vedder said, "Making No Code was all about gaining perspective." Released in 1996, No Code was seen as a deliberate break from the band's sound since Ten, favoring experimental ballads and noisy garage rockers. David Browne of Entertainment Weekly stated that "No Code displays a wider range of moods and instrumentation than on any previous Pearl Jam album." The lyrical themes on the album deal with issues of self-examination, with Ament stating, "In some ways, it's like the band's story. It's about growing up." Although the album debuted at number one on the Billboard charts, it quickly fell down the charts. No Code included the singles "Who You Are" (sample ), "Hail, Hail", and "Off He Goes". As with Vitalogy, very little touring was done to promote No Code because of the band's refusal to play in Ticketmaster's venue areas. A European tour took place in the fall of 1996. Gossard stated that there was "a lot of stress associated with trying to tour at that time" and that "it was growing more and more difficult to be excited about being part of the band."
Following the short tour for No Code, the band went into the studio in 1997 to record its follow-up. The sessions for the band's fifth album represented more of a team effort between all members of the group, with Ament stating that "everybody really got a little bit of their say on the record...because of that, everybody feels like they're an integral part of the band." On February 3, 1998, Pearl Jam released its fifth album, Yield. The album was cited as a return to the band's early, straightforward rock sound. Tom Sinclair of Entertainment Weekly stated that the band has "turned in an intermittently affecting album that veers between fiery garage rock and rootsy, acoustic-based ruminations. Perhaps mindful of their position as the last alt-rock ambassadors with any degree of clout, they've come up with their most cohesive album since their 1991 debut, Ten." Lyrically, Yield continued with the more contemplative type of writing found on No Code, with Vedder saying, "What was rage in the past has become reflection." Yield debuted at number two on the Billboard charts, but like No Code soon began dropping down the charts. It included the singles "Given to Fly" and "Wishlist". The band hired comic book artist Todd McFarlane to create an animated video for the song "Do the Evolution" from the album, its first music video since 1992. A documentary detailing the making of Yield, Single Video Theory, was released on VHS and DVD later that year.
Output: What was the song with a music video that was animated by Todd McFarlane for the band that recorded No Code?
Passage: Following the round of touring for Vitalogy, the band went into the studio to record its follow-up, No Code. Vedder said, "Making No Code was all about gaining perspective." Released in 1996, No Code was seen as a deliberate break from the band's sound since Ten, favoring experimental ballads and noisy garage rockers. David Browne of Entertainment Weekly stated that "No Code displays a wider range of moods and instrumentation than on any previous Pearl Jam album." The lyrical themes on the album deal with issues of self-examination, with Ament stating, "In some ways, it's like the band's story. It's about growing up." Although the album debuted at number one on the Billboard charts, it quickly fell down the charts. No Code included the singles "Who You Are" (sample ), "Hail, Hail", and "Off He Goes". As with Vitalogy, very little touring was done to promote No Code because of the band's refusal to play in Ticketmaster's venue areas. A European tour took place in the fall of 1996. Gossard stated that there was "a lot of stress associated with trying to tour at that time" and that "it was growing more and more difficult to be excited about being part of the band."
Following the short tour for No Code, the band went into the studio in 1997 to record its follow-up. The sessions for the band's fifth album represented more of a team effort between all members of the group, with Ament stating that "everybody really got a little bit of their say on the record...because of that, everybody feels like they're an integral part of the band." On February 3, 1998, Pearl Jam released its fifth album, Yield. The album was cited as a return to the band's early, straightforward rock sound. Tom Sinclair of Entertainment Weekly stated that the band has "turned in an intermittently affecting album that veers between fiery garage rock and rootsy, acoustic-based ruminations. Perhaps mindful of their position as the last alt-rock ambassadors with any degree of clout, they've come up with their most cohesive album since their 1991 debut, Ten." Lyrically, Yield continued with the more contemplative type of writing found on No Code, with Vedder saying, "What was rage in the past has become reflection." Yield debuted at number two on the Billboard charts, but like No Code soon began dropping down the charts. It included the singles "Given to Fly" and "Wishlist". The band hired comic book artist Todd McFarlane to create an animated video for the song "Do the Evolution" from the album, its first music video since 1992. A documentary detailing the making of Yield, Single Video Theory, was released on VHS and DVD later that year.
Output: What was the name of the 1991 debut album by the band that recorded the single "Hail, Hail"?
Passage: Following the round of touring for Vitalogy, the band went into the studio to record its follow-up, No Code. Vedder said, "Making No Code was all about gaining perspective." Released in 1996, No Code was seen as a deliberate break from the band's sound since Ten, favoring experimental ballads and noisy garage rockers. David Browne of Entertainment Weekly stated that "No Code displays a wider range of moods and instrumentation than on any previous Pearl Jam album." The lyrical themes on the album deal with issues of self-examination, with Ament stating, "In some ways, it's like the band's story. It's about growing up." Although the album debuted at number one on the Billboard charts, it quickly fell down the charts. No Code included the singles "Who You Are" (sample ), "Hail, Hail", and "Off He Goes". As with Vitalogy, very little touring was done to promote No Code because of the band's refusal to play in Ticketmaster's venue areas. A European tour took place in the fall of 1996. Gossard stated that there was "a lot of stress associated with trying to tour at that time" and that "it was growing more and more difficult to be excited about being part of the band."
Following the short tour for No Code, the band went into the studio in 1997 to record its follow-up. The sessions for the band's fifth album represented more of a team effort between all members of the group, with Ament stating that "everybody really got a little bit of their say on the record...because of that, everybody feels like they're an integral part of the band." On February 3, 1998, Pearl Jam released its fifth album, Yield. The album was cited as a return to the band's early, straightforward rock sound. Tom Sinclair of Entertainment Weekly stated that the band has "turned in an intermittently affecting album that veers between fiery garage rock and rootsy, acoustic-based ruminations. Perhaps mindful of their position as the last alt-rock ambassadors with any degree of clout, they've come up with their most cohesive album since their 1991 debut, Ten." Lyrically, Yield continued with the more contemplative type of writing found on No Code, with Vedder saying, "What was rage in the past has become reflection." Yield debuted at number two on the Billboard charts, but like No Code soon began dropping down the charts. It included the singles "Given to Fly" and "Wishlist". The band hired comic book artist Todd McFarlane to create an animated video for the song "Do the Evolution" from the album, its first music video since 1992. A documentary detailing the making of Yield, Single Video Theory, was released on VHS and DVD later that year.
Output: What number on the Billboard chart did the album released on February 3, 1998 debut?
Passage: Following the round of touring for Vitalogy, the band went into the studio to record its follow-up, No Code. Vedder said, "Making No Code was all about gaining perspective." Released in 1996, No Code was seen as a deliberate break from the band's sound since Ten, favoring experimental ballads and noisy garage rockers. David Browne of Entertainment Weekly stated that "No Code displays a wider range of moods and instrumentation than on any previous Pearl Jam album." The lyrical themes on the album deal with issues of self-examination, with Ament stating, "In some ways, it's like the band's story. It's about growing up." Although the album debuted at number one on the Billboard charts, it quickly fell down the charts. No Code included the singles "Who You Are" (sample ), "Hail, Hail", and "Off He Goes". As with Vitalogy, very little touring was done to promote No Code because of the band's refusal to play in Ticketmaster's venue areas. A European tour took place in the fall of 1996. Gossard stated that there was "a lot of stress associated with trying to tour at that time" and that "it was growing more and more difficult to be excited about being part of the band."
Following the short tour for No Code, the band went into the studio in 1997 to record its follow-up. The sessions for the band's fifth album represented more of a team effort between all members of the group, with Ament stating that "everybody really got a little bit of their say on the record...because of that, everybody feels like they're an integral part of the band." On February 3, 1998, Pearl Jam released its fifth album, Yield. The album was cited as a return to the band's early, straightforward rock sound. Tom Sinclair of Entertainment Weekly stated that the band has "turned in an intermittently affecting album that veers between fiery garage rock and rootsy, acoustic-based ruminations. Perhaps mindful of their position as the last alt-rock ambassadors with any degree of clout, they've come up with their most cohesive album since their 1991 debut, Ten." Lyrically, Yield continued with the more contemplative type of writing found on No Code, with Vedder saying, "What was rage in the past has become reflection." Yield debuted at number two on the Billboard charts, but like No Code soon began dropping down the charts. It included the singles "Given to Fly" and "Wishlist". The band hired comic book artist Todd McFarlane to create an animated video for the song "Do the Evolution" from the album, its first music video since 1992. A documentary detailing the making of Yield, Single Video Theory, was released on VHS and DVD later that year.
Output: What was the name of the documentary dvd detailing the making of the fifth album by the band the recorded "Off He Goes"?
Passage: Following the round of touring for Vitalogy, the band went into the studio to record its follow-up, No Code. Vedder said, "Making No Code was all about gaining perspective." Released in 1996, No Code was seen as a deliberate break from the band's sound since Ten, favoring experimental ballads and noisy garage rockers. David Browne of Entertainment Weekly stated that "No Code displays a wider range of moods and instrumentation than on any previous Pearl Jam album." The lyrical themes on the album deal with issues of self-examination, with Ament stating, "In some ways, it's like the band's story. It's about growing up." Although the album debuted at number one on the Billboard charts, it quickly fell down the charts. No Code included the singles "Who You Are" (sample ), "Hail, Hail", and "Off He Goes". As with Vitalogy, very little touring was done to promote No Code because of the band's refusal to play in Ticketmaster's venue areas. A European tour took place in the fall of 1996. Gossard stated that there was "a lot of stress associated with trying to tour at that time" and that "it was growing more and more difficult to be excited about being part of the band."
Following the short tour for No Code, the band went into the studio in 1997 to record its follow-up. The sessions for the band's fifth album represented more of a team effort between all members of the group, with Ament stating that "everybody really got a little bit of their say on the record...because of that, everybody feels like they're an integral part of the band." On February 3, 1998, Pearl Jam released its fifth album, Yield. The album was cited as a return to the band's early, straightforward rock sound. Tom Sinclair of Entertainment Weekly stated that the band has "turned in an intermittently affecting album that veers between fiery garage rock and rootsy, acoustic-based ruminations. Perhaps mindful of their position as the last alt-rock ambassadors with any degree of clout, they've come up with their most cohesive album since their 1991 debut, Ten." Lyrically, Yield continued with the more contemplative type of writing found on No Code, with Vedder saying, "What was rage in the past has become reflection." Yield debuted at number two on the Billboard charts, but like No Code soon began dropping down the charts. It included the singles "Given to Fly" and "Wishlist". The band hired comic book artist Todd McFarlane to create an animated video for the song "Do the Evolution" from the album, its first music video since 1992. A documentary detailing the making of Yield, Single Video Theory, was released on VHS and DVD later that year.
Output: What is the last name of the critic who thought the fifth studio album by the band that released No Code in 1996 was their "...most cohesive album since their 1991 debut, Ten."?
Passage: Lucy finds that her adoptive father, a museum curator, has been attacked by Silas. Before dying, he gives clues which lead her to a "Golden Ticket" in a vending machine candy bar. During "comedic" situations, Golden Tickets are found by other orphans, which include Edward, a disillusioned monk trainee; Susan, a displaced adopted girl; and Peter, a mutant at Mutant Academy who is often teased for his chicken-like wings. All four meet up at Willy's Chocolate Factory. Willy reveals his plot to use them all as a special ingredient in his treats.
In an effort to hide from the maniacal Willy, Lucy finds a wardrobe. On the other side, in the middle of a wintry forest, she finds Mr. Tumnus, who welcomes Lucy to Gnarnia and warns her of danger. The others follow Lucy to Gnarnia, and Edward meets the White Bitch. She convinces him to trap the other orphans in order to become the king of Gnarnia in her White Castle. All four go to Tumnus' house, where they discover that they are all related to one another in a copy of the famous painting The Last Supper, and that the White Bitch killed their parents. They ally themselves with Harry Beaver, Tumnus' life partner, to defeat the White Bitch.
Output: What the names of the four children who meet up at Willy's Chocolate Factory?
Passage: Lucy finds that her adoptive father, a museum curator, has been attacked by Silas. Before dying, he gives clues which lead her to a "Golden Ticket" in a vending machine candy bar. During "comedic" situations, Golden Tickets are found by other orphans, which include Edward, a disillusioned monk trainee; Susan, a displaced adopted girl; and Peter, a mutant at Mutant Academy who is often teased for his chicken-like wings. All four meet up at Willy's Chocolate Factory. Willy reveals his plot to use them all as a special ingredient in his treats.
In an effort to hide from the maniacal Willy, Lucy finds a wardrobe. On the other side, in the middle of a wintry forest, she finds Mr. Tumnus, who welcomes Lucy to Gnarnia and warns her of danger. The others follow Lucy to Gnarnia, and Edward meets the White Bitch. She convinces him to trap the other orphans in order to become the king of Gnarnia in her White Castle. All four go to Tumnus' house, where they discover that they are all related to one another in a copy of the famous painting The Last Supper, and that the White Bitch killed their parents. They ally themselves with Harry Beaver, Tumnus' life partner, to defeat the White Bitch.
Output: Who owns the White Castle?
Passage: Lucy finds that her adoptive father, a museum curator, has been attacked by Silas. Before dying, he gives clues which lead her to a "Golden Ticket" in a vending machine candy bar. During "comedic" situations, Golden Tickets are found by other orphans, which include Edward, a disillusioned monk trainee; Susan, a displaced adopted girl; and Peter, a mutant at Mutant Academy who is often teased for his chicken-like wings. All four meet up at Willy's Chocolate Factory. Willy reveals his plot to use them all as a special ingredient in his treats.
In an effort to hide from the maniacal Willy, Lucy finds a wardrobe. On the other side, in the middle of a wintry forest, she finds Mr. Tumnus, who welcomes Lucy to Gnarnia and warns her of danger. The others follow Lucy to Gnarnia, and Edward meets the White Bitch. She convinces him to trap the other orphans in order to become the king of Gnarnia in her White Castle. All four go to Tumnus' house, where they discover that they are all related to one another in a copy of the famous painting The Last Supper, and that the White Bitch killed their parents. They ally themselves with Harry Beaver, Tumnus' life partner, to defeat the White Bitch.
Output: Who all does Willy plan to use as special ingredients in his treats?
Passage: Lucy finds that her adoptive father, a museum curator, has been attacked by Silas. Before dying, he gives clues which lead her to a "Golden Ticket" in a vending machine candy bar. During "comedic" situations, Golden Tickets are found by other orphans, which include Edward, a disillusioned monk trainee; Susan, a displaced adopted girl; and Peter, a mutant at Mutant Academy who is often teased for his chicken-like wings. All four meet up at Willy's Chocolate Factory. Willy reveals his plot to use them all as a special ingredient in his treats.
In an effort to hide from the maniacal Willy, Lucy finds a wardrobe. On the other side, in the middle of a wintry forest, she finds Mr. Tumnus, who welcomes Lucy to Gnarnia and warns her of danger. The others follow Lucy to Gnarnia, and Edward meets the White Bitch. She convinces him to trap the other orphans in order to become the king of Gnarnia in her White Castle. All four go to Tumnus' house, where they discover that they are all related to one another in a copy of the famous painting The Last Supper, and that the White Bitch killed their parents. They ally themselves with Harry Beaver, Tumnus' life partner, to defeat the White Bitch.
Output: Who all follows Lucy to Gnarnia?
Passage: Lucy finds that her adoptive father, a museum curator, has been attacked by Silas. Before dying, he gives clues which lead her to a "Golden Ticket" in a vending machine candy bar. During "comedic" situations, Golden Tickets are found by other orphans, which include Edward, a disillusioned monk trainee; Susan, a displaced adopted girl; and Peter, a mutant at Mutant Academy who is often teased for his chicken-like wings. All four meet up at Willy's Chocolate Factory. Willy reveals his plot to use them all as a special ingredient in his treats.
In an effort to hide from the maniacal Willy, Lucy finds a wardrobe. On the other side, in the middle of a wintry forest, she finds Mr. Tumnus, who welcomes Lucy to Gnarnia and warns her of danger. The others follow Lucy to Gnarnia, and Edward meets the White Bitch. She convinces him to trap the other orphans in order to become the king of Gnarnia in her White Castle. All four go to Tumnus' house, where they discover that they are all related to one another in a copy of the famous painting The Last Supper, and that the White Bitch killed their parents. They ally themselves with Harry Beaver, Tumnus' life partner, to defeat the White Bitch.
Output: Whose parents did the White Bitch kill?
Passage: In Italy in 1939, a European man calling himself Mr. Imperium uses a ruse to meet an attractive American woman, Frederica Brown. He eventually is revealed to be Prince Alexis, an heir to the throne and a widower with a six-year-old son. He nicknames her "Fredda", so she calls him "Al".
When his father becomes gravely ill, he must rush to be with him, but asks prime minister Bernand to deliver to Fredda a note of explanation. Bernand instead tells her the prince is gone for good, that this is his usual method of seducing and abandoning women.
Twelve years go by. One day in Paris, a cinema's marquee makes it clear that "Fredda Barlo" is now a movie star. Fredda's former love travels to California, where film producer Paul Hunter is now in love with her and proposing marriage.
Fredda decides to drive to Palm Springs to think about his proposal, as well as to decide which actor should co-star in her next film, about a girl who falls in love with a king. "Mr. Imperium" takes a room next to hers, and soon they meet and embrace. He explains the crisis that took place at home during the war and prevented him from looking for her. Now he wants a new life, and Fredda believes he could even portray a king in her film.
Bernand turns up, however, to say that his son is preparing to ascend to the throne. Mr. Imperium realizes he is needed there, so he must say goodbye to the woman he loves once more.
Output: What is the heir to the throne's alter ego?