niryuu/sni-each-converted huggingface dataset:
Passage: The Namesake depicts the struggles of Ashoke and Ashima Ganguli (Irrfan Khan and Tabu), first-generation immigrants from the East Indian state of West Bengal to the United States, and their American-born children Gogol and Sonia. The film takes place primarily in Kolkata, New York City and New York state suburbs.
The story begins as Ashoke and Ashima leave Calcutta and settle in New York City. Through a series of miscues, their son's nickname, Gogol (named after Ukrainian author Nikolai Gogol), becomes his official birth name, an event which will shape many aspects of his life. The story chronicles Gogol's cross-cultural experiences and his exploration of his Indian heritage, as the story shifts between the United States and India. 
Gogol becomes a lazy, pot smoking teenager indifferent to his cultural background. He resents many of the customs and traditions his family upholds and doesn't understand his parents. After a summer trip to India before starting college at Yale, Gogol starts opening up to his culture and becomes more accepting of it. 
After college, Gogol uses his "good name" Nikhil (later shortened to Nick). He works as an architect and dates Maxine, a white woman from a wealthy background, who is clueless about their cultural differences. Gogol falls in love with Maxine and introduces her to his parents, who struggle to understand his modern, American perspectives on dating, marriage and love. They are hesitant and guarded when meeting her. Gogol gets along with Maxine's family and feels closer to them than he does his own family.
Output: What are the first names of the two people that Gogol introduces Maxine to?
Passage: In November, a white, city-bred teenaged schoolgirl and her much-younger brother become stranded in the wilderness after their father goes berserk. After driving them far into the Australian outback, ostensibly for a picnic, the father suddenly begins shooting at the children. They run behind rocks for cover, whereupon he sets the car on fire and shoots himself in the head. The girl conceals what has happened from her brother and, after grabbing some food and supplies, the pair head out into the desert.
By the middle of the next day, they are weak and the boy can barely walk. Discovering a small water hole with a fruiting tree, they spend the day playing, bathing, and resting. By the next morning, the water has dried up. They are then discovered by an Aboriginal boy. Although the girl cannot communicate with him, due to the language barrier, her brother mimes their need for water and the newcomer cheerfully shows them how to draw it from the drying bed of the oasis. The three travel together, with the Aboriginal boy sharing food he has caught hunting. The boys learn to communicate slightly using words and sign language.
While in the vicinity of a plantation, a white woman walks past the Aboriginal boy, who simply ignores her when she speaks to him. She appears to see the other children, but they do not see her, and they continue on their journey. The children also discover a weather balloon belonging to a nearby research team working in the desert. After drawing markings of a modern-style house, the Aboriginal boy eventually leads them to an abandoned farm, and takes the other boy to a nearby road. The Aboriginal boy hunts down a water buffalo and is wrestling it to the ground when two white hunters appear in a truck and nearly run him over. He watches in shock as they shoot several buffalo with a rifle. The boy then returns to the farm, but passes by without speaking.
Output: Who is nearly run over by a truck?
Passage: In November, a white, city-bred teenaged schoolgirl and her much-younger brother become stranded in the wilderness after their father goes berserk. After driving them far into the Australian outback, ostensibly for a picnic, the father suddenly begins shooting at the children. They run behind rocks for cover, whereupon he sets the car on fire and shoots himself in the head. The girl conceals what has happened from her brother and, after grabbing some food and supplies, the pair head out into the desert.
By the middle of the next day, they are weak and the boy can barely walk. Discovering a small water hole with a fruiting tree, they spend the day playing, bathing, and resting. By the next morning, the water has dried up. They are then discovered by an Aboriginal boy. Although the girl cannot communicate with him, due to the language barrier, her brother mimes their need for water and the newcomer cheerfully shows them how to draw it from the drying bed of the oasis. The three travel together, with the Aboriginal boy sharing food he has caught hunting. The boys learn to communicate slightly using words and sign language.
While in the vicinity of a plantation, a white woman walks past the Aboriginal boy, who simply ignores her when she speaks to him. She appears to see the other children, but they do not see her, and they continue on their journey. The children also discover a weather balloon belonging to a nearby research team working in the desert. After drawing markings of a modern-style house, the Aboriginal boy eventually leads them to an abandoned farm, and takes the other boy to a nearby road. The Aboriginal boy hunts down a water buffalo and is wrestling it to the ground when two white hunters appear in a truck and nearly run him over. He watches in shock as they shoot several buffalo with a rifle. The boy then returns to the farm, but passes by without speaking.
Output: Who teaches a girl how to draw water from an oasis?
Passage: In November, a white, city-bred teenaged schoolgirl and her much-younger brother become stranded in the wilderness after their father goes berserk. After driving them far into the Australian outback, ostensibly for a picnic, the father suddenly begins shooting at the children. They run behind rocks for cover, whereupon he sets the car on fire and shoots himself in the head. The girl conceals what has happened from her brother and, after grabbing some food and supplies, the pair head out into the desert.
By the middle of the next day, they are weak and the boy can barely walk. Discovering a small water hole with a fruiting tree, they spend the day playing, bathing, and resting. By the next morning, the water has dried up. They are then discovered by an Aboriginal boy. Although the girl cannot communicate with him, due to the language barrier, her brother mimes their need for water and the newcomer cheerfully shows them how to draw it from the drying bed of the oasis. The three travel together, with the Aboriginal boy sharing food he has caught hunting. The boys learn to communicate slightly using words and sign language.
While in the vicinity of a plantation, a white woman walks past the Aboriginal boy, who simply ignores her when she speaks to him. She appears to see the other children, but they do not see her, and they continue on their journey. The children also discover a weather balloon belonging to a nearby research team working in the desert. After drawing markings of a modern-style house, the Aboriginal boy eventually leads them to an abandoned farm, and takes the other boy to a nearby road. The Aboriginal boy hunts down a water buffalo and is wrestling it to the ground when two white hunters appear in a truck and nearly run him over. He watches in shock as they shoot several buffalo with a rifle. The boy then returns to the farm, but passes by without speaking.
Output: Who watches buffalo get shot?
Passage: In November, a white, city-bred teenaged schoolgirl and her much-younger brother become stranded in the wilderness after their father goes berserk. After driving them far into the Australian outback, ostensibly for a picnic, the father suddenly begins shooting at the children. They run behind rocks for cover, whereupon he sets the car on fire and shoots himself in the head. The girl conceals what has happened from her brother and, after grabbing some food and supplies, the pair head out into the desert.
By the middle of the next day, they are weak and the boy can barely walk. Discovering a small water hole with a fruiting tree, they spend the day playing, bathing, and resting. By the next morning, the water has dried up. They are then discovered by an Aboriginal boy. Although the girl cannot communicate with him, due to the language barrier, her brother mimes their need for water and the newcomer cheerfully shows them how to draw it from the drying bed of the oasis. The three travel together, with the Aboriginal boy sharing food he has caught hunting. The boys learn to communicate slightly using words and sign language.
While in the vicinity of a plantation, a white woman walks past the Aboriginal boy, who simply ignores her when she speaks to him. She appears to see the other children, but they do not see her, and they continue on their journey. The children also discover a weather balloon belonging to a nearby research team working in the desert. After drawing markings of a modern-style house, the Aboriginal boy eventually leads them to an abandoned farm, and takes the other boy to a nearby road. The Aboriginal boy hunts down a water buffalo and is wrestling it to the ground when two white hunters appear in a truck and nearly run him over. He watches in shock as they shoot several buffalo with a rifle. The boy then returns to the farm, but passes by without speaking.
Output: Who take cover behind rocks?
Passage: In November, a white, city-bred teenaged schoolgirl and her much-younger brother become stranded in the wilderness after their father goes berserk. After driving them far into the Australian outback, ostensibly for a picnic, the father suddenly begins shooting at the children. They run behind rocks for cover, whereupon he sets the car on fire and shoots himself in the head. The girl conceals what has happened from her brother and, after grabbing some food and supplies, the pair head out into the desert.
By the middle of the next day, they are weak and the boy can barely walk. Discovering a small water hole with a fruiting tree, they spend the day playing, bathing, and resting. By the next morning, the water has dried up. They are then discovered by an Aboriginal boy. Although the girl cannot communicate with him, due to the language barrier, her brother mimes their need for water and the newcomer cheerfully shows them how to draw it from the drying bed of the oasis. The three travel together, with the Aboriginal boy sharing food he has caught hunting. The boys learn to communicate slightly using words and sign language.
While in the vicinity of a plantation, a white woman walks past the Aboriginal boy, who simply ignores her when she speaks to him. She appears to see the other children, but they do not see her, and they continue on their journey. The children also discover a weather balloon belonging to a nearby research team working in the desert. After drawing markings of a modern-style house, the Aboriginal boy eventually leads them to an abandoned farm, and takes the other boy to a nearby road. The Aboriginal boy hunts down a water buffalo and is wrestling it to the ground when two white hunters appear in a truck and nearly run him over. He watches in shock as they shoot several buffalo with a rifle. The boy then returns to the farm, but passes by without speaking.
Output: Who commits suicide?
Passage: Pete Sandidge is the reckless pilot of a North American B-25 Mitchell bomber flying out of England during World War II. He is in love with Women Airforce Service Pilot Dorinda Durston, a civilian pilot ferrying aircraft across the Atlantic. Pete's commanding officer, "Nails" Kilpatrick, first transfers Pete and his crew to a base in Scotland, then offers him a transfer back to the United States to be a flight instructor. Dorinda begs him to accept; Pete agrees, but goes out on one last mission with his best friend Al Yackey to check out a German aircraft carrier. Wounded after an attack by an enemy fighter, Pete has his crew bail out before going on to bomb the carrier and then crashing into the sea.
Pete then finds himself walking in clouds, where he first recognizes an old friend, Dick Rumney. Pete suddenly becomes uneasy, remembering that Dick went down with his aircraft in a fiery crash. Pete tells Dick, "Either I'm dead or I'm crazy." Dick answers, "You're not crazy." Dick ushers Pete to a meeting with "The General" (Lionel Barrymore), who gives him an assignment. He is to be sent back to Earth, where a year has elapsed, to pass on his experience and knowledge to Ted Randall at flight school, then in the South Pacific, where Ted is a Lockheed P-38 Lightning fighter pilot. Ted's commanding officer turns out to be Al Yackey.
The situation becomes complicated when Ted meets the still-grieving Dorinda. Al encourages Dorinda to give the young pilot a chance. The pair gradually fall in love; Ted proposes to her and she accepts, much to Pete's jealous dismay.
When Dorinda finds out from Al that Ted has been given an extremely dangerous assignment to destroy the largest Japanese ammunition dump in the Pacific, she steals his aircraft. Pete guides her in completing the mission and returning to the base to Ted's embrace. Pete accepts what must be and walks away, his job done.
Output: Who plays the man that Pete's old friend has him meet?
Passage: Pete Sandidge is the reckless pilot of a North American B-25 Mitchell bomber flying out of England during World War II. He is in love with Women Airforce Service Pilot Dorinda Durston, a civilian pilot ferrying aircraft across the Atlantic. Pete's commanding officer, "Nails" Kilpatrick, first transfers Pete and his crew to a base in Scotland, then offers him a transfer back to the United States to be a flight instructor. Dorinda begs him to accept; Pete agrees, but goes out on one last mission with his best friend Al Yackey to check out a German aircraft carrier. Wounded after an attack by an enemy fighter, Pete has his crew bail out before going on to bomb the carrier and then crashing into the sea.
Pete then finds himself walking in clouds, where he first recognizes an old friend, Dick Rumney. Pete suddenly becomes uneasy, remembering that Dick went down with his aircraft in a fiery crash. Pete tells Dick, "Either I'm dead or I'm crazy." Dick answers, "You're not crazy." Dick ushers Pete to a meeting with "The General" (Lionel Barrymore), who gives him an assignment. He is to be sent back to Earth, where a year has elapsed, to pass on his experience and knowledge to Ted Randall at flight school, then in the South Pacific, where Ted is a Lockheed P-38 Lightning fighter pilot. Ted's commanding officer turns out to be Al Yackey.
The situation becomes complicated when Ted meets the still-grieving Dorinda. Al encourages Dorinda to give the young pilot a chance. The pair gradually fall in love; Ted proposes to her and she accepts, much to Pete's jealous dismay.
When Dorinda finds out from Al that Ted has been given an extremely dangerous assignment to destroy the largest Japanese ammunition dump in the Pacific, she steals his aircraft. Pete guides her in completing the mission and returning to the base to Ted's embrace. Pete accepts what must be and walks away, his job done.
Output: How does the man Dorinda loves die?
Passage: Pete Sandidge is the reckless pilot of a North American B-25 Mitchell bomber flying out of England during World War II. He is in love with Women Airforce Service Pilot Dorinda Durston, a civilian pilot ferrying aircraft across the Atlantic. Pete's commanding officer, "Nails" Kilpatrick, first transfers Pete and his crew to a base in Scotland, then offers him a transfer back to the United States to be a flight instructor. Dorinda begs him to accept; Pete agrees, but goes out on one last mission with his best friend Al Yackey to check out a German aircraft carrier. Wounded after an attack by an enemy fighter, Pete has his crew bail out before going on to bomb the carrier and then crashing into the sea.
Pete then finds himself walking in clouds, where he first recognizes an old friend, Dick Rumney. Pete suddenly becomes uneasy, remembering that Dick went down with his aircraft in a fiery crash. Pete tells Dick, "Either I'm dead or I'm crazy." Dick answers, "You're not crazy." Dick ushers Pete to a meeting with "The General" (Lionel Barrymore), who gives him an assignment. He is to be sent back to Earth, where a year has elapsed, to pass on his experience and knowledge to Ted Randall at flight school, then in the South Pacific, where Ted is a Lockheed P-38 Lightning fighter pilot. Ted's commanding officer turns out to be Al Yackey.
The situation becomes complicated when Ted meets the still-grieving Dorinda. Al encourages Dorinda to give the young pilot a chance. The pair gradually fall in love; Ted proposes to her and she accepts, much to Pete's jealous dismay.
When Dorinda finds out from Al that Ted has been given an extremely dangerous assignment to destroy the largest Japanese ammunition dump in the Pacific, she steals his aircraft. Pete guides her in completing the mission and returning to the base to Ted's embrace. Pete accepts what must be and walks away, his job done.
Output: What's the full name of whom the pilot that Ted meets is still grieving?
Passage: Pete Sandidge is the reckless pilot of a North American B-25 Mitchell bomber flying out of England during World War II. He is in love with Women Airforce Service Pilot Dorinda Durston, a civilian pilot ferrying aircraft across the Atlantic. Pete's commanding officer, "Nails" Kilpatrick, first transfers Pete and his crew to a base in Scotland, then offers him a transfer back to the United States to be a flight instructor. Dorinda begs him to accept; Pete agrees, but goes out on one last mission with his best friend Al Yackey to check out a German aircraft carrier. Wounded after an attack by an enemy fighter, Pete has his crew bail out before going on to bomb the carrier and then crashing into the sea.
Pete then finds himself walking in clouds, where he first recognizes an old friend, Dick Rumney. Pete suddenly becomes uneasy, remembering that Dick went down with his aircraft in a fiery crash. Pete tells Dick, "Either I'm dead or I'm crazy." Dick answers, "You're not crazy." Dick ushers Pete to a meeting with "The General" (Lionel Barrymore), who gives him an assignment. He is to be sent back to Earth, where a year has elapsed, to pass on his experience and knowledge to Ted Randall at flight school, then in the South Pacific, where Ted is a Lockheed P-38 Lightning fighter pilot. Ted's commanding officer turns out to be Al Yackey.
The situation becomes complicated when Ted meets the still-grieving Dorinda. Al encourages Dorinda to give the young pilot a chance. The pair gradually fall in love; Ted proposes to her and she accepts, much to Pete's jealous dismay.
When Dorinda finds out from Al that Ted has been given an extremely dangerous assignment to destroy the largest Japanese ammunition dump in the Pacific, she steals his aircraft. Pete guides her in completing the mission and returning to the base to Ted's embrace. Pete accepts what must be and walks away, his job done.
Output: What is the profession of the person that Pete Sandidge is in love with?
Passage: Pete Sandidge is the reckless pilot of a North American B-25 Mitchell bomber flying out of England during World War II. He is in love with Women Airforce Service Pilot Dorinda Durston, a civilian pilot ferrying aircraft across the Atlantic. Pete's commanding officer, "Nails" Kilpatrick, first transfers Pete and his crew to a base in Scotland, then offers him a transfer back to the United States to be a flight instructor. Dorinda begs him to accept; Pete agrees, but goes out on one last mission with his best friend Al Yackey to check out a German aircraft carrier. Wounded after an attack by an enemy fighter, Pete has his crew bail out before going on to bomb the carrier and then crashing into the sea.
Pete then finds himself walking in clouds, where he first recognizes an old friend, Dick Rumney. Pete suddenly becomes uneasy, remembering that Dick went down with his aircraft in a fiery crash. Pete tells Dick, "Either I'm dead or I'm crazy." Dick answers, "You're not crazy." Dick ushers Pete to a meeting with "The General" (Lionel Barrymore), who gives him an assignment. He is to be sent back to Earth, where a year has elapsed, to pass on his experience and knowledge to Ted Randall at flight school, then in the South Pacific, where Ted is a Lockheed P-38 Lightning fighter pilot. Ted's commanding officer turns out to be Al Yackey.
The situation becomes complicated when Ted meets the still-grieving Dorinda. Al encourages Dorinda to give the young pilot a chance. The pair gradually fall in love; Ted proposes to her and she accepts, much to Pete's jealous dismay.
When Dorinda finds out from Al that Ted has been given an extremely dangerous assignment to destroy the largest Japanese ammunition dump in the Pacific, she steals his aircraft. Pete guides her in completing the mission and returning to the base to Ted's embrace. Pete accepts what must be and walks away, his job done.
Output: What is the full name of the person who is sent back to Earth to pass on his experience?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who stopped recording free jazz in the mid-1970s?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who recruited electric instrumentalists in the mid '70s?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who pursued a new creative theory he called harmolodics in the mid '70s?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who taught his sidemen this new improvisational and ensemble approach?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who prevented his sidemen from being influenced by conventional styles?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who wanted his music, rather than himself, to be successful?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who started to incorporate elements from other styles into his music?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who started to incorporate the electric guitar into his music?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who started to incorporate non-Western rhythms played by Moroccan and Nigerian musicians into his music?
Passage: By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in jazz after pioneering its most controversial subgenre, free jazz, which jazz critics and musicians initially derided for its deviation from conventional structures of harmony and tonality. In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called harmolodics. According to Coleman's theory, all the musicians are able to play individual melodies in any key, and still sound coherent as a group. He taught his young sidemen this new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including rock influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with Prime Time, an electric quartet introduced on his 1975 album Dancing in Your Head. The group comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Ronald Shannon Jackson and Denardo Coleman, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had played in an ensemble for jazz organist Charles Earland, but Earland dismissed him as he felt audiences gave excessive attention to his playing. Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that.".
Output: What is the last name of the person who was dismissed by Earland?
Passage: Zenzile Miriam Makeba (4 March 1932 – 9 November 2008), nicknamed Mama Africa, was a South African singer, songwriter, actress, United Nations goodwill ambassador, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa.
Born in Johannesburg to Swazi and Xhosa parents, Makeba was forced to find employment as a child after the death of her father. She had a brief and allegedly abusive first marriage at the age of 17, gave birth to her only child in 1950, and survived breast cancer. Her vocal talent had been recognized when she was a child, and she began singing professionally in the 1950s, with the Cuban Brothers, the Manhattan Brothers, and an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City. In London, she met the American singer Harry Belafonte, who became a mentor and colleague. She moved to New York City, where she became immediately popular, and recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government.
Makeba's career flourished in the United States, and she released several albums and songs, her most popular being "Pata Pata" (1967). Along with Belafonte she received a Grammy Award for her 1965 album An Evening with Belafonte/Makeba. She testified against the South African government at the United Nations and became involved in the civil rights movement. She married Stokely Carmichael, a leader of the Black Panther Party, in 1968. As a result, she lost support among white Americans and faced hostility from the US government, leading her and Carmichael to move to Guinea. She continued to perform, mostly in African countries, including at several independence celebrations. She began to write and perform music more explicitly critical of apartheid; the 1977 song "Soweto Blues", written by her former husband Hugh Masekela, was about the Soweto uprising. After apartheid was dismantled in 1990, Makeba returned to South Africa. She continued recording and performing, including a 1991 album with Nina Simone and Dizzy Gillespie, and appeared in the 1992 film Sarafina!. She was named a UN goodwill ambassador in 1999, and campaigned for humanitarian causes. She died of a heart attack during a 2008 concert in Italy.
Output: What is the last name of the person who was associated with musical genres including Afropop, jazz, and world music?