niryuu/sni-each-converted huggingface dataset:
Passage: Though the basic plan of the Western Chalukya style originated from the older dravida style, many of its features were unique and peculiar to it. One of these distinguishing features of the Western Chalukyan architectural style was an articulation that can still be found throughout modern Karnataka. The only exceptions to this motif can be found in the area around Kalyani, where the temples exhibit a nagara (North Indian) articulation which has its own unique character.In contrast to the buildings of the early Badami Chalukyas, whose monuments were clustered around the metropoleis of Pattadakal, Aihole, and Badami, these Western Chalukya temples are widely dispersed, reflecting a system of local government and decentralisation. The Western Chalukya temples were smaller than those of the early Chalukyas, a fact discernible in the reduced height of the superstructures which tower over the shrines.
The Western Chalukya art evolved in two phases, the first lasting approximately a quarter of a century and the second from the beginning of 11th century until the end of Western Chalukya rule in 1186 CE. During the first phase, temples were built in the Aihole-Banashankari-Mahakuta region (situated in the early Chalukya heartland) and Ron in the Gadag district. A few provisional workshops built them in Sirval in the Gulbarga district and Gokak in the Belgaum district. The structures at Ron bear similarities to the Rashtrakuta temples in Kuknur in the Koppal district and Mudhol in the Bijapur district, evidence that the same workshops continued their activity under the new Karnata dynasty. The mature and latter phase reached its peak at Lakkundi (Lokigundi), a principal seat of the imperial court. From the mid-11th century, the artisans from the Lakkundi school moved south of the Tungabhadra River. Thus the influence of the Lakkundi school can be seen in some of the temples of the Davangere district, and in the temples at Hirehadagalli and Huvinahadgalli in the Bellary district.Influences of Western Chalukya architecture can be discerned in the geographically distant schools of architecture of the Hoysala Empire in southern Karnataka, and the Kakatiya dynasty in present-day Andhra Pradesh. Sometimes called the Gadag style of architecture, Western Chalukya architecture is considered a precursor to the Hoysala architecture of southern Karnataka. This influence occurred because the early builders employed by the Hoysalas came from pronounced centres of medieval Chalukya art. Further monuments in this style were built not only by the Western Chalukya kings but, also by their feudal vassals.
Output: What is the name of the style that was influenced by the style that originated from the older dravida style?
Passage: Film publicist Lee Phillips is tasked with promoting a film featuring a husband-wife acting team, Gwen Harrison and Eddie Thomas. His job is complicated by the fact that the eccentric director of the film, Hal Weidmann, refuses to show anyone a cut of the film, demanding the first viewing take place at a press junket. To promote the film and to save his job, Lee decides to focus on the two stars: Gwen and Eddie, once known as "America's Sweethearts". Unfortunately, they are now going through an ugly split. Gwen had an adulterous affair with her co-star Hector Gorgonzolas, who she now lives with, driving Eddie to an emotional breakdown. His actions after their split led Gwen to take out a restraining order against Eddie, and he is now living at a New Age retreat. Lee decides that his best chance to promote the film is to convince the press that the couple has reunited.
Lee enlists the help of Gwen's sister and personal assistant, Kiki, to convince Gwen to come to the junket. Gwen's career and public image have been severely tarnished by her broken marriage, and the pair play on Gwen's ego by telling her she will look better to the press and her fans if she attends (and she will be able to serve Eddie with divorce papers in a neutral setting). Lee then bribes Eddie's spiritual guide to convince Eddie he is well enough to leave the retreat.
Output: What is the full name of the person whose job is complicated by an eccentric director?
Passage: Film publicist Lee Phillips is tasked with promoting a film featuring a husband-wife acting team, Gwen Harrison and Eddie Thomas. His job is complicated by the fact that the eccentric director of the film, Hal Weidmann, refuses to show anyone a cut of the film, demanding the first viewing take place at a press junket. To promote the film and to save his job, Lee decides to focus on the two stars: Gwen and Eddie, once known as "America's Sweethearts". Unfortunately, they are now going through an ugly split. Gwen had an adulterous affair with her co-star Hector Gorgonzolas, who she now lives with, driving Eddie to an emotional breakdown. His actions after their split led Gwen to take out a restraining order against Eddie, and he is now living at a New Age retreat. Lee decides that his best chance to promote the film is to convince the press that the couple has reunited.
Lee enlists the help of Gwen's sister and personal assistant, Kiki, to convince Gwen to come to the junket. Gwen's career and public image have been severely tarnished by her broken marriage, and the pair play on Gwen's ego by telling her she will look better to the press and her fans if she attends (and she will be able to serve Eddie with divorce papers in a neutral setting). Lee then bribes Eddie's spiritual guide to convince Eddie he is well enough to leave the retreat.
Output: What is the first name of the person who lives with their co-star?
Passage: Film publicist Lee Phillips is tasked with promoting a film featuring a husband-wife acting team, Gwen Harrison and Eddie Thomas. His job is complicated by the fact that the eccentric director of the film, Hal Weidmann, refuses to show anyone a cut of the film, demanding the first viewing take place at a press junket. To promote the film and to save his job, Lee decides to focus on the two stars: Gwen and Eddie, once known as "America's Sweethearts". Unfortunately, they are now going through an ugly split. Gwen had an adulterous affair with her co-star Hector Gorgonzolas, who she now lives with, driving Eddie to an emotional breakdown. His actions after their split led Gwen to take out a restraining order against Eddie, and he is now living at a New Age retreat. Lee decides that his best chance to promote the film is to convince the press that the couple has reunited.
Lee enlists the help of Gwen's sister and personal assistant, Kiki, to convince Gwen to come to the junket. Gwen's career and public image have been severely tarnished by her broken marriage, and the pair play on Gwen's ego by telling her she will look better to the press and her fans if she attends (and she will be able to serve Eddie with divorce papers in a neutral setting). Lee then bribes Eddie's spiritual guide to convince Eddie he is well enough to leave the retreat.
Output: What is the first name of the person whose actions lead to a restraining order against them?
Passage: Film publicist Lee Phillips is tasked with promoting a film featuring a husband-wife acting team, Gwen Harrison and Eddie Thomas. His job is complicated by the fact that the eccentric director of the film, Hal Weidmann, refuses to show anyone a cut of the film, demanding the first viewing take place at a press junket. To promote the film and to save his job, Lee decides to focus on the two stars: Gwen and Eddie, once known as "America's Sweethearts". Unfortunately, they are now going through an ugly split. Gwen had an adulterous affair with her co-star Hector Gorgonzolas, who she now lives with, driving Eddie to an emotional breakdown. His actions after their split led Gwen to take out a restraining order against Eddie, and he is now living at a New Age retreat. Lee decides that his best chance to promote the film is to convince the press that the couple has reunited.
Lee enlists the help of Gwen's sister and personal assistant, Kiki, to convince Gwen to come to the junket. Gwen's career and public image have been severely tarnished by her broken marriage, and the pair play on Gwen's ego by telling her she will look better to the press and her fans if she attends (and she will be able to serve Eddie with divorce papers in a neutral setting). Lee then bribes Eddie's spiritual guide to convince Eddie he is well enough to leave the retreat.
Output: What is the first name of the person who wants to serve divorce papers?
Passage: The composer's response to his denunciation was the Fifth Symphony of 1937, which was musically more conservative than his earlier works. Premiered on 21 November 1937 in Leningrad, it was a phenomenal success. The Fifth brought many to tears and welling emotions. Later, Shostakovich's purported memoir, Testimony, stated: "I'll never believe that a man who understood nothing could feel the Fifth Symphony. Of course they understood, they understood what was happening around them and they understood what the Fifth was about."The success put Shostakovich in good standing once again. Music critics and the authorities alike, including those who had earlier accused Shostakovich of formalism, claimed that he had learned from his mistakes and become a true Soviet artist. In a newspaper article published under Shostakovich's name, the Fifth Symphony was characterized as "A Soviet artist's creative response to just criticism." The composer Dmitry Kabalevsky, who had been among those who disassociated themselves from Shostakovich when the Pravda article was published, praised the Fifth Symphony and congratulated Shostakovich for "not having given in to the seductive temptations of his previous 'erroneous' ways."It was also at this time that Shostakovich composed the first of his string quartets. His chamber works allowed him to experiment and express ideas that would have been unacceptable in his more public symphonies. In September 1937 he began to teach composition at the Leningrad Conservatory, which provided some financial security but interfered with his creative work.
Output: What composer wrote the Fifth Symphony?
Passage: The composer's response to his denunciation was the Fifth Symphony of 1937, which was musically more conservative than his earlier works. Premiered on 21 November 1937 in Leningrad, it was a phenomenal success. The Fifth brought many to tears and welling emotions. Later, Shostakovich's purported memoir, Testimony, stated: "I'll never believe that a man who understood nothing could feel the Fifth Symphony. Of course they understood, they understood what was happening around them and they understood what the Fifth was about."The success put Shostakovich in good standing once again. Music critics and the authorities alike, including those who had earlier accused Shostakovich of formalism, claimed that he had learned from his mistakes and become a true Soviet artist. In a newspaper article published under Shostakovich's name, the Fifth Symphony was characterized as "A Soviet artist's creative response to just criticism." The composer Dmitry Kabalevsky, who had been among those who disassociated themselves from Shostakovich when the Pravda article was published, praised the Fifth Symphony and congratulated Shostakovich for "not having given in to the seductive temptations of his previous 'erroneous' ways."It was also at this time that Shostakovich composed the first of his string quartets. His chamber works allowed him to experiment and express ideas that would have been unacceptable in his more public symphonies. In September 1937 he began to teach composition at the Leningrad Conservatory, which provided some financial security but interfered with his creative work.
Output: What is the name of the person that taught composition at the Leningrad Conservatory?
Passage: The composer's response to his denunciation was the Fifth Symphony of 1937, which was musically more conservative than his earlier works. Premiered on 21 November 1937 in Leningrad, it was a phenomenal success. The Fifth brought many to tears and welling emotions. Later, Shostakovich's purported memoir, Testimony, stated: "I'll never believe that a man who understood nothing could feel the Fifth Symphony. Of course they understood, they understood what was happening around them and they understood what the Fifth was about."The success put Shostakovich in good standing once again. Music critics and the authorities alike, including those who had earlier accused Shostakovich of formalism, claimed that he had learned from his mistakes and become a true Soviet artist. In a newspaper article published under Shostakovich's name, the Fifth Symphony was characterized as "A Soviet artist's creative response to just criticism." The composer Dmitry Kabalevsky, who had been among those who disassociated themselves from Shostakovich when the Pravda article was published, praised the Fifth Symphony and congratulated Shostakovich for "not having given in to the seductive temptations of his previous 'erroneous' ways."It was also at this time that Shostakovich composed the first of his string quartets. His chamber works allowed him to experiment and express ideas that would have been unacceptable in his more public symphonies. In September 1937 he began to teach composition at the Leningrad Conservatory, which provided some financial security but interfered with his creative work.
Output: What is the name of the person that became a true Soviet artist?
Passage: Sir Edward William Elgar, 1st Baronet  (; 2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.
Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the moving-coil microphone in 1923 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.
Output: When did the music of the man who was mostly musically influenced by people outside of England begin to revive in popularity?
Passage: Sir Edward William Elgar, 1st Baronet  (; 2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.
Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the moving-coil microphone in 1923 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.
Output: What is the name of the object that the musician who married the daughter of a senior British army officer was believed to be the first to take seriously?
Passage: Sir Edward William Elgar, 1st Baronet  (; 2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.
Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the moving-coil microphone in 1923 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius.
Output: What is the name of the follow-up to the moderately successful works that led to popularity for the man who was a self-taught composer?
Passage: The story is partially inspired by the Davies brothers' older sister Rose, who emigrated to Australia in 1964 with her husband Arthur Anning. Her departure devastated Ray Davies, and it inspired him to write the song "Rosy Won't You Please Come Home", included on the 1966 album Face to Face. The lead character in the album, the fictional Arthur Morgan—modelled after Anning—is a carpet layer whose family's plight in the opportunity-poor setting of post-war England is depicted. Writer Julian Mitchell detailed the story line and characters in depth, explaining in the liner notes for the album's LP release:
Arthur Morgan ... lives in a London suburb in a house called Shangri-La, with a garden and a car and a wife called Rose and a son called Derek who's married to Liz, and they have these two very nice kids, Terry and Marilyn. Derek and Liz and Terry and Marilyn are emigrating to Australia. Arthur did have another son, called Eddie. He was named after Arthur's brother, who was killed in the battle of the Somme. Arthur's Eddie was killed, too—in Korea.
Davies would later comment in his autobiography, X-Ray, that Anning later "told me that he ... knew it [Arthur] had been partly inspired by him ... [it] reminded him of home ... I told Arthur that I felt guilty for using him as a subject for a song, but he shrugged off my apology, saying that he was flattered." With an underlying theme of nostalgia, the songs describe the England that Arthur once knew ("Victoria", "Young and Innocent Days"), the promise of life in Australia for one of his sons ("Australia"), the emptiness of his superficially comfortable life in his home ("Shangri-La"), the resolve of the British people during the Second World War ("Mr. Churchill Says"), the privations that marked the austerity period after the war ("She's Bought a Hat Like Princess Marina"), and the death of his brother in World War I ("Yes Sir, No Sir", "Some Mother's Son").
Output: What is the first name of the person whose departure inspired the song, "Rosy Won't You Please Come Back?
Passage: The story is partially inspired by the Davies brothers' older sister Rose, who emigrated to Australia in 1964 with her husband Arthur Anning. Her departure devastated Ray Davies, and it inspired him to write the song "Rosy Won't You Please Come Home", included on the 1966 album Face to Face. The lead character in the album, the fictional Arthur Morgan—modelled after Anning—is a carpet layer whose family's plight in the opportunity-poor setting of post-war England is depicted. Writer Julian Mitchell detailed the story line and characters in depth, explaining in the liner notes for the album's LP release:
Arthur Morgan ... lives in a London suburb in a house called Shangri-La, with a garden and a car and a wife called Rose and a son called Derek who's married to Liz, and they have these two very nice kids, Terry and Marilyn. Derek and Liz and Terry and Marilyn are emigrating to Australia. Arthur did have another son, called Eddie. He was named after Arthur's brother, who was killed in the battle of the Somme. Arthur's Eddie was killed, too—in Korea.
Davies would later comment in his autobiography, X-Ray, that Anning later "told me that he ... knew it [Arthur] had been partly inspired by him ... [it] reminded him of home ... I told Arthur that I felt guilty for using him as a subject for a song, but he shrugged off my apology, saying that he was flattered." With an underlying theme of nostalgia, the songs describe the England that Arthur once knew ("Victoria", "Young and Innocent Days"), the promise of life in Australia for one of his sons ("Australia"), the emptiness of his superficially comfortable life in his home ("Shangri-La"), the resolve of the British people during the Second World War ("Mr. Churchill Says"), the privations that marked the austerity period after the war ("She's Bought a Hat Like Princess Marina"), and the death of his brother in World War I ("Yes Sir, No Sir", "Some Mother's Son").
Output: What is the first name of the person who Anning later told that he knew the character, Aurthur Morgan, had been partly inspired by himself?
Passage: The story is partially inspired by the Davies brothers' older sister Rose, who emigrated to Australia in 1964 with her husband Arthur Anning. Her departure devastated Ray Davies, and it inspired him to write the song "Rosy Won't You Please Come Home", included on the 1966 album Face to Face. The lead character in the album, the fictional Arthur Morgan—modelled after Anning—is a carpet layer whose family's plight in the opportunity-poor setting of post-war England is depicted. Writer Julian Mitchell detailed the story line and characters in depth, explaining in the liner notes for the album's LP release:
Arthur Morgan ... lives in a London suburb in a house called Shangri-La, with a garden and a car and a wife called Rose and a son called Derek who's married to Liz, and they have these two very nice kids, Terry and Marilyn. Derek and Liz and Terry and Marilyn are emigrating to Australia. Arthur did have another son, called Eddie. He was named after Arthur's brother, who was killed in the battle of the Somme. Arthur's Eddie was killed, too—in Korea.
Davies would later comment in his autobiography, X-Ray, that Anning later "told me that he ... knew it [Arthur] had been partly inspired by him ... [it] reminded him of home ... I told Arthur that I felt guilty for using him as a subject for a song, but he shrugged off my apology, saying that he was flattered." With an underlying theme of nostalgia, the songs describe the England that Arthur once knew ("Victoria", "Young and Innocent Days"), the promise of life in Australia for one of his sons ("Australia"), the emptiness of his superficially comfortable life in his home ("Shangri-La"), the resolve of the British people during the Second World War ("Mr. Churchill Says"), the privations that marked the austerity period after the war ("She's Bought a Hat Like Princess Marina"), and the death of his brother in World War I ("Yes Sir, No Sir", "Some Mother's Son").
Output: What is the full name of the person whose autobiography was titled X-Ray?
Passage: The story is partially inspired by the Davies brothers' older sister Rose, who emigrated to Australia in 1964 with her husband Arthur Anning. Her departure devastated Ray Davies, and it inspired him to write the song "Rosy Won't You Please Come Home", included on the 1966 album Face to Face. The lead character in the album, the fictional Arthur Morgan—modelled after Anning—is a carpet layer whose family's plight in the opportunity-poor setting of post-war England is depicted. Writer Julian Mitchell detailed the story line and characters in depth, explaining in the liner notes for the album's LP release:
Arthur Morgan ... lives in a London suburb in a house called Shangri-La, with a garden and a car and a wife called Rose and a son called Derek who's married to Liz, and they have these two very nice kids, Terry and Marilyn. Derek and Liz and Terry and Marilyn are emigrating to Australia. Arthur did have another son, called Eddie. He was named after Arthur's brother, who was killed in the battle of the Somme. Arthur's Eddie was killed, too—in Korea.
Davies would later comment in his autobiography, X-Ray, that Anning later "told me that he ... knew it [Arthur] had been partly inspired by him ... [it] reminded him of home ... I told Arthur that I felt guilty for using him as a subject for a song, but he shrugged off my apology, saying that he was flattered." With an underlying theme of nostalgia, the songs describe the England that Arthur once knew ("Victoria", "Young and Innocent Days"), the promise of life in Australia for one of his sons ("Australia"), the emptiness of his superficially comfortable life in his home ("Shangri-La"), the resolve of the British people during the Second World War ("Mr. Churchill Says"), the privations that marked the austerity period after the war ("She's Bought a Hat Like Princess Marina"), and the death of his brother in World War I ("Yes Sir, No Sir", "Some Mother's Son").
Output: What is the full name of the person who told Aurthur that he felt guilty for using him as a subject for a song?
Passage: The story is partially inspired by the Davies brothers' older sister Rose, who emigrated to Australia in 1964 with her husband Arthur Anning. Her departure devastated Ray Davies, and it inspired him to write the song "Rosy Won't You Please Come Home", included on the 1966 album Face to Face. The lead character in the album, the fictional Arthur Morgan—modelled after Anning—is a carpet layer whose family's plight in the opportunity-poor setting of post-war England is depicted. Writer Julian Mitchell detailed the story line and characters in depth, explaining in the liner notes for the album's LP release:
Arthur Morgan ... lives in a London suburb in a house called Shangri-La, with a garden and a car and a wife called Rose and a son called Derek who's married to Liz, and they have these two very nice kids, Terry and Marilyn. Derek and Liz and Terry and Marilyn are emigrating to Australia. Arthur did have another son, called Eddie. He was named after Arthur's brother, who was killed in the battle of the Somme. Arthur's Eddie was killed, too—in Korea.
Davies would later comment in his autobiography, X-Ray, that Anning later "told me that he ... knew it [Arthur] had been partly inspired by him ... [it] reminded him of home ... I told Arthur that I felt guilty for using him as a subject for a song, but he shrugged off my apology, saying that he was flattered." With an underlying theme of nostalgia, the songs describe the England that Arthur once knew ("Victoria", "Young and Innocent Days"), the promise of life in Australia for one of his sons ("Australia"), the emptiness of his superficially comfortable life in his home ("Shangri-La"), the resolve of the British people during the Second World War ("Mr. Churchill Says"), the privations that marked the austerity period after the war ("She's Bought a Hat Like Princess Marina"), and the death of his brother in World War I ("Yes Sir, No Sir", "Some Mother's Son").
Output: What is the full name of the person who shrugged off Davies' apology and said he was flattered?
Passage: The main sources for the story told in Busenello's libretto are the Annals of Tacitus; book 6 of Suetonius's history The Twelve Caesars; books 61–62 of Dio Cassius's Roman History; and  an anonymous play Octavia (once attributed to the real life Seneca), from which the opera's fictional nurse characters were derived. The main story is based on real people  and   events. According to the analyst Magnus Schneider, the character of Drusilla was taken from Girolamo Bargagli's 16th-century comedy The Pilgrim Woman.Busenello condensed historical events from a seven-year period (AD 58 to AD 65) into a single day's action, and imposed his own sequence. He was open about his intention to adapt history for his own purposes, writing in the preface to his libretto that "here we represent these actions differently." Thus he gave his characters different attributes from those of their historical counterparts: Nerone's cruelty is downplayed; the wronged wife Ottavia is presented as a murderous plotter; Seneca, whose death in reality had nothing to do with Nerone's liaison with Poppea, appears as more noble and virtuous than he was; Poppea's motives are represented as based on genuine love as much as on a lust for power; the depiction of Lucano as a drunken carouser disguises the real life poet Lucan's status as a major Roman poet with marked anti-imperial and pro-republican tendencies.The libretto has survived in numerous forms—two printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production. One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri. This manuscript, according to music historian Ellen Rosand, "bristles with the immediacy of a performance", and is the only copy of the libretto that mentions Monteverdi by name. This, and other descriptive details missing from other copies, leads Rosand to speculate that the manuscript was copied during the course of a performance. This impression is reinforced, she says, by the inclusion of a paean of praise to the   singer (Anna di Valerio according to Schneider) who played the role of Poppea. Although its dating is uncertain, the manuscript's affinity with the original scenario has led to speculation that the Udine version may have been compiled from the first performance.
Output: What is the last name of the music historian that said the manuscript discovered in Udine in 1997 "bristles with the immediacy of a performance"?
Passage: The main sources for the story told in Busenello's libretto are the Annals of Tacitus; book 6 of Suetonius's history The Twelve Caesars; books 61–62 of Dio Cassius's Roman History; and  an anonymous play Octavia (once attributed to the real life Seneca), from which the opera's fictional nurse characters were derived. The main story is based on real people  and   events. According to the analyst Magnus Schneider, the character of Drusilla was taken from Girolamo Bargagli's 16th-century comedy The Pilgrim Woman.Busenello condensed historical events from a seven-year period (AD 58 to AD 65) into a single day's action, and imposed his own sequence. He was open about his intention to adapt history for his own purposes, writing in the preface to his libretto that "here we represent these actions differently." Thus he gave his characters different attributes from those of their historical counterparts: Nerone's cruelty is downplayed; the wronged wife Ottavia is presented as a murderous plotter; Seneca, whose death in reality had nothing to do with Nerone's liaison with Poppea, appears as more noble and virtuous than he was; Poppea's motives are represented as based on genuine love as much as on a lust for power; the depiction of Lucano as a drunken carouser disguises the real life poet Lucan's status as a major Roman poet with marked anti-imperial and pro-republican tendencies.The libretto has survived in numerous forms—two printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production. One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri. This manuscript, according to music historian Ellen Rosand, "bristles with the immediacy of a performance", and is the only copy of the libretto that mentions Monteverdi by name. This, and other descriptive details missing from other copies, leads Rosand to speculate that the manuscript was copied during the course of a performance. This impression is reinforced, she says, by the inclusion of a paean of praise to the   singer (Anna di Valerio according to Schneider) who played the role of Poppea. Although its dating is uncertain, the manuscript's affinity with the original scenario has led to speculation that the Udine version may have been compiled from the first performance.
Output: What is the last name of the person that discovered the manuscript that is described by Ellen Rosand as something that "bristles with the immediacy of a performance"?
Passage: The main sources for the story told in Busenello's libretto are the Annals of Tacitus; book 6 of Suetonius's history The Twelve Caesars; books 61–62 of Dio Cassius's Roman History; and  an anonymous play Octavia (once attributed to the real life Seneca), from which the opera's fictional nurse characters were derived. The main story is based on real people  and   events. According to the analyst Magnus Schneider, the character of Drusilla was taken from Girolamo Bargagli's 16th-century comedy The Pilgrim Woman.Busenello condensed historical events from a seven-year period (AD 58 to AD 65) into a single day's action, and imposed his own sequence. He was open about his intention to adapt history for his own purposes, writing in the preface to his libretto that "here we represent these actions differently." Thus he gave his characters different attributes from those of their historical counterparts: Nerone's cruelty is downplayed; the wronged wife Ottavia is presented as a murderous plotter; Seneca, whose death in reality had nothing to do with Nerone's liaison with Poppea, appears as more noble and virtuous than he was; Poppea's motives are represented as based on genuine love as much as on a lust for power; the depiction of Lucano as a drunken carouser disguises the real life poet Lucan's status as a major Roman poet with marked anti-imperial and pro-republican tendencies.The libretto has survived in numerous forms—two printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production. One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri. This manuscript, according to music historian Ellen Rosand, "bristles with the immediacy of a performance", and is the only copy of the libretto that mentions Monteverdi by name. This, and other descriptive details missing from other copies, leads Rosand to speculate that the manuscript was copied during the course of a performance. This impression is reinforced, she says, by the inclusion of a paean of praise to the   singer (Anna di Valerio according to Schneider) who played the role of Poppea. Although its dating is uncertain, the manuscript's affinity with the original scenario has led to speculation that the Udine version may have been compiled from the first performance.
Output: What year was the manuscript that music historian said was something that "bristles with the immediacy of a performance" discovered?
Passage: Indigenous Australians have lived in parts of the Northern Territory for around 40,000 years. Pre-European settlement numbers are not known with any precision, although the Indigenous population of the Northern Territory has been estimated at "well over 10,000". The area now known as Muckaty Station (often referred to as just "Muckaty", though the origin of this name and near variants such as "Mucketty" is unknown) was – and is – the responsibility of seven clans of traditional Indigenous owners: Milwayi, Ngapa, Ngarrka, Wirntiku, Kurrakurraja, Walanypirri and Yapayapa. The country is known by the Indigenous name Warlmanpa, which is also the name of a local language.Although there had been several unsuccessful attempts by British or colonial authorities to settle in the Northern Territory, there was no permanent European presence until surveyor George Goyder in 1869 established what is now known as Darwin. The timing was auspicious: in October 1870 the South Australian government decided to construct an overland telegraph line, from Port Augusta on the continent's south coast, to the new settlement just established in the country's tropical north. The line traversed what is now Muckaty Station, with repeater stations built at Powell's Creek to the north and Tennant's Creek to the south. At the same time as the telegraph line was completed in August 1872, a cattle industry was beginning to develop in central and northern Australia. The first pastoral lease in the Northern Territory was granted in 1872, and by 1911 there were at least 250 such leases covering over 180,000 square miles (470,000 km2) of the jurisdiction. The Muckaty pastoral lease was created in the late 19th century. Currently the property is surrounded by other leases including Powell Creek to the north, Helen Springs Station to the east with Philip Creek and Banka Banka Stations to the south.
Output: What area do indigenous people call Warlmanpa?
Passage: Despite undergoing various changes of emphasis, Bush's music retained a voice distinct from that of any of his contemporaries. One critic describes the typical Bush sound as "Mild dominant discords, of consonant effect, used with great originality in uncommon progressions alive with swift, purposeful harmonic movement ... except in [Benjamin] Britten they are nowhere used with more telling expression, colour and sense of movement than in Bush".John Ireland, Bush's early mentor, instilled "the sophisticated and restrained craftsmanship which marked Bush's music from the beginning",   introducing him to folksong and Palestrina, both important building blocks in the development of Bush's mature style. Daula comments that "Bush's music does not [merely] imitate the sound-world of his Renaissance predecessors", but   creates his unique fingerprint by "[juxtaposing] 16th century modal counterpoint with late- and post-romantic harmony".Bush's music, at least from the mid-1930s, often carried political overtones. His obituarist Rupert Christiansen writes that, as a principled Marxist, Bush  "put the requirements of the revolutionary proletariat at the head of the composer's responsibilities", a choice which others, such as Tippett, chose not to make.   However, Vaughan Williams thought that, despite Bush's oft-declared theories of the purposes of art and music, "when the inspiration comes over him he forgets all about this and remembers only the one eternal rule for all artists, 'To thine own self be true'.".
Output: What is the last name of the person who wrote that the composer who retained a voice distinct from that of any of his contemporaries "remembers only the one eternal rule for all artists, 'To thine own self be true'."?
Passage: When American diplomat William Gridley arrives in London, he rents part of Carly Hardwicke's (Kim Novak) house from her and promptly begins to fall in love. Gridley doesn't know that many people think she killed her British husband, Miles Hardwick, because he has disappeared; but without a body, the police cannot do a thing.
Gridley's boss is Franklyn Ambruster, a State Department chief in the American embassy who learns about it and doesn't take this "lapse of judgment" lightly. A Scotland Yard detective arrives at the embassy and convinces Gridley, who by this time is in love with Carly, to spy on her without letting her realize she is being investigated. When a fire erupts as Carly and Gridley are grilling steaks in the backyard of her house, a scandal ensues that is played out in the papers. Since Carly is also American, she goes to the embassy to tell his boss that Gridley is a good man and not to send him out of the country. The boss takes Carly to lunch, becomes smitten with her, and proclaims her innocence.
Output: Who do people think killed Miles Hardwick?
Passage: When American diplomat William Gridley arrives in London, he rents part of Carly Hardwicke's (Kim Novak) house from her and promptly begins to fall in love. Gridley doesn't know that many people think she killed her British husband, Miles Hardwick, because he has disappeared; but without a body, the police cannot do a thing.
Gridley's boss is Franklyn Ambruster, a State Department chief in the American embassy who learns about it and doesn't take this "lapse of judgment" lightly. A Scotland Yard detective arrives at the embassy and convinces Gridley, who by this time is in love with Carly, to spy on her without letting her realize she is being investigated. When a fire erupts as Carly and Gridley are grilling steaks in the backyard of her house, a scandal ensues that is played out in the papers. Since Carly is also American, she goes to the embassy to tell his boss that Gridley is a good man and not to send him out of the country. The boss takes Carly to lunch, becomes smitten with her, and proclaims her innocence.
Output: Who has a British husband that has disappeared?
Passage: When American diplomat William Gridley arrives in London, he rents part of Carly Hardwicke's (Kim Novak) house from her and promptly begins to fall in love. Gridley doesn't know that many people think she killed her British husband, Miles Hardwick, because he has disappeared; but without a body, the police cannot do a thing.
Gridley's boss is Franklyn Ambruster, a State Department chief in the American embassy who learns about it and doesn't take this "lapse of judgment" lightly. A Scotland Yard detective arrives at the embassy and convinces Gridley, who by this time is in love with Carly, to spy on her without letting her realize she is being investigated. When a fire erupts as Carly and Gridley are grilling steaks in the backyard of her house, a scandal ensues that is played out in the papers. Since Carly is also American, she goes to the embassy to tell his boss that Gridley is a good man and not to send him out of the country. The boss takes Carly to lunch, becomes smitten with her, and proclaims her innocence.
Output: Who is not happy that the American diplomat is falling in love with Carly Hardwicke?