niryuu/sni-each-converted huggingface dataset:
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the last name of the person who remained in the choir for two years?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the last name of the person who was accepted at the age of 10 into the Royal Academy of Music?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the last name of the person whose talent impressed examiners so much that they waived all fees for his tuition and board?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the first name of the person who named his son after William Sterndale?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the first name of the third child and only son of Robert Bennett?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the last name of the person who took the piano as his principal study?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the last name of the person whose performance The Harmonicon called, "in every way a blot on the piece"?
Passage: Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the page ... we will not speak", but acknowledged that Bennett sang pleasingly and to the satisfaction of the audience. The Harmonicon, however, called his performance "in every way a blot on the piece".Among Bennett's student compositions were a piano concerto (No. 1 in D minor, Op. 1), a symphony and an overture to The Tempest. The concerto received its public premiere at an orchestral concert in Cambridge on 28 November 1832, with Bennett as soloist. Performances soon followed in London and, by royal command, at Windsor Castle, where Bennett played in April 1833 for King William IV and Queen Adelaide. The RAM published the concerto at its own expense as a tribute. A further London performance was given in June 1833. The critic of The Harmonicon wrote of this concert:.
Output: What is the exact title of the concerto that received its public premiere at an orchestral concert in Cambridge on 28 November 1832?
Passage: In the heyday of vaudeville, on the verge of America's entrance into World War I, two talented performers, Jo Hayden and Harry Palmer, set their sights on playing the Palace Theatre on Broadway, the epitome of vaudeville success, and marrying immediately after.
Just weeks before their plans are to be realized Harry gets a draft notice. Intending to obtain a short delay before reporting for duty, he intentionally smashes his hand in a trunk.  That same day Jo is notified that her brother, who had been studying to be a doctor, has died in the war.
When she realizes what Harry has done, she rejects him and leaves the act. Harry then tries to undo his rash act and enlist, but none of the armed services will take him as his hand has been permanently crippled. Eventually he resigns himself to participating in the war effort the only way left open to him, entertaining front line troops for the YMCA.
When he and his partner find themselves dangerously close to the front, Harry heroically sets out to warn off an ambulance convoy heading into an artillery bombardment. He is wounded while destroying an enemy machine gun emplacement ambushing the convoy and is apparently commended for his bravery.
After the war, during a victory performance at the Palace Theatre, Jo sees Harry in the audience and runs to him. The two reunite on stage to sing "For Me and My Gal", the first song they ever performed together.
Output: What is the first name of the person who intentionally smashes their hand in a trunk?
Passage: In the heyday of vaudeville, on the verge of America's entrance into World War I, two talented performers, Jo Hayden and Harry Palmer, set their sights on playing the Palace Theatre on Broadway, the epitome of vaudeville success, and marrying immediately after.
Just weeks before their plans are to be realized Harry gets a draft notice. Intending to obtain a short delay before reporting for duty, he intentionally smashes his hand in a trunk.  That same day Jo is notified that her brother, who had been studying to be a doctor, has died in the war.
When she realizes what Harry has done, she rejects him and leaves the act. Harry then tries to undo his rash act and enlist, but none of the armed services will take him as his hand has been permanently crippled. Eventually he resigns himself to participating in the war effort the only way left open to him, entertaining front line troops for the YMCA.
When he and his partner find themselves dangerously close to the front, Harry heroically sets out to warn off an ambulance convoy heading into an artillery bombardment. He is wounded while destroying an enemy machine gun emplacement ambushing the convoy and is apparently commended for his bravery.
After the war, during a victory performance at the Palace Theatre, Jo sees Harry in the audience and runs to him. The two reunite on stage to sing "For Me and My Gal", the first song they ever performed together.
Output: What is the first name of the person who entertains front line troops for the YMCA?
Passage: The first U.S. Government sponsored expedition to enter Jackson Hole was the 1859–60 Raynolds Expedition. Led by U.S. Army Captain William F. Raynolds and guided by mountain man Jim Bridger, it included naturalist F. V. Hayden, who later led other expeditions to the region. The expedition had been charged with exploring the Yellowstone region, but encountered difficulties crossing mountain passes due to snow. Bridger ended up guiding the expedition south over Union Pass then following the Gros Ventre River drainage to the Snake River and leaving the region over Teton Pass. Organized exploration of the region was halted during the American Civil War but resumed when F. V. Hayden led the well-funded Hayden Geological Survey of 1871. In 1872, Hayden oversaw explorations in Yellowstone, while a branch of his expedition known as the Snake River Division was led by James Stevenson and explored the Teton region. Along with Stevenson was photographer William Henry Jackson who took the first photographs of the Teton Range. The Hayden Geological Survey named many of the mountains and lakes in the region. The explorations by early mountain men and subsequent expeditions failed to identify any sources of economically viable mineral wealth. Nevertheless, small groups of prospectors set up claims and mining operations on several of the creeks and rivers. By 1900 all organized efforts to retrieve minerals had been abandoned.
Though the Teton Range was never permanently inhabited, pioneers began settling the Jackson Hole valley to the east of the range in 1884. These earliest homesteaders were mostly single men who endured long winters, short growing seasons and rocky soils that were hard to cultivate. The region was mostly suited for the cultivation of hay and cattle ranching. By 1890, Jackson Hole had an estimated permanent population of 60. Menor's Ferry was built in 1892 near present-day Moose, Wyoming to provide access for wagons to the west side of the Snake River. Ranching increased significantly from 1900 to 1920, but a series of agricultural related economic downturns in the early 1920s left many ranchers destitute. Beginning in the 1920s, the automobile provided faster and easier access to areas of natural beauty and old military roads into Jackson Hole over Teton and Togwotee Passes were improved to accommodate the increased vehicle traffic. In response to the increased tourism, dude ranches were established, some new and some from existing cattle ranches, so urbanized travelers could experience the life of a cattleman.
Output: What team had a hard time crossing mountain passes due to snow?
Passage: The first U.S. Government sponsored expedition to enter Jackson Hole was the 1859–60 Raynolds Expedition. Led by U.S. Army Captain William F. Raynolds and guided by mountain man Jim Bridger, it included naturalist F. V. Hayden, who later led other expeditions to the region. The expedition had been charged with exploring the Yellowstone region, but encountered difficulties crossing mountain passes due to snow. Bridger ended up guiding the expedition south over Union Pass then following the Gros Ventre River drainage to the Snake River and leaving the region over Teton Pass. Organized exploration of the region was halted during the American Civil War but resumed when F. V. Hayden led the well-funded Hayden Geological Survey of 1871. In 1872, Hayden oversaw explorations in Yellowstone, while a branch of his expedition known as the Snake River Division was led by James Stevenson and explored the Teton region. Along with Stevenson was photographer William Henry Jackson who took the first photographs of the Teton Range. The Hayden Geological Survey named many of the mountains and lakes in the region. The explorations by early mountain men and subsequent expeditions failed to identify any sources of economically viable mineral wealth. Nevertheless, small groups of prospectors set up claims and mining operations on several of the creeks and rivers. By 1900 all organized efforts to retrieve minerals had been abandoned.
Though the Teton Range was never permanently inhabited, pioneers began settling the Jackson Hole valley to the east of the range in 1884. These earliest homesteaders were mostly single men who endured long winters, short growing seasons and rocky soils that were hard to cultivate. The region was mostly suited for the cultivation of hay and cattle ranching. By 1890, Jackson Hole had an estimated permanent population of 60. Menor's Ferry was built in 1892 near present-day Moose, Wyoming to provide access for wagons to the west side of the Snake River. Ranching increased significantly from 1900 to 1920, but a series of agricultural related economic downturns in the early 1920s left many ranchers destitute. Beginning in the 1920s, the automobile provided faster and easier access to areas of natural beauty and old military roads into Jackson Hole over Teton and Togwotee Passes were improved to accommodate the increased vehicle traffic. In response to the increased tourism, dude ranches were established, some new and some from existing cattle ranches, so urbanized travelers could experience the life of a cattleman.
Output: What team followed the Gros Ventre River?
Passage: The first U.S. Government sponsored expedition to enter Jackson Hole was the 1859–60 Raynolds Expedition. Led by U.S. Army Captain William F. Raynolds and guided by mountain man Jim Bridger, it included naturalist F. V. Hayden, who later led other expeditions to the region. The expedition had been charged with exploring the Yellowstone region, but encountered difficulties crossing mountain passes due to snow. Bridger ended up guiding the expedition south over Union Pass then following the Gros Ventre River drainage to the Snake River and leaving the region over Teton Pass. Organized exploration of the region was halted during the American Civil War but resumed when F. V. Hayden led the well-funded Hayden Geological Survey of 1871. In 1872, Hayden oversaw explorations in Yellowstone, while a branch of his expedition known as the Snake River Division was led by James Stevenson and explored the Teton region. Along with Stevenson was photographer William Henry Jackson who took the first photographs of the Teton Range. The Hayden Geological Survey named many of the mountains and lakes in the region. The explorations by early mountain men and subsequent expeditions failed to identify any sources of economically viable mineral wealth. Nevertheless, small groups of prospectors set up claims and mining operations on several of the creeks and rivers. By 1900 all organized efforts to retrieve minerals had been abandoned.
Though the Teton Range was never permanently inhabited, pioneers began settling the Jackson Hole valley to the east of the range in 1884. These earliest homesteaders were mostly single men who endured long winters, short growing seasons and rocky soils that were hard to cultivate. The region was mostly suited for the cultivation of hay and cattle ranching. By 1890, Jackson Hole had an estimated permanent population of 60. Menor's Ferry was built in 1892 near present-day Moose, Wyoming to provide access for wagons to the west side of the Snake River. Ranching increased significantly from 1900 to 1920, but a series of agricultural related economic downturns in the early 1920s left many ranchers destitute. Beginning in the 1920s, the automobile provided faster and easier access to areas of natural beauty and old military roads into Jackson Hole over Teton and Togwotee Passes were improved to accommodate the increased vehicle traffic. In response to the increased tourism, dude ranches were established, some new and some from existing cattle ranches, so urbanized travelers could experience the life of a cattleman.
Output: What area was not explored during the American Civil War?
Passage: The first U.S. Government sponsored expedition to enter Jackson Hole was the 1859–60 Raynolds Expedition. Led by U.S. Army Captain William F. Raynolds and guided by mountain man Jim Bridger, it included naturalist F. V. Hayden, who later led other expeditions to the region. The expedition had been charged with exploring the Yellowstone region, but encountered difficulties crossing mountain passes due to snow. Bridger ended up guiding the expedition south over Union Pass then following the Gros Ventre River drainage to the Snake River and leaving the region over Teton Pass. Organized exploration of the region was halted during the American Civil War but resumed when F. V. Hayden led the well-funded Hayden Geological Survey of 1871. In 1872, Hayden oversaw explorations in Yellowstone, while a branch of his expedition known as the Snake River Division was led by James Stevenson and explored the Teton region. Along with Stevenson was photographer William Henry Jackson who took the first photographs of the Teton Range. The Hayden Geological Survey named many of the mountains and lakes in the region. The explorations by early mountain men and subsequent expeditions failed to identify any sources of economically viable mineral wealth. Nevertheless, small groups of prospectors set up claims and mining operations on several of the creeks and rivers. By 1900 all organized efforts to retrieve minerals had been abandoned.
Though the Teton Range was never permanently inhabited, pioneers began settling the Jackson Hole valley to the east of the range in 1884. These earliest homesteaders were mostly single men who endured long winters, short growing seasons and rocky soils that were hard to cultivate. The region was mostly suited for the cultivation of hay and cattle ranching. By 1890, Jackson Hole had an estimated permanent population of 60. Menor's Ferry was built in 1892 near present-day Moose, Wyoming to provide access for wagons to the west side of the Snake River. Ranching increased significantly from 1900 to 1920, but a series of agricultural related economic downturns in the early 1920s left many ranchers destitute. Beginning in the 1920s, the automobile provided faster and easier access to areas of natural beauty and old military roads into Jackson Hole over Teton and Togwotee Passes were improved to accommodate the increased vehicle traffic. In response to the increased tourism, dude ranches were established, some new and some from existing cattle ranches, so urbanized travelers could experience the life of a cattleman.
Output: What was the full name of the person that had a branch of their expedition explore the Teton region?
Passage: The first U.S. Government sponsored expedition to enter Jackson Hole was the 1859–60 Raynolds Expedition. Led by U.S. Army Captain William F. Raynolds and guided by mountain man Jim Bridger, it included naturalist F. V. Hayden, who later led other expeditions to the region. The expedition had been charged with exploring the Yellowstone region, but encountered difficulties crossing mountain passes due to snow. Bridger ended up guiding the expedition south over Union Pass then following the Gros Ventre River drainage to the Snake River and leaving the region over Teton Pass. Organized exploration of the region was halted during the American Civil War but resumed when F. V. Hayden led the well-funded Hayden Geological Survey of 1871. In 1872, Hayden oversaw explorations in Yellowstone, while a branch of his expedition known as the Snake River Division was led by James Stevenson and explored the Teton region. Along with Stevenson was photographer William Henry Jackson who took the first photographs of the Teton Range. The Hayden Geological Survey named many of the mountains and lakes in the region. The explorations by early mountain men and subsequent expeditions failed to identify any sources of economically viable mineral wealth. Nevertheless, small groups of prospectors set up claims and mining operations on several of the creeks and rivers. By 1900 all organized efforts to retrieve minerals had been abandoned.
Though the Teton Range was never permanently inhabited, pioneers began settling the Jackson Hole valley to the east of the range in 1884. These earliest homesteaders were mostly single men who endured long winters, short growing seasons and rocky soils that were hard to cultivate. The region was mostly suited for the cultivation of hay and cattle ranching. By 1890, Jackson Hole had an estimated permanent population of 60. Menor's Ferry was built in 1892 near present-day Moose, Wyoming to provide access for wagons to the west side of the Snake River. Ranching increased significantly from 1900 to 1920, but a series of agricultural related economic downturns in the early 1920s left many ranchers destitute. Beginning in the 1920s, the automobile provided faster and easier access to areas of natural beauty and old military roads into Jackson Hole over Teton and Togwotee Passes were improved to accommodate the increased vehicle traffic. In response to the increased tourism, dude ranches were established, some new and some from existing cattle ranches, so urbanized travelers could experience the life of a cattleman.
Output: What valley was mostly suited for cultivating hay and cattle ranching?
Passage: The day after he took over the project, Groves took a train to Tennessee with Colonel Marshall to inspect the proposed site there, and Groves was impressed. On 29 September 1942, United States Under Secretary of War Robert P. Patterson authorized the Corps of Engineers to acquire 56,000 acres (23,000 ha) of land by eminent domain at a cost of $3.5 million. An additional 3,000 acres (1,200 ha) was subsequently acquired. About 1,000 families were affected by the condemnation order, which came into effect on 7 October. Protests, legal appeals, and a 1943 Congressional inquiry were to no avail. By mid-November U.S. Marshals were tacking notices to vacate on farmhouse doors, and construction contractors were moving in. Some families were given two weeks' notice to vacate farms that had been their homes for generations; others had settled there after being evicted to make way for the Great Smoky Mountains National Park in the 1920s or the Norris Dam in the 1930s. The ultimate cost of land acquisition in the area, which was not completed until March 1945, was only about $2.6 million, which worked out to around $47 an acre. When presented with Public Proclamation Number Two, which declared Oak Ridge a total exclusion area that no one could enter without military permission, the Governor of Tennessee, Prentice Cooper, angrily tore it up.Initially known as the Kingston Demolition Range, the site was officially renamed the Clinton Engineer Works (CEW) in early 1943. While Stone & Webster concentrated on the production facilities, the architectural and engineering firm Skidmore, Owings & Merrill designed and built a residential community for 13,000. The community was located on the slopes of Black Oak Ridge, from which the new town of Oak Ridge got its name. The Army presence at Oak Ridge increased in August 1943 when Nichols replaced Marshall as head of the Manhattan Engineer District. One of his first tasks was to move the district headquarters to Oak Ridge although the name of the district did not change. In September 1943 the administration of community facilities was outsourced to Turner Construction Company through a subsidiary, the Roane-Anderson Company (for Roane and Anderson Counties, in which Oak Ridge was located). Chemical engineers, including William J. Wilcox Jr. and Warren Fuchs, were part of "frantic efforts" to make 10% to 12% enriched uranium 235, known as the code name "tuballoy tetroxide", with tight security and fast approvals for supplies and materials. The population of Oak Ridge soon expanded well beyond the initial plans, and peaked at 75,000 in May 1945, by which time 82,000 people were employed at the Clinton Engineer Works, and 10,000 by Roane-Anderson.Fine-arts photographer, Josephine Herrick, and her colleague, Mary Steers, helped document the work at Oak Ridge.
Output: What is the name of the person among whose first tasks was to move the district headquarters to Oak Ridge although the name of the district did not change?
Passage: By the time Hope was exhibited, Watts had already committed himself to donate his most significant works to the nation, and although he received multiple offers for the painting he thought it inappropriate not to include Hope in this donation, in light of the fact that it was already being considered one of his most important pictures. In mid-1886 Watts and his assistant Cecil Schott painted a duplicate of the piece, with the intention that this duplicate be donated to the nation allowing him to sell the original. Although the composition of this second painting is identical, it is radically different in feel. The central figure is smaller in relation to the globe, and the colours darker and less sumptuous, giving it an intentionally gloomier feel than the original.In late 1886 this second version was one of nine paintings donated to the South Kensington Museum (now the Victoria and Albert Museum) in the first instalment of Watts's gift to the nation. Meanwhile, the original was briefly displayed in Nottingham before being sold to the steam tractor entrepreneur Joseph Ruston in 1887. Its whereabouts was long unknown until in 1986 it was auctioned at Sotheby's for £869,000 (about £2,500,000 in 2019 terms), 100 years after its first exhibition.On their donation to the South Kensington Museum, the nine works donated by Watts were hung on the staircase leading to the library, but Hope proved a popular loan to other institutions as a symbol of current British art. At the Royal Jubilee Exhibition of 1887 in Manchester, an entire wall was dedicated to the works of Watts. Hope, only recently completed but already the most famous of Watts's works, was placed at the centre of this display. It was then exhibited at the 1888 Melbourne Centennial Exhibition and the 1889 Exposition Universelle in Paris, before being moved to Munich for display at the Glaspalast. In 1897 it was one of the 17 Watts works transferred to the newly created National Gallery of British Art (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works. The Tate Gallery considered Hope one of the highlights of their collection and did not continue the South Kensington Museum's practice of lending the piece to overseas exhibitions.
Output: What is the last name of the person who wanted to donate a duplicate to the nation so he could sell the original?
Passage: By the time Hope was exhibited, Watts had already committed himself to donate his most significant works to the nation, and although he received multiple offers for the painting he thought it inappropriate not to include Hope in this donation, in light of the fact that it was already being considered one of his most important pictures. In mid-1886 Watts and his assistant Cecil Schott painted a duplicate of the piece, with the intention that this duplicate be donated to the nation allowing him to sell the original. Although the composition of this second painting is identical, it is radically different in feel. The central figure is smaller in relation to the globe, and the colours darker and less sumptuous, giving it an intentionally gloomier feel than the original.In late 1886 this second version was one of nine paintings donated to the South Kensington Museum (now the Victoria and Albert Museum) in the first instalment of Watts's gift to the nation. Meanwhile, the original was briefly displayed in Nottingham before being sold to the steam tractor entrepreneur Joseph Ruston in 1887. Its whereabouts was long unknown until in 1986 it was auctioned at Sotheby's for £869,000 (about £2,500,000 in 2019 terms), 100 years after its first exhibition.On their donation to the South Kensington Museum, the nine works donated by Watts were hung on the staircase leading to the library, but Hope proved a popular loan to other institutions as a symbol of current British art. At the Royal Jubilee Exhibition of 1887 in Manchester, an entire wall was dedicated to the works of Watts. Hope, only recently completed but already the most famous of Watts's works, was placed at the centre of this display. It was then exhibited at the 1888 Melbourne Centennial Exhibition and the 1889 Exposition Universelle in Paris, before being moved to Munich for display at the Glaspalast. In 1897 it was one of the 17 Watts works transferred to the newly created National Gallery of British Art (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works. The Tate Gallery considered Hope one of the highlights of their collection and did not continue the South Kensington Museum's practice of lending the piece to overseas exhibitions.
Output: What original piece was briefly displayed at Nottingham?