niryuu/sni-each-converted huggingface dataset:
Passage: At the beginning of the 1850s, Brazil was enjoying internal stability and economic prosperity. The nation's infrastructure was being developed, with progress in the construction of railroads, the electric telegraph and steamship lines uniting Brazil into a cohesive national entity. After five years in office, the successful conservative cabinet was dismissed and in September 1853, Honório Hermeto Carneiro Leão, Marquis of Paraná, head of the Conservative Party, was charged with forming a new cabinet. Emperor Pedro II wanted to advance an ambitious plan, which became known as "the Conciliation", aimed at strengthening parliament's role in settling the country's political disputes.Paraná invited several liberals to join the conservative ranks and went so far as to name some as ministers. The new cabinet, although highly successful, was plagued from the start by strong opposition from ultraconservative members of the Conservative Party who repudiated the new liberal recruits. They believed that the cabinet had become a political machine infested with converted liberals who did not genuinely share the party's ideals and were primarily interested in gaining public offices. Despite this mistrust, Paraná showed resilience in fending off threats and overcoming obstacles and setbacks. However, in September 1856, at the height of his career, he died unexpectedly, although the cabinet survived him until May 1857.The Conservative Party had split down the middle: on one side were the ultraconservatives, and on the other, the moderate conservatives who supported the Conciliation. The ultraconservatives were led by Joaquim Rodrigues Torres, Viscount of Itaboraí, Eusébio de Queirós and Paulino Soares de Sousa, 1st Viscount of Uruguai—all former ministers in the 1848–1853 cabinet. These elder statesmen had taken control of the Conservative Party after Paraná's death. In the years following 1857, none of the cabinets survived long. They quickly collapsed due to the lack of a majority in the Chamber of Deputies.
Output: What is the full name of the person who died unexpectedly?
Passage: "Raining Blood" was covered by Tori Amos on her 2001 album Strange Little Girls. King has admitted that he thought the cover was odd: "It took me a minute and a half to find a spot in the song where I knew where she was. It's so weird. If she had never told us, we would have never known. You could have played it for us and we'd have been like, 'What's that?' Like a minute and a half through I heard a line and was like, 'I know where she's at!'". The band, however, liked the cover enough to send Slayer T-shirts to her. The song was also covered by Malevolent Creation, Chimaira, Vader, Dokaka, Reggie and the Full Effect and Killick Erik Hinds, who covered the entire album on a H'arpeggione. "Raining Blood" was also covered by the New Zealand drum and bass band Concord Dawn on their 2003 album Uprising, and by Nashville, Tennessee band Asschapel on their 7" "Satanation". A medley of "Raining Blood" and "Postmortem" appears on Body Count's 2016 album Bloodlust, preceded by a short monologue by lead singer Ice-T where he names Slayer as both a major influence on Body Count and as one of his favorite bands of all time "and always will be"; a video for Body Count's version was released in August 2017. 
In 2005, the Slayer tribute band Dead Skin Mask released an album with eight Slayer tracks, including "Angel of Death". The death metal band Monstrosity covered the song in 1999, while the track was featured on the classical band Apocalyptica's 2006 album Amplified / A Decade of Reinventing the Cello. A Slayer tribute album titled Al Sur del Abismo (Tributo Argentino a Slayer), compiled by Hurling Metal Records, featured sixteen tracks covered by Argentina metal bands, including Asinesia's version of "Angel of Death".
Output: What is the full name of the individual to whom the band sent Slayer t-shirts?
Passage: "Raining Blood" was covered by Tori Amos on her 2001 album Strange Little Girls. King has admitted that he thought the cover was odd: "It took me a minute and a half to find a spot in the song where I knew where she was. It's so weird. If she had never told us, we would have never known. You could have played it for us and we'd have been like, 'What's that?' Like a minute and a half through I heard a line and was like, 'I know where she's at!'". The band, however, liked the cover enough to send Slayer T-shirts to her. The song was also covered by Malevolent Creation, Chimaira, Vader, Dokaka, Reggie and the Full Effect and Killick Erik Hinds, who covered the entire album on a H'arpeggione. "Raining Blood" was also covered by the New Zealand drum and bass band Concord Dawn on their 2003 album Uprising, and by Nashville, Tennessee band Asschapel on their 7" "Satanation". A medley of "Raining Blood" and "Postmortem" appears on Body Count's 2016 album Bloodlust, preceded by a short monologue by lead singer Ice-T where he names Slayer as both a major influence on Body Count and as one of his favorite bands of all time "and always will be"; a video for Body Count's version was released in August 2017. 
In 2005, the Slayer tribute band Dead Skin Mask released an album with eight Slayer tracks, including "Angel of Death". The death metal band Monstrosity covered the song in 1999, while the track was featured on the classical band Apocalyptica's 2006 album Amplified / A Decade of Reinventing the Cello. A Slayer tribute album titled Al Sur del Abismo (Tributo Argentino a Slayer), compiled by Hurling Metal Records, featured sixteen tracks covered by Argentina metal bands, including Asinesia's version of "Angel of Death".
Output: What is the name of the song covered by monstrosity in 1999?
Passage: "Raining Blood" was covered by Tori Amos on her 2001 album Strange Little Girls. King has admitted that he thought the cover was odd: "It took me a minute and a half to find a spot in the song where I knew where she was. It's so weird. If she had never told us, we would have never known. You could have played it for us and we'd have been like, 'What's that?' Like a minute and a half through I heard a line and was like, 'I know where she's at!'". The band, however, liked the cover enough to send Slayer T-shirts to her. The song was also covered by Malevolent Creation, Chimaira, Vader, Dokaka, Reggie and the Full Effect and Killick Erik Hinds, who covered the entire album on a H'arpeggione. "Raining Blood" was also covered by the New Zealand drum and bass band Concord Dawn on their 2003 album Uprising, and by Nashville, Tennessee band Asschapel on their 7" "Satanation". A medley of "Raining Blood" and "Postmortem" appears on Body Count's 2016 album Bloodlust, preceded by a short monologue by lead singer Ice-T where he names Slayer as both a major influence on Body Count and as one of his favorite bands of all time "and always will be"; a video for Body Count's version was released in August 2017. 
In 2005, the Slayer tribute band Dead Skin Mask released an album with eight Slayer tracks, including "Angel of Death". The death metal band Monstrosity covered the song in 1999, while the track was featured on the classical band Apocalyptica's 2006 album Amplified / A Decade of Reinventing the Cello. A Slayer tribute album titled Al Sur del Abismo (Tributo Argentino a Slayer), compiled by Hurling Metal Records, featured sixteen tracks covered by Argentina metal bands, including Asinesia's version of "Angel of Death".
Output: What is the title of the track that was featured on the classical band Apocalyptica's 2006 album Amplified / A Decade of Reinventing the Cello?
Passage: Danny Kaye plays a double role as a pair of estranged "super-identical (monozygotic) twins", with very similar looks, but very different personalities. Buster Dingle, who goes by the stage name "Buzzy Bellew", is a loud and goofy performer at a classy nightclub (the Pelican Club), while Edwin Dingle is a studious, quiet bookworm writing a history book. The two brothers have not seen each other for years.
Buster becomes the witness to a murder committed by mob boss "Ten Grand" Jackson, and is promptly murdered himself. He comes back as a ghost, calling on his long-lost brother for help to bring the killer to justice. As a result, the shy Edwin must take his brother's place until after his testimony is given.
In the meantime, he has to dodge Jackson's hitmen and fill in for Buster at the nightclub. To help him out, Buster—who cannot be seen or heard by anyone but Edwin—possesses him, with outrageously goofy results.
A famous scene features Edwin, possessed by Buzzy, performing at the Club. Under Buzzy's influence, Edwin pretends to be a famous Russian singer with an allergy to flowers. A vase of flowers is nonetheless placed on a table near him, and his song, "Otchi Chornya", is frequently interrupted by his loud and goofy-sounding sneezes.
The story is further humorously complicated by the love interests of the brothers; whilst the murdered Buster was engaged to entertainer Midge Mallon, Edwin is admired by librarian Ellen Shanley.
In the end, Ellen marries Edwin, whilst Midge consoles herself (apparently without regret) by marrying the owner of the club where Buster was appearing.
Output: What is the full name of the person that the ghost calls on for help bringing the mob boss to justrice?
Passage: Danny Kaye plays a double role as a pair of estranged "super-identical (monozygotic) twins", with very similar looks, but very different personalities. Buster Dingle, who goes by the stage name "Buzzy Bellew", is a loud and goofy performer at a classy nightclub (the Pelican Club), while Edwin Dingle is a studious, quiet bookworm writing a history book. The two brothers have not seen each other for years.
Buster becomes the witness to a murder committed by mob boss "Ten Grand" Jackson, and is promptly murdered himself. He comes back as a ghost, calling on his long-lost brother for help to bring the killer to justice. As a result, the shy Edwin must take his brother's place until after his testimony is given.
In the meantime, he has to dodge Jackson's hitmen and fill in for Buster at the nightclub. To help him out, Buster—who cannot be seen or heard by anyone but Edwin—possesses him, with outrageously goofy results.
A famous scene features Edwin, possessed by Buzzy, performing at the Club. Under Buzzy's influence, Edwin pretends to be a famous Russian singer with an allergy to flowers. A vase of flowers is nonetheless placed on a table near him, and his song, "Otchi Chornya", is frequently interrupted by his loud and goofy-sounding sneezes.
The story is further humorously complicated by the love interests of the brothers; whilst the murdered Buster was engaged to entertainer Midge Mallon, Edwin is admired by librarian Ellen Shanley.
In the end, Ellen marries Edwin, whilst Midge consoles herself (apparently without regret) by marrying the owner of the club where Buster was appearing.
Output: What is the real name of the person that influences a studious bookworm to pretend to be a Russian singer?
Passage: Danny Kaye plays a double role as a pair of estranged "super-identical (monozygotic) twins", with very similar looks, but very different personalities. Buster Dingle, who goes by the stage name "Buzzy Bellew", is a loud and goofy performer at a classy nightclub (the Pelican Club), while Edwin Dingle is a studious, quiet bookworm writing a history book. The two brothers have not seen each other for years.
Buster becomes the witness to a murder committed by mob boss "Ten Grand" Jackson, and is promptly murdered himself. He comes back as a ghost, calling on his long-lost brother for help to bring the killer to justice. As a result, the shy Edwin must take his brother's place until after his testimony is given.
In the meantime, he has to dodge Jackson's hitmen and fill in for Buster at the nightclub. To help him out, Buster—who cannot be seen or heard by anyone but Edwin—possesses him, with outrageously goofy results.
A famous scene features Edwin, possessed by Buzzy, performing at the Club. Under Buzzy's influence, Edwin pretends to be a famous Russian singer with an allergy to flowers. A vase of flowers is nonetheless placed on a table near him, and his song, "Otchi Chornya", is frequently interrupted by his loud and goofy-sounding sneezes.
The story is further humorously complicated by the love interests of the brothers; whilst the murdered Buster was engaged to entertainer Midge Mallon, Edwin is admired by librarian Ellen Shanley.
In the end, Ellen marries Edwin, whilst Midge consoles herself (apparently without regret) by marrying the owner of the club where Buster was appearing.
Output: What is the first name of the person that the librarian marries who is the estranged brother of Buzzy Bellew?
Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.
Output: What books of the Bible are the prescribed readings for the feast day taken from?
Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.
Output: What are the three high holidays?
Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.
Output: What is the full name of the person whose text shows elements of early Pietism?
Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.
Output: What verse from the Gospel text does Franck paraphrase?
Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.
Output: What are the two things that Movement 6 continues the theme of unity between?
Passage: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.
Output: What is the last name of the person who the poetry of Bach's cantatas is attributed to?
Passage: In June 2001, Silverchair entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, Diorama. Johns formally assumed the role of a co-producer. The album name means "a world within a world". Most tracks came from Johns' new-found method of writing material on a piano, a technique he developed during the band's break after Neon Ballroom.In order to complete the vision for Diorama, several other musicians contributed to the album, including Van Dyke Parks, who provided orchestral arrangements to "Tuna in the Brine", "Luv Your Life", and "Across the Night". Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil) both on piano also collaborated with the band. While recording Diorama, Johns referred to himself as an artist, rather than simply being in a "rock band". Upon its release, critics commented that the album was more artistic than previous works.Early in December, the first single, "The Greatest View", was released to Australian radio networks. Its physical release in January 2002 coincided with the band's appearance on the Big Day Out tour. Early in 2002, Johns was diagnosed with reactive arthritis which made it difficult for him to play the guitar and subsequent performances supporting the album's release were cancelled. In March, Diorama was issued and topped the ARIA Albums Chart – it became their fourth number-one album and spent 50 weeks in the top 50.Five singles were released from the album: "The Greatest View", "Without You", "Luv Your Life", "Across the Night", and "After All These Years" – "The Greatest View" charted highest, reaching No. 3. In October, Silverchair were successful at the ARIA Music Awards of 2002, winning five awards including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. The band played "The Greatest View" at the ceremony: the song was also nominated for 'Best Video'. Two singles (and a related video) were nominated for further ARIA Awards in 2003. Following the 2002 ARIA Awards, the band announced an indefinite hiatus. Johns said it was necessary "given the fact the band were together for over a decade and yet were only, on average, 23 years old". From March to June 2003, Silverchair undertook the Across the Night Tour to perform Diorama. Their hometown performance on 19 April was recorded as Live from Faraway Stables for a 2×CD and 2xDVD released in November. After the tour finished in June the group announced an indefinite hiatus.
Output: What is the name of the song off the band's fourth album that charted the highest?
Passage: In June 2001, Silverchair entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, Diorama. Johns formally assumed the role of a co-producer. The album name means "a world within a world". Most tracks came from Johns' new-found method of writing material on a piano, a technique he developed during the band's break after Neon Ballroom.In order to complete the vision for Diorama, several other musicians contributed to the album, including Van Dyke Parks, who provided orchestral arrangements to "Tuna in the Brine", "Luv Your Life", and "Across the Night". Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil) both on piano also collaborated with the band. While recording Diorama, Johns referred to himself as an artist, rather than simply being in a "rock band". Upon its release, critics commented that the album was more artistic than previous works.Early in December, the first single, "The Greatest View", was released to Australian radio networks. Its physical release in January 2002 coincided with the band's appearance on the Big Day Out tour. Early in 2002, Johns was diagnosed with reactive arthritis which made it difficult for him to play the guitar and subsequent performances supporting the album's release were cancelled. In March, Diorama was issued and topped the ARIA Albums Chart – it became their fourth number-one album and spent 50 weeks in the top 50.Five singles were released from the album: "The Greatest View", "Without You", "Luv Your Life", "Across the Night", and "After All These Years" – "The Greatest View" charted highest, reaching No. 3. In October, Silverchair were successful at the ARIA Music Awards of 2002, winning five awards including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. The band played "The Greatest View" at the ceremony: the song was also nominated for 'Best Video'. Two singles (and a related video) were nominated for further ARIA Awards in 2003. Following the 2002 ARIA Awards, the band announced an indefinite hiatus. Johns said it was necessary "given the fact the band were together for over a decade and yet were only, on average, 23 years old". From March to June 2003, Silverchair undertook the Across the Night Tour to perform Diorama. Their hometown performance on 19 April was recorded as Live from Faraway Stables for a 2×CD and 2xDVD released in November. After the tour finished in June the group announced an indefinite hiatus.
Output: What was the name of the DVD release that included the band's hometown performance during the Across the Night Tour?
Passage: In June 2001, Silverchair entered a studio in Sydney with producer David Bottrill (Tool, Peter Gabriel, King Crimson) to start work on their fourth album, Diorama. Johns formally assumed the role of a co-producer. The album name means "a world within a world". Most tracks came from Johns' new-found method of writing material on a piano, a technique he developed during the band's break after Neon Ballroom.In order to complete the vision for Diorama, several other musicians contributed to the album, including Van Dyke Parks, who provided orchestral arrangements to "Tuna in the Brine", "Luv Your Life", and "Across the Night". Paul Mac (from Itch-E and Scratch-E) and Jim Moginie (from Midnight Oil) both on piano also collaborated with the band. While recording Diorama, Johns referred to himself as an artist, rather than simply being in a "rock band". Upon its release, critics commented that the album was more artistic than previous works.Early in December, the first single, "The Greatest View", was released to Australian radio networks. Its physical release in January 2002 coincided with the band's appearance on the Big Day Out tour. Early in 2002, Johns was diagnosed with reactive arthritis which made it difficult for him to play the guitar and subsequent performances supporting the album's release were cancelled. In March, Diorama was issued and topped the ARIA Albums Chart – it became their fourth number-one album and spent 50 weeks in the top 50.Five singles were released from the album: "The Greatest View", "Without You", "Luv Your Life", "Across the Night", and "After All These Years" – "The Greatest View" charted highest, reaching No. 3. In October, Silverchair were successful at the ARIA Music Awards of 2002, winning five awards including 'Best Rock Album' and 'Best Group', and 'Producer of the Year' for Johns. The band played "The Greatest View" at the ceremony: the song was also nominated for 'Best Video'. Two singles (and a related video) were nominated for further ARIA Awards in 2003. Following the 2002 ARIA Awards, the band announced an indefinite hiatus. Johns said it was necessary "given the fact the band were together for over a decade and yet were only, on average, 23 years old". From March to June 2003, Silverchair undertook the Across the Night Tour to perform Diorama. Their hometown performance on 19 April was recorded as Live from Faraway Stables for a 2×CD and 2xDVD released in November. After the tour finished in June the group announced an indefinite hiatus.
Output: What month did the group that had been together for a decade decide to go on hiatus?
Passage: A prologue introduces the Nickelbys, country gentry who enjoy a comfortable life in the Devon countryside until the father dies and leaves his family with no source of income. Nineteen-year-old Nicholas, his mother, and his younger sister, Kate, venture to London to seek help from their wealthy, cold-hearted uncle Ralph, an investor who arranges for Nicholas to be hired as a tutor at Dotheboys Hall in Yorkshire and finds Kate work as a seamstress.
Nicholas is horrified to discover his employers, the sadistic Mr and Mrs Squeers, run their boarding school like a prison and physically, verbally, and emotionally abuse their young charges on a regular basis. He eventually rebels and escapes, taking with him the crippled young servant boy Smike. As they journey to London, they stumble upon a theatrical troupe owned and operated by Mr and Mrs Crummles. They cast them in a production of Romeo and Juliet, but despite a successful first night and the couple's invitation to stay, Nicholas is determined to continue their journey to London after hearing that Kate is in trouble.
Nicholas discovers his sister has been subjected to humiliating sexual harassment from the lecherous Sir Mulberry Hawk, a client of their uncle, who has encouraged the man to seduce his niece in the hope that she will succumb and thus cement Hawk's business relationship with him. Nicholas confronts Sir Mulberry and his uncle, renouncing the latter. 
Nicholas is reunited with his family, who welcome Smike as one of their own, and finds clerical employment with the kindly Cheeryble brothers, who offer him more than double his previous salary. While thus employed, Nicholas makes the acquaintance of Madeline Bray, an artist who financially supports both herself and her tyrannical father, as her father gambled away his fortune and that of his late wife.
Output: Who is the investor's niece?
Passage: A prologue introduces the Nickelbys, country gentry who enjoy a comfortable life in the Devon countryside until the father dies and leaves his family with no source of income. Nineteen-year-old Nicholas, his mother, and his younger sister, Kate, venture to London to seek help from their wealthy, cold-hearted uncle Ralph, an investor who arranges for Nicholas to be hired as a tutor at Dotheboys Hall in Yorkshire and finds Kate work as a seamstress.
Nicholas is horrified to discover his employers, the sadistic Mr and Mrs Squeers, run their boarding school like a prison and physically, verbally, and emotionally abuse their young charges on a regular basis. He eventually rebels and escapes, taking with him the crippled young servant boy Smike. As they journey to London, they stumble upon a theatrical troupe owned and operated by Mr and Mrs Crummles. They cast them in a production of Romeo and Juliet, but despite a successful first night and the couple's invitation to stay, Nicholas is determined to continue their journey to London after hearing that Kate is in trouble.
Nicholas discovers his sister has been subjected to humiliating sexual harassment from the lecherous Sir Mulberry Hawk, a client of their uncle, who has encouraged the man to seduce his niece in the hope that she will succumb and thus cement Hawk's business relationship with him. Nicholas confronts Sir Mulberry and his uncle, renouncing the latter. 
Nicholas is reunited with his family, who welcome Smike as one of their own, and finds clerical employment with the kindly Cheeryble brothers, who offer him more than double his previous salary. While thus employed, Nicholas makes the acquaintance of Madeline Bray, an artist who financially supports both herself and her tyrannical father, as her father gambled away his fortune and that of his late wife.
Output: Who are in charge of Dotheboys Hall?
Passage: A prologue introduces the Nickelbys, country gentry who enjoy a comfortable life in the Devon countryside until the father dies and leaves his family with no source of income. Nineteen-year-old Nicholas, his mother, and his younger sister, Kate, venture to London to seek help from their wealthy, cold-hearted uncle Ralph, an investor who arranges for Nicholas to be hired as a tutor at Dotheboys Hall in Yorkshire and finds Kate work as a seamstress.
Nicholas is horrified to discover his employers, the sadistic Mr and Mrs Squeers, run their boarding school like a prison and physically, verbally, and emotionally abuse their young charges on a regular basis. He eventually rebels and escapes, taking with him the crippled young servant boy Smike. As they journey to London, they stumble upon a theatrical troupe owned and operated by Mr and Mrs Crummles. They cast them in a production of Romeo and Juliet, but despite a successful first night and the couple's invitation to stay, Nicholas is determined to continue their journey to London after hearing that Kate is in trouble.
Nicholas discovers his sister has been subjected to humiliating sexual harassment from the lecherous Sir Mulberry Hawk, a client of their uncle, who has encouraged the man to seduce his niece in the hope that she will succumb and thus cement Hawk's business relationship with him. Nicholas confronts Sir Mulberry and his uncle, renouncing the latter. 
Nicholas is reunited with his family, who welcome Smike as one of their own, and finds clerical employment with the kindly Cheeryble brothers, who offer him more than double his previous salary. While thus employed, Nicholas makes the acquaintance of Madeline Bray, an artist who financially supports both herself and her tyrannical father, as her father gambled away his fortune and that of his late wife.
Output: Who escapes and takes a crippled young servant with him?
Passage: A prologue introduces the Nickelbys, country gentry who enjoy a comfortable life in the Devon countryside until the father dies and leaves his family with no source of income. Nineteen-year-old Nicholas, his mother, and his younger sister, Kate, venture to London to seek help from their wealthy, cold-hearted uncle Ralph, an investor who arranges for Nicholas to be hired as a tutor at Dotheboys Hall in Yorkshire and finds Kate work as a seamstress.
Nicholas is horrified to discover his employers, the sadistic Mr and Mrs Squeers, run their boarding school like a prison and physically, verbally, and emotionally abuse their young charges on a regular basis. He eventually rebels and escapes, taking with him the crippled young servant boy Smike. As they journey to London, they stumble upon a theatrical troupe owned and operated by Mr and Mrs Crummles. They cast them in a production of Romeo and Juliet, but despite a successful first night and the couple's invitation to stay, Nicholas is determined to continue their journey to London after hearing that Kate is in trouble.
Nicholas discovers his sister has been subjected to humiliating sexual harassment from the lecherous Sir Mulberry Hawk, a client of their uncle, who has encouraged the man to seduce his niece in the hope that she will succumb and thus cement Hawk's business relationship with him. Nicholas confronts Sir Mulberry and his uncle, renouncing the latter. 
Nicholas is reunited with his family, who welcome Smike as one of their own, and finds clerical employment with the kindly Cheeryble brothers, who offer him more than double his previous salary. While thus employed, Nicholas makes the acquaintance of Madeline Bray, an artist who financially supports both herself and her tyrannical father, as her father gambled away his fortune and that of his late wife.
Output: Who are cast in a production of Romeo and Juliet?
Passage: For years, stories circulated of a treasure being buried within the amphitheater. W. T. McWhorter was determined to find out if it was true, so he planned to dynamite the amphitheater on the day he was to transfer the deed to the CoE. Spectators attended the planned explosion, but it was stopped just in time by CoE attorney David Waid.The dam was completed, and Beaver Lake was at full height by June 1966. For all intents and purposes, Harvey's Monte Ne was gone. However, in times of drought, some of the structures become visible again. The lake dropped to its lowest level on January 22, 1977, more than 27 feet (8 m) below its average depth, and the amphitheater and bridges were visible for the first time in more than 10 years. Before the water flooded downtown Monte Ne again, the rest of the buildings were either bulldozed or moved to avoid problems for swimmers, boaters, and fishermen. The few bridges that spanned the lagoon and the amphitheater were not demolished.In 2006, the waters of Beaver Lake once again receded to their lowest level since 1984, just above 1,100 feet (335 m). This generated a new brief interest in Monte Ne and people were once again attracted to the edge of the lake to explore the remains. The upper part of the amphitheater and the retaining wall built for the never constructed pyramid were exposed for a time before being once again swallowed by the lake.The flooded Monte Ne has become a site of interest for scuba divers who dive by the amphitheater to get a look at the submerged structure. The water is moderately clear and temperatures comfortable.
Output: What is the name of the lake that dropped to its lowest level on January 22, 1977?
Passage: For years, stories circulated of a treasure being buried within the amphitheater. W. T. McWhorter was determined to find out if it was true, so he planned to dynamite the amphitheater on the day he was to transfer the deed to the CoE. Spectators attended the planned explosion, but it was stopped just in time by CoE attorney David Waid.The dam was completed, and Beaver Lake was at full height by June 1966. For all intents and purposes, Harvey's Monte Ne was gone. However, in times of drought, some of the structures become visible again. The lake dropped to its lowest level on January 22, 1977, more than 27 feet (8 m) below its average depth, and the amphitheater and bridges were visible for the first time in more than 10 years. Before the water flooded downtown Monte Ne again, the rest of the buildings were either bulldozed or moved to avoid problems for swimmers, boaters, and fishermen. The few bridges that spanned the lagoon and the amphitheater were not demolished.In 2006, the waters of Beaver Lake once again receded to their lowest level since 1984, just above 1,100 feet (335 m). This generated a new brief interest in Monte Ne and people were once again attracted to the edge of the lake to explore the remains. The upper part of the amphitheater and the retaining wall built for the never constructed pyramid were exposed for a time before being once again swallowed by the lake.The flooded Monte Ne has become a site of interest for scuba divers who dive by the amphitheater to get a look at the submerged structure. The water is moderately clear and temperatures comfortable.
Output: What is the name of the lake that once again swallowed the upper part of the amphitheater and the retaining wall after these were exposed for a time?
Passage: The Royal College of Music commissioned an official portrait of the composer from Sir Gerald Kelly (1952) which hangs in the college. The Manchester Art Gallery has a bronze sculpture of Vaughan Williams by Epstein (1952) and the National Portrait Gallery (NPG) has drawings by Joyce Finzi (1947) and Juliet Pannett (1957 and 1958); versions of a bronze head of the composer by David McFall (1956) are in the NPG and at the entrance to the Music reading room of the British Library. There is a statue of Vaughan Williams in Dorking, and a bust in Chelsea Embankment Gardens, near his old house in Cheyne Walk.In 1994 a group of enthusiasts founded the Ralph Vaughan Williams Society, with the composer's widow as its president and Roy Douglas and Michael Kennedy as vice presidents. The society, a registered charity, has sponsored and encouraged performances of the composer's works including complete symphony cycles and a Vaughan Williams opera festival. The society has promoted premieres of neglected works, and has its own record label, Albion Records.Composers of the generation after Vaughan Williams reacted against his style, which became unfashionable in influential musical circles in the 1960s; diatonic and melodic music such as his was neglected in favour of atonal and other modernist compositions. In the 21st century this neglect has been reversed. In the fiftieth anniversary year of his death two contrasting documentary films were released: Tony Palmer's O Thou Transcendent: The Life of Vaughan Williams and John Bridcut's The Passions of Vaughan Williams. British audiences were prompted to reappraise the composer. The popularity of his most accessible works, particularly the Tallis Fantasia and The Lark Ascending increased, but a wide public also became aware of what a reviewer of Bridcut's film called "a genius driven by emotion". Among the 21st-century musicians who have acknowledged Vaughan Williams's influence on their development are John Adams, PJ Harvey, Sir Peter Maxwell Davies, Anthony Payne, Wayne Shorter, Neil Tennant and Mark-Anthony Turnage.The Clements Park development, located in Warley, Brentwood, Essex, has roads taking their names after the composer and his works, the most obvious being the main road "Vaughan Williams Way" which runs through the development. Vaughan Williams lectured in Brentwood on folk music, and collected 140 songs from villages in the region.
Output: Who had a house in Cheyne Walk?