niryuu/sni-each-converted huggingface dataset:
Passage: In 1979, the locomotive was renumbered "1881", painted black with silver stripes, and leased to a Hollywood company for use in the filming of the horror movie Terror Train (1979), starring Jamie Lee Curtis. In 1980, the locomotive was repainted with a color scheme used by Canadian Pacific in the 1930s.  The black, gold, and Tuscan red paint job was popular with railroad enthusiasts and photographers.  The number 1293 was also restored to the engine.  In February 1982, the headlights, handrails, and cab roof of 1293 were damaged when the roof of a Steamtown storage building gave way to heavy snow.Although the Steamtown Special History Study reasoned that, since this type of locomotive had historically operated in New England, perhaps as far south as Boston, it qualified to be part of the federal government's collection, the Canadian native sat unused for 12 years following the move to Scranton. Ohio Central Railroad System purchased it in 1996, and it underwent a 13-month restoration.  As of July 2010, Ohio Central Railroad has lost control of most of its holdings, but former owner, Jerry Joe Jacobson, maintained a collection of vintage equipment including CPR 1293 and her sister, CRP 1278, which is also a veteran of Steamtown, U.S.A. operational locomotives. No. 1293 is still operational as of October 2011.Canadian Pacific Railway No. 1278, like her sister, CPR 1293, was also built by Canadian Locomotive Company in 1948, and is a type 4-6-2, class G5d light-weight "Pacific" locomotive.  It was purchased by Blount in May 1965, and renumbered 127.  Blount had planned to renumber all three of the series 1200 CRP locomotives in his collection from 1246, 1278, and 1293 to 124, 127 and 129 respectively, but 1278 was the only one of the three that underwent the change.  The new number remained on the locomotive from 1966 until 1973, when its former number was restored.  The locomotive was leased to the Cadillac and Lake City Railroad in Michigan from 1970 to 1971.  After some repair work, the locomotive was returned to Bellows Falls where it served on excursion runs. After moving to Scranton, CPR 1278 was traded to the Gettysburg Steam Railroad in Pennsylvania.
Output: What was the former number of the locomotive purchased by Blount and renumbered to 127?
Passage: In 1979, the locomotive was renumbered "1881", painted black with silver stripes, and leased to a Hollywood company for use in the filming of the horror movie Terror Train (1979), starring Jamie Lee Curtis. In 1980, the locomotive was repainted with a color scheme used by Canadian Pacific in the 1930s.  The black, gold, and Tuscan red paint job was popular with railroad enthusiasts and photographers.  The number 1293 was also restored to the engine.  In February 1982, the headlights, handrails, and cab roof of 1293 were damaged when the roof of a Steamtown storage building gave way to heavy snow.Although the Steamtown Special History Study reasoned that, since this type of locomotive had historically operated in New England, perhaps as far south as Boston, it qualified to be part of the federal government's collection, the Canadian native sat unused for 12 years following the move to Scranton. Ohio Central Railroad System purchased it in 1996, and it underwent a 13-month restoration.  As of July 2010, Ohio Central Railroad has lost control of most of its holdings, but former owner, Jerry Joe Jacobson, maintained a collection of vintage equipment including CPR 1293 and her sister, CRP 1278, which is also a veteran of Steamtown, U.S.A. operational locomotives. No. 1293 is still operational as of October 2011.Canadian Pacific Railway No. 1278, like her sister, CPR 1293, was also built by Canadian Locomotive Company in 1948, and is a type 4-6-2, class G5d light-weight "Pacific" locomotive.  It was purchased by Blount in May 1965, and renumbered 127.  Blount had planned to renumber all three of the series 1200 CRP locomotives in his collection from 1246, 1278, and 1293 to 124, 127 and 129 respectively, but 1278 was the only one of the three that underwent the change.  The new number remained on the locomotive from 1966 until 1973, when its former number was restored.  The locomotive was leased to the Cadillac and Lake City Railroad in Michigan from 1970 to 1971.  After some repair work, the locomotive was returned to Bellows Falls where it served on excursion runs. After moving to Scranton, CPR 1278 was traded to the Gettysburg Steam Railroad in Pennsylvania.
Output: What was the number of the locomotive that was leased to Cadillac and Lake City Railroad in Michigan?
Passage: In 1979, the locomotive was renumbered "1881", painted black with silver stripes, and leased to a Hollywood company for use in the filming of the horror movie Terror Train (1979), starring Jamie Lee Curtis. In 1980, the locomotive was repainted with a color scheme used by Canadian Pacific in the 1930s.  The black, gold, and Tuscan red paint job was popular with railroad enthusiasts and photographers.  The number 1293 was also restored to the engine.  In February 1982, the headlights, handrails, and cab roof of 1293 were damaged when the roof of a Steamtown storage building gave way to heavy snow.Although the Steamtown Special History Study reasoned that, since this type of locomotive had historically operated in New England, perhaps as far south as Boston, it qualified to be part of the federal government's collection, the Canadian native sat unused for 12 years following the move to Scranton. Ohio Central Railroad System purchased it in 1996, and it underwent a 13-month restoration.  As of July 2010, Ohio Central Railroad has lost control of most of its holdings, but former owner, Jerry Joe Jacobson, maintained a collection of vintage equipment including CPR 1293 and her sister, CRP 1278, which is also a veteran of Steamtown, U.S.A. operational locomotives. No. 1293 is still operational as of October 2011.Canadian Pacific Railway No. 1278, like her sister, CPR 1293, was also built by Canadian Locomotive Company in 1948, and is a type 4-6-2, class G5d light-weight "Pacific" locomotive.  It was purchased by Blount in May 1965, and renumbered 127.  Blount had planned to renumber all three of the series 1200 CRP locomotives in his collection from 1246, 1278, and 1293 to 124, 127 and 129 respectively, but 1278 was the only one of the three that underwent the change.  The new number remained on the locomotive from 1966 until 1973, when its former number was restored.  The locomotive was leased to the Cadillac and Lake City Railroad in Michigan from 1970 to 1971.  After some repair work, the locomotive was returned to Bellows Falls where it served on excursion runs. After moving to Scranton, CPR 1278 was traded to the Gettysburg Steam Railroad in Pennsylvania.
Output: What company was the locomotive that was leased to a railroad in Michigan traded to after serving in Bellows Falls and Scranton?
Passage: Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.
Output: What was the name of the Bach Church when Bach was the organist?
Passage: Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.
Output: What was the name of the church Johann Friedrich Wender built an organ?
Passage: Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.
Output: What was the name of the person whose cantatas are restricted to special occasions such as weddings and funerals?
Passage: Bach is believed to have written Christ lag in Todes Banden in 1707. He was a professional organist aged 22, employed from 1703 in Arnstadt as the organist of the New Church (which replaced the burned Bonifatiuskirche, today known as the Bach Church). At age 18, he had inspected the new organ built by Johann Friedrich Wender, was invited to play one Sunday, and was hired. The organ was built on the third tier of a theatre-like church. Bach's duties as a church musician involved some responsibility for choral music, but the exact year he began composing cantatas is unknown. Christ lag in Todes Banden is one of a small group of cantatas that survive from his early years. According to the musicologist Martin Geck, many details of the score reflect "organistic practice".In Arnstadt, the Kantor (church musician) Heindorff was responsible for church music in the Upper Church (Liebfrauenkirche), and the New Church where Bach was the organist. He typically conducted music in the Upper Church and would appoint a choir prefect for vocal music in the New Church. Wolff notes that "subjecting his works to the questionable leadership of a prefect" was not what Bach would have done. Therefore, most cantatas of the period are not for Sunday occasions, but restricted to special occasions such as weddings and funerals. Christ lag in Todes Banden is the only exception, but was most likely composed not for Arnstadt but for an application to a more important post at the Divi Blasii church in Mühlhausen.
Output: In what city was the church Christ lag in Todes Banden whose most likely wrote for?
Passage: Warlock is a small Utah mining town of the early 1880s. Cowboys working for Abe McQuown often come into town to shoot the place up, kill on just a whim, beating or humiliating any sheriff who tries to stand up to them. The Citizens' Committee decides to hire Clay Blaisedell, a renowned gunfighter, as town marshal in spite of the misgivings of some, such as old Judge Holloway who insists that the situation should be handled within the law (though a loophole prevents it from being done effectively).
Blaisedell, famous for his golden-handled revolvers, arrives in Warlock with his devoted friend, Tom Morgan, his club-footed, right-hand man, who is no slouch with a gun himself. Morgan has a reputation as a heavy-drinking gambler, but Blaisedell insists that Morgan is part of the package. They even take over the local saloon and rename it the "French Palace" (something they appear to have done in previous towns, since they bring the signboard with them).
Their first encounter with McQuown's men is without bloodshed. The cowboys are intimidated by Blaisedell and one, Johnny Gannon, stays behind. Gannon has been put off by their propensity for killing, particularly the shooting of victims in the back, for some time now and resolves to be more law-abiding.
Morgan learns that his old flame, Lily Dollar, is coming to town on the stagecoach, and she is accompanied by Bob Nicholson, brother of Big Ben Nicholson, who was recently killed by Blaisedell. Lily had left Morgan for Big Ben and knows that Morgan pushed Ben into challenging Blaisedell, who killed him as a result. She wants Blaisedell dead to punish Morgan.
Morgan sets out to meet the stagecoach but it is robbed by some of McQuown's cowboys as he watches from a distance. He takes advantage of the situation to kill Bob Nicholson unseen. Lily arrives in town and sees Morgan there. She believes that he pulled the trigger, although this is based on intuition rather than evidence.
Output: What is the first name of the person who wants someone dead to punish someone else?
Passage: Warlock is a small Utah mining town of the early 1880s. Cowboys working for Abe McQuown often come into town to shoot the place up, kill on just a whim, beating or humiliating any sheriff who tries to stand up to them. The Citizens' Committee decides to hire Clay Blaisedell, a renowned gunfighter, as town marshal in spite of the misgivings of some, such as old Judge Holloway who insists that the situation should be handled within the law (though a loophole prevents it from being done effectively).
Blaisedell, famous for his golden-handled revolvers, arrives in Warlock with his devoted friend, Tom Morgan, his club-footed, right-hand man, who is no slouch with a gun himself. Morgan has a reputation as a heavy-drinking gambler, but Blaisedell insists that Morgan is part of the package. They even take over the local saloon and rename it the "French Palace" (something they appear to have done in previous towns, since they bring the signboard with them).
Their first encounter with McQuown's men is without bloodshed. The cowboys are intimidated by Blaisedell and one, Johnny Gannon, stays behind. Gannon has been put off by their propensity for killing, particularly the shooting of victims in the back, for some time now and resolves to be more law-abiding.
Morgan learns that his old flame, Lily Dollar, is coming to town on the stagecoach, and she is accompanied by Bob Nicholson, brother of Big Ben Nicholson, who was recently killed by Blaisedell. Lily had left Morgan for Big Ben and knows that Morgan pushed Ben into challenging Blaisedell, who killed him as a result. She wants Blaisedell dead to punish Morgan.
Morgan sets out to meet the stagecoach but it is robbed by some of McQuown's cowboys as he watches from a distance. He takes advantage of the situation to kill Bob Nicholson unseen. Lily arrives in town and sees Morgan there. She believes that he pulled the trigger, although this is based on intuition rather than evidence.
Output: What is the full name of the character who whose brother was killed by Clay Blaisedell?
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them.
Output: Who is making the man who gets in two car accidents go to Russia?
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them.
Output: Who are the people who think the authorities are responsible for the elevator stopping, leading them to take hostages?
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them.
Output: Which of Richie's accomplices joins a hostage group?
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them.
Output: Who besides Helena are the members of the group that shoots Peter?
Passage: Half of Minneapolis–Saint Paul residents work in the city where they live. Most residents drive cars, but 60% of the 160,000 people working downtown commute by means other than a single person per auto. The Metropolitan Council's Metro Transit, which operates the light rail system and most of the city's buses, provides free travel vouchers through the Guaranteed Ride Home program to allay fears that commuters might otherwise be occasionally stranded if, for example, they work late hours.On January 1, 2011, the city's limit of 343 taxis was lifted.Minneapolis currently has two light rail lines and one commuter rail line. The METRO Blue Line LRT (formerly the Hiawatha Line) serves 34,000 riders daily and connects the Minneapolis–Saint Paul International Airport and Mall of America in Bloomington to downtown. Most of the line runs at surface level, although parts of the line run on elevated tracks (including the Franklin Avenue and Lake Street/Midtown stations) and approximately 2 miles (3.2 km) of the line runs underground, including the Lindbergh terminal subway station at the airport.
Output: On January 1, 2011 what's limit of 343 taxis was lifted?
Passage: Half of Minneapolis–Saint Paul residents work in the city where they live. Most residents drive cars, but 60% of the 160,000 people working downtown commute by means other than a single person per auto. The Metropolitan Council's Metro Transit, which operates the light rail system and most of the city's buses, provides free travel vouchers through the Guaranteed Ride Home program to allay fears that commuters might otherwise be occasionally stranded if, for example, they work late hours.On January 1, 2011, the city's limit of 343 taxis was lifted.Minneapolis currently has two light rail lines and one commuter rail line. The METRO Blue Line LRT (formerly the Hiawatha Line) serves 34,000 riders daily and connects the Minneapolis–Saint Paul International Airport and Mall of America in Bloomington to downtown. Most of the line runs at surface level, although parts of the line run on elevated tracks (including the Franklin Avenue and Lake Street/Midtown stations) and approximately 2 miles (3.2 km) of the line runs underground, including the Lindbergh terminal subway station at the airport.
Output: What is the previous name of the line that mainly runs at surface level?
Passage: Half of Minneapolis–Saint Paul residents work in the city where they live. Most residents drive cars, but 60% of the 160,000 people working downtown commute by means other than a single person per auto. The Metropolitan Council's Metro Transit, which operates the light rail system and most of the city's buses, provides free travel vouchers through the Guaranteed Ride Home program to allay fears that commuters might otherwise be occasionally stranded if, for example, they work late hours.On January 1, 2011, the city's limit of 343 taxis was lifted.Minneapolis currently has two light rail lines and one commuter rail line. The METRO Blue Line LRT (formerly the Hiawatha Line) serves 34,000 riders daily and connects the Minneapolis–Saint Paul International Airport and Mall of America in Bloomington to downtown. Most of the line runs at surface level, although parts of the line run on elevated tracks (including the Franklin Avenue and Lake Street/Midtown stations) and approximately 2 miles (3.2 km) of the line runs underground, including the Lindbergh terminal subway station at the airport.
Output: What is the previous name of the line that has parts that run on elevated tracks?
Passage: Half of Minneapolis–Saint Paul residents work in the city where they live. Most residents drive cars, but 60% of the 160,000 people working downtown commute by means other than a single person per auto. The Metropolitan Council's Metro Transit, which operates the light rail system and most of the city's buses, provides free travel vouchers through the Guaranteed Ride Home program to allay fears that commuters might otherwise be occasionally stranded if, for example, they work late hours.On January 1, 2011, the city's limit of 343 taxis was lifted.Minneapolis currently has two light rail lines and one commuter rail line. The METRO Blue Line LRT (formerly the Hiawatha Line) serves 34,000 riders daily and connects the Minneapolis–Saint Paul International Airport and Mall of America in Bloomington to downtown. Most of the line runs at surface level, although parts of the line run on elevated tracks (including the Franklin Avenue and Lake Street/Midtown stations) and approximately 2 miles (3.2 km) of the line runs underground, including the Lindbergh terminal subway station at the airport.
Output: What is the original name of the line that has approximately 2 miles of it underground?
Passage: Half of Minneapolis–Saint Paul residents work in the city where they live. Most residents drive cars, but 60% of the 160,000 people working downtown commute by means other than a single person per auto. The Metropolitan Council's Metro Transit, which operates the light rail system and most of the city's buses, provides free travel vouchers through the Guaranteed Ride Home program to allay fears that commuters might otherwise be occasionally stranded if, for example, they work late hours.On January 1, 2011, the city's limit of 343 taxis was lifted.Minneapolis currently has two light rail lines and one commuter rail line. The METRO Blue Line LRT (formerly the Hiawatha Line) serves 34,000 riders daily and connects the Minneapolis–Saint Paul International Airport and Mall of America in Bloomington to downtown. Most of the line runs at surface level, although parts of the line run on elevated tracks (including the Franklin Avenue and Lake Street/Midtown stations) and approximately 2 miles (3.2 km) of the line runs underground, including the Lindbergh terminal subway station at the airport.
Output: What is the former name of the line that has a terminal subway station at the airport?
Passage: Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites.".
Output: What are the exact titles of the three works for choir Poulenc produced in 1936?
Passage: Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites.".
Output: What is the title of the work that, similar to the Mass, is unaccompanied and whose successful performance requires singers of the highest quality?
Passage: Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites.".
Output: What are the specific titles of the three works that are all based on liturgical texts, originally set to Gregorian chant?
Passage: Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites.".
Output: What is the title of the work that, to the critic Ralph Thibodeau, may be considered as Poulenc's own requiem?
Passage: Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites.".
Output: What is the title of the work that is "the most avant-garde of [Poulenc's] sacred compositions," according to Ralph Thibodeau?
Passage: Apart from a single early work for unaccompanied choir ("Chanson à boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Éluard and others), Petites voix (for children's voices), and his religious work Litanies à la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverné as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de pénitence (1938–39), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noël (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (1959–60), and Sept répons des ténèbres (Seven responsories for Tenebrae, 1961–62). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Ténèbres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept répons des ténèbres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically, comparable only with his magnum opus sacrum, the opera, Dialogues des Carmélites.".
Output: What is the name of the person whose most avant-garde of sacred compositions is Sept répons des ténèbres, according to Ralph Thibodeau?
Passage: The Doom Bar has accounted for more than 600 beachings, capsizes and wrecks since records began early in the nineteenth century, the majority of which are wrecks.Larger boats entering Padstow were offered assistance, generally by pilots who would wait at Stepper Point when a ship signalled it would be entering. If a boat was foundering, salvors would step in and help. There were cases where salvors attempted to overstate the danger in court, so as to extort more money from the owners. This happened to the brig The Towan, which foundered in October 1843 but was not in significant danger. Although it did not need assistance, salvors interfered and attempted to claim a large amount in compensation from the owner.In 1827, the recently founded Life-boat Institution helped fund a permanent lifeboat at Padstow, a 23 feet (7.0 m) rowing boat with four oars. The lifeboat house at Hawker's Cove was erected two years later by the Padstow Harbour Association for the Preservation of Life and Property from Shipwreck. Reverend Charles Prideaux-Brune of Prideaux Place was the patron. In 1879, four of his granddaughters and their friend were rowing on the Doom Bar and saw a craft go down. They rowed out to save the drowning sailor. As it was very unusual for women to rescue men all five girls received a Royal National Lifeboat Institution Silver Medal for their bravery.Despite the safer eastern channel and improvements in maritime technology, the Royal National Lifeboat Institution still deals with incidents at the Doom Bar. In February 1997, two fishermen who were not wearing lifejackets drowned after their boat capsized. Two anglers had been killed in a similar incident in 1994. On 25 June 2007, the Padstow lifeboat and a rescue helicopter rescued the crews of two yachts in separate incidents from the area.
Output: What was The Towan by when it received help?
Passage: Gloria Fuentes is a Latin-American makeup artist from Los Angeles who goes on a trip to visit her best friend Suzu in Tijuana, Mexico. 
When the pair go to a local night club, Suzu wants to impress to help her chances in a beauty competition she has entered. When Gloria goes to the bathroom, armed gunmen break in through the vents and attempt to kidnap Gloria out of her stall but ultimately give her time to escape while they attack the building. The next morning, Gloria is unable to get contact from Suzu and decides to ride with a police officer to try to find her. When the officer takes a break, Gloria is taken by members of the Las Estrellas gang, the same men who shot up the club. 
The gang take her to their headquarters, where Lino, the boss, agrees to help her find her friend if she agrees to work for them. Gloria is reluctant but eventually agrees and is told to get into a car and park it on a corner. Gloria does the job, and when she leaves the car and joins the men at the top of the hill, they blow up the building, revealed to be a DEA Safehouse containing three agents. 
Lino then sends Gloria to the Miss Baja California pageant, where she attempts an escape through the bathroom. Gloria escapes and encounters a DEA officer who takes her into custody and eventually lets her go but not before he puts a tracking device on her since the DEA are aiming to monitor Las Estrellas.
Gloria returns to the gang and is sent to San Diego with blood money and drugs attached to her car. Upon crossing the border Gloria is given an arsenal of guns to bring back to Mexico by a gangster named Jimmy, and then told to meet in a large parking lot. Gloria gets to the lot, and the men in Las Estrellas get their weapons. However the police show up, and Lino runs to seize Gloria but is shot in the leg, and Gloria helps him to safety.
Output: Who is the makeup artist looking for when she is taken by the gang?