niryuu/sni-each-converted huggingface dataset:
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: Which person does Rossella admire?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: Who does Elsa Brinkman start to fall in love with?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What is the last name of the person who urges Lewis to see Lylah?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What is the full name of the character who fell to her death?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What are the full names of the characters who convince a studio head to back a picture with Else Brinkmann?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What is the full name of the character whose priority is finishing a film?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What is the full name of character with whom Elsa begins to identify with?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What is the full name of the character who Elsa tries to antagonize?
Passage: Agent Bart Langner finds Elsa Brinkmann, a would-be actress who looks and sounds just like  Lylah Clare, a flamboyant star who fell to her death in suspicious circumstances 20 years ago. He persuades arrogant director Lewis Zarkan, who had been married to Lylah, to see her. The two men then convince brash studio head Barney Sheean, who is equally struck, to back a picture with her as Lylah. 
Besides coping with the tyrannical Zarkan and easy access to alcohol and drugs, Elsa also has to contend with other hazards of Hollywood like malicious journalist Molly Luther and lesbian admirer Rossella. As filming continues, her identification with her rôle gets more intense. She also begins to fall in love with Zarkan, who is happy to sleep with her but his priority is to get his film finished. 
By the last day of shooting, her personality seems to have merged with that of the outrageous Lylah whose fatal fall, we learn, was prompted by the jealous Zarkan. To antagonise him, she first lets him find her in bed with the gardener. Then, as he directs her in a circus scene, she leaps to her death from the high-wire. The resulting publicity makes his film a huge success. Tragedy later comes when Zarkan himself is shot and killed by Rossella.
A final sequence (in this case, a TV commercial for dog food that interrupts the film itself) suggests that the world of Hollywood is literally one of dog eats dog.
Output: What is the full name of the character who sleeps with Elsa Brinkmann?
Passage: Recording sessions for the album began on October 31, 1988, at Downtown Recorders in Boston, Massachusetts, at the time a professional 24-track studio. 4AD allowed the Pixies a budget of $40,000, excluding producer's fees. This was a modest sum for a 1980s major label album; however, it quadrupled the amount spent on the band's previous album, Surfer Rosa. Along with Norton, two assistant recording engineers and two second assistants were assigned to the project. The sessions lasted three weeks, concluding on November 23, with "nearly a song a day" being recorded.Production and mixing began on November 28. The band relocated to Carriage House Studios, a residential studio in Stamford, Connecticut, to oversee production and record further tracks. Norton recruited Steve Haigler as mixing engineer, whom he had worked with at Fort Apache Studios. During production, Haigler and Norton added layers of guitars and vocals to songs, including overdubbed guitars on "Debaser" and double tracking vocals on "Wave of Mutilation". During the recordings, Norton advised Francis to alter several songs; a noted example being "There Goes My Gun" which was originally intended as a much faster Hüsker Dü-style song. However, at Norton's advice, Francis slowed down the tempo.Norton's suggestions were not always welcome, and several instances of advice to add verses and increase track length contributed to the front man's building frustration. Eventually, Francis took Norton to a record store, where he handed him a copy of Buddy Holly's Greatest Hits, in which most of the songs are about two minutes long. He told Norton, "If it's good enough for Buddy Holly ..." In a  Rolling Stone interview, Francis later recalled that "this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy". Production continued until December 12, 1988, with Norton and Haigler adding extra effects, including gated reverb to the mix. The master tapes were then sent for final post-production later that month.
Output: What publication did the lead singer of band that got a budget of $40,000 tell that the album was them "...trying to remain somewhat grungy"?
Passage: Recording sessions for the album began on October 31, 1988, at Downtown Recorders in Boston, Massachusetts, at the time a professional 24-track studio. 4AD allowed the Pixies a budget of $40,000, excluding producer's fees. This was a modest sum for a 1980s major label album; however, it quadrupled the amount spent on the band's previous album, Surfer Rosa. Along with Norton, two assistant recording engineers and two second assistants were assigned to the project. The sessions lasted three weeks, concluding on November 23, with "nearly a song a day" being recorded.Production and mixing began on November 28. The band relocated to Carriage House Studios, a residential studio in Stamford, Connecticut, to oversee production and record further tracks. Norton recruited Steve Haigler as mixing engineer, whom he had worked with at Fort Apache Studios. During production, Haigler and Norton added layers of guitars and vocals to songs, including overdubbed guitars on "Debaser" and double tracking vocals on "Wave of Mutilation". During the recordings, Norton advised Francis to alter several songs; a noted example being "There Goes My Gun" which was originally intended as a much faster Hüsker Dü-style song. However, at Norton's advice, Francis slowed down the tempo.Norton's suggestions were not always welcome, and several instances of advice to add verses and increase track length contributed to the front man's building frustration. Eventually, Francis took Norton to a record store, where he handed him a copy of Buddy Holly's Greatest Hits, in which most of the songs are about two minutes long. He told Norton, "If it's good enough for Buddy Holly ..." In a  Rolling Stone interview, Francis later recalled that "this record is him trying to make us, shall I say, commercial, and us trying to remain somewhat grungy". Production continued until December 12, 1988, with Norton and Haigler adding extra effects, including gated reverb to the mix. The master tapes were then sent for final post-production later that month.
Output: What is the full name of the artist who's greatest hits album did the lead singer of the band that tried to "remain somewhat grungy" give to the man that added layers of guitars to songs?
Passage: At the time of the site's discovery, there was no was apparent barrow, in part because the ground level of the area had been raised by millennia of hillwash coming down from further up Blue Bell Hill. However, as a result of what is known of this architectural style from better-recorded sites, it is apparent that this stone chamber would have been located at the eastern end of a long earthen barrow. Ashbee noted that this could have reached a length of 55 metres (180 feet). It may be that kerbstones also lined the sides of this barrow, as is evident at several other of the Medway Megaliths; Ashbee suggested that this could have contained as many as 110 or 120 sarsen stones. The monument may have had ditches flanking its sides, and chalk rubble collected in digging these ditches may have been piled up to help form the barrow.During the Early Neolithic, the site may have been close to other chambered long barrows; the White Horse Stone, for instance, is nearby and may have once been part of the chamber of these monuments. Various sarsen stones have been found in the vicinity of both, again perhaps reflecting the remnants of since-destroyed long barrows. To the south of the White Horse Stone was a building — termed "Structure 4806" by its excavators in the 2000s — that was constructed in the Early Neolithic period. Radiocarbon dating from the site suggests a usage date of between 4110-3820 and 3780-3530 calibrated BCE. 18 metres (59 ft) long and 8 metres (26 ft) wide, it was a longhouse of a type known from across various parts of Europe. If it had been a domestic residence, its size would mean that it was only "occupied by a small number of occupants, probably no more than a small family group". A smaller, circular building approximately 3.75 metres (12 ft) in diameter was present just to the south-east of the longhouse; there was little dating evidence for this, but what existed suggested a Late Neolithic origin. The archaeologists who excavated these buildings suggested that they might have been "houses of the living" that were intervisible with the "houses of the dead", including Smythe's Megalith. Alternately, they suggested that the longhouse was "part of the funerary tradition", used in preparing "the remains of the dead or for communal activities such as feasting".
Output: What did archaelogists believe the small, circular buildings that were 3.75 metres in diameter were called?
Passage: At the time of the site's discovery, there was no was apparent barrow, in part because the ground level of the area had been raised by millennia of hillwash coming down from further up Blue Bell Hill. However, as a result of what is known of this architectural style from better-recorded sites, it is apparent that this stone chamber would have been located at the eastern end of a long earthen barrow. Ashbee noted that this could have reached a length of 55 metres (180 feet). It may be that kerbstones also lined the sides of this barrow, as is evident at several other of the Medway Megaliths; Ashbee suggested that this could have contained as many as 110 or 120 sarsen stones. The monument may have had ditches flanking its sides, and chalk rubble collected in digging these ditches may have been piled up to help form the barrow.During the Early Neolithic, the site may have been close to other chambered long barrows; the White Horse Stone, for instance, is nearby and may have once been part of the chamber of these monuments. Various sarsen stones have been found in the vicinity of both, again perhaps reflecting the remnants of since-destroyed long barrows. To the south of the White Horse Stone was a building — termed "Structure 4806" by its excavators in the 2000s — that was constructed in the Early Neolithic period. Radiocarbon dating from the site suggests a usage date of between 4110-3820 and 3780-3530 calibrated BCE. 18 metres (59 ft) long and 8 metres (26 ft) wide, it was a longhouse of a type known from across various parts of Europe. If it had been a domestic residence, its size would mean that it was only "occupied by a small number of occupants, probably no more than a small family group". A smaller, circular building approximately 3.75 metres (12 ft) in diameter was present just to the south-east of the longhouse; there was little dating evidence for this, but what existed suggested a Late Neolithic origin. The archaeologists who excavated these buildings suggested that they might have been "houses of the living" that were intervisible with the "houses of the dead", including Smythe's Megalith. Alternately, they suggested that the longhouse was "part of the funerary tradition", used in preparing "the remains of the dead or for communal activities such as feasting".
Output: What type of group of people, and how large, were believed to live in the buildings that were 18 metres long and 8 metres wide?
Passage: At the time of the site's discovery, there was no was apparent barrow, in part because the ground level of the area had been raised by millennia of hillwash coming down from further up Blue Bell Hill. However, as a result of what is known of this architectural style from better-recorded sites, it is apparent that this stone chamber would have been located at the eastern end of a long earthen barrow. Ashbee noted that this could have reached a length of 55 metres (180 feet). It may be that kerbstones also lined the sides of this barrow, as is evident at several other of the Medway Megaliths; Ashbee suggested that this could have contained as many as 110 or 120 sarsen stones. The monument may have had ditches flanking its sides, and chalk rubble collected in digging these ditches may have been piled up to help form the barrow.During the Early Neolithic, the site may have been close to other chambered long barrows; the White Horse Stone, for instance, is nearby and may have once been part of the chamber of these monuments. Various sarsen stones have been found in the vicinity of both, again perhaps reflecting the remnants of since-destroyed long barrows. To the south of the White Horse Stone was a building — termed "Structure 4806" by its excavators in the 2000s — that was constructed in the Early Neolithic period. Radiocarbon dating from the site suggests a usage date of between 4110-3820 and 3780-3530 calibrated BCE. 18 metres (59 ft) long and 8 metres (26 ft) wide, it was a longhouse of a type known from across various parts of Europe. If it had been a domestic residence, its size would mean that it was only "occupied by a small number of occupants, probably no more than a small family group". A smaller, circular building approximately 3.75 metres (12 ft) in diameter was present just to the south-east of the longhouse; there was little dating evidence for this, but what existed suggested a Late Neolithic origin. The archaeologists who excavated these buildings suggested that they might have been "houses of the living" that were intervisible with the "houses of the dead", including Smythe's Megalith. Alternately, they suggested that the longhouse was "part of the funerary tradition", used in preparing "the remains of the dead or for communal activities such as feasting".
Output: What was the name given to the building that was dated as being used between 4110-3820 and 3780-3530 calibrated BCE?
Passage: Oan, angered by the BBC's incorrect reporting of his demands the previous evening, contacted the police negotiators shortly after 06:00 and accused the authorities of deceiving him. He demanded to speak with an Arab ambassador, but the negotiator on duty claimed that talks were still being arranged by the Foreign Office. Recognising the delaying tactic, Oan told the negotiator that the British hostages would be the last to be released because of the British authorities' deceit. He added that a hostage would be killed unless Tony Crabb was brought back to the embassy. Crabb did not arrive at the embassy until 15:30, nearly ten hours after Oan demanded his presence, to the frustration of both Oan and Sim Harris. Oan then relayed another statement to Crabb via Mustapha Karkouti, a journalist also being held hostage in the embassy. The police guaranteed that the statement would be broadcast on the BBC's next news bulletin, in exchange for the release of two hostages. The hostages decided amongst themselves that the two to be released would be Hiyech Kanji and Ali-Guil Ghanzafar; the former as she was pregnant and the latter for no other reason than his loud snoring, which kept the other hostages awake at night and irritated the terrorists.Later in the evening, at approximately 23:00, an SAS team reconnoitred the roof of the embassy. They discovered a skylight, and succeeded in unlocking it for potential use as an access point, should they later be required to storm the building. They also attached ropes to the chimneys to allow soldiers to abseil down the building and gain access through the windows if necessary.
Output: Who attached ropes to the chimneys to allow soldiers to abseil down the building?
Passage: Oan, angered by the BBC's incorrect reporting of his demands the previous evening, contacted the police negotiators shortly after 06:00 and accused the authorities of deceiving him. He demanded to speak with an Arab ambassador, but the negotiator on duty claimed that talks were still being arranged by the Foreign Office. Recognising the delaying tactic, Oan told the negotiator that the British hostages would be the last to be released because of the British authorities' deceit. He added that a hostage would be killed unless Tony Crabb was brought back to the embassy. Crabb did not arrive at the embassy until 15:30, nearly ten hours after Oan demanded his presence, to the frustration of both Oan and Sim Harris. Oan then relayed another statement to Crabb via Mustapha Karkouti, a journalist also being held hostage in the embassy. The police guaranteed that the statement would be broadcast on the BBC's next news bulletin, in exchange for the release of two hostages. The hostages decided amongst themselves that the two to be released would be Hiyech Kanji and Ali-Guil Ghanzafar; the former as she was pregnant and the latter for no other reason than his loud snoring, which kept the other hostages awake at night and irritated the terrorists.Later in the evening, at approximately 23:00, an SAS team reconnoitred the roof of the embassy. They discovered a skylight, and succeeded in unlocking it for potential use as an access point, should they later be required to storm the building. They also attached ropes to the chimneys to allow soldiers to abseil down the building and gain access through the windows if necessary.
Output: What is the first name of the person who came to the embassy at 15:30?
Passage: Oan, angered by the BBC's incorrect reporting of his demands the previous evening, contacted the police negotiators shortly after 06:00 and accused the authorities of deceiving him. He demanded to speak with an Arab ambassador, but the negotiator on duty claimed that talks were still being arranged by the Foreign Office. Recognising the delaying tactic, Oan told the negotiator that the British hostages would be the last to be released because of the British authorities' deceit. He added that a hostage would be killed unless Tony Crabb was brought back to the embassy. Crabb did not arrive at the embassy until 15:30, nearly ten hours after Oan demanded his presence, to the frustration of both Oan and Sim Harris. Oan then relayed another statement to Crabb via Mustapha Karkouti, a journalist also being held hostage in the embassy. The police guaranteed that the statement would be broadcast on the BBC's next news bulletin, in exchange for the release of two hostages. The hostages decided amongst themselves that the two to be released would be Hiyech Kanji and Ali-Guil Ghanzafar; the former as she was pregnant and the latter for no other reason than his loud snoring, which kept the other hostages awake at night and irritated the terrorists.Later in the evening, at approximately 23:00, an SAS team reconnoitred the roof of the embassy. They discovered a skylight, and succeeded in unlocking it for potential use as an access point, should they later be required to storm the building. They also attached ropes to the chimneys to allow soldiers to abseil down the building and gain access through the windows if necessary.
Output: What is the first name of the person who arrived 10 hours after Oan demanded his presence?
Passage: Oan, angered by the BBC's incorrect reporting of his demands the previous evening, contacted the police negotiators shortly after 06:00 and accused the authorities of deceiving him. He demanded to speak with an Arab ambassador, but the negotiator on duty claimed that talks were still being arranged by the Foreign Office. Recognising the delaying tactic, Oan told the negotiator that the British hostages would be the last to be released because of the British authorities' deceit. He added that a hostage would be killed unless Tony Crabb was brought back to the embassy. Crabb did not arrive at the embassy until 15:30, nearly ten hours after Oan demanded his presence, to the frustration of both Oan and Sim Harris. Oan then relayed another statement to Crabb via Mustapha Karkouti, a journalist also being held hostage in the embassy. The police guaranteed that the statement would be broadcast on the BBC's next news bulletin, in exchange for the release of two hostages. The hostages decided amongst themselves that the two to be released would be Hiyech Kanji and Ali-Guil Ghanzafar; the former as she was pregnant and the latter for no other reason than his loud snoring, which kept the other hostages awake at night and irritated the terrorists.Later in the evening, at approximately 23:00, an SAS team reconnoitred the roof of the embassy. They discovered a skylight, and succeeded in unlocking it for potential use as an access point, should they later be required to storm the building. They also attached ropes to the chimneys to allow soldiers to abseil down the building and gain access through the windows if necessary.
Output: What is the first name of the person who relayed another statement to Oan via Mustapha Karkouti?
Passage: After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.
Output: Whose grandson wrote music?
Passage: After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.
Output: What is the name of the person that the director's widow has begun to care for?
Passage: After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.
Output: What are the first names of Vi Rose Hill's two teens?
Passage: After the untimely death of a small-town church choir director in Pacashau, Georgia, Vi Rose Hill, a no-nonsense mother raising two teens alone, takes control of the choir using the traditional Gospel style that their Pastor Dale approves of. However, the director's widow, G. G. Sparrow, the main benefactor to the church, believes she should have been given the position. As in previous years, the choir reaches the regional finals of the national amateur "Joyful Noise" competition, only to be disappointed when a rival choir beats them. Tough times in the town have led to budget problems that threaten to close down the choir, at the same time as the town needs the choir's inspiring music more than ever.
Vi Rose has a son, Walter, who has Asperger syndrome, and a talented, pretty and ready-to-date daughter, Olivia. But Olivia is not ready to date under her mother's household rules. G. G. has recently begun caring for her rebellious, drifter grandson, Randy. A romance blossoms between Olivia and Randy, which is strongly opposed by Vi Rose. Olivia also has a rival suitor, Manny. At Randy's urging, G. G., Olivia and most of the choir come to believe that some more contemporary arrangements (prepared by Randy) would be more successful for the choir. It also turns out that the choir has a chance at the national finals of the competition when the rival choir is found to have cheated by hiring professionals. But the pastor says that the church will not sponsor the choir unless they continue to use their reverent, traditional style.
Output: What is the first name of the person who said that the church will not sponsor the choir unless they use their reverent, traditional style?
Passage: The interior and exterior of Literary Hall remain largely intact. At two stories, the building is tall in its proportion and incorporates elements from both early American and Victorian styles, which were common in academic buildings built during this period.Architectural historian S. Allen Chambers described Literary Hall as an anomaly because the basic design and fenestration patterns, which invoke early Federal and Greek Revival design elements, are adorned with details more characteristic of the Victorian era.According to architectural historian Michael J. Pauley of the West Virginia Department of Culture and History's Historic Preservation Unit, Literary Hall's unique structural features make the building "one of Romney's and Hampshire County's most notable landmarks, and one in which this community is justifiably proud". Pauley further averred that the building is "highly representative of the development of education and literature in the early United States". In describing its impact on Romney's streetscape, Chambers described Literary Hall as "adding distinction to Romney's major street intersection". Chambers also noted the building's resemblance and "strong architectural kinship" to the Romney Presbyterian Church.Literary Hall is a two-story red brick structure, rectangular in plan, and topped with a gable roof. The first floor of Literary Hall consists of four rooms, and the second story is a single large ballroom. Fused with symmetrical elements evoking Federal and Greek Revival architectural styles are exterior decorative moldings and brick corbeling in the Victorian style.
Output: What is the full name of the person who described Literary Hall as "adding distinction to Romney's major street intersection?"?
Passage: The interior and exterior of Literary Hall remain largely intact. At two stories, the building is tall in its proportion and incorporates elements from both early American and Victorian styles, which were common in academic buildings built during this period.Architectural historian S. Allen Chambers described Literary Hall as an anomaly because the basic design and fenestration patterns, which invoke early Federal and Greek Revival design elements, are adorned with details more characteristic of the Victorian era.According to architectural historian Michael J. Pauley of the West Virginia Department of Culture and History's Historic Preservation Unit, Literary Hall's unique structural features make the building "one of Romney's and Hampshire County's most notable landmarks, and one in which this community is justifiably proud". Pauley further averred that the building is "highly representative of the development of education and literature in the early United States". In describing its impact on Romney's streetscape, Chambers described Literary Hall as "adding distinction to Romney's major street intersection". Chambers also noted the building's resemblance and "strong architectural kinship" to the Romney Presbyterian Church.Literary Hall is a two-story red brick structure, rectangular in plan, and topped with a gable roof. The first floor of Literary Hall consists of four rooms, and the second story is a single large ballroom. Fused with symmetrical elements evoking Federal and Greek Revival architectural styles are exterior decorative moldings and brick corbeling in the Victorian style.
Output: What is the full name of the person who noted the building's resemblance and "strong architectural kinship" to the Romney Presbyterian Church?
Passage: The interior and exterior of Literary Hall remain largely intact. At two stories, the building is tall in its proportion and incorporates elements from both early American and Victorian styles, which were common in academic buildings built during this period.Architectural historian S. Allen Chambers described Literary Hall as an anomaly because the basic design and fenestration patterns, which invoke early Federal and Greek Revival design elements, are adorned with details more characteristic of the Victorian era.According to architectural historian Michael J. Pauley of the West Virginia Department of Culture and History's Historic Preservation Unit, Literary Hall's unique structural features make the building "one of Romney's and Hampshire County's most notable landmarks, and one in which this community is justifiably proud". Pauley further averred that the building is "highly representative of the development of education and literature in the early United States". In describing its impact on Romney's streetscape, Chambers described Literary Hall as "adding distinction to Romney's major street intersection". Chambers also noted the building's resemblance and "strong architectural kinship" to the Romney Presbyterian Church.Literary Hall is a two-story red brick structure, rectangular in plan, and topped with a gable roof. The first floor of Literary Hall consists of four rooms, and the second story is a single large ballroom. Fused with symmetrical elements evoking Federal and Greek Revival architectural styles are exterior decorative moldings and brick corbeling in the Victorian style.
Output: What is the first name of the person who averred that the building is "highly representative of the development of education and literature in the early United States"?
Passage: With the South London  Orchestra temporarily disbanded because of the war, Tippett returned to teaching at Hazelwood. In October 1940 he accepted the post of Director of Music at Morley College, just after its buildings were almost completely destroyed by a bomb. Tippett's challenge was to rebuild the musical life of the college, using temporary premises and whatever resources he could muster. He revived the Morley College Choir and orchestra, and arranged innovative concert programmes that typically mixed early music (Orlando Gibbons, Monteverdi, Dowland), with contemporary works by Stravinsky, Hindemith and Bartók.
He continued the college's established association with the music of Purcell; a performance in November 1941 of Purcell's Ode to St Cecilia, with improvised instruments and rearrangements of voice parts, attracted considerable attention. The music staff at Morley was augmented by the recruitment of refugee musicians from Europe, including Walter Bergmann, Mátyás Seiber, and Walter Goehr who took charge of the college orchestra.A Child of Our Time was finished in 1941 and put aside with no immediate prospects of  performance. Tippett's Fantasia on a Theme of Handel for piano and orchestra was performed at the Wigmore Hall in March 1942, with Sellick again the soloist, and the same venue saw the première of the composer's String Quartet No. 2 a year later. The first recording of Tippett's  music, the Piano Sonata No. 1  played by Sellick, was issued in August 1941. The recording was well received by the critics, Wilfrid Mellers predicting a leading role for the composer in the future of English music. In 1942, Schott Music began to publish Tippett's works, establishing an association that continued until the end of the composer's life.The question of Tippett's liability for war service remained unresolved until mid-1943. In November 1940 he had formalised his pacifism by joining the Peace Pledge Union and applying for registration as a conscientious objector. His case was heard by a tribunal in February 1942, when he was assigned to non-combatant duties. Tippett rejected such work as an unacceptable compromise with his principles and in June 1943, after several further hearings and statements on his behalf from distinguished musical figures,  he was sentenced to three months' imprisonment in HM Prison Wormwood Scrubs. He served two months, and although thereafter he was technically liable to further charges for failing to comply with the terms set by his tribunal, the authorities left him alone.
Output: What is the last name of the person who had formalised his pacifism by joining the Peace Pledge Union?