niryuu/sni-each-converted huggingface dataset:
Passage: After Quiriguá's pivotal victory over Copán in 738, K'ak' Tiliw Chan Yopaat rebuilt the main group in the image of Copán itself. Thus, the acropolis, palace, and ballcourt all lie at the southern end of the Great Plaza. The ceremonial centre is laid out around three plazas, the northernmost is the Great Plaza. This plaza measures 325 m (1,066 ft) from north to south and is the largest plaza in the whole Maya region. At the southern end of the Great Plaza is the Ballcourt Plaza, surrounded on three sides by structures associated with the acropolis. The Acropolis Plaza is a fully enclosed plaza within the acropolis itself. The area to the west of the Ballcourt Plaza was probably the riverside docking area and there is evidence that the southern part of the Great Plaza was a marketplace. A number of ceramic-lined wells have been excavated close to the site core, these were all built in the 8th century and although some continued in use into the 9th century, none are known to have been built that late.
1A-1 is an enormous platform forming the northern part of the Great Plaza. It measures 100 by 85 metres (328 by 279 ft) and rises 0.5 metres (20 in) above the level of the southern part of the plaza. It forms the northern portion of the Great Plaza, being built by K'ak' Tiliw Chan Yopaat when he extended the plaza northward. The platform was built from river cobbles and was paved with stone slabs. Platform 1A-1 supported the stelae A, C, D, E and F and Zoomorph B. The platform was built in two phases over about 20 years.
1A-3 is a large mound marking the northern edge of the Great Plaza. It originally measured 82.5 by 20 metres (271 by 66 ft) and was 7 metres (23 ft) high. A 63-metre (207 ft) wide stairway climbed the southern face of the structure from the plaza. The structure was later extended to the north but this second phase of construction was never finished.
The acropolis is the largest architectural complex at Quiriguá, it lies at the southern limit of the ceremonial centre of the city. It is a complex construction, with new buildings and features being added over time. Construction of the acropolis began in 550 and continued through to 810 when the site was abandoned. The acropolis was a palace complex used primarily as an elite residence and for administrative purposes. The acropolis complex includes structures 1B-1, 1B-2, 1B-3, 1B-4, 1B-5 and 1B-6. Excavations of the acropolis encountered the fallen remains of corbel arches, but none are still standing.
Output: What are the names of the three plazas that the ceremonial centre is laid out around?
Passage: Besides Bathory, Enslaved, and Burzum, several other artists are credited as pioneers of the style. The original bassist for Emperor, Håvard Ellefsen, also known as Mortiis, was "an indispensable force in the genesis of Norway's epic Viking metal sound." Despite Ellefsen's short tenure in the band, it was his musical interests that catalyzed the band to mix chaotic black metal with synthesizer melodies based on Norwegian folk music.Helheim was another major pioneer in the early scene. Helheim emerged on the scene before other bands such as Einherjer and Thyrfing, when even Enslaved was in its infancy. Not only was Helheim one of the first bands to meld black metal with Viking themed-music, but one of the first to include stylistically unconventional instruments such as horns and violins. Robert Müller of Metal Hammer Germany argues that Viking metal never solidified as a genre, and attributes this to Jormundgand, Helheim's 1995 debut album. Jormundgand included an ambitious track – "Galder" – but that song was considered incompatible with metal, and audiences, looking for a specific musical style, merged with the pagan metal scene, which had no particular "Viking" identity.Other highly influential Viking metal bands are Borknagar, Darkwoods My Betrothed, Einherjer, Ensiferum, Moonsorrow, Thyrfing, and Windir. Trafford and Pluskowski regard Einherjer, Moonsorrow, Thyrfing, and Windir as the "most influential" Viking metal bands, with Einherjer's album covers, which include many images of Viking artifacts, giving Einherjer the most Viking feel of all bands except Enslaved. Einherjer's artwork spans the full chronology of Viking art: 8th- and 9th-century Oseberg to 11th- and 12th-century Urnes.
Output: What was the name of the band that mixed the chaotic black metal with synthesizer melodies?
Passage: Around the turn of the century, Carrie Meeber leaves her family in a small rural town and heads to Chicago. On the train to Chicago, Charles Drouet approaches her. Although Carrie is reluctant to speak to him, the salesman persists and the two chat until they reach Chicago. Carrie gets off in South Chicago, the slums as Charles Drouet points out, after taking Drouet's business card.
In South Chicago, Carrie stays with her sister and her husband Sven who have one child. Carrie loses her sweatshop sewing job after injuring her hand. After an exhausting and fruitless day of job hunting, Carrie looks up Charles Drouet. He not only talks her into having dinner with him at Fitzgerald's, an upscale restaurant, but also gives her $10.
Carrie heads to Fitzgerald's to return the money to Drouet. While there she meets George Hurstwood, the manager of the restaurant, who is immediately smitten with her.
Carrie ends up moving in with Drouet. He is a big talker but basically harmless. She pressures Drouet to marry her because the neighbors are talking about them. He tries to distract her and invites Hurstwood, whom he had run into by sheer coincidence, into their home. With Drouet's permission, Hurstwood takes Carrie to the theater while Drouet is on one of his many business trips. Hurstwood and Carrie end up spending every free minute together, and the two fall in love. Just before she is about to run off with Hurstwood, she finds out that he is married. She is distraught and confronts Hurstwood, who admits that he is married although terribly unhappy.
Output: What job does the man Carrie loves have?
Passage: Around the turn of the century, Carrie Meeber leaves her family in a small rural town and heads to Chicago. On the train to Chicago, Charles Drouet approaches her. Although Carrie is reluctant to speak to him, the salesman persists and the two chat until they reach Chicago. Carrie gets off in South Chicago, the slums as Charles Drouet points out, after taking Drouet's business card.
In South Chicago, Carrie stays with her sister and her husband Sven who have one child. Carrie loses her sweatshop sewing job after injuring her hand. After an exhausting and fruitless day of job hunting, Carrie looks up Charles Drouet. He not only talks her into having dinner with him at Fitzgerald's, an upscale restaurant, but also gives her $10.
Carrie heads to Fitzgerald's to return the money to Drouet. While there she meets George Hurstwood, the manager of the restaurant, who is immediately smitten with her.
Carrie ends up moving in with Drouet. He is a big talker but basically harmless. She pressures Drouet to marry her because the neighbors are talking about them. He tries to distract her and invites Hurstwood, whom he had run into by sheer coincidence, into their home. With Drouet's permission, Hurstwood takes Carrie to the theater while Drouet is on one of his many business trips. Hurstwood and Carrie end up spending every free minute together, and the two fall in love. Just before she is about to run off with Hurstwood, she finds out that he is married. She is distraught and confronts Hurstwood, who admits that he is married although terribly unhappy.
Output: What is the description of the Fitzgerald's manager's marriage?
Passage: Around the turn of the century, Carrie Meeber leaves her family in a small rural town and heads to Chicago. On the train to Chicago, Charles Drouet approaches her. Although Carrie is reluctant to speak to him, the salesman persists and the two chat until they reach Chicago. Carrie gets off in South Chicago, the slums as Charles Drouet points out, after taking Drouet's business card.
In South Chicago, Carrie stays with her sister and her husband Sven who have one child. Carrie loses her sweatshop sewing job after injuring her hand. After an exhausting and fruitless day of job hunting, Carrie looks up Charles Drouet. He not only talks her into having dinner with him at Fitzgerald's, an upscale restaurant, but also gives her $10.
Carrie heads to Fitzgerald's to return the money to Drouet. While there she meets George Hurstwood, the manager of the restaurant, who is immediately smitten with her.
Carrie ends up moving in with Drouet. He is a big talker but basically harmless. She pressures Drouet to marry her because the neighbors are talking about them. He tries to distract her and invites Hurstwood, whom he had run into by sheer coincidence, into their home. With Drouet's permission, Hurstwood takes Carrie to the theater while Drouet is on one of his many business trips. Hurstwood and Carrie end up spending every free minute together, and the two fall in love. Just before she is about to run off with Hurstwood, she finds out that he is married. She is distraught and confronts Hurstwood, who admits that he is married although terribly unhappy.
Output: What's the last name of the one the small town woman loves?
Passage: Father Michael is a New York priest with close ties to the Mafia crime syndicate — his father is a don.  The priest's brother-in-law Gino, a mafia boss, is murdered while having sex with Angela, a mistress. She narrowly escapes by hiding in a bathroom and locking the door.
Pursued by hitmen, the mistress comes to the priest for confession. She is afraid to go to the police so Father Mike agrees to meet her at her choice of location. A cab driver transports him to a loft apartment, telling him a sorrowful tale of how Angela has helped him and his wife with the grief over losing a young son. Father Mike confronts her about knowing his relationship to Gino. She denies knowing the connection. When the two encounter the hitmen, the priest is wounded and one of the hitmen recognizes Father Mike.
Angela hides in his church. She tells him it was Gino's wife who shot him. Gino is buried, and Father Mike glares across the casket at his sister Zena, having seen her with the hitmen when he was shot. He speaks to his father, who says he expects to lose at his racketeering trial and be sent to prison. The Don tells the priest that his sister wants to run the business, but he has said no since she's a woman. As they leave the cemetery, the hitman tells the Don and Zena that he recognized Michael.
Zena comes to confession and tells Father Mike that she knows of him helping the girl. The priest begins to fall in love with Angela. He meets best friend Nuzo, a detective and godson of his father. Nuzo tells him not to trust her. He tells Mike that Gino gave evidence to a rival crime syndicate, which sealed the Don's fate, in return for 5 million dollars. Nuzo tells him to sit tight while he makes an arrest, but Nuzo is gunned down, dying in Mike's arms.
Output: What's the name of the person who goes to a priest who knew her lover?
Passage: Father Michael is a New York priest with close ties to the Mafia crime syndicate — his father is a don.  The priest's brother-in-law Gino, a mafia boss, is murdered while having sex with Angela, a mistress. She narrowly escapes by hiding in a bathroom and locking the door.
Pursued by hitmen, the mistress comes to the priest for confession. She is afraid to go to the police so Father Mike agrees to meet her at her choice of location. A cab driver transports him to a loft apartment, telling him a sorrowful tale of how Angela has helped him and his wife with the grief over losing a young son. Father Mike confronts her about knowing his relationship to Gino. She denies knowing the connection. When the two encounter the hitmen, the priest is wounded and one of the hitmen recognizes Father Mike.
Angela hides in his church. She tells him it was Gino's wife who shot him. Gino is buried, and Father Mike glares across the casket at his sister Zena, having seen her with the hitmen when he was shot. He speaks to his father, who says he expects to lose at his racketeering trial and be sent to prison. The Don tells the priest that his sister wants to run the business, but he has said no since she's a woman. As they leave the cemetery, the hitman tells the Don and Zena that he recognized Michael.
Zena comes to confession and tells Father Mike that she knows of him helping the girl. The priest begins to fall in love with Angela. He meets best friend Nuzo, a detective and godson of his father. Nuzo tells him not to trust her. He tells Mike that Gino gave evidence to a rival crime syndicate, which sealed the Don's fate, in return for 5 million dollars. Nuzo tells him to sit tight while he makes an arrest, but Nuzo is gunned down, dying in Mike's arms.
Output: Whose mistress helped a cabbie when he lost his child?
Passage: Father Michael is a New York priest with close ties to the Mafia crime syndicate — his father is a don.  The priest's brother-in-law Gino, a mafia boss, is murdered while having sex with Angela, a mistress. She narrowly escapes by hiding in a bathroom and locking the door.
Pursued by hitmen, the mistress comes to the priest for confession. She is afraid to go to the police so Father Mike agrees to meet her at her choice of location. A cab driver transports him to a loft apartment, telling him a sorrowful tale of how Angela has helped him and his wife with the grief over losing a young son. Father Mike confronts her about knowing his relationship to Gino. She denies knowing the connection. When the two encounter the hitmen, the priest is wounded and one of the hitmen recognizes Father Mike.
Angela hides in his church. She tells him it was Gino's wife who shot him. Gino is buried, and Father Mike glares across the casket at his sister Zena, having seen her with the hitmen when he was shot. He speaks to his father, who says he expects to lose at his racketeering trial and be sent to prison. The Don tells the priest that his sister wants to run the business, but he has said no since she's a woman. As they leave the cemetery, the hitman tells the Don and Zena that he recognized Michael.
Zena comes to confession and tells Father Mike that she knows of him helping the girl. The priest begins to fall in love with Angela. He meets best friend Nuzo, a detective and godson of his father. Nuzo tells him not to trust her. He tells Mike that Gino gave evidence to a rival crime syndicate, which sealed the Don's fate, in return for 5 million dollars. Nuzo tells him to sit tight while he makes an arrest, but Nuzo is gunned down, dying in Mike's arms.
Output: Where does Father Mike go to meet Angela?
Passage: Father Michael is a New York priest with close ties to the Mafia crime syndicate — his father is a don.  The priest's brother-in-law Gino, a mafia boss, is murdered while having sex with Angela, a mistress. She narrowly escapes by hiding in a bathroom and locking the door.
Pursued by hitmen, the mistress comes to the priest for confession. She is afraid to go to the police so Father Mike agrees to meet her at her choice of location. A cab driver transports him to a loft apartment, telling him a sorrowful tale of how Angela has helped him and his wife with the grief over losing a young son. Father Mike confronts her about knowing his relationship to Gino. She denies knowing the connection. When the two encounter the hitmen, the priest is wounded and one of the hitmen recognizes Father Mike.
Angela hides in his church. She tells him it was Gino's wife who shot him. Gino is buried, and Father Mike glares across the casket at his sister Zena, having seen her with the hitmen when he was shot. He speaks to his father, who says he expects to lose at his racketeering trial and be sent to prison. The Don tells the priest that his sister wants to run the business, but he has said no since she's a woman. As they leave the cemetery, the hitman tells the Don and Zena that he recognized Michael.
Zena comes to confession and tells Father Mike that she knows of him helping the girl. The priest begins to fall in love with Angela. He meets best friend Nuzo, a detective and godson of his father. Nuzo tells him not to trust her. He tells Mike that Gino gave evidence to a rival crime syndicate, which sealed the Don's fate, in return for 5 million dollars. Nuzo tells him to sit tight while he makes an arrest, but Nuzo is gunned down, dying in Mike's arms.
Output: Who does the dead mafia boss's mistress tell the priest was the person who shot him?
Passage: Father Michael is a New York priest with close ties to the Mafia crime syndicate — his father is a don.  The priest's brother-in-law Gino, a mafia boss, is murdered while having sex with Angela, a mistress. She narrowly escapes by hiding in a bathroom and locking the door.
Pursued by hitmen, the mistress comes to the priest for confession. She is afraid to go to the police so Father Mike agrees to meet her at her choice of location. A cab driver transports him to a loft apartment, telling him a sorrowful tale of how Angela has helped him and his wife with the grief over losing a young son. Father Mike confronts her about knowing his relationship to Gino. She denies knowing the connection. When the two encounter the hitmen, the priest is wounded and one of the hitmen recognizes Father Mike.
Angela hides in his church. She tells him it was Gino's wife who shot him. Gino is buried, and Father Mike glares across the casket at his sister Zena, having seen her with the hitmen when he was shot. He speaks to his father, who says he expects to lose at his racketeering trial and be sent to prison. The Don tells the priest that his sister wants to run the business, but he has said no since she's a woman. As they leave the cemetery, the hitman tells the Don and Zena that he recognized Michael.
Zena comes to confession and tells Father Mike that she knows of him helping the girl. The priest begins to fall in love with Angela. He meets best friend Nuzo, a detective and godson of his father. Nuzo tells him not to trust her. He tells Mike that Gino gave evidence to a rival crime syndicate, which sealed the Don's fate, in return for 5 million dollars. Nuzo tells him to sit tight while he makes an arrest, but Nuzo is gunned down, dying in Mike's arms.
Output: Who dies in the priest's arms?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of the album Lowe suggests moved popular opinion from DJs and pop music to "skinny jeans and guitars"?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of that which Tam Gunn explains  "caused a sea change" in mainstream music in the US and the UK?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of the album Jared Followill notes was one of the main reasons he wanted to get into a band?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of the album to which Gun links the success of alternative music in the British charts throughout the 2000s?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of the album to which, according to Mulholland, even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of the album whose commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention"?
Passage: Gary Mulholland of The Observer considers the release of Is This It a "world-changing moment" and notes that its impact was "immediate and dramatic" on both music and attire. BBC Radio 1's Zane Lowe suggests that the album moved popular opinion from DJs and pop music to "skinny jeans and guitars", "the template for rock 'n' roll in the modern day". Tam Gunn of FACT agrees and explains that it "caused a sea change" in mainstream music in the US and the UK, while Anthony Miccio of Stylus points out that the Strokes' success created the commercial context for "other new-wavers" to flourish. Rolling Stone writes that Is This It inspired "a ragged revolt" in Britain, led by the Libertines and Arctic Monkeys, and continued its influence in the US on the success of bands like Kings of Leon. The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time."Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes. Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchfork's Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
Output: What is the name of the work whose status as the decade's best pop album should not be in doubt?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: Who intimidates a guy into telling them where his boss can be found?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: Who encounters a crazy druggie?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: Who is told that a small-time drug dealer wants to kill Vincent?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: What are the names of the persons who dump a body in a landfill?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: What is the name of the person whose father was shot?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: What is the first name of the person who insults a religion?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: What are the first names of the people who put Frankie in the landfill?
Passage: Joshua and his boss, Vincent, are driving to a hospital. Both have been shot and are in pain. Joshua thinks back to his childhood, when his father was shot in front of his eyes.
In a flashback, Joshua and his partner, Mickey, visit people that owe money to Vincent.  They encounter a crazy druggie who tells them that a small-time drug dealer named Frankie Tahoe wants to kill Vincent. Joshua and Mickey inform Vincent, and the trio intimidate a guy who works for Tahoe into telling them where he can be found.  They find Tahoe at a nightclub. During a talk, Tahoe insults the religion of Joshua and Vincent, which they hold dear, and Vincent beats Tahoe to death with a baseball bat. The trio dump the body in a landfill. While doing this, Vincent reveals that Mickey and Vincent's wife have been having an affair. Vincent then kills Mickey.
While Joshua and Vincent are having breakfast, Joshua tells his boss that he has become weary of the violence and wants to retire. Vincent admits that he has violent outbursts but insists that Joshua owes him his life. Angered, Vincent says that Joshua cannot retire.  He leaves to go home, where he discovers two men watching his house. While confronting them, Joshua appears. The men tell Vincent that they have been ordered to deliver him to Nino, a powerful crime boss. When Nino calls his men, Vincent answers the cellphone. Vincent and Joshua get in the car and are driven to Nino's house.
Output: What is the first name of the person who is tired of the violence?