niryuu/sni-each-converted huggingface dataset:
Passage: The Tang period was a golden age of Chinese literature and art. There are over 48,900 poems penned by some 2,200 Tang authors that have survived until modern times. Skill in the composition of poetry became a required study for those wishing to pass imperial examinations, while poetry was also heavily competitive; poetry contests amongst guests at banquets and courtiers were common. Poetry styles that were popular in the Tang included gushi and jintishi, with the renowned poet Li Bai (701–762) famous for the former style, and poets like Wang Wei (701–761) and Cui Hao (704–754) famous for their use of the latter. Jintishi poetry, or regulated verse, is in the form of eight-line stanzas or seven characters per line with a fixed pattern of tones that required the second and third couplets to be antithetical (although the antithesis is often lost in translation to other languages). Tang poems remained popular and great emulation of Tang era poetry began in the Song dynasty; in that period, Yan Yu (嚴羽; active 1194–1245) was the first to confer the poetry of the High Tang (c. 713–766) era with "canonical status within the classical poetic tradition." Yan Yu reserved the position of highest esteem among all Tang poets for Du Fu (712–770), who was not viewed as such in his own era, and was branded by his peers as an anti-traditional rebel.The Classical Prose Movement was spurred in large part by the writings of Tang authors Liu Zongyuan (773–819) and Han Yu (768–824). This new prose style broke away from the poetry tradition of the piantiwen (騙體文, "parallel prose") style begun in the Han dynasty. Although writers of the Classical Prose Movement imitated piantiwen, they criticized it for its often vague content and lack of colloquial language, focusing more on clarity and precision to make their writing more direct. This guwen (archaic prose) style can be traced back to Han Yu, and would become largely associated with orthodox Neo-Confucianism.Short story fiction and tales were also popular during the Tang, one of the more famous ones being Yingying's Biography by Yuan Zhen (779–831), which was widely circulated in his own time and by the Yuan dynasty (1279–1368) became the basis for plays in Chinese opera. Timothy C. Wong places this story within the wider context of Tang love tales, which often share the plot designs of quick passion, inescapable societal pressure leading to the abandonment of romance, followed by a period of melancholy. Wong states that this scheme lacks the undying vows and total self-commitment to love found in Western romances such as Romeo and Juliet, but that underlying traditional Chinese values of inseparableness of self from one's environment (including human society) served to create the necessary fictional device of romantic tension.
Output: What authors used a writing style that broke away from the style started during the Han dynasty?
Passage: The Rogue River begins at Boundary Springs on the border between Klamath and Douglas counties near the northern edge of Crater Lake National Park. Although it changes direction many times, it flows generally west for 215 miles (346 km) from the Cascade Range through the Rogue River – Siskiyou National Forest and the Klamath Mountains to the Pacific Ocean at Gold Beach. Communities along its course include Union Creek, Prospect, Trail, Shady Cove, Gold Hill and Rogue River, all in Jackson County; Grants Pass and Galice in Josephine County; and Agness, Wedderburn and Gold Beach in Curry County. Significant tributaries include the South Fork Rogue River, Elk Creek, Bear Creek, the Applegate River, and the Illinois River. Arising at 5,320 feet (1,622 m) above sea level, the river loses more than 1 mile (1.6 km) in elevation by the time it reaches the Pacific.
It was one of the original eight rivers named in the National Wild and Scenic Rivers Act of 1968, which included 84 miles (135 km) of the Rogue, from 7 miles (11.3 km) west of Grants Pass to 11 miles (18 km) east of the mouth at Gold Beach. In 1988, an additional 40 miles (64 km) of the Rogue between Crater Lake National Park and the unincorporated community of Prospect was named Wild and Scenic. Of the river's total length, 124 miles (200 km), about 58 percent is Wild and Scenic. The Rogue is one of only three rivers that start in or east of the Cascade Range in Oregon and reach the Pacific Ocean. The others are the Umpqua River and Klamath River. These three Southern Oregon rivers drain mountains south of the Willamette Valley; the Willamette River and its tributaries drain north along the Willamette Valley into the Columbia River, which starts in British Columbia rather than Oregon.
Output: How many miles of the Rogue River are Wild and Scenic?
Passage: The Rogue River begins at Boundary Springs on the border between Klamath and Douglas counties near the northern edge of Crater Lake National Park. Although it changes direction many times, it flows generally west for 215 miles (346 km) from the Cascade Range through the Rogue River – Siskiyou National Forest and the Klamath Mountains to the Pacific Ocean at Gold Beach. Communities along its course include Union Creek, Prospect, Trail, Shady Cove, Gold Hill and Rogue River, all in Jackson County; Grants Pass and Galice in Josephine County; and Agness, Wedderburn and Gold Beach in Curry County. Significant tributaries include the South Fork Rogue River, Elk Creek, Bear Creek, the Applegate River, and the Illinois River. Arising at 5,320 feet (1,622 m) above sea level, the river loses more than 1 mile (1.6 km) in elevation by the time it reaches the Pacific.
It was one of the original eight rivers named in the National Wild and Scenic Rivers Act of 1968, which included 84 miles (135 km) of the Rogue, from 7 miles (11.3 km) west of Grants Pass to 11 miles (18 km) east of the mouth at Gold Beach. In 1988, an additional 40 miles (64 km) of the Rogue between Crater Lake National Park and the unincorporated community of Prospect was named Wild and Scenic. Of the river's total length, 124 miles (200 km), about 58 percent is Wild and Scenic. The Rogue is one of only three rivers that start in or east of the Cascade Range in Oregon and reach the Pacific Ocean. The others are the Umpqua River and Klamath River. These three Southern Oregon rivers drain mountains south of the Willamette Valley; the Willamette River and its tributaries drain north along the Willamette Valley into the Columbia River, which starts in British Columbia rather than Oregon.
Output: What percentage of the Rogue River is Wild and Scenic?
Passage: The Rogue River begins at Boundary Springs on the border between Klamath and Douglas counties near the northern edge of Crater Lake National Park. Although it changes direction many times, it flows generally west for 215 miles (346 km) from the Cascade Range through the Rogue River – Siskiyou National Forest and the Klamath Mountains to the Pacific Ocean at Gold Beach. Communities along its course include Union Creek, Prospect, Trail, Shady Cove, Gold Hill and Rogue River, all in Jackson County; Grants Pass and Galice in Josephine County; and Agness, Wedderburn and Gold Beach in Curry County. Significant tributaries include the South Fork Rogue River, Elk Creek, Bear Creek, the Applegate River, and the Illinois River. Arising at 5,320 feet (1,622 m) above sea level, the river loses more than 1 mile (1.6 km) in elevation by the time it reaches the Pacific.
It was one of the original eight rivers named in the National Wild and Scenic Rivers Act of 1968, which included 84 miles (135 km) of the Rogue, from 7 miles (11.3 km) west of Grants Pass to 11 miles (18 km) east of the mouth at Gold Beach. In 1988, an additional 40 miles (64 km) of the Rogue between Crater Lake National Park and the unincorporated community of Prospect was named Wild and Scenic. Of the river's total length, 124 miles (200 km), about 58 percent is Wild and Scenic. The Rogue is one of only three rivers that start in or east of the Cascade Range in Oregon and reach the Pacific Ocean. The others are the Umpqua River and Klamath River. These three Southern Oregon rivers drain mountains south of the Willamette Valley; the Willamette River and its tributaries drain north along the Willamette Valley into the Columbia River, which starts in British Columbia rather than Oregon.
Output: What state does the Rogue River start in?
Passage: The second half of the 19th century has often been called the Heroic Age of Antarctic Exploration. The inhospitable and dangerous Arctic and Antarctic regions appealed powerfully to the imagination of the age, not as lands with their own ecologies and cultures, but as challenges to be conquered by technological ingenuity and manly daring.
Salomon August Andrée shared these enthusiasms, and proposed a plan for letting the wind propel a hydrogen balloon from Svalbard across the Arctic Sea to the Bering Strait, to fetch up in Alaska, Canada, or Russia, and passing near or even right over the North Pole on the way. Andrée was an engineer at the patent office in Stockholm, with a passion for ballooning.
He bought his own balloon, the Svea, in 1893 and made nine journeys with it, starting from Gothenburg or Stockholm and traveling a combined distance of 1,500 kilometres (930 mi). In the prevailing westerly winds, the Svea flights had a strong tendency to carry him uncontrollably out to the Baltic Sea and drag his basket perilously along the surface of the water or slam it into one of the many rocky islets in the Stockholm archipelago.
On one occasion he was blown clear across the Baltic to Finland. His longest trip was due east from Gothenburg, across the breadth of Sweden and out over the Baltic to Gotland. Even though he saw a lighthouse and heard breakers off Öland, he remained convinced that he was traveling over land and seeing lakes.During a couple of Svea flights, Andrée tested and tried out the drag-rope steering technique which he had developed and wanted to use on his projected North Pole expedition. Drag ropes, which hang from the balloon basket and drag part of their length on the ground, are designed to counteract the tendency of lighter-than-air craft to travel at the same speed as the wind, a situation that makes steering by sails impossible. The friction of the ropes was intended to slow the balloon to the point where the sails would have an effect (beyond that of making the balloon rotate on its axis). Andrée reported, and presumably believed, that with drag rope/sails steering he had succeeded in deviating about ten degrees either way from the wind direction.
This notion is rejected by modern balloonists; the Swedish Ballooning Association maintains that Andrée's belief that he had deviated from the wind was mistaken, being misled by inexpertise and a surfeit of enthusiasm in an environment of variable winds and poor visibility. Use of drag ropes—prone to snapping, falling off, or becoming entangled with each other or the ground, in addition to being ineffective—is not considered by any modern expert to be a useful steering technique.
Output: What was the full name of the person who was an engineer at the patent office in Stockholm?
Passage: The second half of the 19th century has often been called the Heroic Age of Antarctic Exploration. The inhospitable and dangerous Arctic and Antarctic regions appealed powerfully to the imagination of the age, not as lands with their own ecologies and cultures, but as challenges to be conquered by technological ingenuity and manly daring.
Salomon August Andrée shared these enthusiasms, and proposed a plan for letting the wind propel a hydrogen balloon from Svalbard across the Arctic Sea to the Bering Strait, to fetch up in Alaska, Canada, or Russia, and passing near or even right over the North Pole on the way. Andrée was an engineer at the patent office in Stockholm, with a passion for ballooning.
He bought his own balloon, the Svea, in 1893 and made nine journeys with it, starting from Gothenburg or Stockholm and traveling a combined distance of 1,500 kilometres (930 mi). In the prevailing westerly winds, the Svea flights had a strong tendency to carry him uncontrollably out to the Baltic Sea and drag his basket perilously along the surface of the water or slam it into one of the many rocky islets in the Stockholm archipelago.
On one occasion he was blown clear across the Baltic to Finland. His longest trip was due east from Gothenburg, across the breadth of Sweden and out over the Baltic to Gotland. Even though he saw a lighthouse and heard breakers off Öland, he remained convinced that he was traveling over land and seeing lakes.During a couple of Svea flights, Andrée tested and tried out the drag-rope steering technique which he had developed and wanted to use on his projected North Pole expedition. Drag ropes, which hang from the balloon basket and drag part of their length on the ground, are designed to counteract the tendency of lighter-than-air craft to travel at the same speed as the wind, a situation that makes steering by sails impossible. The friction of the ropes was intended to slow the balloon to the point where the sails would have an effect (beyond that of making the balloon rotate on its axis). Andrée reported, and presumably believed, that with drag rope/sails steering he had succeeded in deviating about ten degrees either way from the wind direction.
This notion is rejected by modern balloonists; the Swedish Ballooning Association maintains that Andrée's belief that he had deviated from the wind was mistaken, being misled by inexpertise and a surfeit of enthusiasm in an environment of variable winds and poor visibility. Use of drag ropes—prone to snapping, falling off, or becoming entangled with each other or the ground, in addition to being ineffective—is not considered by any modern expert to be a useful steering technique.
Output: What was the name of the technique Andrée tried on a couple of Svea flights?
Passage: The second half of the 19th century has often been called the Heroic Age of Antarctic Exploration. The inhospitable and dangerous Arctic and Antarctic regions appealed powerfully to the imagination of the age, not as lands with their own ecologies and cultures, but as challenges to be conquered by technological ingenuity and manly daring.
Salomon August Andrée shared these enthusiasms, and proposed a plan for letting the wind propel a hydrogen balloon from Svalbard across the Arctic Sea to the Bering Strait, to fetch up in Alaska, Canada, or Russia, and passing near or even right over the North Pole on the way. Andrée was an engineer at the patent office in Stockholm, with a passion for ballooning.
He bought his own balloon, the Svea, in 1893 and made nine journeys with it, starting from Gothenburg or Stockholm and traveling a combined distance of 1,500 kilometres (930 mi). In the prevailing westerly winds, the Svea flights had a strong tendency to carry him uncontrollably out to the Baltic Sea and drag his basket perilously along the surface of the water or slam it into one of the many rocky islets in the Stockholm archipelago.
On one occasion he was blown clear across the Baltic to Finland. His longest trip was due east from Gothenburg, across the breadth of Sweden and out over the Baltic to Gotland. Even though he saw a lighthouse and heard breakers off Öland, he remained convinced that he was traveling over land and seeing lakes.During a couple of Svea flights, Andrée tested and tried out the drag-rope steering technique which he had developed and wanted to use on his projected North Pole expedition. Drag ropes, which hang from the balloon basket and drag part of their length on the ground, are designed to counteract the tendency of lighter-than-air craft to travel at the same speed as the wind, a situation that makes steering by sails impossible. The friction of the ropes was intended to slow the balloon to the point where the sails would have an effect (beyond that of making the balloon rotate on its axis). Andrée reported, and presumably believed, that with drag rope/sails steering he had succeeded in deviating about ten degrees either way from the wind direction.
This notion is rejected by modern balloonists; the Swedish Ballooning Association maintains that Andrée's belief that he had deviated from the wind was mistaken, being misled by inexpertise and a surfeit of enthusiasm in an environment of variable winds and poor visibility. Use of drag ropes—prone to snapping, falling off, or becoming entangled with each other or the ground, in addition to being ineffective—is not considered by any modern expert to be a useful steering technique.
Output: What location did Salomon propose and expedition to and want to use his drag-rope steering technique on?
Passage: The second half of the 19th century has often been called the Heroic Age of Antarctic Exploration. The inhospitable and dangerous Arctic and Antarctic regions appealed powerfully to the imagination of the age, not as lands with their own ecologies and cultures, but as challenges to be conquered by technological ingenuity and manly daring.
Salomon August Andrée shared these enthusiasms, and proposed a plan for letting the wind propel a hydrogen balloon from Svalbard across the Arctic Sea to the Bering Strait, to fetch up in Alaska, Canada, or Russia, and passing near or even right over the North Pole on the way. Andrée was an engineer at the patent office in Stockholm, with a passion for ballooning.
He bought his own balloon, the Svea, in 1893 and made nine journeys with it, starting from Gothenburg or Stockholm and traveling a combined distance of 1,500 kilometres (930 mi). In the prevailing westerly winds, the Svea flights had a strong tendency to carry him uncontrollably out to the Baltic Sea and drag his basket perilously along the surface of the water or slam it into one of the many rocky islets in the Stockholm archipelago.
On one occasion he was blown clear across the Baltic to Finland. His longest trip was due east from Gothenburg, across the breadth of Sweden and out over the Baltic to Gotland. Even though he saw a lighthouse and heard breakers off Öland, he remained convinced that he was traveling over land and seeing lakes.During a couple of Svea flights, Andrée tested and tried out the drag-rope steering technique which he had developed and wanted to use on his projected North Pole expedition. Drag ropes, which hang from the balloon basket and drag part of their length on the ground, are designed to counteract the tendency of lighter-than-air craft to travel at the same speed as the wind, a situation that makes steering by sails impossible. The friction of the ropes was intended to slow the balloon to the point where the sails would have an effect (beyond that of making the balloon rotate on its axis). Andrée reported, and presumably believed, that with drag rope/sails steering he had succeeded in deviating about ten degrees either way from the wind direction.
This notion is rejected by modern balloonists; the Swedish Ballooning Association maintains that Andrée's belief that he had deviated from the wind was mistaken, being misled by inexpertise and a surfeit of enthusiasm in an environment of variable winds and poor visibility. Use of drag ropes—prone to snapping, falling off, or becoming entangled with each other or the ground, in addition to being ineffective—is not considered by any modern expert to be a useful steering technique.
Output: What are the name of the ropes that are designed to counteract the tendency of lighter-than-air craft to travel at the same speed as the wind?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What is the last name of the person who said listening to music by the man who rose to national attention in 1956 was "like busting out of jail"?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What publication that the man who rose to national attention in 1956 was a "...a genuine cultural force"?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What is the last name of the person who claimed that the achievements and failings of the celebrity who has an instantly recognizable voice around the globe added to the power of his leagacy?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What is the last name of the person who described the singer who had a huge effect on popular culture as the "greatest cultural force in the twentieth century"?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What publication wrote that the man who rose to national attention in 1956 was "a genuine cultural force"?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What is the last name of the person that said music by the man who had an immense following felt "like busting out of jail"?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What is the last name of the person that said "Nothing really affected me until Elvis." when referring to the artist that transformed the field of popular music?
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:.
Output: What is the full name of the conductor that claimed the artist who was a catalyst for rock and roll was "the greatest cultural force in the twentieth century"?
Passage: Before the start of the Second World War, and the establishment of war-based industries, Jarvis's initiatives brought modest relief to Jarrow. By 1939, about 100 men were employed in a small furniture factory and up to a further 500 in various metal-based industries set up on the Palmer's site. Jarvis had acquired the obsolete liners Olympic and Berengaria, to be broken up at the yard. However, after their triumphant homecoming many of the marchers felt that their endeavour had failed. Con Whalen, who at his death in 2003 was the last survivor of those who marched the full distance, said that the march was "a waste of time", but added that he had enjoyed every step. His fellow marcher Guy Waller, on the 40th anniversary of the march in 1976, said that "[t]he march produced no immediate startling upsurge in employment in the town. It took the war to do that". These views are shared by most commentators and historians. The Daily Mirror columnist Kevin Maguire calls the march "a heroic failure", while Matt Dobson, in The Socialist, writes that "out of all the hunger marches its aims were the most diluted and it made the most modest gains". The historians Malcolm Pearce and Geoffrey Stewart provide a positive perspective, arguing that the Jarrow March "helped to shape [post-Second World War] perceptions of the 1930s", and thus paved the way to social reform.Perry observes that "the passage of time has transformed the Jarrow Crusade ... into a potent talisman with which many apparently seek association". Thus the Labour Party, which in 1936 shunned the march, later adopted it as "a badge of credibility". In 1950 the party featured the Jarrow banners on its election posters; the march then disappeared from view in an era of high employment, only to be invoked again when unemployment again became a political issue in the 1980s. In the late 20th century and beyond, Labour leaders—Michael Foot, Neil Kinnock, Tony Blair—have all associated themselves with the march. In October 1986, on the 50th anniversary, a group from Jarrow and other towns along the way retraced the route to London. At that time of industrial recession, Jarrow once again had the highest level of unemployment in the country. The 75th anniversary in 2011 was marked by a "March for Jobs", that drew the ire of a Conservative MP, Robert Goodwill, who noted the high level of withdrawals in its early stages and dismissed it as "an insult to the memory of the Jarrow marchers ... They are not fit to walk in [their] footsteps".
Output: What was the full name of what the Labour Party shunned in 1936?
Passage: Before the start of the Second World War, and the establishment of war-based industries, Jarvis's initiatives brought modest relief to Jarrow. By 1939, about 100 men were employed in a small furniture factory and up to a further 500 in various metal-based industries set up on the Palmer's site. Jarvis had acquired the obsolete liners Olympic and Berengaria, to be broken up at the yard. However, after their triumphant homecoming many of the marchers felt that their endeavour had failed. Con Whalen, who at his death in 2003 was the last survivor of those who marched the full distance, said that the march was "a waste of time", but added that he had enjoyed every step. His fellow marcher Guy Waller, on the 40th anniversary of the march in 1976, said that "[t]he march produced no immediate startling upsurge in employment in the town. It took the war to do that". These views are shared by most commentators and historians. The Daily Mirror columnist Kevin Maguire calls the march "a heroic failure", while Matt Dobson, in The Socialist, writes that "out of all the hunger marches its aims were the most diluted and it made the most modest gains". The historians Malcolm Pearce and Geoffrey Stewart provide a positive perspective, arguing that the Jarrow March "helped to shape [post-Second World War] perceptions of the 1930s", and thus paved the way to social reform.Perry observes that "the passage of time has transformed the Jarrow Crusade ... into a potent talisman with which many apparently seek association". Thus the Labour Party, which in 1936 shunned the march, later adopted it as "a badge of credibility". In 1950 the party featured the Jarrow banners on its election posters; the march then disappeared from view in an era of high employment, only to be invoked again when unemployment again became a political issue in the 1980s. In the late 20th century and beyond, Labour leaders—Michael Foot, Neil Kinnock, Tony Blair—have all associated themselves with the march. In October 1986, on the 50th anniversary, a group from Jarrow and other towns along the way retraced the route to London. At that time of industrial recession, Jarrow once again had the highest level of unemployment in the country. The 75th anniversary in 2011 was marked by a "March for Jobs", that drew the ire of a Conservative MP, Robert Goodwill, who noted the high level of withdrawals in its early stages and dismissed it as "an insult to the memory of the Jarrow marchers ... They are not fit to walk in [their] footsteps".
Output: What was the full name of the event that disappeared from view in an era of high employment?