niryuu/sni-each-converted huggingface dataset:
Passage: Lennon first met Yoko Ono on 9 November 1966 at the Indica Gallery in London, where Ono was preparing her conceptual art exhibit. They were introduced by gallery owner John Dunbar. Lennon was intrigued by Ono's "Hammer A Nail": patrons hammered a nail into a wooden board, creating the art piece. Although the exhibition had not yet begun, Lennon wanted to hammer a nail into the clean board, but Ono stopped him. Dunbar asked her, "Don't you know who this is? He's a millionaire! He might buy it." Ono had supposedly not heard of the Beatles, but relented on condition that Lennon pay her five shillings, to which Lennon replied, "I'll give you an imaginary five shillings and hammer an imaginary nail in." Ono subsequently related that Lennon had taken a bite out of the apple on display in her work Apple, much to her fury.Ono began to telephone and visit Lennon at his home. When Cynthia asked him for an explanation, Lennon explained that Ono was only trying to obtain money for her "avant-garde bullshit". While his wife was on holiday in Greece in May 1968, Lennon invited Ono to visit. They spent the night recording what would become the Two Virgins album, after which, he said, they "made love at dawn". When Lennon's wife returned home she found Ono wearing her bathrobe and drinking tea with Lennon who simply said, "Oh, hi." Ono became pregnant in 1968 and miscarried a male child on 21 November 1968, a few weeks after Lennon's divorce from Cynthia was granted.Two years before the Beatles disbanded, Lennon and Ono began public protests against the Vietnam War. They were married in Gibraltar on 20 March 1969, and spent their honeymoon at the Hilton Amsterdam, campaigning with a week-long Bed-In for Peace. They planned another Bed-In in the United States but were denied entry, so they held one instead at the Queen Elizabeth Hotel in Montreal, where they recorded "Give Peace a Chance". They often combined advocacy with performance art, as in their "Bagism", first introduced during a Vienna press conference. Lennon detailed this period in the Beatles song "The Ballad of John and Yoko". Lennon changed his name by deed poll on 22 April 1969, adding "Ono" as a middle name. The brief ceremony took place on the roof of the Apple Corps building, where the Beatles had performed their rooftop concert three months earlier. Although he used the name John Ono Lennon thereafter, official documents referred to him as John Winston Ono Lennon, since he was not permitted to revoke a name given at birth. The couple settled at Tittenhurst Park at Sunninghill in Berkshire. After Ono was injured in a car accident, Lennon arranged for a king-size bed to be brought to the recording studio as he worked on the Beatles' last album, Abbey Road.Ono and Lennon moved to New York, to a flat on Bank Street, Greenwich Village. Looking for somewhere with better security, they relocated in 1973 to the more secure Dakota overlooking Central Park at 1 West 72nd Street.
Output: What is the first name of the person who stopped Lennon from hammering a nail into the clean board?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What is the title of the work within whose thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What is the name of the symphony Vaughan Williams said in later years was his favorite?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What is the title of the symphony that draws little on the folk-songs beloved by the composer?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What is the name of the work some English musicians who had not fought in the First World War misunderstood?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What is the name of the piece mistaken for a rustic idyll by some English musicians?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What are the precise names of the first three symphonies to which Vaughan Williams assigned titles rather than numbers?
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood.
Output: What are the precise titles of the first three symphonies that form a sub-group within the nine?
Passage: Sylvester's owners, Sam and Violet,  go on vacation to California, forgetting to put him outside. Sylvester abruptly notices this, finding that he is locked inside an empty house devoid of food with no milk being delivered for two weeks. He finds a cupboard full of canned tuna and cat food, but discovers that he also needs a can opener. He seemingly cannot find one, until he sees a mouse named David with it.  Sylvester begs for David to give it to him, but David throws it into his hole. Sylvester frantically tries and fails to retrieve it and David saunters away. Sylvester angrily gives chase and crashes into the mouse hole.
Sylvester tries vainly to open a can of tuna by beating it against the floor and jumping on it. When this doesn't work he tries to chop it with an axe, but just as he swings, the axe blade flies off the handle and out through the mail slot. David continues to taunt Sylvester & tosses the can opener out into the open, but Sylvester ends up crashing into the wall again. Next, Sylvester tries using an unbent metal coat hanger to retrieve the can opener, however David hooks it to a live wire and Sylvester receives an electric shock causing his fur to fry off.  Sylvester then sets up to drop a piano on the can, just before David taunts him again with offers for the can opener, prompting Sylvester to release his hold on the rope and dropping on himself.  An attempt to cut a larger hole around David's hole is foiled (in similar manner to a Bugs and Daffy shotgun routine) by David cutting a hole beneath Sylvester's feet causing him to fall into the basement.
Output: Who do people forget to put outside?
Passage: Sylvester's owners, Sam and Violet,  go on vacation to California, forgetting to put him outside. Sylvester abruptly notices this, finding that he is locked inside an empty house devoid of food with no milk being delivered for two weeks. He finds a cupboard full of canned tuna and cat food, but discovers that he also needs a can opener. He seemingly cannot find one, until he sees a mouse named David with it.  Sylvester begs for David to give it to him, but David throws it into his hole. Sylvester frantically tries and fails to retrieve it and David saunters away. Sylvester angrily gives chase and crashes into the mouse hole.
Sylvester tries vainly to open a can of tuna by beating it against the floor and jumping on it. When this doesn't work he tries to chop it with an axe, but just as he swings, the axe blade flies off the handle and out through the mail slot. David continues to taunt Sylvester & tosses the can opener out into the open, but Sylvester ends up crashing into the wall again. Next, Sylvester tries using an unbent metal coat hanger to retrieve the can opener, however David hooks it to a live wire and Sylvester receives an electric shock causing his fur to fry off.  Sylvester then sets up to drop a piano on the can, just before David taunts him again with offers for the can opener, prompting Sylvester to release his hold on the rope and dropping on himself.  An attempt to cut a larger hole around David's hole is foiled (in similar manner to a Bugs and Daffy shotgun routine) by David cutting a hole beneath Sylvester's feet causing him to fall into the basement.
Output: Who is taunted with offers for the can opener?
Passage: Sylvester's owners, Sam and Violet,  go on vacation to California, forgetting to put him outside. Sylvester abruptly notices this, finding that he is locked inside an empty house devoid of food with no milk being delivered for two weeks. He finds a cupboard full of canned tuna and cat food, but discovers that he also needs a can opener. He seemingly cannot find one, until he sees a mouse named David with it.  Sylvester begs for David to give it to him, but David throws it into his hole. Sylvester frantically tries and fails to retrieve it and David saunters away. Sylvester angrily gives chase and crashes into the mouse hole.
Sylvester tries vainly to open a can of tuna by beating it against the floor and jumping on it. When this doesn't work he tries to chop it with an axe, but just as he swings, the axe blade flies off the handle and out through the mail slot. David continues to taunt Sylvester & tosses the can opener out into the open, but Sylvester ends up crashing into the wall again. Next, Sylvester tries using an unbent metal coat hanger to retrieve the can opener, however David hooks it to a live wire and Sylvester receives an electric shock causing his fur to fry off.  Sylvester then sets up to drop a piano on the can, just before David taunts him again with offers for the can opener, prompting Sylvester to release his hold on the rope and dropping on himself.  An attempt to cut a larger hole around David's hole is foiled (in similar manner to a Bugs and Daffy shotgun routine) by David cutting a hole beneath Sylvester's feet causing him to fall into the basement.
Output: Who falls into the basement?
Passage: Former FBI secretary Erin Grant loses custody of her young daughter Angela to her ex-husband Darrell, who is a criminal and cost Erin her job. To afford an appeal to get her daughter back, Erin becomes a stripper at the Eager Beaver, a strip club in Miami.
A Congressman named David Dilbeck visits the club and becomes infatuated with Erin. Aware of Dilbeck's embarrassing indulgences, another Eager Beaver patron approaches Erin with a plan to manipulate the congressman to settle the custody battle and help her get Angela back. However, Dilbeck has powerful business connections who want to ensure he remains in office. Consequently, those who can embarrass him in an election are murdered. Meanwhile, Erin retrieves her daughter from Darrell's negligent care.
Dilbeck's personal interest in Erin persists, and she is invited to perform privately for him. He asks her to become his lover and later his wife, despite his staff's concerns that she knows too much. A debate occurs as to whether to kill Erin or simply keep her quiet by threatening to take away her daughter. However, Erin and a police officer Al Garcia begin to suspect the congressman's guilt in the murders, and Erin concocts a plan to bring the congressman to justice. She tricks him into confessing on tape, and he is soon after arrested. Thus, Erin regains full custody of Angela, quits stripping, and gets back her job in the FBI. Darrell returns to prison after he is convicted of his crimes.
Output: What is the full name of the person that Dilbeck's staff is concerned about knowing to much?
Passage: Former FBI secretary Erin Grant loses custody of her young daughter Angela to her ex-husband Darrell, who is a criminal and cost Erin her job. To afford an appeal to get her daughter back, Erin becomes a stripper at the Eager Beaver, a strip club in Miami.
A Congressman named David Dilbeck visits the club and becomes infatuated with Erin. Aware of Dilbeck's embarrassing indulgences, another Eager Beaver patron approaches Erin with a plan to manipulate the congressman to settle the custody battle and help her get Angela back. However, Dilbeck has powerful business connections who want to ensure he remains in office. Consequently, those who can embarrass him in an election are murdered. Meanwhile, Erin retrieves her daughter from Darrell's negligent care.
Dilbeck's personal interest in Erin persists, and she is invited to perform privately for him. He asks her to become his lover and later his wife, despite his staff's concerns that she knows too much. A debate occurs as to whether to kill Erin or simply keep her quiet by threatening to take away her daughter. However, Erin and a police officer Al Garcia begin to suspect the congressman's guilt in the murders, and Erin concocts a plan to bring the congressman to justice. She tricks him into confessing on tape, and he is soon after arrested. Thus, Erin regains full custody of Angela, quits stripping, and gets back her job in the FBI. Darrell returns to prison after he is convicted of his crimes.
Output: What is the full name of the person who tricks the congressman to confess on tape?
Passage: Washington, D.C. is located in the mid-Atlantic region of the U.S. East Coast. Due to the District of Columbia retrocession, the city has a total area of 68.34 square miles (177.0 km2), of which 61.05 square miles (158.1 km2) is land and 7.29 square miles (18.9 km2) (10.67%) is water. The District is bordered by Montgomery County, Maryland to the northwest; Prince George's County, Maryland to the east; Arlington County, Virginia to the south; and Alexandria, Virginia to the west.
The south bank of the Potomac River forms the District's border with Virginia and has two major tributaries: the Anacostia River and Rock Creek. Tiber Creek, a natural watercourse that once passed through the National Mall, was fully enclosed underground during the 1870s. The creek also formed a portion of the now-filled Washington City Canal, which allowed passage through the city to the Anacostia River from 1815 until the 1850s. The Chesapeake and Ohio Canal starts in Georgetown and was used during the 19th century to bypass the Little Falls of the Potomac River, located at the northwest edge of Washington at the Atlantic Seaboard fall line.The highest natural elevation in the District is 409 feet (125 m) above sea level at Fort Reno Park in upper northwest Washington. The lowest point is sea level at the Potomac River. The geographic center of Washington is near the intersection of 4th and L Streets NW.The District has 7,464 acres (30.21 km2) of parkland, about 19% of the city's total area and the second-highest percentage among high-density U.S. cities. This factor contributed to Washington, D.C., being ranked as third in the nation for park access and quality in the 2018 ParkScore ranking of the park systems of the 100 most populous cities in the United States, according to the nonprofit Trust for Public Land.The National Park Service manages most of the 9,122 acres (36.92 km2) of city land owned by the U.S. government. Rock Creek Park is a 1,754-acre (7.10 km2) urban forest in Northwest Washington, which extends 9.3 miles (15.0 km) through a stream valley that bisects the city. Established in 1890, it is the country's fourth-oldest national park and is home to a variety of plant and animal species, including raccoon, deer, owls, and coyotes. Other National Park Service properties include the C&O Canal National Historical Park, the National Mall and Memorial Parks, Theodore Roosevelt Island, Columbia Island, Fort Dupont Park, Meridian Hill Park, Kenilworth Park and Aquatic Gardens, and Anacostia Park. The D.C. Department of Parks and Recreation maintains the city's 900 acres (3.6 km2) of athletic fields and playgrounds, 40 swimming pools, and 68 recreation centers. The U.S. Department of Agriculture operates the 446-acre (1.80 km2) U.S. National Arboretum in Northeast Washington.
Output: What is the country's fourth-oldest national park?
Passage: Dr. Henry Jekyll, a kind English doctor in Victorian London, is certain that within each man lurks impulses for both good and evil. He is desperately in love with his fiancée Muriel Carew and wants to marry her immediately. But her father, Brigadier General Sir Danvers Carew, orders them to wait. One night, while walking home with his colleague, Dr. John Lanyon, Jekyll spots a bar singer, Ivy Pierson, being attacked by a man outside her boarding house. Jekyll drives the man away and carries Ivy up to her room to attend to her. Ivy tries to seduce Jekyll but, though he is tempted, he leaves with Lanyon.
When Sir Danvers takes Muriel to Bath, Jekyll begins to experiment with drugs that he believes will unleash his evil side. After imbibing a concoction of these drugs, he transforms into Edward Hyde—an impulsive, violent, amoral man who indulges his every desire. Hyde finds Ivy in the music hall where she works. He offers to financially support her in return for her company. They stay at her boarding house where Hyde sexually abuses and psychologically manipulates her. When Hyde reads in the paper that Sir Danvers and Muriel are planning to return to London, Hyde leaves Ivy but threatens her that he'll return when she least expects it.
Overcome with guilt, Jekyll sends £50 to Ivy. On the advice of her landlady, Ivy goes to see Dr. Jekyll and recognizes him as the man who saved her from abuse that night. She tearfully tells him about her situation with Hyde, and Jekyll reassures her that she will never see Hyde again. But the next night, while walking to a party at Muriel's where the wedding date is to be announced, Jekyll spontaneously changes into Hyde. Rather than attend the party, Hyde goes to Ivy's room and murders her.
Output: Who is with Henry Jekyll when he sees a woman needing help?
Passage: Dr. Henry Jekyll, a kind English doctor in Victorian London, is certain that within each man lurks impulses for both good and evil. He is desperately in love with his fiancée Muriel Carew and wants to marry her immediately. But her father, Brigadier General Sir Danvers Carew, orders them to wait. One night, while walking home with his colleague, Dr. John Lanyon, Jekyll spots a bar singer, Ivy Pierson, being attacked by a man outside her boarding house. Jekyll drives the man away and carries Ivy up to her room to attend to her. Ivy tries to seduce Jekyll but, though he is tempted, he leaves with Lanyon.
When Sir Danvers takes Muriel to Bath, Jekyll begins to experiment with drugs that he believes will unleash his evil side. After imbibing a concoction of these drugs, he transforms into Edward Hyde—an impulsive, violent, amoral man who indulges his every desire. Hyde finds Ivy in the music hall where she works. He offers to financially support her in return for her company. They stay at her boarding house where Hyde sexually abuses and psychologically manipulates her. When Hyde reads in the paper that Sir Danvers and Muriel are planning to return to London, Hyde leaves Ivy but threatens her that he'll return when she least expects it.
Overcome with guilt, Jekyll sends £50 to Ivy. On the advice of her landlady, Ivy goes to see Dr. Jekyll and recognizes him as the man who saved her from abuse that night. She tearfully tells him about her situation with Hyde, and Jekyll reassures her that she will never see Hyde again. But the next night, while walking to a party at Muriel's where the wedding date is to be announced, Jekyll spontaneously changes into Hyde. Rather than attend the party, Hyde goes to Ivy's room and murders her.
Output: Which women does Henry Jekyll help?
Passage: Dr. Henry Jekyll, a kind English doctor in Victorian London, is certain that within each man lurks impulses for both good and evil. He is desperately in love with his fiancée Muriel Carew and wants to marry her immediately. But her father, Brigadier General Sir Danvers Carew, orders them to wait. One night, while walking home with his colleague, Dr. John Lanyon, Jekyll spots a bar singer, Ivy Pierson, being attacked by a man outside her boarding house. Jekyll drives the man away and carries Ivy up to her room to attend to her. Ivy tries to seduce Jekyll but, though he is tempted, he leaves with Lanyon.
When Sir Danvers takes Muriel to Bath, Jekyll begins to experiment with drugs that he believes will unleash his evil side. After imbibing a concoction of these drugs, he transforms into Edward Hyde—an impulsive, violent, amoral man who indulges his every desire. Hyde finds Ivy in the music hall where she works. He offers to financially support her in return for her company. They stay at her boarding house where Hyde sexually abuses and psychologically manipulates her. When Hyde reads in the paper that Sir Danvers and Muriel are planning to return to London, Hyde leaves Ivy but threatens her that he'll return when she least expects it.
Overcome with guilt, Jekyll sends £50 to Ivy. On the advice of her landlady, Ivy goes to see Dr. Jekyll and recognizes him as the man who saved her from abuse that night. She tearfully tells him about her situation with Hyde, and Jekyll reassures her that she will never see Hyde again. But the next night, while walking to a party at Muriel's where the wedding date is to be announced, Jekyll spontaneously changes into Hyde. Rather than attend the party, Hyde goes to Ivy's room and murders her.
Output: Who refuses the attention of the bar singer?
Passage: Dr. Henry Jekyll, a kind English doctor in Victorian London, is certain that within each man lurks impulses for both good and evil. He is desperately in love with his fiancée Muriel Carew and wants to marry her immediately. But her father, Brigadier General Sir Danvers Carew, orders them to wait. One night, while walking home with his colleague, Dr. John Lanyon, Jekyll spots a bar singer, Ivy Pierson, being attacked by a man outside her boarding house. Jekyll drives the man away and carries Ivy up to her room to attend to her. Ivy tries to seduce Jekyll but, though he is tempted, he leaves with Lanyon.
When Sir Danvers takes Muriel to Bath, Jekyll begins to experiment with drugs that he believes will unleash his evil side. After imbibing a concoction of these drugs, he transforms into Edward Hyde—an impulsive, violent, amoral man who indulges his every desire. Hyde finds Ivy in the music hall where she works. He offers to financially support her in return for her company. They stay at her boarding house where Hyde sexually abuses and psychologically manipulates her. When Hyde reads in the paper that Sir Danvers and Muriel are planning to return to London, Hyde leaves Ivy but threatens her that he'll return when she least expects it.
Overcome with guilt, Jekyll sends £50 to Ivy. On the advice of her landlady, Ivy goes to see Dr. Jekyll and recognizes him as the man who saved her from abuse that night. She tearfully tells him about her situation with Hyde, and Jekyll reassures her that she will never see Hyde again. But the next night, while walking to a party at Muriel's where the wedding date is to be announced, Jekyll spontaneously changes into Hyde. Rather than attend the party, Hyde goes to Ivy's room and murders her.
Output: Who pays money to the bar singer for sex?
Passage: German classical music includes works by some of the world's most well-known composers. Dieterich Buxtehude composed oratorios for organ, which influenced the later work of Johann Sebastian Bach and Georg Friedrich Händel; these men were influential composers of the Baroque period. During his tenure as violinist and teacher at the Salzburg cathedral, Augsburg-born composer Leopold Mozart mentored one of the most noted musicians of all time: Wolfgang Amadeus Mozart. Ludwig van Beethoven was a crucial figure in the transition between the Classical and Romantic eras. Carl Maria von Weber and Felix Mendelssohn were important in the early Romantic period. Robert Schumann and Johannes Brahms composed in the Romantic idiom. Richard Wagner was known for his operas. Richard Strauss was a leading composer of the late Romantic and early modern eras. Karlheinz Stockhausen and Hans Zimmer are important composers of the 20th and early 21st centuries.Germany is the second largest music market in Europe, and fourth largest in the world. German popular music of the 20th and 21st centuries includes the movements of Neue Deutsche Welle, pop, Ostrock, heavy metal/rock, punk, pop rock, indie and schlager pop. German electronic music gained global influence, with Kraftwerk and Tangerine Dream pioneering in this genre. DJs and artists of the techno and house music scenes of Germany have become well known (e.g. Paul van Dyk, Paul Kalkbrenner, and Scooter).
Output: What is the full name of the mentee of the Salzburg cathedral teacher?
Passage: Pyotr Ilyich Tchaikovsky (English:  chy-KOF-skee; Russian: Пётр Ильи́ч Чайко́вский, tr. Pyótr Ilʹyích Chaykóvskiy, IPA: [pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj] (listen); 7 May 1840 [O.S. 25 April] – 6 November [O.S. 25 October] 1893), was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension.
Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at that time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation he forged a personal but unmistakably Russian style—a task that did not prove easy. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music; this seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the country's national identity—an ambiguity mirrored in Tchaikovsky's career.
Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death, the death of his close friend and colleague Nikolai Rubinstein,  and the collapse of the one enduring relationship of his adult life, which was his 13-year association with the wealthy widow Nadezhda von Meck who was his patron even though they never actually met each other. His homosexuality, which he kept private, has traditionally also been considered a major factor, though some musicologists now downplay its importance. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera; there is an ongoing debate as to whether cholera was indeed the cause of death, and whether his death was accidental or self-inflicted.
Output: What is the last name of the person who was honored in 1884 and awarded with a lifetime pension?
Passage: Pyotr Ilyich Tchaikovsky (English:  chy-KOF-skee; Russian: Пётр Ильи́ч Чайко́вский, tr. Pyótr Ilʹyích Chaykóvskiy, IPA: [pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj] (listen); 7 May 1840 [O.S. 25 April] – 6 November [O.S. 25 October] 1893), was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension.
Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at that time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From this reconciliation he forged a personal but unmistakably Russian style—a task that did not prove easy. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music; this seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. This resulted in uncertainty among the intelligentsia about the country's national identity—an ambiguity mirrored in Tchaikovsky's career.
Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death, the death of his close friend and colleague Nikolai Rubinstein,  and the collapse of the one enduring relationship of his adult life, which was his 13-year association with the wealthy widow Nadezhda von Meck who was his patron even though they never actually met each other. His homosexuality, which he kept private, has traditionally also been considered a major factor, though some musicologists now downplay its importance. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera; there is an ongoing debate as to whether cholera was indeed the cause of death, and whether his death was accidental or self-inflicted.
Output: What is the last name of the person who graduated from Saint Petersburg Conservatory in 1865?