niryuu/sni-each-converted huggingface dataset:
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who became well respected for his ability to capture flesh tones accurate in painting?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who was known for their fascination with contrasts in skin tones?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who moved to London after his seven-year apprenticeship?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person whose intention was becoming a history painter in the tradition of the Old Masters?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who was admired by fellow artists?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who was elected a Royal Academician in 1828?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who became well respected for his ability to capture flesh tones accurately in painting?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person who became well known for his fascination with contrasts in skin tones?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person whose portraits of male nudes were generally well received?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person whose work "The Arrival of Cleopatra in Cilicia" was extremely well received?
Passage: William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Output: What is the last name of the person whose repeated depictions of female nudity was criticized as indecent?
Passage: The Canadian Rockies consist of several northwest-southeast trending ranges. Two main mountain ranges are within the park, each consisting of numerous subranges. The western border of the park follows the crest of the Main Ranges (also known as the Park Ranges), which is also the continental divide. The Main Ranges in Banff National Park include from north to south, the Waputik, Bow and Blue Ranges. The high peaks west of Lake Louise are part of the Bow Range. The eastern border of the park includes all of the Front Ranges consisting of from north to south, the Palliser, Sawback and Sundance Ranges. The Banff townsite is located in the Front Ranges. Just outside of the park to the east lie the foothills that extend from Canmore at the eastern entrance of the park eastward into the Great Plains. Well west of the park, the Western Ranges of the Rockies pass through Yoho and Kootenay National Parks. Though the tallest peak entirely within the park is Mount Forbes at 3,612 metres (11,850 ft), Mount Assiniboine on the Banff-Mount Assiniboine Provincial Park border is slightly higher at 3,618 m (11,870 ft).The Canadian Rockies are composed of sedimentary rock, including shale, sandstone, dolomite and limestone. The vast majority of geologic formations in Banff range in age from Precambrian to the Jurassic periods (600–145 m.y.a.). However, rocks as young as the lower Cretaceous (145–66 m.y.a.) can be found near the east entrance and on Cascade Mountain above the Banff townsite. These sedimentary rocks were laid down in shallow seas between 600 and 175 m.y.a. and were pushed east during the Laramide orogeny. Mountain building in Banff National Park ended approximately 55 m.y.a.The Canadian Rockies may have rose up to 8,000 metres (26,000 ft) approximately 70 m.y.a. Once mountain formation ceased, erosion carved the mountains into their present rugged shape.. The erosion was first due to water, then was greatly accelerated by the Quaternary glaciation 2.5 million years ago. Glacial landforms dominate Banff's geomorphology, with examples of all classic glacial forms, including cirques, arêtes, hanging valleys, moraines, and U-shaped valleys. The pre-existing structure left over from mountain-building strongly guided glacial erosion: mountains in Banff include complex, irregular, anticlinal, synclinal, castellate, dogtooth, and sawback mountains.Many of the mountain ranges trend northwest to southeast, with sedimentary layering dipping down to the west at 40–60 degrees. This leads to dip slope landforms, with generally steeper east and north faces, and trellis drainage, where rivers and old glacial valleys followed the weaker layers in the rocks as they were relatively easily weathered and eroded.
Output: What mountain formation was eroded first due to water, then was greatly accelerated by the Quaternary glaciation 2.5 million years ago?
Passage: The Canadian Rockies consist of several northwest-southeast trending ranges. Two main mountain ranges are within the park, each consisting of numerous subranges. The western border of the park follows the crest of the Main Ranges (also known as the Park Ranges), which is also the continental divide. The Main Ranges in Banff National Park include from north to south, the Waputik, Bow and Blue Ranges. The high peaks west of Lake Louise are part of the Bow Range. The eastern border of the park includes all of the Front Ranges consisting of from north to south, the Palliser, Sawback and Sundance Ranges. The Banff townsite is located in the Front Ranges. Just outside of the park to the east lie the foothills that extend from Canmore at the eastern entrance of the park eastward into the Great Plains. Well west of the park, the Western Ranges of the Rockies pass through Yoho and Kootenay National Parks. Though the tallest peak entirely within the park is Mount Forbes at 3,612 metres (11,850 ft), Mount Assiniboine on the Banff-Mount Assiniboine Provincial Park border is slightly higher at 3,618 m (11,870 ft).The Canadian Rockies are composed of sedimentary rock, including shale, sandstone, dolomite and limestone. The vast majority of geologic formations in Banff range in age from Precambrian to the Jurassic periods (600–145 m.y.a.). However, rocks as young as the lower Cretaceous (145–66 m.y.a.) can be found near the east entrance and on Cascade Mountain above the Banff townsite. These sedimentary rocks were laid down in shallow seas between 600 and 175 m.y.a. and were pushed east during the Laramide orogeny. Mountain building in Banff National Park ended approximately 55 m.y.a.The Canadian Rockies may have rose up to 8,000 metres (26,000 ft) approximately 70 m.y.a. Once mountain formation ceased, erosion carved the mountains into their present rugged shape.. The erosion was first due to water, then was greatly accelerated by the Quaternary glaciation 2.5 million years ago. Glacial landforms dominate Banff's geomorphology, with examples of all classic glacial forms, including cirques, arêtes, hanging valleys, moraines, and U-shaped valleys. The pre-existing structure left over from mountain-building strongly guided glacial erosion: mountains in Banff include complex, irregular, anticlinal, synclinal, castellate, dogtooth, and sawback mountains.Many of the mountain ranges trend northwest to southeast, with sedimentary layering dipping down to the west at 40–60 degrees. This leads to dip slope landforms, with generally steeper east and north faces, and trellis drainage, where rivers and old glacial valleys followed the weaker layers in the rocks as they were relatively easily weathered and eroded.
Output: What is the name of the park within which are two mountain ranges, each consisting of numerous subranges?
Passage: Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of A Weekend in the City was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.Final tweaks on the album were completed in December 2006 in London. A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed A Weekend in the City in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of A Modern Project by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' Original Pirate Material. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps, and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".
Output: Whose members were quoted as being worried about a reduction in the potential impact of the album's content and sales?
Passage: Bloc Party confirmed a preliminary track list of 13 songs in August 2006; this included future bonus tracks "England" and "We Were Lovers". A low-quality rip of A Weekend in the City was leaked in November and showed a track list of 11 songs. Wichita Recordings did not comment, but the band members were quoted as being worried about a reduction in the potential impact of the album's content and sales. Bloc Party started a promotional tour of North America the same month with Panic! at the Disco, but cut it short after three concerts when Tong suffered a collapsed lung. The focus was changed to interviews throughout the world to explain the album's stylised lyrics and composition in the run-up to its release.Final tweaks on the album were completed in December 2006 in London. A high-quality version was leaked in January 2007 and its contents were confirmed by Okereke. Journalists who obtained an official copy of the album's final mix suggested that it featured electronically tampered rock soundscapes in the vein of Radiohead, New Order, and Björk. Bloc Party previewed A Weekend in the City in its entirety on 24 January 2007 at the Bournemouth Old Firestation, a performance which coincided with the Japanese release of the album. The first single, "The Prayer", was released on 29 January. The band performed at a special BBC Radio 1 showcase at Maida Vale Studios on 30 January as a precursor to a February promotional tour of the UK.The album was released in the rest of the world in the first week of February. The title comes as a tangent to the central theme of the album, "the living noise of a metropolis". The cover art is part of A Modern Project by German photographer Rut Blees Luxemburg, famous for her night cityscapes of London and for the cover art of The Streets' Original Pirate Material. The photograph is an aerial image of London's Westway, which shows the road and the adjacent sports pitches lit by the sodium glow of street lamps, and was chosen because the band believed "it was important we captured London breathing". Luxemburg has explained that "in this picture you can see how intricately and optimistically public space in the city is shared".
Output: Final tweaks on what were completed in December 2006 in London?
Passage: With baseball's Pittsburgh Pirates in last place, their combative, foul-mouthed manager Guffy McGovern has plenty to complain about. All this changes when, while wandering through Forbes Field in search of his good luck charm one night, Guffy is accosted by the voice of an angel (voice of James Whitmore), who hints at having been a ballplayer during his earthly life.
As the spokes-angel for the Heavenly Choir Nine, a celestial team of deceased ballplayers, he begins bestowing "miracles" upon the Pirates—but only on the condition that McGovern put a moratorium on swearing and fighting.
With the help of the invisible ghosts of past baseball greats, the Pirates make it into the pennant race. During a game, 8-year-old orphan Bridget White insists that she can see the angels helping out the "live" ballplayers—understandably so, since it was Bridget's prayers to the Archangel Gabriel that prompted the angel to visit McGovern in the first place.
Local newspaper reporter and former "household hints" writer Jennifer Paige inadvertently transforms Bridget's angelic visions into a nationwide news story, causing McGovern no end of trouble. After Guffy is beaned during a game and himself confirms Bridget's claims, he falls into the hands of vengeful sportscaster Fred Bayles, who has been scheming to have McGovern thrown out of baseball and persuades the Commissioner of Baseball to investigate McGovern's fitness as a manager.
Complication piles upon complication until the pennant-deciding game, wherein Guffy is forced to rely exclusively upon the talents of his ballplayers—notably "over the hill" pitcher Saul Hellman (who, the angel has told Guffy, will be "signed up" by the Heavenly Choir team shortly). Guffy also wins over Jennifer, and they plan to adopt young Bridget.
Output: What is the first name of the angel that bestows "Miracles" on the Pirates?
Passage: With baseball's Pittsburgh Pirates in last place, their combative, foul-mouthed manager Guffy McGovern has plenty to complain about. All this changes when, while wandering through Forbes Field in search of his good luck charm one night, Guffy is accosted by the voice of an angel (voice of James Whitmore), who hints at having been a ballplayer during his earthly life.
As the spokes-angel for the Heavenly Choir Nine, a celestial team of deceased ballplayers, he begins bestowing "miracles" upon the Pirates—but only on the condition that McGovern put a moratorium on swearing and fighting.
With the help of the invisible ghosts of past baseball greats, the Pirates make it into the pennant race. During a game, 8-year-old orphan Bridget White insists that she can see the angels helping out the "live" ballplayers—understandably so, since it was Bridget's prayers to the Archangel Gabriel that prompted the angel to visit McGovern in the first place.
Local newspaper reporter and former "household hints" writer Jennifer Paige inadvertently transforms Bridget's angelic visions into a nationwide news story, causing McGovern no end of trouble. After Guffy is beaned during a game and himself confirms Bridget's claims, he falls into the hands of vengeful sportscaster Fred Bayles, who has been scheming to have McGovern thrown out of baseball and persuades the Commissioner of Baseball to investigate McGovern's fitness as a manager.
Complication piles upon complication until the pennant-deciding game, wherein Guffy is forced to rely exclusively upon the talents of his ballplayers—notably "over the hill" pitcher Saul Hellman (who, the angel has told Guffy, will be "signed up" by the Heavenly Choir team shortly). Guffy also wins over Jennifer, and they plan to adopt young Bridget.
Output: What is the first name of the person that confirms Bridget's claims?
Passage: With baseball's Pittsburgh Pirates in last place, their combative, foul-mouthed manager Guffy McGovern has plenty to complain about. All this changes when, while wandering through Forbes Field in search of his good luck charm one night, Guffy is accosted by the voice of an angel (voice of James Whitmore), who hints at having been a ballplayer during his earthly life.
As the spokes-angel for the Heavenly Choir Nine, a celestial team of deceased ballplayers, he begins bestowing "miracles" upon the Pirates—but only on the condition that McGovern put a moratorium on swearing and fighting.
With the help of the invisible ghosts of past baseball greats, the Pirates make it into the pennant race. During a game, 8-year-old orphan Bridget White insists that she can see the angels helping out the "live" ballplayers—understandably so, since it was Bridget's prayers to the Archangel Gabriel that prompted the angel to visit McGovern in the first place.
Local newspaper reporter and former "household hints" writer Jennifer Paige inadvertently transforms Bridget's angelic visions into a nationwide news story, causing McGovern no end of trouble. After Guffy is beaned during a game and himself confirms Bridget's claims, he falls into the hands of vengeful sportscaster Fred Bayles, who has been scheming to have McGovern thrown out of baseball and persuades the Commissioner of Baseball to investigate McGovern's fitness as a manager.
Complication piles upon complication until the pennant-deciding game, wherein Guffy is forced to rely exclusively upon the talents of his ballplayers—notably "over the hill" pitcher Saul Hellman (who, the angel has told Guffy, will be "signed up" by the Heavenly Choir team shortly). Guffy also wins over Jennifer, and they plan to adopt young Bridget.
Output: What is the first name of the person that falls into the hands of Fred Bayles?
Passage: With baseball's Pittsburgh Pirates in last place, their combative, foul-mouthed manager Guffy McGovern has plenty to complain about. All this changes when, while wandering through Forbes Field in search of his good luck charm one night, Guffy is accosted by the voice of an angel (voice of James Whitmore), who hints at having been a ballplayer during his earthly life.
As the spokes-angel for the Heavenly Choir Nine, a celestial team of deceased ballplayers, he begins bestowing "miracles" upon the Pirates—but only on the condition that McGovern put a moratorium on swearing and fighting.
With the help of the invisible ghosts of past baseball greats, the Pirates make it into the pennant race. During a game, 8-year-old orphan Bridget White insists that she can see the angels helping out the "live" ballplayers—understandably so, since it was Bridget's prayers to the Archangel Gabriel that prompted the angel to visit McGovern in the first place.
Local newspaper reporter and former "household hints" writer Jennifer Paige inadvertently transforms Bridget's angelic visions into a nationwide news story, causing McGovern no end of trouble. After Guffy is beaned during a game and himself confirms Bridget's claims, he falls into the hands of vengeful sportscaster Fred Bayles, who has been scheming to have McGovern thrown out of baseball and persuades the Commissioner of Baseball to investigate McGovern's fitness as a manager.
Complication piles upon complication until the pennant-deciding game, wherein Guffy is forced to rely exclusively upon the talents of his ballplayers—notably "over the hill" pitcher Saul Hellman (who, the angel has told Guffy, will be "signed up" by the Heavenly Choir team shortly). Guffy also wins over Jennifer, and they plan to adopt young Bridget.
Output: What are the first names of the people that plan to adopt Bridget?
Passage: The East India Company drove the expansion of the British Empire in Asia. The Company's army had first joined forces with the Royal Navy during the Seven Years' War, and the two continued to co-operate in arenas outside India: the eviction of the French from Egypt (1799), the capture of Java from the Netherlands (1811), the acquisition of Penang Island (1786), Singapore (1819) and Malacca (1824), and the defeat of Burma (1826).From its base in India, the Company had also been engaged in an increasingly profitable opium export trade to China since the 1730s. This trade, illegal since it was outlawed by the Qing dynasty in 1729, helped reverse the trade imbalances resulting from the British imports of tea, which saw large outflows of silver from Britain to China. In 1839, the confiscation by the Chinese authorities at Canton of 20,000 chests of opium led Britain to attack China in the First Opium War, and resulted in the seizure by Britain of Hong Kong Island, at that time a minor settlement.During the late 18th and early 19th centuries the British Crown began to assume an increasingly large role in the affairs of the Company. A series of Acts of Parliament were passed, including the Regulating Act of 1773, Pitt's India Act of 1784 and the Charter Act of 1813 which regulated the Company's affairs and established the sovereignty of the Crown over the territories that it had acquired. The Company's eventual end was precipitated by the Indian Rebellion in 1857, a conflict that had begun with the mutiny of sepoys, Indian troops under British officers and discipline. The rebellion took six months to suppress, with heavy loss of life on both sides. The following year the British government dissolved the Company and assumed direct control over India through the Government of India Act 1858, establishing the British Raj, where an appointed governor-general administered India and Queen Victoria was crowned the Empress of India. India became the empire's most valuable possession, "the Jewel in the Crown", and was the most important source of Britain's strength.A series of serious crop failures in the late 19th century led to widespread famines on the subcontinent in which it is estimated that over 15 million people died. The East India Company had failed to implement any coordinated policy to deal with the famines during its period of rule. Later, under direct British rule, commissions were set up after each famine to investigate the causes and implement new policies, which took until the early 1900s to have an effect.
Output: Who dissolved the East India Company?
Passage: The East India Company drove the expansion of the British Empire in Asia. The Company's army had first joined forces with the Royal Navy during the Seven Years' War, and the two continued to co-operate in arenas outside India: the eviction of the French from Egypt (1799), the capture of Java from the Netherlands (1811), the acquisition of Penang Island (1786), Singapore (1819) and Malacca (1824), and the defeat of Burma (1826).From its base in India, the Company had also been engaged in an increasingly profitable opium export trade to China since the 1730s. This trade, illegal since it was outlawed by the Qing dynasty in 1729, helped reverse the trade imbalances resulting from the British imports of tea, which saw large outflows of silver from Britain to China. In 1839, the confiscation by the Chinese authorities at Canton of 20,000 chests of opium led Britain to attack China in the First Opium War, and resulted in the seizure by Britain of Hong Kong Island, at that time a minor settlement.During the late 18th and early 19th centuries the British Crown began to assume an increasingly large role in the affairs of the Company. A series of Acts of Parliament were passed, including the Regulating Act of 1773, Pitt's India Act of 1784 and the Charter Act of 1813 which regulated the Company's affairs and established the sovereignty of the Crown over the territories that it had acquired. The Company's eventual end was precipitated by the Indian Rebellion in 1857, a conflict that had begun with the mutiny of sepoys, Indian troops under British officers and discipline. The rebellion took six months to suppress, with heavy loss of life on both sides. The following year the British government dissolved the Company and assumed direct control over India through the Government of India Act 1858, establishing the British Raj, where an appointed governor-general administered India and Queen Victoria was crowned the Empress of India. India became the empire's most valuable possession, "the Jewel in the Crown", and was the most important source of Britain's strength.A series of serious crop failures in the late 19th century led to widespread famines on the subcontinent in which it is estimated that over 15 million people died. The East India Company had failed to implement any coordinated policy to deal with the famines during its period of rule. Later, under direct British rule, commissions were set up after each famine to investigate the causes and implement new policies, which took until the early 1900s to have an effect.
Output: Who took over control of India in 1858?