niryuu/sni-each-converted huggingface dataset:
Passage: The story begins with the Japanese army's defeat of the China forces occupying Hong Kong on 25 December 1941. Nicholas is an eleven-year-old boy whose  parents have both suddenly disappeared in the chaos of war breaking out.  As the Japanese come to do a home to home search, three loyal family servants, Tang, his wife Ah Mee, and the gardener Ah Kwan take Nicholas and they escape to Kowloon as Hong Kong Island is no longer safe. Upon reaching the shore of Kowloon, Tang and Ah Mee disguise Nicholas as a Chinese boy and the trip continues to Tang's home village, the village of Sek Wan.
Nicholas passes the years of the war here with Tang and his family. He is given the Chinese name Wing Ming. During this time, many events happen. Nicholas makes a dangerous journey back to Kowloon to get quinine cure to the malaria Tang has contracted. He also helps the Communist partisan army – The East River Column Fighters-  to translate instructions for using heavy explosives. Nicholas joins the partisan army on a mission to Kowloon where they blow up a railway bridge and weaken the position of the Japanese army. Yet his most dangerous job would have been to deliver a medicine into the prison of war camps (POW camps). Taking news or items to prison camps is nicknamed "playing music on the bamboo radio". Nicholas does more than expected by entering the camp itself because the person who he was supposed to pass the medicine to had the fever. Exhausted and worried, Nicholas narrowly escapes the clutches of the Japanese with the help of the prisoners and finally reaches the safety of Sek Wan village.
Output: Who does Nicholas help with "playing music on the bamboo radio"?
Passage: At his country estate, Arthur Hilton is regaling his dinner guests of his exploits as a police officer decades earlier in Africa.  He keys in a case where he had to track down a gang of three men who were suspected of a series of murders.  He does stumble on them, but they actually end up capturing him.  Fortunately, he was able to talk his way out of that predicament, and later on tracked them down again and captured them.  One was hanged for his crimes, while the other two were sentenced to twenty years in prison.
Little does Hilton know that two of his dinner guests, Edward Laverick and Edward Carter, are the two men who he sent to prison.  They have vowed revenge, and prior to dinner, they exact it, killing Hilton.  However, they have planned it to look like a suicide on the part of the elderly aristocrat.  Initially, their plot seems successful, as the local constables who arrive to investigate the incident buy into the suicide scenario.
Hilton's nephew, Jimmy Hilton, and his girlfriend Mollie, who also happens to be the ward of the elder Hilton, become suspicious of the story told by the two men, and begin their own investigation. Their questioning leads them to arrive at the truth, and the two murderers are apprehended.
Output: Who captures Arthur?
Passage: At his country estate, Arthur Hilton is regaling his dinner guests of his exploits as a police officer decades earlier in Africa.  He keys in a case where he had to track down a gang of three men who were suspected of a series of murders.  He does stumble on them, but they actually end up capturing him.  Fortunately, he was able to talk his way out of that predicament, and later on tracked them down again and captured them.  One was hanged for his crimes, while the other two were sentenced to twenty years in prison.
Little does Hilton know that two of his dinner guests, Edward Laverick and Edward Carter, are the two men who he sent to prison.  They have vowed revenge, and prior to dinner, they exact it, killing Hilton.  However, they have planned it to look like a suicide on the part of the elderly aristocrat.  Initially, their plot seems successful, as the local constables who arrive to investigate the incident buy into the suicide scenario.
Hilton's nephew, Jimmy Hilton, and his girlfriend Mollie, who also happens to be the ward of the elder Hilton, become suspicious of the story told by the two men, and begin their own investigation. Their questioning leads them to arrive at the truth, and the two murderers are apprehended.
Output: Who plots to make murder look like a suicide?
Passage: At his country estate, Arthur Hilton is regaling his dinner guests of his exploits as a police officer decades earlier in Africa.  He keys in a case where he had to track down a gang of three men who were suspected of a series of murders.  He does stumble on them, but they actually end up capturing him.  Fortunately, he was able to talk his way out of that predicament, and later on tracked them down again and captured them.  One was hanged for his crimes, while the other two were sentenced to twenty years in prison.
Little does Hilton know that two of his dinner guests, Edward Laverick and Edward Carter, are the two men who he sent to prison.  They have vowed revenge, and prior to dinner, they exact it, killing Hilton.  However, they have planned it to look like a suicide on the part of the elderly aristocrat.  Initially, their plot seems successful, as the local constables who arrive to investigate the incident buy into the suicide scenario.
Hilton's nephew, Jimmy Hilton, and his girlfriend Mollie, who also happens to be the ward of the elder Hilton, become suspicious of the story told by the two men, and begin their own investigation. Their questioning leads them to arrive at the truth, and the two murderers are apprehended.
Output: Who are Edward Laverick and Edward Carter able to fool?
Passage: At his country estate, Arthur Hilton is regaling his dinner guests of his exploits as a police officer decades earlier in Africa.  He keys in a case where he had to track down a gang of three men who were suspected of a series of murders.  He does stumble on them, but they actually end up capturing him.  Fortunately, he was able to talk his way out of that predicament, and later on tracked them down again and captured them.  One was hanged for his crimes, while the other two were sentenced to twenty years in prison.
Little does Hilton know that two of his dinner guests, Edward Laverick and Edward Carter, are the two men who he sent to prison.  They have vowed revenge, and prior to dinner, they exact it, killing Hilton.  However, they have planned it to look like a suicide on the part of the elderly aristocrat.  Initially, their plot seems successful, as the local constables who arrive to investigate the incident buy into the suicide scenario.
Hilton's nephew, Jimmy Hilton, and his girlfriend Mollie, who also happens to be the ward of the elder Hilton, become suspicious of the story told by the two men, and begin their own investigation. Their questioning leads them to arrive at the truth, and the two murderers are apprehended.
Output: Who do not believe that Arthur died by suicide?
Passage: At his country estate, Arthur Hilton is regaling his dinner guests of his exploits as a police officer decades earlier in Africa.  He keys in a case where he had to track down a gang of three men who were suspected of a series of murders.  He does stumble on them, but they actually end up capturing him.  Fortunately, he was able to talk his way out of that predicament, and later on tracked them down again and captured them.  One was hanged for his crimes, while the other two were sentenced to twenty years in prison.
Little does Hilton know that two of his dinner guests, Edward Laverick and Edward Carter, are the two men who he sent to prison.  They have vowed revenge, and prior to dinner, they exact it, killing Hilton.  However, they have planned it to look like a suicide on the part of the elderly aristocrat.  Initially, their plot seems successful, as the local constables who arrive to investigate the incident buy into the suicide scenario.
Hilton's nephew, Jimmy Hilton, and his girlfriend Mollie, who also happens to be the ward of the elder Hilton, become suspicious of the story told by the two men, and begin their own investigation. Their questioning leads them to arrive at the truth, and the two murderers are apprehended.
Output: Who is arrested for murder?
Passage: On the last day of British rule in Hong Kong late 1997, Detective Inspector Lee of the Hong Kong Police Force leads a raid at a shipping bar wharf, hoping to arrest the mysterious crime lord Juntao. He finds only Sang, Juntao's right-hand man, who manages to escape. However, Lee successfully recovers numerous Chinese cultural treasures stolen by Juntao, which he presents as a farewell victory to his departing superiors: Chinese Consul Solon Han and British Commander Thomas Griffin.
Shortly after Han arrives in the United States to take up his new diplomatic post in Los Angeles, his daughter, Soo Yung, is kidnapped by Sang while on her way to her first day of school. The FBI informs Consul Han about the incident. Han calls in Lee to assist in the case. The FBI, afraid that the injury or death of Lee would result in negative attention internationally, decides to pawn him off on the LAPD just to keep him out of their way. The selfish, stubborn, and maverick Detective James Carter is tricked into doing this but Carter makes a plan to solve the case himself when he finds out that he has been given a boring task as punishment for botching a sting operation.
Carter meets Lee at Los Angeles International Airport and proceeds to take him on a sightseeing tour of LA, simultaneously keeping Lee away from the embassy and contacting several of his underworld informants about the kidnapping. Lee finally escapes and makes his way to the Chinese Consulate, where a nervous Han and a group of FBI agents are awaiting news about his daughter. While arguing with Agent-in-charge Warren Russ, Carter accidentally involves himself in a phone conversation with Sang, where he arranges a ransom drop of $50 million in a couple of hours.
Output: What is the last name and title of the person that finds Sang?
Passage: On the last day of British rule in Hong Kong late 1997, Detective Inspector Lee of the Hong Kong Police Force leads a raid at a shipping bar wharf, hoping to arrest the mysterious crime lord Juntao. He finds only Sang, Juntao's right-hand man, who manages to escape. However, Lee successfully recovers numerous Chinese cultural treasures stolen by Juntao, which he presents as a farewell victory to his departing superiors: Chinese Consul Solon Han and British Commander Thomas Griffin.
Shortly after Han arrives in the United States to take up his new diplomatic post in Los Angeles, his daughter, Soo Yung, is kidnapped by Sang while on her way to her first day of school. The FBI informs Consul Han about the incident. Han calls in Lee to assist in the case. The FBI, afraid that the injury or death of Lee would result in negative attention internationally, decides to pawn him off on the LAPD just to keep him out of their way. The selfish, stubborn, and maverick Detective James Carter is tricked into doing this but Carter makes a plan to solve the case himself when he finds out that he has been given a boring task as punishment for botching a sting operation.
Carter meets Lee at Los Angeles International Airport and proceeds to take him on a sightseeing tour of LA, simultaneously keeping Lee away from the embassy and contacting several of his underworld informants about the kidnapping. Lee finally escapes and makes his way to the Chinese Consulate, where a nervous Han and a group of FBI agents are awaiting news about his daughter. While arguing with Agent-in-charge Warren Russ, Carter accidentally involves himself in a phone conversation with Sang, where he arranges a ransom drop of $50 million in a couple of hours.
Output: What is the last name of the person who goes to Los Angeles for a diplomatic post?
Passage: One evening, a man claiming to be Carol's long-lost first husband, Roy Martin, shows up at the suburban Brady residence. The Bradys believe his story about suffering from amnesia and having plastic surgery after being injured. Mike has been planning a second wedding/renewal of vows for himself and Carol, for an anniversary present without her knowing, although Roy's arrival throws a monkey wrench into things. Throughout Roy's stay, he is openly hostile to them, his sarcasm and insults completely going over their heads. Peter, who is trying to decide what career path to choose, starts idolizing and emulating Roy, which frequently gets him in trouble at the architect firm where Mike works. 
Greg and Marcia both want to move out of their shared rooms and when neither wants to back down, they have to share the attic together. When Roy's arrival suggests that Carol and Mike might not be married, Greg and Marcia believe that they are technically not related. This leads them to realize they are in love with each other, but try to hide it from one another throughout the movie. Eventually both cave in and they share a kiss at the end of the movie, but Marcia agrees to let Greg have the attic to himself, until he goes to college.
Output: Who is the new husband of the woman that was married to Roy?
Passage: One evening, a man claiming to be Carol's long-lost first husband, Roy Martin, shows up at the suburban Brady residence. The Bradys believe his story about suffering from amnesia and having plastic surgery after being injured. Mike has been planning a second wedding/renewal of vows for himself and Carol, for an anniversary present without her knowing, although Roy's arrival throws a monkey wrench into things. Throughout Roy's stay, he is openly hostile to them, his sarcasm and insults completely going over their heads. Peter, who is trying to decide what career path to choose, starts idolizing and emulating Roy, which frequently gets him in trouble at the architect firm where Mike works. 
Greg and Marcia both want to move out of their shared rooms and when neither wants to back down, they have to share the attic together. When Roy's arrival suggests that Carol and Mike might not be married, Greg and Marcia believe that they are technically not related. This leads them to realize they are in love with each other, but try to hide it from one another throughout the movie. Eventually both cave in and they share a kiss at the end of the movie, but Marcia agrees to let Greg have the attic to himself, until he goes to college.
Output: Who are the parents of the person that emulates the man that is visiting?
Passage: On October 6, 1971, an American combat medic, Jacob Singer, is with the 1st Air Cavalry Division, deployed in a village in Vietnam's Mekong Delta, when his close-knit unit comes under sudden attack. As many of Jacob's comrades are killed or wounded, others exhibit abnormal behavior with some suffering catatonia, convulsions, and seizures. Jacob flees into the jungle, only to be bayoneted by an unseen assailant.
Jacob awakens in the New York City Subway, where an inexplicably locked subway station exit results in him almost being hit by a train. The year is 1975, he works as a postal clerk, and lives in a rundown apartment in Brooklyn with his girlfriend, Jezzie. Jacob misses his old family and experiences visions of them, especially the youngest of his sons, Gabe, who had died in an accident before the war. Jacob is increasingly beset by disturbing experiences and apparitions, including glimpses of faceless vibrating figures, and narrowly escapes being run over by a pursuing car. At a party thrown by friends, he appears to witness an enormous creature penetrating Jezzie before he collapses with a dangerous fever, briefly waking up in another reality where he lives with his wife and Gabe. First-person perspective scenes of apparent flashbacks to his time in Vietnam show Jacob, badly wounded, being discovered by American soldiers before being evacuated under fire in a helicopter.
Output: What is the first name of the person who collapsed with a fever?
Passage: Peter Hall directed the Bayreuth Ring after Chéreau. His version, staged 1983–86, portrayed the natural innocence of the Rhinemaidens in the simplest of ways; they were naked. Keith Warner adapted this feature in his Ring production for the Royal Opera House Covent Garden, first staged 2004–06. A Covent Garden spokesman explained "The maidens are children of innocence, a vision of nature – and as soon as someone appears they hastily throw on some clothes to protect their modesty." While Warner relies on lighting to achieve an underwater effect, Hall used a Pepper's ghost illusion: mirrors at a 45° angle made the Rhinemaidens appear to swim vertically when the performers were in fact swimming horizontally in a shallow basin.Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was Lilli Lehmann at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by Elisabeth Schwarzkopf. Other Bayreuth Rhinemaidens include  Helga Dernesch who sang Wellgunde there between 1965 and 1967. Lotte Lehmann  played Wellgunde at the Hamburg State Opera between 1912 and 1914 and the Vienna State Opera in 1916.   Recorded Rhinemaidens have included Sena Jurinac for Furtwängler and RAI, Lucia Popp and Gwyneth Jones for Georg Solti, and Helen Donath and Edda Moser for Karajan.
Output: What is the first name of the person who used a Pepper's ghost illusion?
Passage: Peter Hall directed the Bayreuth Ring after Chéreau. His version, staged 1983–86, portrayed the natural innocence of the Rhinemaidens in the simplest of ways; they were naked. Keith Warner adapted this feature in his Ring production for the Royal Opera House Covent Garden, first staged 2004–06. A Covent Garden spokesman explained "The maidens are children of innocence, a vision of nature – and as soon as someone appears they hastily throw on some clothes to protect their modesty." While Warner relies on lighting to achieve an underwater effect, Hall used a Pepper's ghost illusion: mirrors at a 45° angle made the Rhinemaidens appear to swim vertically when the performers were in fact swimming horizontally in a shallow basin.Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was Lilli Lehmann at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by Elisabeth Schwarzkopf. Other Bayreuth Rhinemaidens include  Helga Dernesch who sang Wellgunde there between 1965 and 1967. Lotte Lehmann  played Wellgunde at the Hamburg State Opera between 1912 and 1914 and the Vienna State Opera in 1916.   Recorded Rhinemaidens have included Sena Jurinac for Furtwängler and RAI, Lucia Popp and Gwyneth Jones for Georg Solti, and Helen Donath and Edda Moser for Karajan.
Output: What is the first name of the person who portrayed the natural innocence of the Rhinemaidens in the simplest of ways in his version of Bayreuth Ring?
Passage: Peter Hall directed the Bayreuth Ring after Chéreau. His version, staged 1983–86, portrayed the natural innocence of the Rhinemaidens in the simplest of ways; they were naked. Keith Warner adapted this feature in his Ring production for the Royal Opera House Covent Garden, first staged 2004–06. A Covent Garden spokesman explained "The maidens are children of innocence, a vision of nature – and as soon as someone appears they hastily throw on some clothes to protect their modesty." While Warner relies on lighting to achieve an underwater effect, Hall used a Pepper's ghost illusion: mirrors at a 45° angle made the Rhinemaidens appear to swim vertically when the performers were in fact swimming horizontally in a shallow basin.Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was Lilli Lehmann at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by Elisabeth Schwarzkopf. Other Bayreuth Rhinemaidens include  Helga Dernesch who sang Wellgunde there between 1965 and 1967. Lotte Lehmann  played Wellgunde at the Hamburg State Opera between 1912 and 1914 and the Vienna State Opera in 1916.   Recorded Rhinemaidens have included Sena Jurinac for Furtwängler and RAI, Lucia Popp and Gwyneth Jones for Georg Solti, and Helen Donath and Edda Moser for Karajan.
Output: What is the first name of the person who relies on lighting to achieve an underwater effect?
Passage: Peter Hall directed the Bayreuth Ring after Chéreau. His version, staged 1983–86, portrayed the natural innocence of the Rhinemaidens in the simplest of ways; they were naked. Keith Warner adapted this feature in his Ring production for the Royal Opera House Covent Garden, first staged 2004–06. A Covent Garden spokesman explained "The maidens are children of innocence, a vision of nature – and as soon as someone appears they hastily throw on some clothes to protect their modesty." While Warner relies on lighting to achieve an underwater effect, Hall used a Pepper's ghost illusion: mirrors at a 45° angle made the Rhinemaidens appear to swim vertically when the performers were in fact swimming horizontally in a shallow basin.Although the roles of the Rhinemaidens are relatively small, they have been sung by notable singers better known for performing major roles in Wagnerian and other repertoire. The first person to sing the part of Woglinde in full was Lilli Lehmann at Bayreuth in 1876. In 1951, when the Bayreuth Festival re-opened after the Second World War, the same part was taken by Elisabeth Schwarzkopf. Other Bayreuth Rhinemaidens include  Helga Dernesch who sang Wellgunde there between 1965 and 1967. Lotte Lehmann  played Wellgunde at the Hamburg State Opera between 1912 and 1914 and the Vienna State Opera in 1916.   Recorded Rhinemaidens have included Sena Jurinac for Furtwängler and RAI, Lucia Popp and Gwyneth Jones for Georg Solti, and Helen Donath and Edda Moser for Karajan.
Output: What is the first name of the person whose feature was adapted in Warner's Ring production?
Passage: Libby's first detector was a Geiger counter of his own design. He converted the carbon in his sample to lamp black (soot) and coated the inner surface of a cylinder with it.  This cylinder was inserted into the counter in such a way that the counting wire was inside the sample cylinder, in order that there should be no material between the sample and the wire. Any interposing material would have interfered with the detection of radioactivity, since the beta particles emitted by decaying 14C are so weak that half are stopped by a 0.01 mm thickness of aluminium.Libby's method was soon superseded by gas proportional counters, which were less affected by bomb carbon (the additional 14C created by nuclear weapons testing). These counters record bursts of ionization caused by the beta particles emitted by the decaying 14C atoms; the bursts are proportional to the energy of the particle, so other sources of ionization, such as background radiation, can be identified and ignored. The counters are surrounded by lead or steel shielding, to eliminate background radiation and to reduce the incidence of cosmic rays. In addition, anticoincidence detectors are used; these record events outside the counter, and any event recorded simultaneously both inside and outside the counter is regarded as an extraneous event and ignored.The other common technology used for measuring 14C activity is liquid scintillation counting, which was invented in 1950, but which had to wait until the early 1960s, when efficient methods of benzene synthesis were developed, to become competitive with gas counting; after 1970 liquid counters became the more common technology choice for newly constructed dating laboratories. The counters work by detecting flashes of light caused by the beta particles emitted by 14C as they interact with a fluorescing agent added to the benzene. Like gas counters, liquid scintillation counters require shielding and anticoincidence counters.For both the gas proportional counter and liquid scintillation counter, what is measured is the number of beta particles detected in a given time period. Since the mass of the sample is known, this can be converted to a standard measure of activity in units of either counts per minute per gram of carbon (cpm/g C), or becquerels per kg (Bq/kg C, in SI units). Each measuring device is also used to measure the activity of a blank sample – a sample prepared from carbon old enough to have no activity. This provides a value for the background radiation, which must be subtracted from the measured activity of the sample being dated to get the activity attributable solely to that sample's 14C. In addition, a sample with a standard activity is measured, to provide a baseline for comparison.
Output: What year was the technology that detects flashes of light caused by the beta particles emitted by 14C invented?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Who is assigned as a sentry?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Whose daydreaming leads to the near-death of their uncle?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Who is taught about "Hakuna Matata"?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Who is advised to "look beyond what you see"?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Who quickly forms a bond with each other?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Who arrives at PRide Rock during the presentation of Simba to the Pride Land's animals?
Passage: Timon and Pumbaa watch the original film in a theater, Timon decides to fast-forward to his scenes. Pumbaa's protest over this eventually prompts Timon to share his backstory (going way back, to before the beginning of the first movie).
Timon is a social outcast in his meerkat colony on the outskirts of the Pride Lands due to frequently messing things up by accident. Though he is unconditionally supported by his mother Ma, Timon dreams for more in life than his colony's bleak existence hiding from predators. One day, he is assigned as a sentry, but his daydreaming nearly leads to the near-death of his Uncle Max by hyenas Shenzi, Banzai and Ed. This becomes the last straw for the colony, prompting Timon to leave to find a better life. He meets Rafiki, who teaches him about "Hakuna Matata" and advises him to "look beyond what you see". Timon takes the advice literally and observes Pride Rock in the distance. Believing Pride Rock to be his paradise home, Timon ventures there and encounters Pumbaa on his way. The two quickly form a bond and Pumbaa accompanies Timon.
The pair arrive at Pride Rock during the presentation of Simba to the Pride Lands' animals. As they make their way through the crowd of onlookers, Pumbaa explosively passes gas, causing nearby animals to faint but prompting animals further away to bow to Simba. Following this, Timon and Pumbaa make multiple attempts to set up homes throughout the Pride Lands, but wind up being forced away every time after witnessing several events from the original film, such as Simba singing "I Just Can't Wait to Be King", Mufasa's fight with the Hyenas, and Scar's conspiring with the hyenas. Eventually, the pair are caught in the wildebeest stampede that killed Mufasa in the original film, and are thrown off a waterfall. Exhausted, Timon decides to give up, until Pumbaa discovers a luxurious green jungle. The pair finally settle there with the philosophy of "Hakuna Matata".
Output: Who makes their way through the crowd of onlookers?
Passage: Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Béla Bartók, Ernest Bloch, and Eugène Ysaÿe, along with lesser-known composers such as David Diamond and Hamilton Harty.
The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music.
Szigeti was also the dedicatee of the first of Eugène Ysaÿe's Six Sonatas for Solo Violin; in fact, Ysaÿe's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Béla Bartók. The first piece Bartók dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltán Székely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartók: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartók had both fled to the United States to escape the war in Europe, Bartók's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would never sell to an American audience. Szigeti came to his friend's aid by securing donations from the American Society of Composers and Publishers to pay for Bartók's medical treatment, and then, together with conductor and compatriot Fritz Reiner, persuaded Serge Koussevitzky to commission from Bartók what eventually became his much-beloved Concerto for Orchestra. The work's success brought Bartók some measure of financial security and provided him with a much-needed emotional boost.
Output: What is the name of the person for whom many composers, along with lesser-known composers such as David Diamond and Hamilton Harty, wrote new works?
Passage: Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Béla Bartók, Ernest Bloch, and Eugène Ysaÿe, along with lesser-known composers such as David Diamond and Hamilton Harty.
The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music.
Szigeti was also the dedicatee of the first of Eugène Ysaÿe's Six Sonatas for Solo Violin; in fact, Ysaÿe's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Béla Bartók. The first piece Bartók dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltán Székely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartók: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartók had both fled to the United States to escape the war in Europe, Bartók's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would never sell to an American audience. Szigeti came to his friend's aid by securing donations from the American Society of Composers and Publishers to pay for Bartók's medical treatment, and then, together with conductor and compatriot Fritz Reiner, persuaded Serge Koussevitzky to commission from Bartók what eventually became his much-beloved Concerto for Orchestra. The work's success brought Bartók some measure of financial security and provided him with a much-needed emotional boost.
Output: What is the name of the person to whom Bartok dedicated the First Rhapsody for violin and orchestra (or piano) of 1928?
Passage: Szigeti was an avid champion of new music, and frequently planned his recitals to include new or little-known works alongside the classics. Many composers wrote new works for him, notably Béla Bartók, Ernest Bloch, and Eugène Ysaÿe, along with lesser-known composers such as David Diamond and Hamilton Harty.
The reason for Szigeti's appeal to composers was articulated by Bloch upon completion of his Violin Concerto: the concerto's premiere would have to be delayed a full year for Szigeti to be the soloist, and Bloch agreed, saying that Modern composers realize that when Szigeti plays their music, their inmost fancy, their slightest intentions become fully realized, and their music is not exploited for the glorification of the artist and his technique, but that artist and technique become the humble servant of the music.
Szigeti was also the dedicatee of the first of Eugène Ysaÿe's Six Sonatas for Solo Violin; in fact, Ysaÿe's inspiration to compose the sonatas came from hearing Szigeti's performances of J.S. Bach's Six Sonatas and Partitas, to which they are intended as a modern counterpart.Perhaps Szigeti's most fruitful musical partnership was with his friend Béla Bartók. The first piece Bartók dedicated to him was the First Rhapsody for violin and orchestra (or piano) of 1928; the rhapsody, based on both Romanian and Hungarian folk tunes, was one of a pair of violin rhapsodies written in 1928 (the other being dedicated to Zoltán Székely.) In 1938, Szigeti and clarinetist Benny Goodman teamed up to commission a trio from Bartók: originally intended to be a short work just long enough to fill both sides of a 78 rpm record, the piece soon expanded beyond its modest intent and became the three-movement Contrasts for piano, violin and clarinet. In 1944, by which time Szigeti and Bartók had both fled to the United States to escape the war in Europe, Bartók's health was failing and he had sunk into depression. He was in dire need of money, but felt no inspiration to compose and was convinced that his works would never sell to an American audience. Szigeti came to his friend's aid by securing donations from the American Society of Composers and Publishers to pay for Bartók's medical treatment, and then, together with conductor and compatriot Fritz Reiner, persuaded Serge Koussevitzky to commission from Bartók what eventually became his much-beloved Concerto for Orchestra. The work's success brought Bartók some measure of financial security and provided him with a much-needed emotional boost.
Output: What is the name of the work that is intended as a modern counterpart to J.S. Bach's Six Sonatas and Partitas?