niryuu/sni-each-converted huggingface dataset:
Passage: In Springberry, Alabama, 1946, young Dewey Cox accidentally cuts his brother Nate in half with a machete. The trauma causes Dewey to lose his sense of smell. Dewey meets a blues guitarist, who discovers Dewey is a natural musician.
In 1953, after a successful talent show performance, 14-year-old Dewey leaves Springberry with his 12-year-old girlfriend Edith; they soon marry and have a baby. Working at an all-African American nightclub, Dewey replaces singer Bobby Shad onstage and impresses Hasidic Jewish record executive L'Chaim.
While recording a rockabilly rendition of "That's Amore," Dewey is berated by an executive. A desperate Dewey performs "Walk Hard," a song inspired by a speech he gave Edith, which restores the executive's belief in Judaism and rockets Dewey to superstardom.
The song becomes a hit within 35 minutes, and Dewey becomes caught up in the rock-and-roll lifestyle. Dewey is introduced to marijuana by his drummer Sam, and becomes unfaithful to Edith. Dewey's father informs him that his mother has died while dancing to Dewey's song, and blames Dewey's music for her death. Distraught, Dewey finds Sam using cocaine and partakes, resulting in a cocaine-fueled punk rock performance. Choirgirl Darlene Madison enters Dewey's life, and he produces several hit records amid their courtship laden with sexual tension. He weds Darlene while still married to Edith, which leads to both women leaving him, and purchases drugs from an undercover cop. After he serves time in prison and in rehab, Darlene returns.
Output: What are the full names of the characters who have a relationship with a considerable amount of sexual tension?
Passage: Roosevelt regarded this offer of a joint project as sufficiently important to have the letter personally delivered by Frederick L. Hovde, the head of the NDRC mission in London, but Churchill did not respond until December. He assured Roosevelt of his willingness to collaborate, and informed him that Hovde had discussed the matter with Sir John Anderson and Lord Cherwell, as Frederick Lindemann was now known. The MAUD Committee had considered the issue of collaboration with the United States, and had concluded that while pilot isotope separation plants could be established in the United Kingdom, full-scale production facilities would have to be built in the United States. The British expressed concerns about the security of the American project. Ironically, it was the British project that had already been penetrated by atomic spies. John Cairncross had given the Soviet Union a copy of the MAUD Committee report. Although not conveyed to the Americans, the British had other concerns about what might happen after the war if the Americans embraced isolationism, as had occurred after the First World War, and Britain had to fight the Soviet Union alone. The opportunity for a joint project was therefore missed. British and American exchange of information continued but their programmes remained separate.
The Tube Alloys Directorate considered whether Britain could produce a bomb without American help. A gaseous diffusion plant to produce 1 kg of weapons-grade uranium per day was estimated to cost up to £3 million in research and development, and anything up to £50 million to build in wartime Britain. A nuclear reactor to produce 1 kg of plutonium per day would have to be built in Canada. It would take up to five years to build and cost £5 million. The project would also require facilities for producing the required heavy water for the reactor costing between £5 million and £10 million, and for producing uranium metal, which would cost another £1.5 million. The project would need overwhelming priority, as it was estimated to require 20,000 workers, many of them highly skilled, 500,000 tons of steel, and 500,000 kW of electricity. Disruption to other wartime projects would be inevitable, and it was unlikely to be ready in time to affect the outcome of the war in Europe. The unanimous response was that before embarking on this, another effort should be made to obtain American co-operation.By March 1943 Bush and Conant had decided that British help would benefit some areas of the Manhattan Project. In particular, it could benefit enough from assistance from Chadwick and one or two other British scientists to warrant the risk of revealing weapon design secrets. Bush, Conant and Groves wanted Chadwick and Peierls to discuss bomb design with Robert Oppenheimer, and the construction company Kellogg wanted British comments on the design of the gaseous diffusion plant it was building.
Output: What is the name of the person that Churchill did not respond to until December?
Passage: Roosevelt regarded this offer of a joint project as sufficiently important to have the letter personally delivered by Frederick L. Hovde, the head of the NDRC mission in London, but Churchill did not respond until December. He assured Roosevelt of his willingness to collaborate, and informed him that Hovde had discussed the matter with Sir John Anderson and Lord Cherwell, as Frederick Lindemann was now known. The MAUD Committee had considered the issue of collaboration with the United States, and had concluded that while pilot isotope separation plants could be established in the United Kingdom, full-scale production facilities would have to be built in the United States. The British expressed concerns about the security of the American project. Ironically, it was the British project that had already been penetrated by atomic spies. John Cairncross had given the Soviet Union a copy of the MAUD Committee report. Although not conveyed to the Americans, the British had other concerns about what might happen after the war if the Americans embraced isolationism, as had occurred after the First World War, and Britain had to fight the Soviet Union alone. The opportunity for a joint project was therefore missed. British and American exchange of information continued but their programmes remained separate.
The Tube Alloys Directorate considered whether Britain could produce a bomb without American help. A gaseous diffusion plant to produce 1 kg of weapons-grade uranium per day was estimated to cost up to £3 million in research and development, and anything up to £50 million to build in wartime Britain. A nuclear reactor to produce 1 kg of plutonium per day would have to be built in Canada. It would take up to five years to build and cost £5 million. The project would also require facilities for producing the required heavy water for the reactor costing between £5 million and £10 million, and for producing uranium metal, which would cost another £1.5 million. The project would need overwhelming priority, as it was estimated to require 20,000 workers, many of them highly skilled, 500,000 tons of steel, and 500,000 kW of electricity. Disruption to other wartime projects would be inevitable, and it was unlikely to be ready in time to affect the outcome of the war in Europe. The unanimous response was that before embarking on this, another effort should be made to obtain American co-operation.By March 1943 Bush and Conant had decided that British help would benefit some areas of the Manhattan Project. In particular, it could benefit enough from assistance from Chadwick and one or two other British scientists to warrant the risk of revealing weapon design secrets. Bush, Conant and Groves wanted Chadwick and Peierls to discuss bomb design with Robert Oppenheimer, and the construction company Kellogg wanted British comments on the design of the gaseous diffusion plant it was building.
Output: What is the name of the person that informed Roosevelt that Frederick Lindemann was now known?
Passage: Roosevelt regarded this offer of a joint project as sufficiently important to have the letter personally delivered by Frederick L. Hovde, the head of the NDRC mission in London, but Churchill did not respond until December. He assured Roosevelt of his willingness to collaborate, and informed him that Hovde had discussed the matter with Sir John Anderson and Lord Cherwell, as Frederick Lindemann was now known. The MAUD Committee had considered the issue of collaboration with the United States, and had concluded that while pilot isotope separation plants could be established in the United Kingdom, full-scale production facilities would have to be built in the United States. The British expressed concerns about the security of the American project. Ironically, it was the British project that had already been penetrated by atomic spies. John Cairncross had given the Soviet Union a copy of the MAUD Committee report. Although not conveyed to the Americans, the British had other concerns about what might happen after the war if the Americans embraced isolationism, as had occurred after the First World War, and Britain had to fight the Soviet Union alone. The opportunity for a joint project was therefore missed. British and American exchange of information continued but their programmes remained separate.
The Tube Alloys Directorate considered whether Britain could produce a bomb without American help. A gaseous diffusion plant to produce 1 kg of weapons-grade uranium per day was estimated to cost up to £3 million in research and development, and anything up to £50 million to build in wartime Britain. A nuclear reactor to produce 1 kg of plutonium per day would have to be built in Canada. It would take up to five years to build and cost £5 million. The project would also require facilities for producing the required heavy water for the reactor costing between £5 million and £10 million, and for producing uranium metal, which would cost another £1.5 million. The project would need overwhelming priority, as it was estimated to require 20,000 workers, many of them highly skilled, 500,000 tons of steel, and 500,000 kW of electricity. Disruption to other wartime projects would be inevitable, and it was unlikely to be ready in time to affect the outcome of the war in Europe. The unanimous response was that before embarking on this, another effort should be made to obtain American co-operation.By March 1943 Bush and Conant had decided that British help would benefit some areas of the Manhattan Project. In particular, it could benefit enough from assistance from Chadwick and one or two other British scientists to warrant the risk of revealing weapon design secrets. Bush, Conant and Groves wanted Chadwick and Peierls to discuss bomb design with Robert Oppenheimer, and the construction company Kellogg wanted British comments on the design of the gaseous diffusion plant it was building.
Output: In what country did Canada determine they would have to build a plant to produce 1 kg of uranium per day?
Passage: The story focuses on the Turtles in the days leading up to and following the success of their single "Happy Together". Howard Kaylan and Mark Volman receive their draft cards and Frank Zappa tells them to seek advice from Herb Cohen, Zappa's manager and Kaylan's cousin, to avoid being drafted in the Vietnam War. Cohen advises Kaylan to show up to the draft board intoxicated from drug use, not to bathe or sleep, and to behave so obnoxiously that the Army will not draft him, leading Kaylan and Volman to engage in a sleepless night of marijuana smoking before their draft review, which they fail due to being high while taking the tests, and Kaylan pretending to be homosexual in front of the physician and expressing psychotic views to the psychiatrist.
Because they avoid the draft, the Turtles fly to England where Graham Nash and Donovan play them an advance reel to reel recording of the unreleased Beatles album Sgt. Pepper's Lonely Hearts Club Band, which the Turtles declare to be the greatest album they ever heard. At a nearby pub, the Turtles have a disastrous meeting with the Beatles, in which Turtles guitarist Jim Tucker is verbally abused by John Lennon, leading the Turtles to leave the bar as Kaylan stays behind and Brian Jones, the founder of the Rolling Stones, introduces Kaylan to Jimi Hendrix, who Kaylan ends up having dinner and a conversation with, while the two drink much alcohol and smoke marijuana, with the evening ultimately ending with Kaylan vomiting on Hendrix' suit.
Kaylan ultimately purchases copies of Sgt. Pepper and the Jimi Hendrix Experience's debut, Are You Experienced? and Tucker quits the Turtles and the music industry, never getting over his treatment by John Lennon, although the postscript states that Tucker remains a fan of the Beatles' music.
Output: What is the name of the man that tells the people who receive draft cards who they should get advice from?
Passage: The story focuses on the Turtles in the days leading up to and following the success of their single "Happy Together". Howard Kaylan and Mark Volman receive their draft cards and Frank Zappa tells them to seek advice from Herb Cohen, Zappa's manager and Kaylan's cousin, to avoid being drafted in the Vietnam War. Cohen advises Kaylan to show up to the draft board intoxicated from drug use, not to bathe or sleep, and to behave so obnoxiously that the Army will not draft him, leading Kaylan and Volman to engage in a sleepless night of marijuana smoking before their draft review, which they fail due to being high while taking the tests, and Kaylan pretending to be homosexual in front of the physician and expressing psychotic views to the psychiatrist.
Because they avoid the draft, the Turtles fly to England where Graham Nash and Donovan play them an advance reel to reel recording of the unreleased Beatles album Sgt. Pepper's Lonely Hearts Club Band, which the Turtles declare to be the greatest album they ever heard. At a nearby pub, the Turtles have a disastrous meeting with the Beatles, in which Turtles guitarist Jim Tucker is verbally abused by John Lennon, leading the Turtles to leave the bar as Kaylan stays behind and Brian Jones, the founder of the Rolling Stones, introduces Kaylan to Jimi Hendrix, who Kaylan ends up having dinner and a conversation with, while the two drink much alcohol and smoke marijuana, with the evening ultimately ending with Kaylan vomiting on Hendrix' suit.
Kaylan ultimately purchases copies of Sgt. Pepper and the Jimi Hendrix Experience's debut, Are You Experienced? and Tucker quits the Turtles and the music industry, never getting over his treatment by John Lennon, although the postscript states that Tucker remains a fan of the Beatles' music.
Output: What is the last name of the cousin of the person that provides advice on how to avoid being drafted?
Passage: The story focuses on the Turtles in the days leading up to and following the success of their single "Happy Together". Howard Kaylan and Mark Volman receive their draft cards and Frank Zappa tells them to seek advice from Herb Cohen, Zappa's manager and Kaylan's cousin, to avoid being drafted in the Vietnam War. Cohen advises Kaylan to show up to the draft board intoxicated from drug use, not to bathe or sleep, and to behave so obnoxiously that the Army will not draft him, leading Kaylan and Volman to engage in a sleepless night of marijuana smoking before their draft review, which they fail due to being high while taking the tests, and Kaylan pretending to be homosexual in front of the physician and expressing psychotic views to the psychiatrist.
Because they avoid the draft, the Turtles fly to England where Graham Nash and Donovan play them an advance reel to reel recording of the unreleased Beatles album Sgt. Pepper's Lonely Hearts Club Band, which the Turtles declare to be the greatest album they ever heard. At a nearby pub, the Turtles have a disastrous meeting with the Beatles, in which Turtles guitarist Jim Tucker is verbally abused by John Lennon, leading the Turtles to leave the bar as Kaylan stays behind and Brian Jones, the founder of the Rolling Stones, introduces Kaylan to Jimi Hendrix, who Kaylan ends up having dinner and a conversation with, while the two drink much alcohol and smoke marijuana, with the evening ultimately ending with Kaylan vomiting on Hendrix' suit.
Kaylan ultimately purchases copies of Sgt. Pepper and the Jimi Hendrix Experience's debut, Are You Experienced? and Tucker quits the Turtles and the music industry, never getting over his treatment by John Lennon, although the postscript states that Tucker remains a fan of the Beatles' music.
Output: What is the first name of the man that pretends to be homosexual to avoid being drafted?
Passage: The story focuses on the Turtles in the days leading up to and following the success of their single "Happy Together". Howard Kaylan and Mark Volman receive their draft cards and Frank Zappa tells them to seek advice from Herb Cohen, Zappa's manager and Kaylan's cousin, to avoid being drafted in the Vietnam War. Cohen advises Kaylan to show up to the draft board intoxicated from drug use, not to bathe or sleep, and to behave so obnoxiously that the Army will not draft him, leading Kaylan and Volman to engage in a sleepless night of marijuana smoking before their draft review, which they fail due to being high while taking the tests, and Kaylan pretending to be homosexual in front of the physician and expressing psychotic views to the psychiatrist.
Because they avoid the draft, the Turtles fly to England where Graham Nash and Donovan play them an advance reel to reel recording of the unreleased Beatles album Sgt. Pepper's Lonely Hearts Club Band, which the Turtles declare to be the greatest album they ever heard. At a nearby pub, the Turtles have a disastrous meeting with the Beatles, in which Turtles guitarist Jim Tucker is verbally abused by John Lennon, leading the Turtles to leave the bar as Kaylan stays behind and Brian Jones, the founder of the Rolling Stones, introduces Kaylan to Jimi Hendrix, who Kaylan ends up having dinner and a conversation with, while the two drink much alcohol and smoke marijuana, with the evening ultimately ending with Kaylan vomiting on Hendrix' suit.
Kaylan ultimately purchases copies of Sgt. Pepper and the Jimi Hendrix Experience's debut, Are You Experienced? and Tucker quits the Turtles and the music industry, never getting over his treatment by John Lennon, although the postscript states that Tucker remains a fan of the Beatles' music.
Output: What is the full name of the Rolling Stones founder that introduces Kaylan to Jimi Hendrix?
Passage: The story focuses on the Turtles in the days leading up to and following the success of their single "Happy Together". Howard Kaylan and Mark Volman receive their draft cards and Frank Zappa tells them to seek advice from Herb Cohen, Zappa's manager and Kaylan's cousin, to avoid being drafted in the Vietnam War. Cohen advises Kaylan to show up to the draft board intoxicated from drug use, not to bathe or sleep, and to behave so obnoxiously that the Army will not draft him, leading Kaylan and Volman to engage in a sleepless night of marijuana smoking before their draft review, which they fail due to being high while taking the tests, and Kaylan pretending to be homosexual in front of the physician and expressing psychotic views to the psychiatrist.
Because they avoid the draft, the Turtles fly to England where Graham Nash and Donovan play them an advance reel to reel recording of the unreleased Beatles album Sgt. Pepper's Lonely Hearts Club Band, which the Turtles declare to be the greatest album they ever heard. At a nearby pub, the Turtles have a disastrous meeting with the Beatles, in which Turtles guitarist Jim Tucker is verbally abused by John Lennon, leading the Turtles to leave the bar as Kaylan stays behind and Brian Jones, the founder of the Rolling Stones, introduces Kaylan to Jimi Hendrix, who Kaylan ends up having dinner and a conversation with, while the two drink much alcohol and smoke marijuana, with the evening ultimately ending with Kaylan vomiting on Hendrix' suit.
Kaylan ultimately purchases copies of Sgt. Pepper and the Jimi Hendrix Experience's debut, Are You Experienced? and Tucker quits the Turtles and the music industry, never getting over his treatment by John Lennon, although the postscript states that Tucker remains a fan of the Beatles' music.
Output: What is the full name of the person that causes the guitarist of the Turtles to quit the music industry?
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus.
Output: What types of music is Déjà Vu influenced by?
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus.
Output: What was the full name of the person that compared Déjà Vu to Off the Wall??
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus.
Output: What is the name of the song that is hook-laden like Déjà Vu?
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus.
Output: What does Beyoncé introduce by name as the song opens?
Passage: Before the outbreak of the  Second World War  in September 1939, Tippett released two further works: the Piano Sonata No. 1, first performed by Phyllis Sellick at the Queen Mary Hall, London, on 11 November 1938, and  the Concerto for Double String Orchestra, which was not performed until 1940. In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis. When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist. He was saved from despair when, at Ayerst's suggestion, he undertook a course of Jungian analysis with the psychotherapist John Layard. Through an extended course of therapy, Layard provided Tippett with the means to analyse and interpret his dreams. Tippett's biographer Ian Kemp describes this experience as "the major turning point in [his] life", both emotionally and artistically. His particular discovery from dream analysis was "the Jungian 'shadow' and 'light' in the single, individual psyche ... the need for the individual to accept his divided nature and profit from its conflicting demands". This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships. While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together. After his psychotherapy  he enjoyed several committed—and sometimes overlapping—same-sex relationships. Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941.
Output: Which is the name of the person that was in doubt and confusion about their homosexuality?
Passage: Before the outbreak of the  Second World War  in September 1939, Tippett released two further works: the Piano Sonata No. 1, first performed by Phyllis Sellick at the Queen Mary Hall, London, on 11 November 1938, and  the Concerto for Double String Orchestra, which was not performed until 1940. In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis. When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist. He was saved from despair when, at Ayerst's suggestion, he undertook a course of Jungian analysis with the psychotherapist John Layard. Through an extended course of therapy, Layard provided Tippett with the means to analyse and interpret his dreams. Tippett's biographer Ian Kemp describes this experience as "the major turning point in [his] life", both emotionally and artistically. His particular discovery from dream analysis was "the Jungian 'shadow' and 'light' in the single, individual psyche ... the need for the individual to accept his divided nature and profit from its conflicting demands". This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships. While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together. After his psychotherapy  he enjoyed several committed—and sometimes overlapping—same-sex relationships. Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941.
Output: What is the name of the person that was in doubt and confusion in their worth of an artist?
Passage: Before the outbreak of the  Second World War  in September 1939, Tippett released two further works: the Piano Sonata No. 1, first performed by Phyllis Sellick at the Queen Mary Hall, London, on 11 November 1938, and  the Concerto for Double String Orchestra, which was not performed until 1940. In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis. When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist. He was saved from despair when, at Ayerst's suggestion, he undertook a course of Jungian analysis with the psychotherapist John Layard. Through an extended course of therapy, Layard provided Tippett with the means to analyse and interpret his dreams. Tippett's biographer Ian Kemp describes this experience as "the major turning point in [his] life", both emotionally and artistically. His particular discovery from dream analysis was "the Jungian 'shadow' and 'light' in the single, individual psyche ... the need for the individual to accept his divided nature and profit from its conflicting demands". This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships. While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together. After his psychotherapy  he enjoyed several committed—and sometimes overlapping—same-sex relationships. Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941.
Output: What is the name of the person that had their relationship with Franks end in 1938?
Passage: Before the outbreak of the  Second World War  in September 1939, Tippett released two further works: the Piano Sonata No. 1, first performed by Phyllis Sellick at the Queen Mary Hall, London, on 11 November 1938, and  the Concerto for Double String Orchestra, which was not performed until 1940. In a climate of increasing political and military tension, Tippett's compositional efforts were overwhelmed by an emotional crisis. When his relationship with Franks ended acrimoniously in August 1938 he was thrown into doubt and confusion about both his homosexuality and his worth as an artist. He was saved from despair when, at Ayerst's suggestion, he undertook a course of Jungian analysis with the psychotherapist John Layard. Through an extended course of therapy, Layard provided Tippett with the means to analyse and interpret his dreams. Tippett's biographer Ian Kemp describes this experience as "the major turning point in [his] life", both emotionally and artistically. His particular discovery from dream analysis was "the Jungian 'shadow' and 'light' in the single, individual psyche ... the need for the individual to accept his divided nature and profit from its conflicting demands". This brought him to terms with his homosexuality, and he was able to pursue his creativity without being distracted by personal relationships. While still unsure of his sexuality, Tippett had considered marriage with Francesca Allinson, who had expressed the wish that they should have children together. After his psychotherapy  he enjoyed several committed—and sometimes overlapping—same-sex relationships. Among the most enduring, and most tempestuous, was that with the artist Karl Hawker, whom he first met in 1941.
Output: What was the name of the person that had a same-sex relationship with Karl Hawker?
Passage: The film tells the story of Abby and Ethan Snow, who lose their parents in a tragic accident and are adopted by Eve and Raymond Goode, two seemingly-ideal parents who have recently lost a child of their own, David.
At first things seem good, but the first oddity manifests when Ethan gets his own room with a bathroom close to the master bedroom but Abby is given a bedroom far away, up in the tower of the house. From here, Abby notices a lot of strange things; there's a bed in the basement with David's name into it and many places they can't go into, like David's old bedroom. They are not allowed to make phone calls either. Eve and Abby get into a fight at the dinner table, and Eve slaps Abby. Later on, Eve asks Abby to wash dishes. As Abby is washing them, she cuts her arm on broken glass that Eve purposely left in the sink for her. Abby did not see the glasses, since the sink was filled to the top with water, and covered in soap. Abby demands to be taken to the hospital, but Eve refuses and brings out a box of medical supplies. Raymond reveals that Eve was a nurse, and Eve makes the process as painful as she possibly can- including a shot, and stitches without any anesthetic or numbing medications. Later, Abby is seen sleeping, and Eve injects her with an unknown substance. Abby awakes, too late to do anything, except ask what the liquid is, Eve responds with "This is for pain," Abby replies, that she's not in pain, but Eve states "You will be." Abby falls asleep, quickly, suggesting that it was a sedative of some sort. Later on, Abby wakes up, and Eve tells her that she's been in bed for three days.
Output: Where does Abby begin to notice strange things?
Passage: Elliot Hopper is a workaholic widower who is about to land the deal of a lifetime at work, which he hopes will win him a promotion and a company car. After he forgets his daughter Diane's birthday, he attempts to make it up to her by promising her she can have his car when he secures the deal at work on the coming Thursday. After being persuaded to give the car to his daughter early, Elliot must hail a taxi from work, which is driven by Satanist Curtis Burch, who drives erratically and is of control. Attempting to get the taxi stopped, Elliot announces that he is Satan and commands him to stop the taxi, and also attempts to give him his wallet. Shocked to see his "Evil Master", Burch drives off a bridge and into the river.
Elliot emerges from the accident scene, only to learn that he is a ghost when a police officer fails to notice him and a speeding bus goes straight through him. When he gets home he discovers that his three children can see him, but only in a totally dark room, and they can't hear him at times. He struggles to tell them what happened when he is whisked away to London by paranormal researcher Sir Edith, who tells him he is a ghost who has yet to enter the afterlife because "they screwed up"; his soul will not cross over until Thursday.
The pressures of work and family life lead to many comedic events, as Elliot attempts to renew his life insurance policy and complete his company's merger, so his family will be provided for once he crosses over. One day, he must choose between staying in an important work meeting and helping his son with a magic trick at school. He eventually decides that his family's happiness is more important and walks out on his furious boss, Mr. Collins, who later smugly fires him. Dejected, Elliot reveals himself as a ghost to his love interest, Joan, whose initial shock soon turns to sympathy.
Output: Who does Sir Edith take to London?
Passage: Elliot Hopper is a workaholic widower who is about to land the deal of a lifetime at work, which he hopes will win him a promotion and a company car. After he forgets his daughter Diane's birthday, he attempts to make it up to her by promising her she can have his car when he secures the deal at work on the coming Thursday. After being persuaded to give the car to his daughter early, Elliot must hail a taxi from work, which is driven by Satanist Curtis Burch, who drives erratically and is of control. Attempting to get the taxi stopped, Elliot announces that he is Satan and commands him to stop the taxi, and also attempts to give him his wallet. Shocked to see his "Evil Master", Burch drives off a bridge and into the river.
Elliot emerges from the accident scene, only to learn that he is a ghost when a police officer fails to notice him and a speeding bus goes straight through him. When he gets home he discovers that his three children can see him, but only in a totally dark room, and they can't hear him at times. He struggles to tell them what happened when he is whisked away to London by paranormal researcher Sir Edith, who tells him he is a ghost who has yet to enter the afterlife because "they screwed up"; his soul will not cross over until Thursday.
The pressures of work and family life lead to many comedic events, as Elliot attempts to renew his life insurance policy and complete his company's merger, so his family will be provided for once he crosses over. One day, he must choose between staying in an important work meeting and helping his son with a magic trick at school. He eventually decides that his family's happiness is more important and walks out on his furious boss, Mr. Collins, who later smugly fires him. Dejected, Elliot reveals himself as a ghost to his love interest, Joan, whose initial shock soon turns to sympathy.
Output: Who is Joan's love interest?
Passage: Elliot Hopper is a workaholic widower who is about to land the deal of a lifetime at work, which he hopes will win him a promotion and a company car. After he forgets his daughter Diane's birthday, he attempts to make it up to her by promising her she can have his car when he secures the deal at work on the coming Thursday. After being persuaded to give the car to his daughter early, Elliot must hail a taxi from work, which is driven by Satanist Curtis Burch, who drives erratically and is of control. Attempting to get the taxi stopped, Elliot announces that he is Satan and commands him to stop the taxi, and also attempts to give him his wallet. Shocked to see his "Evil Master", Burch drives off a bridge and into the river.
Elliot emerges from the accident scene, only to learn that he is a ghost when a police officer fails to notice him and a speeding bus goes straight through him. When he gets home he discovers that his three children can see him, but only in a totally dark room, and they can't hear him at times. He struggles to tell them what happened when he is whisked away to London by paranormal researcher Sir Edith, who tells him he is a ghost who has yet to enter the afterlife because "they screwed up"; his soul will not cross over until Thursday.
The pressures of work and family life lead to many comedic events, as Elliot attempts to renew his life insurance policy and complete his company's merger, so his family will be provided for once he crosses over. One day, he must choose between staying in an important work meeting and helping his son with a magic trick at school. He eventually decides that his family's happiness is more important and walks out on his furious boss, Mr. Collins, who later smugly fires him. Dejected, Elliot reveals himself as a ghost to his love interest, Joan, whose initial shock soon turns to sympathy.
Output: Who is Elliot Hopper's love interest?
Passage: Elliot Hopper is a workaholic widower who is about to land the deal of a lifetime at work, which he hopes will win him a promotion and a company car. After he forgets his daughter Diane's birthday, he attempts to make it up to her by promising her she can have his car when he secures the deal at work on the coming Thursday. After being persuaded to give the car to his daughter early, Elliot must hail a taxi from work, which is driven by Satanist Curtis Burch, who drives erratically and is of control. Attempting to get the taxi stopped, Elliot announces that he is Satan and commands him to stop the taxi, and also attempts to give him his wallet. Shocked to see his "Evil Master", Burch drives off a bridge and into the river.
Elliot emerges from the accident scene, only to learn that he is a ghost when a police officer fails to notice him and a speeding bus goes straight through him. When he gets home he discovers that his three children can see him, but only in a totally dark room, and they can't hear him at times. He struggles to tell them what happened when he is whisked away to London by paranormal researcher Sir Edith, who tells him he is a ghost who has yet to enter the afterlife because "they screwed up"; his soul will not cross over until Thursday.
The pressures of work and family life lead to many comedic events, as Elliot attempts to renew his life insurance policy and complete his company's merger, so his family will be provided for once he crosses over. One day, he must choose between staying in an important work meeting and helping his son with a magic trick at school. He eventually decides that his family's happiness is more important and walks out on his furious boss, Mr. Collins, who later smugly fires him. Dejected, Elliot reveals himself as a ghost to his love interest, Joan, whose initial shock soon turns to sympathy.
Output: Who is Elliot Hopper's boss?