niryuu/sni-each-converted huggingface dataset:
Passage: During the 1980s, there was increasing pressure on both the Polish and Soviet governments to release documents related to the massacre. Polish academics tried to include Katyn in the agenda of the 1987 joint Polish-Soviet commission to investigate censored episodes of the Polish-Russian history. In 1989, Soviet scholars revealed Joseph Stalin had indeed ordered the massacre, and in 1990 Mikhail Gorbachev admitted the NKVD had executed the Poles and confirmed two other burial sites similar to the site at Katyn: Mednoye and Piatykhatky.
On 30 October 1989, Gorbachev allowed a delegation of several hundred Poles, organized by the Polish association Families of Katyń Victims, to visit the Katyn memorial. This group included former U.S. national security advisor Zbigniew Brzezinski. A mass was held and banners hailing the Solidarity movement were laid. One mourner affixed a sign reading "NKVD" on the memorial, covering the word "Nazis" in the inscription such that it read "In memory of Polish officers killed by the NKVD in 1941." Several visitors scaled the fence of a nearby KGB compound and left burning candles on the grounds. Brzezinski commented:
It isn't a personal pain which has brought me here, as is the case in the majority of these people, but rather recognition of the symbolic nature of Katyń. Russians and Poles, tortured to death, lie here together. It seems very important to me that the truth should be spoken about what took place, for only with the truth can the new Soviet leadership distance itself from the crimes of Stalin and the NKVD. Only the truth can serve as the basis of true friendship between the Soviet and the Polish peoples. The truth will make a path for itself. I am convinced of this by the very fact that I was able to travel here.
Brzezinski further stated:
The fact that the Soviet government has enabled me to be here—and the Soviets know my views—is symbolic of the breach with Stalinism that perestroika represents.
His remarks were given extensive coverage on Soviet television. At the ceremony he placed a bouquet of red roses bearing a handwritten message penned in both Polish and English: "For the victims of Stalin and the NKVD. Zbigniew Brzezinski".On 13 April 1990, the forty-seventh anniversary of the discovery of the mass graves, the USSR formally expressed "profound regret" and admitted Soviet secret police responsibility. The day was declared a worldwide Katyn Memorial Day (Polish: Światowy Dzień Pamięci Ofiar Katynia).
Output: What is the last name of the U.S. national security advisor whose views are purportedly known to the Soviets?
Passage: During the 1980s, there was increasing pressure on both the Polish and Soviet governments to release documents related to the massacre. Polish academics tried to include Katyn in the agenda of the 1987 joint Polish-Soviet commission to investigate censored episodes of the Polish-Russian history. In 1989, Soviet scholars revealed Joseph Stalin had indeed ordered the massacre, and in 1990 Mikhail Gorbachev admitted the NKVD had executed the Poles and confirmed two other burial sites similar to the site at Katyn: Mednoye and Piatykhatky.
On 30 October 1989, Gorbachev allowed a delegation of several hundred Poles, organized by the Polish association Families of Katyń Victims, to visit the Katyn memorial. This group included former U.S. national security advisor Zbigniew Brzezinski. A mass was held and banners hailing the Solidarity movement were laid. One mourner affixed a sign reading "NKVD" on the memorial, covering the word "Nazis" in the inscription such that it read "In memory of Polish officers killed by the NKVD in 1941." Several visitors scaled the fence of a nearby KGB compound and left burning candles on the grounds. Brzezinski commented:
It isn't a personal pain which has brought me here, as is the case in the majority of these people, but rather recognition of the symbolic nature of Katyń. Russians and Poles, tortured to death, lie here together. It seems very important to me that the truth should be spoken about what took place, for only with the truth can the new Soviet leadership distance itself from the crimes of Stalin and the NKVD. Only the truth can serve as the basis of true friendship between the Soviet and the Polish peoples. The truth will make a path for itself. I am convinced of this by the very fact that I was able to travel here.
Brzezinski further stated:
The fact that the Soviet government has enabled me to be here—and the Soviets know my views—is symbolic of the breach with Stalinism that perestroika represents.
His remarks were given extensive coverage on Soviet television. At the ceremony he placed a bouquet of red roses bearing a handwritten message penned in both Polish and English: "For the victims of Stalin and the NKVD. Zbigniew Brzezinski".On 13 April 1990, the forty-seventh anniversary of the discovery of the mass graves, the USSR formally expressed "profound regret" and admitted Soviet secret police responsibility. The day was declared a worldwide Katyn Memorial Day (Polish: Światowy Dzień Pamięci Ofiar Katynia).
Output: What is the last name of the person whose remarks were given extensive coverage on Soviet television?
Passage: During the 1980s, there was increasing pressure on both the Polish and Soviet governments to release documents related to the massacre. Polish academics tried to include Katyn in the agenda of the 1987 joint Polish-Soviet commission to investigate censored episodes of the Polish-Russian history. In 1989, Soviet scholars revealed Joseph Stalin had indeed ordered the massacre, and in 1990 Mikhail Gorbachev admitted the NKVD had executed the Poles and confirmed two other burial sites similar to the site at Katyn: Mednoye and Piatykhatky.
On 30 October 1989, Gorbachev allowed a delegation of several hundred Poles, organized by the Polish association Families of Katyń Victims, to visit the Katyn memorial. This group included former U.S. national security advisor Zbigniew Brzezinski. A mass was held and banners hailing the Solidarity movement were laid. One mourner affixed a sign reading "NKVD" on the memorial, covering the word "Nazis" in the inscription such that it read "In memory of Polish officers killed by the NKVD in 1941." Several visitors scaled the fence of a nearby KGB compound and left burning candles on the grounds. Brzezinski commented:
It isn't a personal pain which has brought me here, as is the case in the majority of these people, but rather recognition of the symbolic nature of Katyń. Russians and Poles, tortured to death, lie here together. It seems very important to me that the truth should be spoken about what took place, for only with the truth can the new Soviet leadership distance itself from the crimes of Stalin and the NKVD. Only the truth can serve as the basis of true friendship between the Soviet and the Polish peoples. The truth will make a path for itself. I am convinced of this by the very fact that I was able to travel here.
Brzezinski further stated:
The fact that the Soviet government has enabled me to be here—and the Soviets know my views—is symbolic of the breach with Stalinism that perestroika represents.
His remarks were given extensive coverage on Soviet television. At the ceremony he placed a bouquet of red roses bearing a handwritten message penned in both Polish and English: "For the victims of Stalin and the NKVD. Zbigniew Brzezinski".On 13 April 1990, the forty-seventh anniversary of the discovery of the mass graves, the USSR formally expressed "profound regret" and admitted Soviet secret police responsibility. The day was declared a worldwide Katyn Memorial Day (Polish: Światowy Dzień Pamięci Ofiar Katynia).
Output: What's the full name of the man who said "The truth will make a path for itself"?
Passage: During the 1980s, there was increasing pressure on both the Polish and Soviet governments to release documents related to the massacre. Polish academics tried to include Katyn in the agenda of the 1987 joint Polish-Soviet commission to investigate censored episodes of the Polish-Russian history. In 1989, Soviet scholars revealed Joseph Stalin had indeed ordered the massacre, and in 1990 Mikhail Gorbachev admitted the NKVD had executed the Poles and confirmed two other burial sites similar to the site at Katyn: Mednoye and Piatykhatky.
On 30 October 1989, Gorbachev allowed a delegation of several hundred Poles, organized by the Polish association Families of Katyń Victims, to visit the Katyn memorial. This group included former U.S. national security advisor Zbigniew Brzezinski. A mass was held and banners hailing the Solidarity movement were laid. One mourner affixed a sign reading "NKVD" on the memorial, covering the word "Nazis" in the inscription such that it read "In memory of Polish officers killed by the NKVD in 1941." Several visitors scaled the fence of a nearby KGB compound and left burning candles on the grounds. Brzezinski commented:
It isn't a personal pain which has brought me here, as is the case in the majority of these people, but rather recognition of the symbolic nature of Katyń. Russians and Poles, tortured to death, lie here together. It seems very important to me that the truth should be spoken about what took place, for only with the truth can the new Soviet leadership distance itself from the crimes of Stalin and the NKVD. Only the truth can serve as the basis of true friendship between the Soviet and the Polish peoples. The truth will make a path for itself. I am convinced of this by the very fact that I was able to travel here.
Brzezinski further stated:
The fact that the Soviet government has enabled me to be here—and the Soviets know my views—is symbolic of the breach with Stalinism that perestroika represents.
His remarks were given extensive coverage on Soviet television. At the ceremony he placed a bouquet of red roses bearing a handwritten message penned in both Polish and English: "For the victims of Stalin and the NKVD. Zbigniew Brzezinski".On 13 April 1990, the forty-seventh anniversary of the discovery of the mass graves, the USSR formally expressed "profound regret" and admitted Soviet secret police responsibility. The day was declared a worldwide Katyn Memorial Day (Polish: Światowy Dzień Pamięci Ofiar Katynia).
Output: What's the Polish name for the memorial day held on April 13th?
Passage: During the 1980s, there was increasing pressure on both the Polish and Soviet governments to release documents related to the massacre. Polish academics tried to include Katyn in the agenda of the 1987 joint Polish-Soviet commission to investigate censored episodes of the Polish-Russian history. In 1989, Soviet scholars revealed Joseph Stalin had indeed ordered the massacre, and in 1990 Mikhail Gorbachev admitted the NKVD had executed the Poles and confirmed two other burial sites similar to the site at Katyn: Mednoye and Piatykhatky.
On 30 October 1989, Gorbachev allowed a delegation of several hundred Poles, organized by the Polish association Families of Katyń Victims, to visit the Katyn memorial. This group included former U.S. national security advisor Zbigniew Brzezinski. A mass was held and banners hailing the Solidarity movement were laid. One mourner affixed a sign reading "NKVD" on the memorial, covering the word "Nazis" in the inscription such that it read "In memory of Polish officers killed by the NKVD in 1941." Several visitors scaled the fence of a nearby KGB compound and left burning candles on the grounds. Brzezinski commented:
It isn't a personal pain which has brought me here, as is the case in the majority of these people, but rather recognition of the symbolic nature of Katyń. Russians and Poles, tortured to death, lie here together. It seems very important to me that the truth should be spoken about what took place, for only with the truth can the new Soviet leadership distance itself from the crimes of Stalin and the NKVD. Only the truth can serve as the basis of true friendship between the Soviet and the Polish peoples. The truth will make a path for itself. I am convinced of this by the very fact that I was able to travel here.
Brzezinski further stated:
The fact that the Soviet government has enabled me to be here—and the Soviets know my views—is symbolic of the breach with Stalinism that perestroika represents.
His remarks were given extensive coverage on Soviet television. At the ceremony he placed a bouquet of red roses bearing a handwritten message penned in both Polish and English: "For the victims of Stalin and the NKVD. Zbigniew Brzezinski".On 13 April 1990, the forty-seventh anniversary of the discovery of the mass graves, the USSR formally expressed "profound regret" and admitted Soviet secret police responsibility. The day was declared a worldwide Katyn Memorial Day (Polish: Światowy Dzień Pamięci Ofiar Katynia).
Output: What did Brzezinkski place at the memorial held in October of 1989?
Passage: Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle and seat of the Bishop of Bath and Wells, whose throne or cathedra it holds as mother church of the diocese. Built between 1175 and 1490 to replace an earlier church on the site since 705, it is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features in the city and countryside. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals. Its Gothic architecture is mostly in the Early English style of the late 12th–early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking with the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff leaf" style. Its Early English front with 300 sculpted figures, is described as a "supreme triumph of the combined plastic arts in England". The east end retains a rare amount of ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close. The cathedral is a Grade I listed building.
Output: What has been called "unquestionably one of the most beautiful" of English cathedrals?
Passage: Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle and seat of the Bishop of Bath and Wells, whose throne or cathedra it holds as mother church of the diocese. Built between 1175 and 1490 to replace an earlier church on the site since 705, it is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features in the city and countryside. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals. Its Gothic architecture is mostly in the Early English style of the late 12th–early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking with the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff leaf" style. Its Early English front with 300 sculpted figures, is described as a "supreme triumph of the combined plastic arts in England". The east end retains a rare amount of ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close. The cathedral is a Grade I listed building.
Output: What has been called the "most poetic" of English cathedrals?
Passage: Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle and seat of the Bishop of Bath and Wells, whose throne or cathedra it holds as mother church of the diocese. Built between 1175 and 1490 to replace an earlier church on the site since 705, it is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features in the city and countryside. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals. Its Gothic architecture is mostly in the Early English style of the late 12th–early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking with the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff leaf" style. Its Early English front with 300 sculpted figures, is described as a "supreme triumph of the combined plastic arts in England". The east end retains a rare amount of ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close. The cathedral is a Grade I listed building.
Output: What is a Grade I listed building?
Passage: Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; as well as one of "the decade's most innovative British bands." by Mark Jenkins. Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different." In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal." In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points." They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group. Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need." In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music. They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums. In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine. The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.
Output: What is the full name of the journalist who compared the influential band to other Britpop bands?
Passage: Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; as well as one of "the decade's most innovative British bands." by Mark Jenkins. Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different." In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal." In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points." They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group. Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need." In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music. They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums. In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine. The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.
Output: What is the full name of the journalist that did not believe the influential band's music would not have much longevity?
Passage: Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; as well as one of "the decade's most innovative British bands." by Mark Jenkins. Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different." In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal." In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points." They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group. Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need." In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music. They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums. In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine. The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.
Output: What is the full name of the band that the group that was one of the first to be termed "post-rock" release two albums with?
Passage: Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; as well as one of "the decade's most innovative British bands." by Mark Jenkins. Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different." In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal." In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points." They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group. Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need." In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music. They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums. In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine. The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.
Output: What is the full name of the artist that worked on a song for an AIDS-benefit album with the band that was deemed one of "the decade's most innovative British bands."?
Passage: For a few months following Peterloo it seemed to the authorities that the country was heading towards an armed rebellion. Encouraging them in that belief were two abortive uprisings, in Huddersfield and Burnley, during the autumn of 1819, and the discovery and foiling of the Cato Street conspiracy to blow up the cabinet that winter. By the end of the year, the government had introduced legislation, later known as the Six Acts, to suppress radical meetings and publications, and by the end of 1820 every significant working-class radical reformer was in jail; civil liberties had declined to an even lower level than they were before Peterloo. Historian Robert Reid has written that "it is not fanciful to compare the restricted freedoms of the British worker in the post-Peterloo period in the early nineteenth century with those of the black South African in the post-Sharpeville period of the late twentieth century."One direct consequence of Peterloo was the foundation of the Manchester Guardian newspaper in 1821, by the Little Circle group of non-conformist Manchester businessmen headed by John Edward Taylor, a witness to the massacre. The prospectus announcing the new publication proclaimed that it would "zealously enforce the principles of civil and religious Liberty ... warmly advocate the cause of Reform ... endeavour to assist in the diffusion of just principles of Political Economy and ... support, without reference to the party from which they emanate, all serviceable measures."Events such as the Pentrich rising, the March of the Blanketeers and the Spa Fields meeting, all serve to indicate the breadth, diversity and widespread geographical scale of the demand for economic and political reform at the time. Peterloo had no effect on the speed of reform, but in due course all but one of the reformers' demands, annual parliaments, were met. Following the Great Reform Act of 1832, the newly created Manchester parliamentary borough elected its first two MPs. Five candidates including William Cobbett stood, and the Whigs, Charles Poulett Thomson and Mark Philips, were elected. Manchester became a Municipal Borough in 1837, and what remained of the manorial rights were purchased by the borough council.
On the other hand R J White has affirmed the true significance of Peterloo as marking the point of final conversion of provincial England to the struggle for enfranchisement of the working class.  "The ship which had tacked and lain for so long among the shoals and shallows of Luddism, hunger-marching, strikes and sabotage, was coming to port" : "Henceforth, the people were to stand with ever greater fortitude behind that great movement, which, stage by stage throughout the nineteenth century, was to impose a new political order upon society." : "With Peterloo, and the departure of Regency England, parliamentary reform had come of age.".
Output: After the Following the Great Reform Act of 1832, what are the full names of the two elected officials?
Passage: For a few months following Peterloo it seemed to the authorities that the country was heading towards an armed rebellion. Encouraging them in that belief were two abortive uprisings, in Huddersfield and Burnley, during the autumn of 1819, and the discovery and foiling of the Cato Street conspiracy to blow up the cabinet that winter. By the end of the year, the government had introduced legislation, later known as the Six Acts, to suppress radical meetings and publications, and by the end of 1820 every significant working-class radical reformer was in jail; civil liberties had declined to an even lower level than they were before Peterloo. Historian Robert Reid has written that "it is not fanciful to compare the restricted freedoms of the British worker in the post-Peterloo period in the early nineteenth century with those of the black South African in the post-Sharpeville period of the late twentieth century."One direct consequence of Peterloo was the foundation of the Manchester Guardian newspaper in 1821, by the Little Circle group of non-conformist Manchester businessmen headed by John Edward Taylor, a witness to the massacre. The prospectus announcing the new publication proclaimed that it would "zealously enforce the principles of civil and religious Liberty ... warmly advocate the cause of Reform ... endeavour to assist in the diffusion of just principles of Political Economy and ... support, without reference to the party from which they emanate, all serviceable measures."Events such as the Pentrich rising, the March of the Blanketeers and the Spa Fields meeting, all serve to indicate the breadth, diversity and widespread geographical scale of the demand for economic and political reform at the time. Peterloo had no effect on the speed of reform, but in due course all but one of the reformers' demands, annual parliaments, were met. Following the Great Reform Act of 1832, the newly created Manchester parliamentary borough elected its first two MPs. Five candidates including William Cobbett stood, and the Whigs, Charles Poulett Thomson and Mark Philips, were elected. Manchester became a Municipal Borough in 1837, and what remained of the manorial rights were purchased by the borough council.
On the other hand R J White has affirmed the true significance of Peterloo as marking the point of final conversion of provincial England to the struggle for enfranchisement of the working class.  "The ship which had tacked and lain for so long among the shoals and shallows of Luddism, hunger-marching, strikes and sabotage, was coming to port" : "Henceforth, the people were to stand with ever greater fortitude behind that great movement, which, stage by stage throughout the nineteenth century, was to impose a new political order upon society." : "With Peterloo, and the departure of Regency England, parliamentary reform had come of age.".
Output: What is the full name of the man that said "With Peterloo, and the departure of Regency England, parliamentary reform had come of age."?
Passage: Buckton was a small highland enclosure castle with a 2.8-metre-thick (9 ft) sandstone curtain wall; nothing survives above ground. It is roughly oval and measures 35.6 by 26.2 metres (117 by 86 ft), covering an area of 730 square metres (0.18 acres). The castle is surrounded by a 10-metre-wide (33 ft) ditch apart from the south-west part where the steep slope of the hill makes the ditch unnecessary. When the ditch was dug some of the material was used to raise the interior of the castle by 1.5 metres (4 ft 11 in).Buckton is similar in size to Clitheroe Castle's inner enclosure, which is also oval (31.8 by 26 metres (104 by 85 ft)) and has a 2.6-metre-thick (9 ft) curtain wall. Clitheroe was also built on a rocky peak and the small size of its great tower may be due to its naturally defensible position and location in an economically deprived area.Buckton Castle was entered through a gatehouse in the north-west measuring 9.3 by 7.5 metres (31 by 25 ft). The east side was occupied by the gate passage and the west by a chamber. Though the structure no longer survives above ground, it was probably at least two storeys tall. Constructed in the 12th century, Buckton's gatehouse was the earliest in North West England, and was one of six stone gatehouses in the region that were built in the 12th or 13th centuries: Buckton, Egremont, Brough, Clitheroe, Carlisle's inner gatehouse, and the Agricola Tower at Chester. They are broadly similar in size, and take the form of a gate passage piercing a single tower with rooms in the floors above. Buckton's gatehouse differs slightly in having the passage offset to one side.In the 1770s, the antiquarian Thomas Percival recorded a well within the castle, close to the south curtain, and walls of buildings inside the castle still standing to a height of 2 metres (7 ft). A plan created by the Saddleworth Geological Society in 1842 recorded a ruined structure within the castle's south-east area in addition to the well Percival noted. Trenches in the castle's interior did not reveal the structures on the plans from the 18th and 19th centuries, although the discovery of a posthole indicates there was activity in this area. The gap in the southern part of the curtain wall – not evident in the 1842 plan by the Saddleworth Geological Society – was probably created in the 19th century. There is a feature resembling a spoil heap, consisting of pieces of sandstone. This may have been a by-product from the construction of the castle. Nothing remains of Buckton Castle above ground today, and until the late 20th century, vegetation obscured the existence of a stone structure.
Output: What are the exact names of the six stone gatehouses built in North West England in the 12th or 13th centuries?
Passage: Buckton was a small highland enclosure castle with a 2.8-metre-thick (9 ft) sandstone curtain wall; nothing survives above ground. It is roughly oval and measures 35.6 by 26.2 metres (117 by 86 ft), covering an area of 730 square metres (0.18 acres). The castle is surrounded by a 10-metre-wide (33 ft) ditch apart from the south-west part where the steep slope of the hill makes the ditch unnecessary. When the ditch was dug some of the material was used to raise the interior of the castle by 1.5 metres (4 ft 11 in).Buckton is similar in size to Clitheroe Castle's inner enclosure, which is also oval (31.8 by 26 metres (104 by 85 ft)) and has a 2.6-metre-thick (9 ft) curtain wall. Clitheroe was also built on a rocky peak and the small size of its great tower may be due to its naturally defensible position and location in an economically deprived area.Buckton Castle was entered through a gatehouse in the north-west measuring 9.3 by 7.5 metres (31 by 25 ft). The east side was occupied by the gate passage and the west by a chamber. Though the structure no longer survives above ground, it was probably at least two storeys tall. Constructed in the 12th century, Buckton's gatehouse was the earliest in North West England, and was one of six stone gatehouses in the region that were built in the 12th or 13th centuries: Buckton, Egremont, Brough, Clitheroe, Carlisle's inner gatehouse, and the Agricola Tower at Chester. They are broadly similar in size, and take the form of a gate passage piercing a single tower with rooms in the floors above. Buckton's gatehouse differs slightly in having the passage offset to one side.In the 1770s, the antiquarian Thomas Percival recorded a well within the castle, close to the south curtain, and walls of buildings inside the castle still standing to a height of 2 metres (7 ft). A plan created by the Saddleworth Geological Society in 1842 recorded a ruined structure within the castle's south-east area in addition to the well Percival noted. Trenches in the castle's interior did not reveal the structures on the plans from the 18th and 19th centuries, although the discovery of a posthole indicates there was activity in this area. The gap in the southern part of the curtain wall – not evident in the 1842 plan by the Saddleworth Geological Society – was probably created in the 19th century. There is a feature resembling a spoil heap, consisting of pieces of sandstone. This may have been a by-product from the construction of the castle. Nothing remains of Buckton Castle above ground today, and until the late 20th century, vegetation obscured the existence of a stone structure.
Output: What are the exact names of the six stone gatehouses that are broadly similar in size?
Passage: On a train trip, lawyer Richard Grant tells fellow passengers that, based on his long experience both prosecuting and defending murder cases, murder is sometimes justified and a clever man should be able to commit it undetected. He is traveling to the isolated estate of his wealthy client and friend, Gordon Rich; his young adult daughter Barbara surprises him at the train station, where she informs him that she has already been there a week.
Grant's view is soon put to the test. Rich asks him to rewrite his will, including bequests to all his former mistresses (except one who is dead already; she was just 16, and Grant believes it was suicide). When Rich explains that he wants a new will because he intends to marry Barbara, Grant is appalled. He repeats what he said on the train. Rich deserves to be murdered, and if that is what it takes to stop the marriage, Grant will do it and get away with it. Rich retorts that if necessary he will retaliate from beyond the grave.
Grant pleads with his daughter, pointing out the great age difference and Rich's indecent character. But she loves Rich and is adamant. Nor has Tommy Osgood, a young man Barbara had been seeing, been able to change her mind.
At a dinner party that night, Rich announces the wedding and says it will take place in the morning. His longtime girlfriend, Marjorie West, is dismayed, but after the party he assures her that, as usual, he will return to her once he exhausts his obsession with Barbara. He is only marrying Barbara because she would not go to bed with him otherwise.
Rich orders two servants to watch Grant's bungalow on the estate, but Grant uses a cutout mounted on a record player to cast a moving shadow on the curtain to make it appear that he is pacing restlessly, and slips back to the main house. Meanwhile, Rich goes to Barbara's room. He loses control and grabs her roughly; she recoils in disgust and he leaves.
Output: What is the full name of the person who is traveling to the isolated estate of his wealthy client and friend?
Passage: On a train trip, lawyer Richard Grant tells fellow passengers that, based on his long experience both prosecuting and defending murder cases, murder is sometimes justified and a clever man should be able to commit it undetected. He is traveling to the isolated estate of his wealthy client and friend, Gordon Rich; his young adult daughter Barbara surprises him at the train station, where she informs him that she has already been there a week.
Grant's view is soon put to the test. Rich asks him to rewrite his will, including bequests to all his former mistresses (except one who is dead already; she was just 16, and Grant believes it was suicide). When Rich explains that he wants a new will because he intends to marry Barbara, Grant is appalled. He repeats what he said on the train. Rich deserves to be murdered, and if that is what it takes to stop the marriage, Grant will do it and get away with it. Rich retorts that if necessary he will retaliate from beyond the grave.
Grant pleads with his daughter, pointing out the great age difference and Rich's indecent character. But she loves Rich and is adamant. Nor has Tommy Osgood, a young man Barbara had been seeing, been able to change her mind.
At a dinner party that night, Rich announces the wedding and says it will take place in the morning. His longtime girlfriend, Marjorie West, is dismayed, but after the party he assures her that, as usual, he will return to her once he exhausts his obsession with Barbara. He is only marrying Barbara because she would not go to bed with him otherwise.
Rich orders two servants to watch Grant's bungalow on the estate, but Grant uses a cutout mounted on a record player to cast a moving shadow on the curtain to make it appear that he is pacing restlessly, and slips back to the main house. Meanwhile, Rich goes to Barbara's room. He loses control and grabs her roughly; she recoils in disgust and he leaves.
Output: What is the full name of the person whose daughter surprises him at a train station?
Passage: On a train trip, lawyer Richard Grant tells fellow passengers that, based on his long experience both prosecuting and defending murder cases, murder is sometimes justified and a clever man should be able to commit it undetected. He is traveling to the isolated estate of his wealthy client and friend, Gordon Rich; his young adult daughter Barbara surprises him at the train station, where she informs him that she has already been there a week.
Grant's view is soon put to the test. Rich asks him to rewrite his will, including bequests to all his former mistresses (except one who is dead already; she was just 16, and Grant believes it was suicide). When Rich explains that he wants a new will because he intends to marry Barbara, Grant is appalled. He repeats what he said on the train. Rich deserves to be murdered, and if that is what it takes to stop the marriage, Grant will do it and get away with it. Rich retorts that if necessary he will retaliate from beyond the grave.
Grant pleads with his daughter, pointing out the great age difference and Rich's indecent character. But she loves Rich and is adamant. Nor has Tommy Osgood, a young man Barbara had been seeing, been able to change her mind.
At a dinner party that night, Rich announces the wedding and says it will take place in the morning. His longtime girlfriend, Marjorie West, is dismayed, but after the party he assures her that, as usual, he will return to her once he exhausts his obsession with Barbara. He is only marrying Barbara because she would not go to bed with him otherwise.
Rich orders two servants to watch Grant's bungalow on the estate, but Grant uses a cutout mounted on a record player to cast a moving shadow on the curtain to make it appear that he is pacing restlessly, and slips back to the main house. Meanwhile, Rich goes to Barbara's room. He loses control and grabs her roughly; she recoils in disgust and he leaves.
Output: What is the full name of the person who is surprised by someone at the train station?
Passage: On a train trip, lawyer Richard Grant tells fellow passengers that, based on his long experience both prosecuting and defending murder cases, murder is sometimes justified and a clever man should be able to commit it undetected. He is traveling to the isolated estate of his wealthy client and friend, Gordon Rich; his young adult daughter Barbara surprises him at the train station, where she informs him that she has already been there a week.
Grant's view is soon put to the test. Rich asks him to rewrite his will, including bequests to all his former mistresses (except one who is dead already; she was just 16, and Grant believes it was suicide). When Rich explains that he wants a new will because he intends to marry Barbara, Grant is appalled. He repeats what he said on the train. Rich deserves to be murdered, and if that is what it takes to stop the marriage, Grant will do it and get away with it. Rich retorts that if necessary he will retaliate from beyond the grave.
Grant pleads with his daughter, pointing out the great age difference and Rich's indecent character. But she loves Rich and is adamant. Nor has Tommy Osgood, a young man Barbara had been seeing, been able to change her mind.
At a dinner party that night, Rich announces the wedding and says it will take place in the morning. His longtime girlfriend, Marjorie West, is dismayed, but after the party he assures her that, as usual, he will return to her once he exhausts his obsession with Barbara. He is only marrying Barbara because she would not go to bed with him otherwise.
Rich orders two servants to watch Grant's bungalow on the estate, but Grant uses a cutout mounted on a record player to cast a moving shadow on the curtain to make it appear that he is pacing restlessly, and slips back to the main house. Meanwhile, Rich goes to Barbara's room. He loses control and grabs her roughly; she recoils in disgust and he leaves.
Output: What is the full name of the person who is traveling to see their client and friend?