niryuu/sni-each-converted huggingface dataset:
Passage: Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.
Output: What is the full name of the private person?
Passage: Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.
Output: What was praised at the Paris Salon of 1833?
Passage: Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.
Output: Where is the Portrait of Monsieur Bertin displayed?
Passage: Spanky McFarland is the president of the "He-Man Woman Haters Club" with many school-aged boys from around the neighborhood as members. Alfalfa Switzer, Spanky's best friend, has been chosen to be the driver for the club's prize-winning go-kart, "The Blur", in the upcoming Soap Box Derby go-kart race. However, Alfalfa is nowhere to be found.
The boys go to find Alfalfa and discover him in the company of his sweetheart Darla, with whom he is forbidden to be in love because she is a girl, which goes against club rules. Alfalfa invites Darla on a picnic, and to prove his devotion to her, he agrees to have the picnic inside the clubhouse. Unbeknownst to Alfalfa, his fellow club members find out about his plans.
At the picnic, Alfalfa and Darla think they are alone, but the other club members secretly pull several silly pranks to sabotage their romantic date (whoopee cushion, cat litter in sandwiches, etc.). When they finally reveal themselves and demand to come inside the clubhouse, Alfalfa frantically tries to convince Darla to hide in the closet, which leads her to mistakenly believe that Alfalfa feels ashamed of her. In the frenzy, a candle flame gets out of control, ultimately causing the clubhouse to burn down.
Darla breaks up with Alfalfa and turns her attentions towards Waldo, the new kid in town whose father is an oil tycoon. Because Alfalfa burned down the clubhouse and also fraternized with a girl, he is assigned by Stymie to guard the go-kart until the day of the race.
Output: Who is the He-Man Woman Haters Club driver found with?
Passage: Spanky McFarland is the president of the "He-Man Woman Haters Club" with many school-aged boys from around the neighborhood as members. Alfalfa Switzer, Spanky's best friend, has been chosen to be the driver for the club's prize-winning go-kart, "The Blur", in the upcoming Soap Box Derby go-kart race. However, Alfalfa is nowhere to be found.
The boys go to find Alfalfa and discover him in the company of his sweetheart Darla, with whom he is forbidden to be in love because she is a girl, which goes against club rules. Alfalfa invites Darla on a picnic, and to prove his devotion to her, he agrees to have the picnic inside the clubhouse. Unbeknownst to Alfalfa, his fellow club members find out about his plans.
At the picnic, Alfalfa and Darla think they are alone, but the other club members secretly pull several silly pranks to sabotage their romantic date (whoopee cushion, cat litter in sandwiches, etc.). When they finally reveal themselves and demand to come inside the clubhouse, Alfalfa frantically tries to convince Darla to hide in the closet, which leads her to mistakenly believe that Alfalfa feels ashamed of her. In the frenzy, a candle flame gets out of control, ultimately causing the clubhouse to burn down.
Darla breaks up with Alfalfa and turns her attentions towards Waldo, the new kid in town whose father is an oil tycoon. Because Alfalfa burned down the clubhouse and also fraternized with a girl, he is assigned by Stymie to guard the go-kart until the day of the race.
Output: Who does Alfalfa's sweetheart leave him for?
Passage: Spanky McFarland is the president of the "He-Man Woman Haters Club" with many school-aged boys from around the neighborhood as members. Alfalfa Switzer, Spanky's best friend, has been chosen to be the driver for the club's prize-winning go-kart, "The Blur", in the upcoming Soap Box Derby go-kart race. However, Alfalfa is nowhere to be found.
The boys go to find Alfalfa and discover him in the company of his sweetheart Darla, with whom he is forbidden to be in love because she is a girl, which goes against club rules. Alfalfa invites Darla on a picnic, and to prove his devotion to her, he agrees to have the picnic inside the clubhouse. Unbeknownst to Alfalfa, his fellow club members find out about his plans.
At the picnic, Alfalfa and Darla think they are alone, but the other club members secretly pull several silly pranks to sabotage their romantic date (whoopee cushion, cat litter in sandwiches, etc.). When they finally reveal themselves and demand to come inside the clubhouse, Alfalfa frantically tries to convince Darla to hide in the closet, which leads her to mistakenly believe that Alfalfa feels ashamed of her. In the frenzy, a candle flame gets out of control, ultimately causing the clubhouse to burn down.
Darla breaks up with Alfalfa and turns her attentions towards Waldo, the new kid in town whose father is an oil tycoon. Because Alfalfa burned down the clubhouse and also fraternized with a girl, he is assigned by Stymie to guard the go-kart until the day of the race.
Output: What's the full name of the person whose best friend fraternized with a girl?
Passage: Spanky McFarland is the president of the "He-Man Woman Haters Club" with many school-aged boys from around the neighborhood as members. Alfalfa Switzer, Spanky's best friend, has been chosen to be the driver for the club's prize-winning go-kart, "The Blur", in the upcoming Soap Box Derby go-kart race. However, Alfalfa is nowhere to be found.
The boys go to find Alfalfa and discover him in the company of his sweetheart Darla, with whom he is forbidden to be in love because she is a girl, which goes against club rules. Alfalfa invites Darla on a picnic, and to prove his devotion to her, he agrees to have the picnic inside the clubhouse. Unbeknownst to Alfalfa, his fellow club members find out about his plans.
At the picnic, Alfalfa and Darla think they are alone, but the other club members secretly pull several silly pranks to sabotage their romantic date (whoopee cushion, cat litter in sandwiches, etc.). When they finally reveal themselves and demand to come inside the clubhouse, Alfalfa frantically tries to convince Darla to hide in the closet, which leads her to mistakenly believe that Alfalfa feels ashamed of her. In the frenzy, a candle flame gets out of control, ultimately causing the clubhouse to burn down.
Darla breaks up with Alfalfa and turns her attentions towards Waldo, the new kid in town whose father is an oil tycoon. Because Alfalfa burned down the clubhouse and also fraternized with a girl, he is assigned by Stymie to guard the go-kart until the day of the race.
Output: Who thinks that the go-kart driver is ashamed of her?
Passage: A part of Belarus under Russian rule emerged as the Byelorussian Soviet Socialist Republic (Byelorussian SSR) in 1919. Soon thereafter it merged to form the Lithuanian-Byelorussian SSR. The contested lands were divided between Poland and the Soviet Union after the war ended in 1921, and the Byelorussian SSR became a founding member of the Union of Soviet Socialist Republics in 1922. The western part of modern Belarus remained part of Poland.In the 1920s and 1930s, Soviet agricultural and economic policies, including collectivization and five-year plans for the national economy, led to famine and political repression.
In 1939, Nazi Germany and the Soviet Union invaded and occupied Poland, marking the beginning of World War II. The Soviets invaded and annexed much of eastern Poland, which had been part of the country since the Peace of Riga two decades earlier. Much of the northern section of this area was added to the Byelorussian SSR, and now constitutes West Belarus. The Soviet-controlled Byelorussian People's Council officially took control of the territories, whose populations consisted of a mixture of Poles, Ukrainians, Belarusians and Jews, on 28 October 1939 in Białystok. Nazi Germany invaded the Soviet Union in 1941. The Brest Fortress, which had been annexed in 1939, at this time was subjected to one of the most destructive onslaughts that happened during the war. Statistically, the Byelorussian SSR was the hardest-hit Soviet republic in World War II; it remained in Nazi hands until 1944. During that time, Germany destroyed 209 out of 290 cities in the republic, 85% of the republic's industry, and more than one million buildings. The Nazi Generalplan Ost called for the extermination, expulsion or enslavement of most or all Belarusians for the purpose of providing more living space in the East for Germans.Casualties were estimated to be between 2 and 3 million (about a quarter to one-third of the total population), while the Jewish population of Belarus was devastated during the Holocaust and never recovered. The population of Belarus did not regain its pre-war level until 1971. It was also after this conflict that the final borders of Belarus were set by Stalin when parts of Belarusian territory were given to the recently annexed Lithuania.
Output: How many cities of the country that was a founding member of the Union of Soviet Socialist Republics were destroyed in World War II?
Passage: A part of Belarus under Russian rule emerged as the Byelorussian Soviet Socialist Republic (Byelorussian SSR) in 1919. Soon thereafter it merged to form the Lithuanian-Byelorussian SSR. The contested lands were divided between Poland and the Soviet Union after the war ended in 1921, and the Byelorussian SSR became a founding member of the Union of Soviet Socialist Republics in 1922. The western part of modern Belarus remained part of Poland.In the 1920s and 1930s, Soviet agricultural and economic policies, including collectivization and five-year plans for the national economy, led to famine and political repression.
In 1939, Nazi Germany and the Soviet Union invaded and occupied Poland, marking the beginning of World War II. The Soviets invaded and annexed much of eastern Poland, which had been part of the country since the Peace of Riga two decades earlier. Much of the northern section of this area was added to the Byelorussian SSR, and now constitutes West Belarus. The Soviet-controlled Byelorussian People's Council officially took control of the territories, whose populations consisted of a mixture of Poles, Ukrainians, Belarusians and Jews, on 28 October 1939 in Białystok. Nazi Germany invaded the Soviet Union in 1941. The Brest Fortress, which had been annexed in 1939, at this time was subjected to one of the most destructive onslaughts that happened during the war. Statistically, the Byelorussian SSR was the hardest-hit Soviet republic in World War II; it remained in Nazi hands until 1944. During that time, Germany destroyed 209 out of 290 cities in the republic, 85% of the republic's industry, and more than one million buildings. The Nazi Generalplan Ost called for the extermination, expulsion or enslavement of most or all Belarusians for the purpose of providing more living space in the East for Germans.Casualties were estimated to be between 2 and 3 million (about a quarter to one-third of the total population), while the Jewish population of Belarus was devastated during the Holocaust and never recovered. The population of Belarus did not regain its pre-war level until 1971. It was also after this conflict that the final borders of Belarus were set by Stalin when parts of Belarusian territory were given to the recently annexed Lithuania.
Output: What year did the republic that experienced famine and political repression population levels restore to pre-World War II levels?
Passage: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences.
Output: What did the man who wrote the autobiography do for a living?
Passage: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences.
Output: What was the man that Lesra Martin's family helps nicknamed in his boxing days?
Passage: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences.
Output: What's the full name of the person who made the accusation that landed Carter in prison for nearly 20 years?
Passage: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences.
Output: Who gets their family to help The Hurricane?
Passage: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences.
Output: What was The Hurricane's sentence at the time of conviction?
Passage: Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Façades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque style more evident than in Ragusa and Catania.
Output: What were the last names of the people who were able to formulate a strong individual style of their own?
Passage: Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Façades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque style more evident than in Ragusa and Catania.
Output: What were the names of the two people that promoted the use of the external staircase?
Passage: Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Façades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque style more evident than in Ragusa and Catania.
Output: What two locations in Sicily was the development of the new Baroque style evident?
Passage: Home from the war, Captain Tony Travis eyes an estate in Santa Barbara and wonders what it must be like to be that rich. It is the property of the fabulously wealthy Nora Hunter, who has secretary and friend Sylvia Lockwood impersonate her in public. Longtime guardian Jonathan Connors protects his ward's privacy zealously. During a ship launching, a press photographer takes Nora's picture, but Connors sees to it that the camera film is ruined.
Sylvia tells Nora that she is quitting so that she can accompany her husband, Phil Vernon, whose job requires him to move to Washington. Nora decides to marry her fiance Donald so that Sylvia can be her maid of honor at her wedding, but when Donald returns from military duty, he breaks the news that he has fallen in love with someone else.
Nora hosts a tea, but has Sylvia again pretend to be her. There she meets and takes a liking to Tony, but he is more interested in Sylvia. On hearing him vow that love is more important to him than money, Nora and Sylvia invite him to a weekend at Nora's beach house. Nora helps Tony court Sylvia, so that if he does genuinely love the real Nora, it will not be because of her money. All of her friends tell her she is being foolish, that nobody can resist that much temptation, but she stubbornly persists.
Output: What is the full name of the person who is impersonated by Sylvia?
Passage: Home from the war, Captain Tony Travis eyes an estate in Santa Barbara and wonders what it must be like to be that rich. It is the property of the fabulously wealthy Nora Hunter, who has secretary and friend Sylvia Lockwood impersonate her in public. Longtime guardian Jonathan Connors protects his ward's privacy zealously. During a ship launching, a press photographer takes Nora's picture, but Connors sees to it that the camera film is ruined.
Sylvia tells Nora that she is quitting so that she can accompany her husband, Phil Vernon, whose job requires him to move to Washington. Nora decides to marry her fiance Donald so that Sylvia can be her maid of honor at her wedding, but when Donald returns from military duty, he breaks the news that he has fallen in love with someone else.
Nora hosts a tea, but has Sylvia again pretend to be her. There she meets and takes a liking to Tony, but he is more interested in Sylvia. On hearing him vow that love is more important to him than money, Nora and Sylvia invite him to a weekend at Nora's beach house. Nora helps Tony court Sylvia, so that if he does genuinely love the real Nora, it will not be because of her money. All of her friends tell her she is being foolish, that nobody can resist that much temptation, but she stubbornly persists.
Output: What is the first name of Connors' ward?
Passage: Home from the war, Captain Tony Travis eyes an estate in Santa Barbara and wonders what it must be like to be that rich. It is the property of the fabulously wealthy Nora Hunter, who has secretary and friend Sylvia Lockwood impersonate her in public. Longtime guardian Jonathan Connors protects his ward's privacy zealously. During a ship launching, a press photographer takes Nora's picture, but Connors sees to it that the camera film is ruined.
Sylvia tells Nora that she is quitting so that she can accompany her husband, Phil Vernon, whose job requires him to move to Washington. Nora decides to marry her fiance Donald so that Sylvia can be her maid of honor at her wedding, but when Donald returns from military duty, he breaks the news that he has fallen in love with someone else.
Nora hosts a tea, but has Sylvia again pretend to be her. There she meets and takes a liking to Tony, but he is more interested in Sylvia. On hearing him vow that love is more important to him than money, Nora and Sylvia invite him to a weekend at Nora's beach house. Nora helps Tony court Sylvia, so that if he does genuinely love the real Nora, it will not be because of her money. All of her friends tell her she is being foolish, that nobody can resist that much temptation, but she stubbornly persists.
Output: What is the first name of the person that is invited to Nora's beach house?
Passage: Home from the war, Captain Tony Travis eyes an estate in Santa Barbara and wonders what it must be like to be that rich. It is the property of the fabulously wealthy Nora Hunter, who has secretary and friend Sylvia Lockwood impersonate her in public. Longtime guardian Jonathan Connors protects his ward's privacy zealously. During a ship launching, a press photographer takes Nora's picture, but Connors sees to it that the camera film is ruined.
Sylvia tells Nora that she is quitting so that she can accompany her husband, Phil Vernon, whose job requires him to move to Washington. Nora decides to marry her fiance Donald so that Sylvia can be her maid of honor at her wedding, but when Donald returns from military duty, he breaks the news that he has fallen in love with someone else.
Nora hosts a tea, but has Sylvia again pretend to be her. There she meets and takes a liking to Tony, but he is more interested in Sylvia. On hearing him vow that love is more important to him than money, Nora and Sylvia invite him to a weekend at Nora's beach house. Nora helps Tony court Sylvia, so that if he does genuinely love the real Nora, it will not be because of her money. All of her friends tell her she is being foolish, that nobody can resist that much temptation, but she stubbornly persists.
Output: What is the full name of the person whose friends tell her that she is being foolish?
Passage: The film takes place in Minnesota, in 1990. Detective Bruce Kenner investigates the case of John Gray, who admits to sexually abusing his 17-year-old daughter Angela but has no recollection of the abuse. They seek the help of Professor Kenneth Raines to use recovered-memory therapy on John Gray to retrieve his memories, and come to suspect that their colleague Detective George Nesbitt is involved. They detain him but fail to find evidence against him. Detectives suspect a satanic cult is involved because of Angela's testimony, in which Angela says that she was abused by people in masks and someone took pictures of it.
Bruce and Kenneth meet Angela's estranged brother Roy Gray to inquire about why he left the house. Using the regression technique on him, he recalls hooded figures entering his room while he was young. Bruce and Kenneth suspect Roy's grandmother, Rose Gray, has some involvement but find nothing after a search of her house.
Meanwhile, Bruce begins having nightmares involving satanic rituals. Angela tells him that the cult is out to kill her as she has shown her demonic mark to him and that he is in danger as well. She tells him that her mother received miscellaneous calls and saw strange figures staring at her in the street before she met with an accident. Bruce starts to experience the same things and his nightmares increase in intensity.
Output: What is the name of John Gray's mother?
Passage: 3 of Hearts members Blaire Stroud, Katie McNeill, and Deserea Wasdin first performed together at a funeral, where they sang the hymn "He Leadeth Me". They had each performed independently at various venues and aspired to pursue music as a career. At the suggestion of their family and friends, they recorded a demo tape and video. The tape was composed of four songs: cover versions of works by Shania Twain and Martina McBride, a gospel song, and "The Star-Spangled Banner". McNeill's mother sent the cassette to record promoter Peter Svendsen. While organizing unsolicited demos and materials, Svendsen's daughter recommended he should listen to the tape. Stroud, McNeil, and Wasdin received offers from four Nashville-based record labels, including RCA Nashville, with whom they signed their record deal shortly after graduating from high school.RCA executive vice-president Butch Waugh said the record company was immediately drawn to the group because of their wholesome image and work ethic. Steve Hochman of Los Angeles Times associated 3 of Hearts with a trend towards younger country performers, connecting them with singers Jessica Andrews, LeAnn Rimes, and Lila McCann, and the band Marshall Dyllon. The record label marketed 3 of Hearts and their album to a younger listener; the group's manager Ken Kragen said that he hoped the group could revive interest in country music from a teenaged and young-adult audience, as the genre had fallen out of favorite with these demographics. Kragen has said that before he signed the trio, he almost retired from music, after being fired by singer-songwriter Kenny Rogers. In 2001, Rogers sued Kragen for allegedly poaching 3 of Hearts and other musical acts from his company, Rogers' Dreamcatcher Management Co.; Kragen responded by saying Rogers' company had rejected 3 of Hearts. A settlement was reached in 2003, and the terms of the agreement were not disclosed to the public.American producer Byron Gallimore worked as the executive producer for the group's debut album; in the later half of 2000, the trio recorded the songs in the Tennessee studios Essential Sound and Ocean Nashville. The music was mixed at the Emerald Sound Studios in Nashville, and mastered in Hollywood. Prior to the release of the album, 3 of Hearts' song "Just Might Change Your Life" was featured on the soundtrack for the film Where the Heart Is (2000).
Output: What is the name of the record label that marketed 3 of Hearts and their album to a younger listener?
Passage: 3 of Hearts members Blaire Stroud, Katie McNeill, and Deserea Wasdin first performed together at a funeral, where they sang the hymn "He Leadeth Me". They had each performed independently at various venues and aspired to pursue music as a career. At the suggestion of their family and friends, they recorded a demo tape and video. The tape was composed of four songs: cover versions of works by Shania Twain and Martina McBride, a gospel song, and "The Star-Spangled Banner". McNeill's mother sent the cassette to record promoter Peter Svendsen. While organizing unsolicited demos and materials, Svendsen's daughter recommended he should listen to the tape. Stroud, McNeil, and Wasdin received offers from four Nashville-based record labels, including RCA Nashville, with whom they signed their record deal shortly after graduating from high school.RCA executive vice-president Butch Waugh said the record company was immediately drawn to the group because of their wholesome image and work ethic. Steve Hochman of Los Angeles Times associated 3 of Hearts with a trend towards younger country performers, connecting them with singers Jessica Andrews, LeAnn Rimes, and Lila McCann, and the band Marshall Dyllon. The record label marketed 3 of Hearts and their album to a younger listener; the group's manager Ken Kragen said that he hoped the group could revive interest in country music from a teenaged and young-adult audience, as the genre had fallen out of favorite with these demographics. Kragen has said that before he signed the trio, he almost retired from music, after being fired by singer-songwriter Kenny Rogers. In 2001, Rogers sued Kragen for allegedly poaching 3 of Hearts and other musical acts from his company, Rogers' Dreamcatcher Management Co.; Kragen responded by saying Rogers' company had rejected 3 of Hearts. A settlement was reached in 2003, and the terms of the agreement were not disclosed to the public.American producer Byron Gallimore worked as the executive producer for the group's debut album; in the later half of 2000, the trio recorded the songs in the Tennessee studios Essential Sound and Ocean Nashville. The music was mixed at the Emerald Sound Studios in Nashville, and mastered in Hollywood. Prior to the release of the album, 3 of Hearts' song "Just Might Change Your Life" was featured on the soundtrack for the film Where the Heart Is (2000).
Output: What is the full name of Rogers' company Kragen claims rejected 3 of Hearts?
Passage: 3 of Hearts members Blaire Stroud, Katie McNeill, and Deserea Wasdin first performed together at a funeral, where they sang the hymn "He Leadeth Me". They had each performed independently at various venues and aspired to pursue music as a career. At the suggestion of their family and friends, they recorded a demo tape and video. The tape was composed of four songs: cover versions of works by Shania Twain and Martina McBride, a gospel song, and "The Star-Spangled Banner". McNeill's mother sent the cassette to record promoter Peter Svendsen. While organizing unsolicited demos and materials, Svendsen's daughter recommended he should listen to the tape. Stroud, McNeil, and Wasdin received offers from four Nashville-based record labels, including RCA Nashville, with whom they signed their record deal shortly after graduating from high school.RCA executive vice-president Butch Waugh said the record company was immediately drawn to the group because of their wholesome image and work ethic. Steve Hochman of Los Angeles Times associated 3 of Hearts with a trend towards younger country performers, connecting them with singers Jessica Andrews, LeAnn Rimes, and Lila McCann, and the band Marshall Dyllon. The record label marketed 3 of Hearts and their album to a younger listener; the group's manager Ken Kragen said that he hoped the group could revive interest in country music from a teenaged and young-adult audience, as the genre had fallen out of favorite with these demographics. Kragen has said that before he signed the trio, he almost retired from music, after being fired by singer-songwriter Kenny Rogers. In 2001, Rogers sued Kragen for allegedly poaching 3 of Hearts and other musical acts from his company, Rogers' Dreamcatcher Management Co.; Kragen responded by saying Rogers' company had rejected 3 of Hearts. A settlement was reached in 2003, and the terms of the agreement were not disclosed to the public.American producer Byron Gallimore worked as the executive producer for the group's debut album; in the later half of 2000, the trio recorded the songs in the Tennessee studios Essential Sound and Ocean Nashville. The music was mixed at the Emerald Sound Studios in Nashville, and mastered in Hollywood. Prior to the release of the album, 3 of Hearts' song "Just Might Change Your Life" was featured on the soundtrack for the film Where the Heart Is (2000).
Output: What is the full name of the person from whose company Kragen allegedly poached 3 of Hearts?
Passage: On a farm, a mama duck goes out for a swim, leaving behind an egg in her nest. Tom hides in the tall grass nearby and snatches the egg once mama duck is out of sight. He rushes back to the kitchen and cracks the egg over a frying pan, but instead of the albumen and yolk, Quacker the duckling appears. Not to be put off, Tom decides he will cook roasted duck instead. 
Tom feeds Quacker on plenty of bread to fatten him up, and then attempts to use a meat cleaver on him. Quacker avoids the meat cleaver, which slices through the remaining loaf of bread, and escapes to Jerry's mouse hole and informs a confused Jerry of Tom's actions. Jerry peers out from his mouse hole cautiously, but Tom quickly strikes with his meat cleaver. Quacker pulls Jerry's legs, thinking at first that the mouse has been decapitated but eventually realizing the cat has only caught Jerry's whiskers. Once free, Jerry pulls Tom's tail through a wall socket and out of the hole, causing Tom to reflexively hack the meat cleaver onto his own tail. The cat screams in pain as Jerry and Quacker escape the hole.
Output: Where does Tom find Quacker?