niryuu/sni-each-converted huggingface dataset:
Passage: The film follows the personal relationship between a father, Arkady Shapira, his terminally ill wife Irina, and his two sons, Joshua and Reuben (Roth and Furlong). Joshua, the elder, is a hit-man for the Jewish-Russian mafia in Brooklyn and estranged from his family. After finishing a contract killing, Joshua is ordered to kill an Iranian jeweler in Brighton Beach, which Joshua reluctantly accepts. Joshua stands outside his family's apartment, where he is spotted by one of his old friends Sasha, who tells Joshua's brother Reuben the next day. Reuben goes to the hotel where Joshua is staying to see him. Joshua asks Reuben how he knew he was in Brighton, and they make plans to meet again the next day.
Joshua waits near the boardwalk where Sasha is and intimidates him to tell who else knows about Joshua being in Brighton. Sasha brings Joshua to the car repair
stand where Viktor and Yuri are. Joshua says they will help him find the Iranian jeweler and when they refuse, Joshua threatens them.
After things go sour, Joshua executes a man at a phone booth to prevent being found out in Brighton, which angers the neighborhood boss Boris Volkoff. Joshua starts dating his ex-girlfriend Alla. Alla asks Reuben if he has seen Joshua anywhere and the three go together to see a movie. Eventually Reuben takes Joshua home to see his parents again, but Arkady denounces him as a murderer and kicks him out.
Joshua uses information about his father's affair to see his dying mother. After reminiscing about the past, Joshua's mother asks him to go to his grandmother's birthday party, which Joshua agrees to.
Output: What are the first names of the people whose mother is dying?
Passage: The film follows the personal relationship between a father, Arkady Shapira, his terminally ill wife Irina, and his two sons, Joshua and Reuben (Roth and Furlong). Joshua, the elder, is a hit-man for the Jewish-Russian mafia in Brooklyn and estranged from his family. After finishing a contract killing, Joshua is ordered to kill an Iranian jeweler in Brighton Beach, which Joshua reluctantly accepts. Joshua stands outside his family's apartment, where he is spotted by one of his old friends Sasha, who tells Joshua's brother Reuben the next day. Reuben goes to the hotel where Joshua is staying to see him. Joshua asks Reuben how he knew he was in Brighton, and they make plans to meet again the next day.
Joshua waits near the boardwalk where Sasha is and intimidates him to tell who else knows about Joshua being in Brighton. Sasha brings Joshua to the car repair
stand where Viktor and Yuri are. Joshua says they will help him find the Iranian jeweler and when they refuse, Joshua threatens them.
After things go sour, Joshua executes a man at a phone booth to prevent being found out in Brighton, which angers the neighborhood boss Boris Volkoff. Joshua starts dating his ex-girlfriend Alla. Alla asks Reuben if he has seen Joshua anywhere and the three go together to see a movie. Eventually Reuben takes Joshua home to see his parents again, but Arkady denounces him as a murderer and kicks him out.
Joshua uses information about his father's affair to see his dying mother. After reminiscing about the past, Joshua's mother asks him to go to his grandmother's birthday party, which Joshua agrees to.
Output: Who orders Joshua to kill an Iranian jeweler?
Passage: The film follows the personal relationship between a father, Arkady Shapira, his terminally ill wife Irina, and his two sons, Joshua and Reuben (Roth and Furlong). Joshua, the elder, is a hit-man for the Jewish-Russian mafia in Brooklyn and estranged from his family. After finishing a contract killing, Joshua is ordered to kill an Iranian jeweler in Brighton Beach, which Joshua reluctantly accepts. Joshua stands outside his family's apartment, where he is spotted by one of his old friends Sasha, who tells Joshua's brother Reuben the next day. Reuben goes to the hotel where Joshua is staying to see him. Joshua asks Reuben how he knew he was in Brighton, and they make plans to meet again the next day.
Joshua waits near the boardwalk where Sasha is and intimidates him to tell who else knows about Joshua being in Brighton. Sasha brings Joshua to the car repair
stand where Viktor and Yuri are. Joshua says they will help him find the Iranian jeweler and when they refuse, Joshua threatens them.
After things go sour, Joshua executes a man at a phone booth to prevent being found out in Brighton, which angers the neighborhood boss Boris Volkoff. Joshua starts dating his ex-girlfriend Alla. Alla asks Reuben if he has seen Joshua anywhere and the three go together to see a movie. Eventually Reuben takes Joshua home to see his parents again, but Arkady denounces him as a murderer and kicks him out.
Joshua uses information about his father's affair to see his dying mother. After reminiscing about the past, Joshua's mother asks him to go to his grandmother's birthday party, which Joshua agrees to.
Output: Who does Arkady denounce as a murderer?
Passage: The film follows the personal relationship between a father, Arkady Shapira, his terminally ill wife Irina, and his two sons, Joshua and Reuben (Roth and Furlong). Joshua, the elder, is a hit-man for the Jewish-Russian mafia in Brooklyn and estranged from his family. After finishing a contract killing, Joshua is ordered to kill an Iranian jeweler in Brighton Beach, which Joshua reluctantly accepts. Joshua stands outside his family's apartment, where he is spotted by one of his old friends Sasha, who tells Joshua's brother Reuben the next day. Reuben goes to the hotel where Joshua is staying to see him. Joshua asks Reuben how he knew he was in Brighton, and they make plans to meet again the next day.
Joshua waits near the boardwalk where Sasha is and intimidates him to tell who else knows about Joshua being in Brighton. Sasha brings Joshua to the car repair
stand where Viktor and Yuri are. Joshua says they will help him find the Iranian jeweler and when they refuse, Joshua threatens them.
After things go sour, Joshua executes a man at a phone booth to prevent being found out in Brighton, which angers the neighborhood boss Boris Volkoff. Joshua starts dating his ex-girlfriend Alla. Alla asks Reuben if he has seen Joshua anywhere and the three go together to see a movie. Eventually Reuben takes Joshua home to see his parents again, but Arkady denounces him as a murderer and kicks him out.
Joshua uses information about his father's affair to see his dying mother. After reminiscing about the past, Joshua's mother asks him to go to his grandmother's birthday party, which Joshua agrees to.
Output: Who refuses to help Joshua find the Iranian jeweler?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the album on which "the outside world became all there was" according to Yorke?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the album that many musical critics, journalists, and scholars consider to be a concept album?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the album that many musical critics, journalists, and scholars have analyzed as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the album whose lyrics, written by York, are more abstract compared to his personal, emotional lyrics for The Bends?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the album about which Greenwood said one title and "and one computer voice do not make a concept album"?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the band that reportedly intended OK Computer to be heard as a whole, and spent two weeks ordering the track list?
Passage: The album's lyrics, written by Yorke, are more abstract compared to his personal, emotional lyrics for The Bends. Critic Alex Ross said the lyrics "seemed a mixture of overheard conversations, techno-speak, and fragments of a harsh diary" with "images of riot police at political rallies, anguished lives in tidy suburbs, yuppies freaking out, sympathetic aliens gliding overhead." Recurring themes include transport, technology, insanity, death, modern British life, globalisation and anti-capitalism. Yorke said: "On this album, the outside world became all there was ... I'm just taking Polaroids of things around me moving too fast." He told Q: "It was like there's a secret camera in a room and it's watching the character who walks in—a different character for each song. The camera's not quite me. It's neutral, emotionless. But not emotionless at all. In fact, the very opposite." Yorke also drew inspiration from books, including Noam Chomsky's political writing, Eric Hobsbawm's The Age of Extremes, Will Hutton's The State We're In, Jonathan Coe's What a Carve Up! and Philip K. Dick's VALIS.The songs of OK Computer do not have a coherent narrative, and the album's lyrics are generally considered abstract or oblique. Nonetheless, many musical critics, journalists, and scholars consider the album to be a concept album or song cycle, or have analyzed it as a concept album, noting its strong thematic cohesion, aesthetic unity, and the structural logic of the song sequencing. Although the songs share common themes, Radiohead have said they do not consider OK Computer a concept album and did not intend to link the songs through a narrative or unifying concept while it was being written. Jonny Greenwood said: "I think one album title and one computer voice do not make a concept album. That's a bit of a red herring." However, the band intended the album to be heard as a whole, and spent two weeks ordering the track list. O'Brien said: "The context of each song is really important ... It's not a concept album but there is a continuity there.".
Output: What is the name of the album that Radiohead intended to be heard as a whole, and on which they spent two weeks ordering the track list?
Passage: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.".
Output: What is the full name of the group that sowed the seeds of Presley's future stage act?
Passage: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.".
Output: What was the full name of the band that Jim Wetherington was the bass singer of?
Passage: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.".
Output: What is the nickname of the person that went about as far as you could go in gospel singing?
Passage: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.".
Output: What is the full name of the band that preachers frequently objected?
Passage: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.".
Output: What was the name of the person that made their first recording in 1954?
Passage: Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he was blessed with a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written.".
Output: How old was Presley when he made his first recording?
Passage: By 1960, use of the rail line along Johnson Creek had declined and passenger service was discontinued. By 1990 the City of Portland bought much of the corridor. Working with Metro, it created the Springwater Corridor Trail, a 21-mile (34 km) bicycle and pedestrian rail trail that follows the creek and extends from the Willamette River to Boring. It became part of the 40-Mile Loop, a hiking and biking trail that circles the Portland metropolitan area and intersects with similar trails.Creekside parks include Johnson Creek Park, about 4.5 acres (18,000 m2) of natural areas and paths; the Crystal Springs Rhododendron Garden, along Crystal Springs Creek; Tideman Johnson Natural Area, about 7.2 acres (29,000 m2) of natural areas and paths; Leach Botanical Garden, about 16 acres (65,000 m2), a public garden dedicated to the study of botany and horticulture with an emphasis on plants of the Pacific Northwest; Beggars Tick Wildlife Refuge, a wetland of 20 acres (81,000 m2); Powell Butte Nature Park, about 608 acres (2.46 km2) on an extinct cinder cone volcano, including natural areas and hiking, biking, and equestrian trails; and Gresham's Main City Park, about 18 acres (73,000 m2) including sports fields, picnic areas, and trails.In 2007 Metro bought two parcels of land totaling 102 acres (410,000 m2) for preservation adjacent to Johnson Creek on Clatsop Butte, south of Foster Road near Powell Butte and Portland's Pleasant Valley neighborhood. The purchases cost $10.9 million, drawing on bonds approved by a 2006 ballot measure. They were praised by conservationists but questioned by others who thought Metro had paid too much.
Output: What creek does Springwater Corridor Trail follow?
Passage: There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.
Output: What is the lowest point of Death Valley?
Passage: There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.
Output: What is the name of the topographic relief is the greatest elevation gradient in the contiguous United States?
Passage: There are two major valleys in the park, Death Valley and Panamint Valley. Both of these valleys were formed within the last few million years and both are bounded by north–south-trending mountain ranges. These and adjacent valleys follow the general trend of Basin and Range topography with one modification: there are parallel strike-slip faults that perpendicularly bound the central extent of Death Valley. The result of this shearing action is additional extension in the central part of Death Valley which causes a slight widening and more subsidence there.
Uplift of surrounding mountain ranges and subsidence of the valley floor are both occurring. The uplift on the Black Mountains is so fast that the alluvial fans (fan-shaped deposits at the mouth of canyons) there are small and steep compared to the huge alluvial fans coming off the Panamint Range. Fast uplift of a mountain range in an arid environment often does not allow its canyons enough time to cut a classic V-shape all the way down to the stream bed. Instead, a V-shape ends at a slot canyon halfway down, forming a 'wine glass canyon.'  Sediment is deposited on a small and steep alluvial fan.
At 282 feet (86 m) below sea level at its lowest point, Badwater Basin on Death Valley's floor is the second-lowest depression in the Western Hemisphere (behind Laguna del Carbón in Argentina), while Mount Whitney, only 85 miles (137 km) to the west, rises to 14,505 feet (4,421 m). This topographic relief is the greatest elevation gradient in the contiguous United States and is the terminus point of the Great Basin's southwestern drainage. Although the extreme lack of water in the Great Basin makes this distinction of little current practical use, it does mean that in wetter times the lake that once filled Death Valley (Lake Manly) was the last stop for water flowing in the region, meaning the water there was saturated in dissolved materials. Thus the salt pans in Death Valley are among the largest in the world and are rich in minerals, such as borax and various salts and hydrates. The largest salt pan in the park extends 40 miles (64 km) from the Ashford Mill Site to the Salt Creek Hills, covering some 200 square miles (520 km2) of the valley floor. The best known playa in the park is the Racetrack, known for its moving rocks.
Output: What location has the largest salt pans in the world?
Passage: The West Plains Trail had originated with Native Americans, and before the ox cart traffic it connected the fur-trading posts of the Columbia Fur Company.  In fact, that company introduced the Red River ox cart to haul its furs and goods. It also developed the trails, and by the early 1830s, an expedition from the Selkirk settlement driving a flock of sheep from Kentucky to the Assiniboine found the trail to be well-marked.From the Red River Settlement, the trail went south upstream along the Red River's west bank to Pembina, just across the international border. Pembina had been a fur-trading post since the last decade of the eighteenth century.  From there, some traffic continued south along the river, but most cart trains went west along the Pembina River to St. Joseph near the border and then south, or else cut the corner to the southwest in order to intercept the southbound trail from St. Joseph. This north-south trail paralleled the Red River about thirty miles (50 km) to the west.  By staying on the uplands west of the Red River, this route avoided crossing the tributaries of that river near their confluences with the Red, and also kept out of the swampy, flood-prone, and mosquito-ridden bottomlands in the lakebed of Glacial Lake Agassiz which the river drained.
In what is now southeastern North Dakota, the trail veered to the south-southeast to close with the Red River at Georgetown, Fort Abercrombie, and Breckenridge, Minnesota, all of which came into existence in consequence of the passing cart traffic.  From Breckenridge, the trail continued upstream along the east bank of the Red and Bois des Sioux Rivers to the continental divide at Lake Traverse. Some traffic went along the lakeshore through the Traverse Gap on the continental divide, then down either side of Big Stone Lake, source of the Minnesota River, while other carters took a short cut directly south from the Bois des Sioux across the open prairie through modern Graceville, Minnesota thereby avoiding the wet country in the Traverse Gap.The trail continued on intertwined routes down both sides of the valley of the Minnesota River past fur posts at Lac qui Parle and downstream locations, and the Upper Sioux and Lower Sioux Indian Agencies and Fort Ridgely, all established in the 1850s. From Fort Ridgely, the trail struck across the open prairie to the Minnesota River at Traverse des Sioux near modern-day St. Peter, Minnesota, where the furs and goods were, at first, usually transshipped to flatboats.  In later years, most cart trains crossed to the east bank and proceeded northeast along the wooded river bottoms and uplands to Fort Snelling or Mendota, where the Minnesota River joined the Mississippi.  From there furs were shipped down the Mississippi River to Saint Louis and other markets.
Output: Before shipping goods down the Mississippi river. what river did most cart trains follow?
Passage: The Night of the Long Knives (German: Nacht der langen Messer ), or the Röhm Purge, also called Operation Hummingbird (German: Unternehmen Kolibri), was a purge that took place in Nazi Germany from June 30 to July 2, 1934, when Adolf Hitler, urged on by Hermann Göring and Heinrich Himmler, carried out a series of political extrajudicial executions intended to consolidate his hold on power in Germany, as well as to alleviate the concerns of the German military about the role of Ernst Röhm and the Sturmabteilung (SA), the Nazis' own mass paramilitary organization. Nazi propaganda presented the murders as a preventive measure against an alleged imminent coup by the SA under Röhm – the so-called Röhm putsch.
The primary instruments of Hitler's action, who carried out most of the killings, were the Schutzstaffel (SS) paramilitary force under Himmler and its Security Service (SD) under Reinhard Heydrich, and the Gestapo, the secret police, under Göring. Göring's personal police battalion also took part in the killings. Many of those killed in the purge were leaders of the SA, the best-known being Röhm himself, the SA's chief of staff and one of Hitler's longtime supporters and allies. Leading members of the leftist-leaning Strasserist faction of the Nazi Party, including its figurehead, Gregor Strasser, were also killed, as were establishment conservatives and anti-Nazis, such as former Chancellor Kurt von Schleicher and Bavarian politician Gustav Ritter von Kahr, who had suppressed Hitler's Munich Beer Hall Putsch in 1923. The murders of SA leaders were also intended to improve the image of the Hitler government with a German public that was increasingly critical of thuggish SA tactics.
Output: What is the first name of the person whose primary instruments of action were the SS?