niryuu/sni-each-converted huggingface dataset:
Passage: Misterioso is a 1958 live album by American jazz ensemble the Thelonious Monk Quartet. By the time of its recording, pianist and bandleader Thelonious Monk had overcome an extended period of career difficulties and achieved stardom with his residency at New York's Five Spot Café, beginning in 1957. He returned there the following year for a second stint with his quartet, featuring drummer Roy Haynes, bassist Ahmed Abdul-Malik, and tenor saxophonist Johnny Griffin. Along with Thelonious in Action (1958), Misterioso captured portions of the ensemble's August 7 show at the venue.
The album was one of the first successful live recordings of Monk's music and was produced by Orrin Keepnews of Riverside Records. According to Keepnews, the pianist played more distinctly here than on his studio albums in response to the audience's enthusiasm during the performance. Misterioso's title was meant to evoke Monk's reputation as an enigmatic, challenging performer, while its cover art was part of Riverside's attempt to capitalize on his popularity with intellectual and bohemian audiences; it appropriated Giorgio de Chirico's 1915 painting The Seer.
Misterioso was originally met with a mixed critical reaction; reviewers applauded Monk's performance but were critical of Griffin, whose playing they felt was out of place with the quartet. The album was remastered and reissued in 1989 and 2012 by Original Jazz Classics, and has since received retrospective acclaim from critics, some of whom viewed Griffin's playing as the record's highlight. The saxophonist's solo during the performance of "In Walked Bud" in particular has developed renown among critics and jazz musicians.
Output: What is the name of the record whose highlight is Griffin's playing, according to the retrospective views of some critics?
Passage: Misterioso is a 1958 live album by American jazz ensemble the Thelonious Monk Quartet. By the time of its recording, pianist and bandleader Thelonious Monk had overcome an extended period of career difficulties and achieved stardom with his residency at New York's Five Spot Café, beginning in 1957. He returned there the following year for a second stint with his quartet, featuring drummer Roy Haynes, bassist Ahmed Abdul-Malik, and tenor saxophonist Johnny Griffin. Along with Thelonious in Action (1958), Misterioso captured portions of the ensemble's August 7 show at the venue.
The album was one of the first successful live recordings of Monk's music and was produced by Orrin Keepnews of Riverside Records. According to Keepnews, the pianist played more distinctly here than on his studio albums in response to the audience's enthusiasm during the performance. Misterioso's title was meant to evoke Monk's reputation as an enigmatic, challenging performer, while its cover art was part of Riverside's attempt to capitalize on his popularity with intellectual and bohemian audiences; it appropriated Giorgio de Chirico's 1915 painting The Seer.
Misterioso was originally met with a mixed critical reaction; reviewers applauded Monk's performance but were critical of Griffin, whose playing they felt was out of place with the quartet. The album was remastered and reissued in 1989 and 2012 by Original Jazz Classics, and has since received retrospective acclaim from critics, some of whom viewed Griffin's playing as the record's highlight. The saxophonist's solo during the performance of "In Walked Bud" in particular has developed renown among critics and jazz musicians.
Output: What is the name of the album that has since received retrospective acclaim from critics?
Passage: The first group of people claiming to be an ambassadorial mission of Romans to China was recorded as having arrived in 166 AD by the Book of the Later Han. The embassy came to Emperor Huan of Han China from "Andun" (Chinese: 安敦; Emperor Antoninus Pius or Marcus Aurelius Antoninus), "king of Daqin" (Rome). As Antoninus Pius died in 161 AD, leaving the empire to his adoptive son Marcus Aurelius Antoninus, and the envoy arrived in 166 AD, confusion remains about who sent the mission, as both emperors were named "Antoninus". The Roman mission came from the south (therefore probably by sea), entering China by the frontier of Rinan or Tonkin (present-day Vietnam). It brought presents of rhinoceros horns, ivory, and tortoise shell, probably acquired in Southern Asia. The text states that it was the first time there had been direct contact between the two countries. Yule speculated that the Roman visitors must have lost their original wares due to robbery or shipwreck and used the gifts instead, prompting Chinese sources to suspect them of withholding their more precious valuables, which Yule notes was the same criticism directed at papal missionary John of Montecorvino when he arrived in China in the late 13th century AD. Historians Rafe de Crespigny, Peter Fibiger Bang, and Warwick Ball believe that this was most likely a group of Roman merchants rather than official diplomats sent by Marcus Aurelius. Crespigny stresses that the presence of this Roman embassy as well as others from Tianzhu (in northern India) and Buyeo (in Manchuria) provided much-needed prestige for Emperor Huan, as he was facing serious political troubles and fallout for the forced suicide of politician Liang Ji, who had dominated the Han government well after the death of his sister Empress Liang Na. Yule emphasised that the Roman embassy was said to come by way of Jiaozhi in northern Vietnam, the same route that Chinese sources claimed the embassies from Tianzhu (northern India) had used in 159 and 161 AD.
Output: What was the name of the person who dominated the Han government well after the death of his sister Empress Liang Na?
Passage: The first group of people claiming to be an ambassadorial mission of Romans to China was recorded as having arrived in 166 AD by the Book of the Later Han. The embassy came to Emperor Huan of Han China from "Andun" (Chinese: 安敦; Emperor Antoninus Pius or Marcus Aurelius Antoninus), "king of Daqin" (Rome). As Antoninus Pius died in 161 AD, leaving the empire to his adoptive son Marcus Aurelius Antoninus, and the envoy arrived in 166 AD, confusion remains about who sent the mission, as both emperors were named "Antoninus". The Roman mission came from the south (therefore probably by sea), entering China by the frontier of Rinan or Tonkin (present-day Vietnam). It brought presents of rhinoceros horns, ivory, and tortoise shell, probably acquired in Southern Asia. The text states that it was the first time there had been direct contact between the two countries. Yule speculated that the Roman visitors must have lost their original wares due to robbery or shipwreck and used the gifts instead, prompting Chinese sources to suspect them of withholding their more precious valuables, which Yule notes was the same criticism directed at papal missionary John of Montecorvino when he arrived in China in the late 13th century AD. Historians Rafe de Crespigny, Peter Fibiger Bang, and Warwick Ball believe that this was most likely a group of Roman merchants rather than official diplomats sent by Marcus Aurelius. Crespigny stresses that the presence of this Roman embassy as well as others from Tianzhu (in northern India) and Buyeo (in Manchuria) provided much-needed prestige for Emperor Huan, as he was facing serious political troubles and fallout for the forced suicide of politician Liang Ji, who had dominated the Han government well after the death of his sister Empress Liang Na. Yule emphasised that the Roman embassy was said to come by way of Jiaozhi in northern Vietnam, the same route that Chinese sources claimed the embassies from Tianzhu (northern India) had used in 159 and 161 AD.
Output: What was the name of Liang Ji's sister?
Passage: The first group of people claiming to be an ambassadorial mission of Romans to China was recorded as having arrived in 166 AD by the Book of the Later Han. The embassy came to Emperor Huan of Han China from "Andun" (Chinese: 安敦; Emperor Antoninus Pius or Marcus Aurelius Antoninus), "king of Daqin" (Rome). As Antoninus Pius died in 161 AD, leaving the empire to his adoptive son Marcus Aurelius Antoninus, and the envoy arrived in 166 AD, confusion remains about who sent the mission, as both emperors were named "Antoninus". The Roman mission came from the south (therefore probably by sea), entering China by the frontier of Rinan or Tonkin (present-day Vietnam). It brought presents of rhinoceros horns, ivory, and tortoise shell, probably acquired in Southern Asia. The text states that it was the first time there had been direct contact between the two countries. Yule speculated that the Roman visitors must have lost their original wares due to robbery or shipwreck and used the gifts instead, prompting Chinese sources to suspect them of withholding their more precious valuables, which Yule notes was the same criticism directed at papal missionary John of Montecorvino when he arrived in China in the late 13th century AD. Historians Rafe de Crespigny, Peter Fibiger Bang, and Warwick Ball believe that this was most likely a group of Roman merchants rather than official diplomats sent by Marcus Aurelius. Crespigny stresses that the presence of this Roman embassy as well as others from Tianzhu (in northern India) and Buyeo (in Manchuria) provided much-needed prestige for Emperor Huan, as he was facing serious political troubles and fallout for the forced suicide of politician Liang Ji, who had dominated the Han government well after the death of his sister Empress Liang Na. Yule emphasised that the Roman embassy was said to come by way of Jiaozhi in northern Vietnam, the same route that Chinese sources claimed the embassies from Tianzhu (northern India) had used in 159 and 161 AD.
Output: What was the name of the embassy in northern India?
Passage: The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden.  That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague.
Output: What was the full name of the person who concluded "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance?
Passage: The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden.  That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague.
Output: What was the name of the person whose 1500 portrait was their last?
Passage: The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden.  That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague.
Output: What was the name of the person who drew Man of Sorrows?
Passage: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining.
Output: What is the first name of the person whose land was acquired?
Passage: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining.
Output: What is the nickname of the area where development was completed in 1904?
Passage: In 1898, a large plot of land was sold to Edmund Nuttall & Co. for the construction of 1,200 houses. The houses were never built, but the land later became the site of Trafford Park Village, known locally as The Village. The announced arrival of the Westinghouse factory acted a spur to development, and in 1899, Trafford Park Dwellings Ltd was formed, with the aim of providing housing for the anticipated influx of new workers. Nuttall's land was acquired, and by 1903 more than 500 houses had been built, rising to over 700 when the development was completed in 1904. In 1907 it was estimated that the population of the Village was 3,060. The development was laid out in a grid pattern, with the roads numbered instead of being named. Avenues numbered 1 to 4 run north–south, streets numbered 1 to 12 run east–west.
The Village was almost completely self-contained, with its own shops, public hall, post office, police station, school, social club, and sports facilities. Three corrugated iron churches were built: a Methodist chapel in 1901, St Cuthberts (Church of England) in 1902, and the Roman Catholic St Antony's in 1904. St Cuthbert's was subsequently replaced by a brick building, but closed in 1982. Only St Antony's remains open; it contains the altar and a stained glass window from the chapel at Trafford Hall, donated by Lady Annette de Trafford. The Village's design attracted criticism from the start; the streets were narrow, with few gardens, and the whole development was close to the pollution of the neighbouring industries. In that respect it resembled the terraced properties in the surrounding areas, many of which were condemned as slums in later years. By the 1970s The Village was also considered by Stretford Council to be a slum area, and unsuitable for residential housing. In the first phase of clearance, during the mid-1970s, 298 houses were demolished. A further 325 houses were demolished in the early 1980s, leaving only the largest 84 houses remaining.
Output: Which two of the three original churches no longer remain open?
Passage: In February 2009, Reznor posted his thoughts about the future of Nine Inch Nails on his official website, stating that "I've been thinking for some time now it's time to make NIN disappear for a while." Reznor since clarified that he "isn't done creating music under the moniker, but that Nine Inch Nails is done touring for the foreseeable future." The "Wave Goodbye" tour concluded on September 10, 2009, at the Wiltern Theater in Los Angeles. Reznor subsequently released two tracks under the Nine Inch Nails moniker: the theme song for the film Tetsuo: The Bullet Man, and a cover of U2's "Zoo Station", included in the Achtung Baby tribute album AHK-toong BAY-bi Covered.
In 2009 Reznor married Mariqueen Maandig, and formed a project with Maandig and Atticus Ross dubbed How to Destroy Angels. Its first release, a six-track self-titled EP, was made available for free download in June 2010. Reznor's next collaboration with Ross was co-writing and producing the official score for David Fincher's 2010 film, The Social Network. Reznor and Ross received two awards for the score, a 2010 Golden Globe Award for Best Original Score for a Motion Picture, and a 2010 Oscar for Best Original Score. Reznor and Ross again collaborated with Fincher for the official score the American adaptation of the novel The Girl with the Dragon Tattoo, released in December 2011, and then again on Fincher's 2014 film Gone Girl In July 2012 Reznor teamed up with video game developer Treyarch to compose the theme music for Call of Duty: Black Ops II. Later that year Reznor again worked with Atticus Ross along with Alessandro Cortini on a remix of the song "Destroyer" by Telepathe. Reznor also appeared in a documentary called "Sound City" directed by Dave Grohl, in addition to co-writing and performing the song "Mantra" with Grohl and Josh Homme. This led to further collaboration with Reznor and Homme on the 2013 album from Queens of the Stone Age titled ... Like Clockwork. Reznor contributed vocals and drum programing to the song "Kalopsia" and vocals on "Fairweather Friends" along with Elton John on piano and vocals. In October a project with Dr. Dre and Beats Electronics was announced that Reznor wrote was "probably not what you're expecting [from me]". The project was named "Daisy"; a digital music service was announced in January 2013. It was until January 2014 that the service was fully launched, with Reznor serving as chief creative officer.
Output: What are the full names of the three people who formed a project dubbed How to Destroy Angels?
Passage: Almost immediately, the signal began to be misquoted. A number of ships in the fleet recorded the signal as "England expects every man to do his duty" (omitting that and replacing will with to). This version became so prevalent that it is recorded on Nelson's tomb in St. Paul's Cathedral. The word that is also omitted on the version around the base of Nelson's Column, as seen in the photo above. However, the Victory's log and the accounts of signal officer John Pasco and Henry Blackwood (captain of the frigate Euryalus), both present at the preparation of the signal, agree on the form given here. On 26 December 1805, The Times newspaper in London reported the signal as; "England expects every officer and man to do his duty this day". In 1811, the tenor John Braham composed a song, "The Death of Nelson", including the words of the signal. The song became popular almost immediately and was performed throughout the British Empire during the 19th century. To make the words fit the metre, they were altered to "England expects that every man this day will do his duty". This version of the wording is also persistent.Between 1885 and 1908 it was believed that the signal had been sent using the 1799 code book, as in 1885 it was pointed out that this had not been replaced until 1808. In 1908 it was discovered, the Admiralty had, in fact, changed the signal code in November 1803, after the 1799 version had been captured by the French, and new code books had been issued to Nelson's fleet at Cadiz in September 1805. As a result, books published between these two dates show the signal using the wrong flags.
The signal is still hoisted on the Victory at her dry dock in Portsmouth on Trafalgar Day (21 October) every year, although the signal flags are displayed all at once, running from fore to aft, rather than hoisted sequentially from the mizzenmast.
Output: What word is omitted on the version around the base of Nelson's Column?
Passage: Almost immediately, the signal began to be misquoted. A number of ships in the fleet recorded the signal as "England expects every man to do his duty" (omitting that and replacing will with to). This version became so prevalent that it is recorded on Nelson's tomb in St. Paul's Cathedral. The word that is also omitted on the version around the base of Nelson's Column, as seen in the photo above. However, the Victory's log and the accounts of signal officer John Pasco and Henry Blackwood (captain of the frigate Euryalus), both present at the preparation of the signal, agree on the form given here. On 26 December 1805, The Times newspaper in London reported the signal as; "England expects every officer and man to do his duty this day". In 1811, the tenor John Braham composed a song, "The Death of Nelson", including the words of the signal. The song became popular almost immediately and was performed throughout the British Empire during the 19th century. To make the words fit the metre, they were altered to "England expects that every man this day will do his duty". This version of the wording is also persistent.Between 1885 and 1908 it was believed that the signal had been sent using the 1799 code book, as in 1885 it was pointed out that this had not been replaced until 1808. In 1908 it was discovered, the Admiralty had, in fact, changed the signal code in November 1803, after the 1799 version had been captured by the French, and new code books had been issued to Nelson's fleet at Cadiz in September 1805. As a result, books published between these two dates show the signal using the wrong flags.
The signal is still hoisted on the Victory at her dry dock in Portsmouth on Trafalgar Day (21 October) every year, although the signal flags are displayed all at once, running from fore to aft, rather than hoisted sequentially from the mizzenmast.
Output: What are the full names of the two people who agree to the form of the signal where that was omitted and will was replaced with to?
Passage: If the pigeon became alert, it would often stretch out its head and neck in line with its body and tail, then nod its head in a circular pattern. When aggravated by another pigeon, it raised its wings threateningly, but passenger pigeons almost never actually fought. The pigeon bathed in shallow water, and afterwards lay on each side in turn and raised the opposite wing to dry it.The passenger pigeon drank at least once a day, typically at dawn, by fully inserting its bill into lakes, small ponds, and streams. Pigeons were seen perching on top of each other to access water, and if necessary, the species could alight on open water to drink. One of the primary causes of natural mortality was the weather, and every spring many individuals froze to death after migrating north too early. In captivity, a passenger pigeon was capable of living at least 15 years; Martha, the last known living passenger pigeon, was at least 17 and possibly as old as 29 when she died. It is undocumented how long a wild pigeon lived.The bird is believed to have played a significant ecological role in the composition of pre-Columbian forests of eastern North America. For instance, while the passenger pigeon was extant, forests were dominated by white oaks. This species germinated in the fall, therefore making its seeds almost useless as a food source during the spring breeding season, while red oaks produced acorns during the spring, which were devoured by the pigeons. The absence of the passenger pigeon's seed consumption may have contributed to the modern dominance of red oaks. Due to the immense amount of dung present at roosting sites, few plants grew for years after the pigeons left. Also, the accumulation of flammable debris (such as limbs broken from trees and foliage killed by excrement) at these sites may have increased both the frequency and intensity of forest fires, which would have favored fire-tolerant species, such as bur oaks, black oaks, and white oaks over less fire-tolerant species, such as red oaks, thus helping to explain the change in the composition of eastern forests since the passenger pigeon’s extinction (from white oaks, bur oaks, and black oaks predominating in presettlement forests, to the “dramatic expansion” of red oaks today).
Output: What was the youngest Martha could have been when she died?
Passage: If the pigeon became alert, it would often stretch out its head and neck in line with its body and tail, then nod its head in a circular pattern. When aggravated by another pigeon, it raised its wings threateningly, but passenger pigeons almost never actually fought. The pigeon bathed in shallow water, and afterwards lay on each side in turn and raised the opposite wing to dry it.The passenger pigeon drank at least once a day, typically at dawn, by fully inserting its bill into lakes, small ponds, and streams. Pigeons were seen perching on top of each other to access water, and if necessary, the species could alight on open water to drink. One of the primary causes of natural mortality was the weather, and every spring many individuals froze to death after migrating north too early. In captivity, a passenger pigeon was capable of living at least 15 years; Martha, the last known living passenger pigeon, was at least 17 and possibly as old as 29 when she died. It is undocumented how long a wild pigeon lived.The bird is believed to have played a significant ecological role in the composition of pre-Columbian forests of eastern North America. For instance, while the passenger pigeon was extant, forests were dominated by white oaks. This species germinated in the fall, therefore making its seeds almost useless as a food source during the spring breeding season, while red oaks produced acorns during the spring, which were devoured by the pigeons. The absence of the passenger pigeon's seed consumption may have contributed to the modern dominance of red oaks. Due to the immense amount of dung present at roosting sites, few plants grew for years after the pigeons left. Also, the accumulation of flammable debris (such as limbs broken from trees and foliage killed by excrement) at these sites may have increased both the frequency and intensity of forest fires, which would have favored fire-tolerant species, such as bur oaks, black oaks, and white oaks over less fire-tolerant species, such as red oaks, thus helping to explain the change in the composition of eastern forests since the passenger pigeon’s extinction (from white oaks, bur oaks, and black oaks predominating in presettlement forests, to the “dramatic expansion” of red oaks today).
Output: What tree has dominated with the abscense of passenger pigeons?
Passage: The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succès de scandale. Façade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noël Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet, choreographed by Frederick Ashton.
Output: What is the last name of the person who asked the composer that  met Stravinsky and Gershwin whether "...a clarinet player ever done you an injury?"?
Passage: The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succès de scandale. Façade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noël Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet, choreographed by Frederick Ashton.
Output: What publication's writer said that the composer who took music lessons with Ernest Ansermet was "as a musical joker he is a jewel of the first water"?
Passage: The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succès de scandale. Façade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noël Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet, choreographed by Frederick Ashton.
Output: What is the last name of the man that marched out ostentatiously during the performance by the composer who took music lessons with Edward J. Dent?
Passage: The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succès de scandale. Façade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noël Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet, choreographed by Frederick Ashton.
Output: What is the name of the publication that loathed a work but thought it was memorable by the man who received a stimulating cultural education?
Passage: The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succès de scandale. Façade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noël Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet, choreographed by Frederick Ashton.
Output: What publication said that the work by the man who heard the Savoy orpheans at the Savoy Hotel "...induced the audience to listen with breathless attention."?