niryuu/sni-each-converted huggingface dataset:
Passage: Yosemite Sam is the royal chef for a spoiled king (a caricature of Charles Laughton, who frequently played kings and similar heads of state).  On his way back to the castle from grocery shopping, Sam complains that the king never thanks him for his hard work in having to both pick up groceries and prepare meals three times every day, but that the king instead whines that Sam takes too long with preparing the meals, much to Sam's annoyance ("Cook!  Cook! Where's my lunch? Where's my dinner?"). This drives Sam to the point where he insults the king behind his back.
After Sam prepares the king's latest meal, which consists of "Cornish Hen a la Westchester" and "Prime Rib of Mutton au Jus with kreplach Sauce Bordelaise," the king just kicks the dishes away and orders Sam to take it all away.  He then tells Sam he's fed up with having "variety" at his meals.  Wanting something different for real, the king orders Sam to fix him some hasenpfeffer.  Sam agrees to carry out the king's request, but doesn't know what hasenpfeffer is.  When Sam checks back just to make sure the king said the right word, the king answers the question by throwing a bowl of custard into Sam's face. Angry at this, Sam again insults the king behind his back ("OOH! I hate that honorable royal majestic graciousness!").
While Sam is looking up the recipe, Bugs Bunny knocks on the door and explains that as he's one of the rabbits residing in the king's royal forest, he's come to borrow a cup of diced carrots.  Sam just slams the door on Bugs and returns to the cookbook, only to discover that hasenpfeffer is a dish that includes a rabbit as one of the ingredients.  Realizing whom he had just shooed away, Sam rushes out after Bugs.
Sam manages to trick Bugs into thinking that the king has invited Bugs for dinner. Bugs demurs, saying that he is not prepared; but Sam assures Bugs that he will "prepare" him.
Output: What is the full name of the one who wants to borrow carrots?
Passage: Yosemite Sam is the royal chef for a spoiled king (a caricature of Charles Laughton, who frequently played kings and similar heads of state).  On his way back to the castle from grocery shopping, Sam complains that the king never thanks him for his hard work in having to both pick up groceries and prepare meals three times every day, but that the king instead whines that Sam takes too long with preparing the meals, much to Sam's annoyance ("Cook!  Cook! Where's my lunch? Where's my dinner?"). This drives Sam to the point where he insults the king behind his back.
After Sam prepares the king's latest meal, which consists of "Cornish Hen a la Westchester" and "Prime Rib of Mutton au Jus with kreplach Sauce Bordelaise," the king just kicks the dishes away and orders Sam to take it all away.  He then tells Sam he's fed up with having "variety" at his meals.  Wanting something different for real, the king orders Sam to fix him some hasenpfeffer.  Sam agrees to carry out the king's request, but doesn't know what hasenpfeffer is.  When Sam checks back just to make sure the king said the right word, the king answers the question by throwing a bowl of custard into Sam's face. Angry at this, Sam again insults the king behind his back ("OOH! I hate that honorable royal majestic graciousness!").
While Sam is looking up the recipe, Bugs Bunny knocks on the door and explains that as he's one of the rabbits residing in the king's royal forest, he's come to borrow a cup of diced carrots.  Sam just slams the door on Bugs and returns to the cookbook, only to discover that hasenpfeffer is a dish that includes a rabbit as one of the ingredients.  Realizing whom he had just shooed away, Sam rushes out after Bugs.
Sam manages to trick Bugs into thinking that the king has invited Bugs for dinner. Bugs demurs, saying that he is not prepared; but Sam assures Bugs that he will "prepare" him.
Output: What is the full name of the rabbit?
Passage: Yosemite Sam is the royal chef for a spoiled king (a caricature of Charles Laughton, who frequently played kings and similar heads of state).  On his way back to the castle from grocery shopping, Sam complains that the king never thanks him for his hard work in having to both pick up groceries and prepare meals three times every day, but that the king instead whines that Sam takes too long with preparing the meals, much to Sam's annoyance ("Cook!  Cook! Where's my lunch? Where's my dinner?"). This drives Sam to the point where he insults the king behind his back.
After Sam prepares the king's latest meal, which consists of "Cornish Hen a la Westchester" and "Prime Rib of Mutton au Jus with kreplach Sauce Bordelaise," the king just kicks the dishes away and orders Sam to take it all away.  He then tells Sam he's fed up with having "variety" at his meals.  Wanting something different for real, the king orders Sam to fix him some hasenpfeffer.  Sam agrees to carry out the king's request, but doesn't know what hasenpfeffer is.  When Sam checks back just to make sure the king said the right word, the king answers the question by throwing a bowl of custard into Sam's face. Angry at this, Sam again insults the king behind his back ("OOH! I hate that honorable royal majestic graciousness!").
While Sam is looking up the recipe, Bugs Bunny knocks on the door and explains that as he's one of the rabbits residing in the king's royal forest, he's come to borrow a cup of diced carrots.  Sam just slams the door on Bugs and returns to the cookbook, only to discover that hasenpfeffer is a dish that includes a rabbit as one of the ingredients.  Realizing whom he had just shooed away, Sam rushes out after Bugs.
Sam manages to trick Bugs into thinking that the king has invited Bugs for dinner. Bugs demurs, saying that he is not prepared; but Sam assures Bugs that he will "prepare" him.
Output: Where does Bugs Bunny live?
Passage: In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".).
Output: What is the collection where Takemitsu's S-E-A motive features prominently?
Passage: In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".).
Output: Where did Takemitsu visit that inspired his 1981 work?
Passage: In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".).
Output: Who invited the composer of Dreamtime to Groote Eylandt?
Passage: In a Tokyo lecture given in 1984, Takemitsu identified a melodic motive in his Far Calls. Coming Far! (for violin and orchestra, 1980) that would recur throughout his later works:
I wanted to plan a tonal "sea". Here the "sea" is E-flat [Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. [... In Far Calls] this is extended upward from A with two major thirds and one minor third ... Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late 1970s into the 1980s, which have been described as "an increased use of diatonic material [... with] references to tertian harmony and jazz voicing", which do not, however, project a sense of "large-scale tonality". Many of the works from this period have titles that include a reference to water: Toward the Sea (1981), Rain Tree and Rain Coming (1982), riverrun and I Hear the Water Dreaming (1987). Takemitsu wrote in his notes for the score of Rain Coming that "... the complete collection [is] entitled "Waterscape" ... it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality." Throughout these works, the S-E-A motive (discussed further below) features prominently, and points to an increased emphasis on the melodic element in Takemitsu's music that began during this later period.
His 1981 work for orchestra named Dreamtime was inspired by a visit to Groote Eylandt, off the coast of the Northern Territory of Australia, to witness a large gathering of Australian indigenous dancers, singers and story tellers.  He was there at the invitation of the choreographer Jiří Kylián.Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. In Dream/Window, (orchestra, 1985) a pedal D serves as anchor point, holding together statements of a striking four-note motivic gesture which recurs in various instrumental and rhythmic guises throughout. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and pre-20th-century composers—for example, Folios for guitar (1974), which quotes from J. S. Bach's St Matthew Passion, and Family Tree for narrator and orchestra (1984), which invokes the musical language of Maurice Ravel and American popular song. (He revered the St Matthew Passion, and would play through it on the piano before commencing a new work, as a form of "purificatory ritual".).
Output: What did Takemitsu call it when he played through the St Matthew Passion before he'd start new work?
Passage: Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has a two-and-half story central section, which is 48 feet (14.6 m) by 43 feet (13.1 m), and two one-story wings on the north and south sides that are each 22 feet (6.7 m) by 21 feet (6.4 m). The first and second floors have a total area of 5,052 square feet (469 m²). The north wing was the laboratory and the south wing (which had an attached woodshed) was the summer kitchen. The cellar, first, and second floors of the central section are each divided into four rooms, with a central hall on the first and second floors; the first floor also has an intersecting hall that leads to the laboratory. The attic has three rooms for servants and a larger room for storage. A paint analysis done in 1994 revealed that the house had no wall paper initially and that the walls and woodwork were painted "a brilliant white".
Output: What is the full, modern-day name of the house with a library that contained about 1600 volumes in 1804?
Passage: Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has a two-and-half story central section, which is 48 feet (14.6 m) by 43 feet (13.1 m), and two one-story wings on the north and south sides that are each 22 feet (6.7 m) by 21 feet (6.4 m). The first and second floors have a total area of 5,052 square feet (469 m²). The north wing was the laboratory and the south wing (which had an attached woodshed) was the summer kitchen. The cellar, first, and second floors of the central section are each divided into four rooms, with a central hall on the first and second floors; the first floor also has an intersecting hall that leads to the laboratory. The attic has three rooms for servants and a larger room for storage. A paint analysis done in 1994 revealed that the house had no wall paper initially and that the walls and woodwork were painted "a brilliant white".
Output: What is the last name of the person in whose new laboratory Joseph continued his scientific and scholarly work?
Passage: Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has a two-and-half story central section, which is 48 feet (14.6 m) by 43 feet (13.1 m), and two one-story wings on the north and south sides that are each 22 feet (6.7 m) by 21 feet (6.4 m). The first and second floors have a total area of 5,052 square feet (469 m²). The north wing was the laboratory and the south wing (which had an attached woodshed) was the summer kitchen. The cellar, first, and second floors of the central section are each divided into four rooms, with a central hall on the first and second floors; the first floor also has an intersecting hall that leads to the laboratory. The attic has three rooms for servants and a larger room for storage. A paint analysis done in 1994 revealed that the house had no wall paper initially and that the walls and woodwork were painted "a brilliant white".
Output: What is the full name of the person who called carbon monoxide "heavy inflammable air"?
Passage: Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has a two-and-half story central section, which is 48 feet (14.6 m) by 43 feet (13.1 m), and two one-story wings on the north and south sides that are each 22 feet (6.7 m) by 21 feet (6.4 m). The first and second floors have a total area of 5,052 square feet (469 m²). The north wing was the laboratory and the south wing (which had an attached woodshed) was the summer kitchen. The cellar, first, and second floors of the central section are each divided into four rooms, with a central hall on the first and second floors; the first floor also has an intersecting hall that leads to the laboratory. The attic has three rooms for servants and a larger room for storage. A paint analysis done in 1994 revealed that the house had no wall paper initially and that the walls and woodwork were painted "a brilliant white".
Output: What is the last name of the person who helped found the local Northumberland Academy?
Passage: Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has a two-and-half story central section, which is 48 feet (14.6 m) by 43 feet (13.1 m), and two one-story wings on the north and south sides that are each 22 feet (6.7 m) by 21 feet (6.4 m). The first and second floors have a total area of 5,052 square feet (469 m²). The north wing was the laboratory and the south wing (which had an attached woodshed) was the summer kitchen. The cellar, first, and second floors of the central section are each divided into four rooms, with a central hall on the first and second floors; the first floor also has an intersecting hall that leads to the laboratory. The attic has three rooms for servants and a larger room for storage. A paint analysis done in 1994 revealed that the house had no wall paper initially and that the walls and woodwork were painted "a brilliant white".
Output: What is the full, modern-day name of the house accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase"?
Passage: Joseph and Mary lived with their son Joseph, Jr. and his family in a small house while theirs was being built. Mary Priestley was primarily responsible for the design of the couple's new home and her family inheritance may have helped finance it, but she died before it was completed. By 1797, Joseph's laboratory was completed—the first part of the home to be finished. It was the first laboratory that "he had designed, built, and outfitted entirely himself" and was probably the first "scientifically-equipped laboratory" in the United States. Joseph continued his scientific and scholarly work in his new laboratory, identifying carbon monoxide (which he called "heavy inflammable air"). In 1798 Joseph Jr., his wife, and their children moved into the new house with Joseph Priestley. The house also held Priestley's library, which contained about 1600 volumes by his death in 1804 and was one of the largest in America at the time. The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance". The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American. Douglas R. McMinn, in the National Register of Historic Places nomination for the Northumberland Historic District, calls it a "mansion" that is "probably the finest example of the Federal style in the region". As William N. Richardson, the site administrator for the Joseph Priestley House in the 1990s, notes, Priestley's American home did not resemble his "high-style Georgian town house" that was destroyed in Birmingham; rather, it was "plain" and built in the "American vernacular".The house has a two-and-half story central section, which is 48 feet (14.6 m) by 43 feet (13.1 m), and two one-story wings on the north and south sides that are each 22 feet (6.7 m) by 21 feet (6.4 m). The first and second floors have a total area of 5,052 square feet (469 m²). The north wing was the laboratory and the south wing (which had an attached woodshed) was the summer kitchen. The cellar, first, and second floors of the central section are each divided into four rooms, with a central hall on the first and second floors; the first floor also has an intersecting hall that leads to the laboratory. The attic has three rooms for servants and a larger room for storage. A paint analysis done in 1994 revealed that the house had no wall paper initially and that the walls and woodwork were painted "a brilliant white".
Output: What is the full, modern-day name of the house described as "plain" and built in the "American vernacular"?
Passage: Before 2012, majority of Americans supported securing United States borders compared to dealing with illegal immigrants in the United States. In 2013, that trend has reversed and 55% of people polled by Gallup revealed that they would choose "developing a plan to deal with immigrants who are currently in the U.S. illegally." Changes regarding border control are consistent across party lines, with Republicans saying that "securing U.S. borders to halt flow of illegal immigrants" is extremely important decreasing from 68% in 2011 to 56% in 2014. Meanwhile, Democrats who chose extremely important shifted from 42% in 2011 to 31% in 2014. In July 2013, 87% of Americans said they would vote in support of a law that would "allow immigrants already in the country to become U.S. citizens if they meet certain requirements including paying taxes, having a criminal background check and learning English." However, in the same survey, 83% also said they would support the tightening of U.S. border security.Donald Trump's campaign for Presidency focused on a rhetoric of reducing illegal immigration and toughening border security. In July 2015, 48% of Americans thought that Donald Trump would do a poor job of handling immigration problems. In November 2016, 55% of Trump's voters thought that he would do the right thing in regards to illegal immigration. In general, Trump supporters are not united upon how to handle immigration. In December 2016, Trump voters were polled and 60% said that "undocumented immigrants in the U.S. who meet certain requirements should be allowed to stay legally."American opinion regarding how immigrants affect the country and how the government should respond to illegal immigration have changed over time. In 2006, out of all U.S. adults surveyed, 28% declared that they believed the growing number of immigrants helped American workers and 55% believed that it hurt American workers. In 2016, those views had changed, with 42% believing that they helped and 45% believing that they hurt. The PRRI 2015 American Values Atlas showed that between 46% and 53% of Americans believed that "the growing number of newcomers from other countries ... strengthens American society." In the same year, 57% and 66% of Americans chose that the U.S. should "allow [immigrants living in the U.S. illegally] a way to become citizens provided they meet certain requirements."In February 2017, the American Enterprise Institute released a report on recent surveys about immigration issues. In July 2016, 63% of Americans favored the temporary bans of immigrants from areas with high levels of terrorism and 53% said the U.S. should allow fewer refugees to enter the country. In November 2016, 55% of Americans were opposed to building a border wall with Mexico. Since 1994, Pew Research center has tracked a change from 63% of Americans saying that immigrants are a burden on the country to 27%.
Output: What is the first name of the person whose voters were polled and 60% said that "undocumented immigrants in the U.S. who meet certain requirements should be allowed to stay legally?"?
Passage: In the early 19th century the geography of Antarctica was almost completely unknown, though occasional sightings of land had been recorded. In 1822 Benjamin Morrell, who had  sailed to the South Sandwich Islands the previous year, was appointed commander of the schooner Wasp for a two-year voyage of sealing, trading and exploration in the Antarctic seas and the southern Pacific Ocean.  In addition to his sealing duties Morrell had, as he put it, "discretionary powers to prosecute new discoveries." He proposed to use this discretion to investigate the Antarctic seas "and to ascertain the practicality ... of penetrating to the South Pole." This would be the first of four extended voyages that would keep Morrell at sea for most of the following eight years, although he would not revisit the Antarctic after the initial voyage.Wasp sailed south from New York on 22 June 1822.  She reached the Falkland Islands late in October, after which Morrell spent 16 days in fruitless searches for the nonexistent Aurora Islands, before heading for South Georgia, where the ship anchored on 20 November. In his account Morrell wrongly records the position of this anchorage, giving a location in open sea about 60 miles (97 km) south-west of the island's coastline. According to Morrell's account, Wasp then headed eastwards to hunt for seals, and reached the remote Bouvet Island on 6 December. The polar historian H.R. Mill notes that Morrell's description of this island's physical features  fails to mention its most singular characteristic—the permanent ice sheet that covers its surface. Morrell then attempted to take the ship southwards but, reaching thick ice at around 60°S, turned northeast towards the Kerguelen Islands where he anchored on 31 December.
Output: What is the full name of the person who proposed to use this discretion to investigate the Antarctic seas "and to ascertain the practicality ... of penetrating to the South Pole?
Passage: In the early 19th century the geography of Antarctica was almost completely unknown, though occasional sightings of land had been recorded. In 1822 Benjamin Morrell, who had  sailed to the South Sandwich Islands the previous year, was appointed commander of the schooner Wasp for a two-year voyage of sealing, trading and exploration in the Antarctic seas and the southern Pacific Ocean.  In addition to his sealing duties Morrell had, as he put it, "discretionary powers to prosecute new discoveries." He proposed to use this discretion to investigate the Antarctic seas "and to ascertain the practicality ... of penetrating to the South Pole." This would be the first of four extended voyages that would keep Morrell at sea for most of the following eight years, although he would not revisit the Antarctic after the initial voyage.Wasp sailed south from New York on 22 June 1822.  She reached the Falkland Islands late in October, after which Morrell spent 16 days in fruitless searches for the nonexistent Aurora Islands, before heading for South Georgia, where the ship anchored on 20 November. In his account Morrell wrongly records the position of this anchorage, giving a location in open sea about 60 miles (97 km) south-west of the island's coastline. According to Morrell's account, Wasp then headed eastwards to hunt for seals, and reached the remote Bouvet Island on 6 December. The polar historian H.R. Mill notes that Morrell's description of this island's physical features  fails to mention its most singular characteristic—the permanent ice sheet that covers its surface. Morrell then attempted to take the ship southwards but, reaching thick ice at around 60°S, turned northeast towards the Kerguelen Islands where he anchored on 31 December.
Output: Morrell's description of which island's physical features fails to mention its most singular characteristic—the permanent ice sheet that covers its surface?
Passage: The most important nautical innovation of the Song period seems to have been the introduction of the magnetic mariner's compass, which permitted accurate navigation on the open sea regardless of the weather. The magnetized compass needle – known in Chinese as the "south-pointing needle" – was first described by Shen Kuo in his 1088 Dream Pool Essays and first mentioned in active use by sailors in Zhu Yu's 1119 Pingzhou Table Talks.
There were other considerable advancements in hydraulic engineering and nautical technology during the Song dynasty. The 10th-century invention of the pound lock for canal systems allowed different water levels to be raised and lowered for separated segments of a canal, which significantly aided the safety of canal traffic and allowed for larger barges. There was the Song-era innovation of watertight bulkhead compartments that allowed damage to hulls without sinking the ships. If ships were damaged, the Chinese of the 11th century employed drydocks to repair them while suspended out of the water. The Song used crossbeams to brace the ribs of ships in order to strengthen them in a skeletal-like structure. Stern-mounted rudders had been mounted on Chinese ships since the 1st century, as evidenced with a preserved Han tomb model of a ship. In the Song period, the Chinese devised a way to mechanically raise and lower rudders in order for ships to travel in a wider range of water depths. The Song arranged the protruding teeth of anchors in a circular pattern instead of in one direction. David Graff and Robin Higham state that this arrangement "[made] them more reliable" for anchoring ships.
Output: Who were the first people to use the magnetized compass needle?
Passage: The most important nautical innovation of the Song period seems to have been the introduction of the magnetic mariner's compass, which permitted accurate navigation on the open sea regardless of the weather. The magnetized compass needle – known in Chinese as the "south-pointing needle" – was first described by Shen Kuo in his 1088 Dream Pool Essays and first mentioned in active use by sailors in Zhu Yu's 1119 Pingzhou Table Talks.
There were other considerable advancements in hydraulic engineering and nautical technology during the Song dynasty. The 10th-century invention of the pound lock for canal systems allowed different water levels to be raised and lowered for separated segments of a canal, which significantly aided the safety of canal traffic and allowed for larger barges. There was the Song-era innovation of watertight bulkhead compartments that allowed damage to hulls without sinking the ships. If ships were damaged, the Chinese of the 11th century employed drydocks to repair them while suspended out of the water. The Song used crossbeams to brace the ribs of ships in order to strengthen them in a skeletal-like structure. Stern-mounted rudders had been mounted on Chinese ships since the 1st century, as evidenced with a preserved Han tomb model of a ship. In the Song period, the Chinese devised a way to mechanically raise and lower rudders in order for ships to travel in a wider range of water depths. The Song arranged the protruding teeth of anchors in a circular pattern instead of in one direction. David Graff and Robin Higham state that this arrangement "[made] them more reliable" for anchoring ships.
Output: Who wrote about the first use of the magnetized compass needle?
Passage: The most important nautical innovation of the Song period seems to have been the introduction of the magnetic mariner's compass, which permitted accurate navigation on the open sea regardless of the weather. The magnetized compass needle – known in Chinese as the "south-pointing needle" – was first described by Shen Kuo in his 1088 Dream Pool Essays and first mentioned in active use by sailors in Zhu Yu's 1119 Pingzhou Table Talks.
There were other considerable advancements in hydraulic engineering and nautical technology during the Song dynasty. The 10th-century invention of the pound lock for canal systems allowed different water levels to be raised and lowered for separated segments of a canal, which significantly aided the safety of canal traffic and allowed for larger barges. There was the Song-era innovation of watertight bulkhead compartments that allowed damage to hulls without sinking the ships. If ships were damaged, the Chinese of the 11th century employed drydocks to repair them while suspended out of the water. The Song used crossbeams to brace the ribs of ships in order to strengthen them in a skeletal-like structure. Stern-mounted rudders had been mounted on Chinese ships since the 1st century, as evidenced with a preserved Han tomb model of a ship. In the Song period, the Chinese devised a way to mechanically raise and lower rudders in order for ships to travel in a wider range of water depths. The Song arranged the protruding teeth of anchors in a circular pattern instead of in one direction. David Graff and Robin Higham state that this arrangement "[made] them more reliable" for anchoring ships.
Output: What was the first article that spoke of the magnetized compass needle being used?