niryuu/sni-each-converted huggingface dataset:
Passage: Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.
Output: Who's a relative of Paul's partner in crime?
Passage: Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.
Output: Who does Paul's best friend not want his sister to date?
Passage: Paul is a young womanizer living in a small Southern town, where he earns a living fixing cars for his uncle. Paul still lives with his mother, Elvira, who works as a clown cheering up children at the local hospital. He spends most of his time hanging out with his best friend and self-proclaimed partner-in-crime, Tip, and their friends Bo and Bust-Ass. Among his friends, Paul has a reputation as a ladies' man, but he is not at all known for being involved with long-term relationships; most of Paul's romances last only a few weeks, and he's slept with nearly every girl in town. Paul is beginning to reach a point where he would like to lead a different life, and that feeling becomes all the more clear when he meets Noel, Tip's teenage sister who returns home after attending a boarding school. Noel is more thoughtful and mature than the girls Paul is used to. Paul and Noel soon fall in love, but for Paul this is a different sort of relationship than he's accustomed to — Noel is still a virgin, and her contemplative nature gives him a desire to be a better, stronger person, but Tip does not approve of Paul dating his younger sister, which leads to a rift between these longtime friends.
Output: Who falls in love with the local hospital clown's son?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who came to believe the opera could show how mythic origins may be found in contemporary history?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who persisted in attempting to get Adams to write an opera?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who came to see Nixon, whom he had once intensely disliked, as an "interesting character?"?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who wanted Mao to be "the Mao of the huge posters and Great Leap Forward?"?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What was the full name of the person who Adams cast as a heldentenor?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who case Mao as a heldentenor?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What are the full names of the two men would agreed that the opera would be heroic in nature?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What are the full names of the three individuals who met at the Kennedy Center in Washing D.C. in 1985 to begin intensive study of the six characters upon whom the opera would focus?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the last name of the person who cast Mao "as a heldentenor"?
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances.
Output: What is the first name of the person who had interested himself in the origin of myths?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the first name of the person who has influenced performance for many groups?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the last name of the person who was known for developing a communal living and training facility for Ondekoza on Sado Island in Japan?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the first name of the person who joined Ondekoza when he was 19?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the last name of the person who helped found Kodo?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the full name of the person who has performed in venues such as Carnegie Hall in 1984?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the full name of the person who was the first featured taiko performer at Carnegie Hall?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the full name of the person who was awarded the 47th Education Minister's Art Encouragement Prize?
Passage: A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing kumi-daiko performance. Oguchi founded the first kumi-daiko group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. Kobayashi founded the group in 1959 and was the first group to tour professionally. Kobayashi is considered a master performer of taiko. He is also known for asserting intellectual control of the group's performance style, which has influenced performance for many groups, particularly in North America.In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo and is regarded as the Grandfather of Taiko and primary developer of taiko performance in the United States. He was a recipient of a 2001 National Heritage Fellowship awarded by the National Endowment for the Arts  and since 2013 is the only taiko professional presented with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan, in recognition of Grandmaster Seiichi Tanaka's contributions to the fostering of US-Japan relations as well as the promotion of Japanese cultural understanding in the United States.In 1969, Den Tagayasu (田耕, Den Tagayasu) founded Ondekoza, a group well known for making taiko performance internationally visible and for its artistic contributions to the tradition. Den was also known for developing a communal living and training facility for Ondekoza on Sado Island in Japan, which had a reputation for its intensity and broad education programs in folklore and music.Performers and groups beyond the early practitioners have also been noted. Eitetsu Hayashi is best known for his solo performance work. Hayashi joined Ondekoza when he was 19, and after parting from the group helped found Kodo, one of the best known and most influential taiko performance groups in the world. Hayashi soon left the group to begin a solo career and has performed in venues such as Carnegie Hall in 1984, the first featured taiko performer there. He was awarded the 47th Education Minister's Art Encouragement Prize, a national award, in 1997 as well as the 8th Award for the Promotion of Traditional Japanese Culture from the Japan Arts Foundation in 2001.
Output: What is the full name of the person who won the 8th Award for the Promotion of Traditional Japanese Culture?