niryuu/sni-each-converted huggingface dataset:
Passage: By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers.
In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.
Output: What is the name of the person that made a noble recording of J.S. Bach?
Passage: By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers.
In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.
Output: What is the name of the person that made a noble recording of Busoni?
Passage: By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers.
In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.
Output: What is the name of the person that made a noble recording of Corelli?
Passage: By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers.
In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.
Output: What is the name of the person that made a noble recording of Handel?
Passage: By 1930, Szigeti was established as a major international concert violinist. He performed extensively in Europe, the United States and Asia, and made the acquaintance of many of the era's leading instrumentalists, conductors and composers.
In 1939, to escape the war and Nazi persecution of the Jews, Szigeti emigrated with his wife to the United States, where they settled in California. (A year later, Bartók also fled to America, and just two days after his arrival, he and Szigeti played a sonata recital at the Library of Congress in Washington, D.C.)During the 1930s, 1940s and into the 1950s, Szigeti recorded extensively, leaving a significant legacy.  Notable recordings include the above-mentioned Library of Congress sonata recital; the studio recording of Bartók's Contrasts with Benny Goodman on clarinet and the composer at the piano; the violin concertos of Beethoven, Brahms, Mendelssohn, Prokofiev (No. 1) and Bloch under the batons of such conductors as Bruno Walter, Hamilton Harty and Sir Thomas Beecham; and various works by J.S. Bach, Busoni, Corelli, Handel and Mozart. One of his last recordings was of the Six Sonatas and Partitas for solo violin by Bach; although his technique had deteriorated noticeably by that time, the recording is prized for Szigeti's insight and depth of interpretation.In 1950, Szigeti was detained at Ellis Island upon returning from a European concert tour and was held for several days, officially "temporarily excluded" from the country. The reasons for his detention remain unclear. The following year, he became a naturalized American citizen.
Output: What is the name of the person that made a noble recording of Mozart?
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
Output: What is the name of the court whose eunuchs were in favor of expanding and building new commercial ties with foreign countries?
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
Output: What is the full name of the the third hierarch of the Gelug?
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
Output: What is the full name of the person who invited Sönam Gyatso to meet him in the Amdo?
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
Output: What is the full name of the person who accidentally bestowed Sönam Gyatso with the title of Dalai Lama?
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
Output: What is the full name of the person who was accidentally bestowed with the title of Dalai Lama?
Passage: During the reign of the Jiajing Emperor (r. 1521–1567), the native Chinese ideology of Daoism was fully sponsored at the Ming court, while Tibetan Vajrayana and even Chinese Buddhism were ignored or suppressed. Even the History of Ming states that the Tibetan lamas discontinued their trips to Ming China and its court at this point. Grand Secretary Yang Tinghe under Jiajing was determined to break the eunuch influence at court which typified the Zhengde era, an example being the costly escort of the eunuch Liu Yun as described above in his failed mission to Tibet. The court eunuchs were in favor of expanding and building new commercial ties with foreign countries such as Portugal, which Zhengde deemed permissible since he had an affinity for foreign and exotic people.With the death of Zhengde and ascension of Jiajing, the politics at court shifted in favor of the Neo-Confucian establishment which not only rejected the Portuguese embassy of Fernão Pires de Andrade (d. 1523), but had a predisposed animosity towards Tibetan Buddhism and lamas. Evelyn S. Rawski, a professor in the Department of History of the University of Pittsburgh, writes that the Ming's unique relationship with Tibetan prelates essentially ended with Jiajing's reign while Ming influence in the Amdo region was supplanted by the Mongols.The Chinese Ming dynasty also deliberately helped to propagate Tibetan Buddhism instead of Chinese Buddhism among the Mongols. The Ming assisted Altan Khan, King of the Tümed Mongols, when he requested aid in propagating Lamaism.Meanwhile, the Tumed Mongols began moving into the Kokonor region (modern Qinghai), raiding the Ming Chinese frontier and even as far as the suburbs of Beijing under Altan Khan (1507–1582). Klieger writes that Altan Khan's presence in the west effectively reduced Ming influence and contact with Tibet. After Altan Khan made peace with the Ming dynasty in 1571, he invited the third hierarch of the Gelug—Sönam Gyatso (1543–1588)—to meet him in Amdo (modern Qinghai) in 1578, where he accidentally bestowed him and his two predecessors with the title of Dalai Lama—"Ocean Teacher". The full title was "Dalai Lama Vajradhara", "Vajradhara" meaning "Holder of the Thunderbolt" in Sanskrit. Victoria Huckenpahler notes that Vajradhara is considered by Buddhists to be the primordial Buddha of limitless and all-pervasive beneficial qualities, a being that "represents the ultimate aspect of enlightenment." Goldstein writes that Sönam Gyatso also enhanced Altan Khan's standing by granting him the title "king of religion, majestic purity". Rawski writes that the Dalai Lama officially recognized Altan Khan as the "Protector of the Faith".
Output: What is the full name of the Dalai Lama who officially recognized Altan Khan as the "Protector of the Faith"?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What is the name of the person whose song was Single Ladies?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What is the name of the person who shot two black and white videos?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What  videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What is the first name of the person whose wife was in Mexican Breakfast?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What is the first name of the person whose video had become an Internet viral sensation the previous summer?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What is the first name of the person whose video choreography was liberally adapted from for the video "Single Ladies?"?
Passage: The music video for "Single Ladies" was shot immediately after that of "If I Were a Boy", but it received less attention during production than the "higher-gloss, higher-profile video" for "If I Were a Boy". Both videos were shot in black-and-white in New York City and were directed by Jake Nava, with whom Beyoncé had worked on previous music videos including "Crazy in Love" and "Beautiful Liar". "Single Ladies" was choreographed by Frank Gatson Jr. and JaQuel Knight, and incorporates J-Setting choreography. The two music videos premiered on MTV's Total Request Live show on October 13, 2008 to reinforce the concept of conflicting personalities. The videos were released to other media outlets on the same date and subsequently included on Beyoncé's remix album with videography, Above and Beyoncé, and the platinum edition of I Am... Sasha Fierce.
Beyoncé told Simon Vozick-Levinson of Entertainment Weekly that the inspiration for the video was a 1969 Bob Fosse routine entitled "Mexican Breakfast" seen on The Ed Sullivan Show, which featured Fosse's wife, Gwen Verdon, dancing with two other women. "Mexican Breakfast" had become an Internet viral sensation the previous summer after Unk's "Walk It Out" was dubbed over the original mix. Beyoncé wanted to attempt a similar dance and eventually, the choreography of "Single Ladies" was liberally adapted from "Mexican Breakfast":
I saw a video on YouTube. [The dancers] had a plain background and it was shot on the crane; it was 360 degrees, they could move around. And I said, 'This is genius.' We kept a lot of the Fosse choreography and added the down-south thing—it's called J-Setting, where one person does something and the next person follows. So it was a strange mixture ... It's like the most urban choreography, mixed with Fosse—very modern and very vintage.
Output: What is the first name of the person whose choreography was kept in Beyonce's video?
Passage: The film centres around the character of Tom, a young army recruit in an unnamed time and country (presumably World War II-era Eastern Europe) who deserts after an artillery barrage kills his sergeant, in the process blinding a sadistic officer who tries to stop him. He is shell-shocked into muteness and takes refuge with a travelling gypsy caravan, led by Darky. Among the principal members of the clan are Darky's mentally disabled son, Simon, Simon's mother Elle who harbours a grudge against Darky, and Darky's only daughter, Jessie, who forms a romantic bond with Tom, eventually becoming pregnant by him. In order to avoid arrest and execution by the army, Tom disguises himself as a "rawney", described in the film as a kind of "magic" madwoman, who (in the gypsy culture) is able to see the future and can control animals. Frightened at first, Darky befriends the "rawney", thinking him or her to be good luck, but soon Darky is revealed to be a flawed leader, unable to protect his clan from war, and beset by family turmoil which is exacerbated by Tom's presence. Throughout the film, the army and the partially blinded officer is a menace, threatening the gypsies' way of life and those who befriend them. In a moving finale, the army corners the gypsy clan, who manage to hold them off with meagre rifles and pistols long enough to enable the young members of the clan, including Tom and Jessie, to escape, at the cost of their own lives.
Output: Who takes refuge with a gypsy caravan?
Passage: The film centres around the character of Tom, a young army recruit in an unnamed time and country (presumably World War II-era Eastern Europe) who deserts after an artillery barrage kills his sergeant, in the process blinding a sadistic officer who tries to stop him. He is shell-shocked into muteness and takes refuge with a travelling gypsy caravan, led by Darky. Among the principal members of the clan are Darky's mentally disabled son, Simon, Simon's mother Elle who harbours a grudge against Darky, and Darky's only daughter, Jessie, who forms a romantic bond with Tom, eventually becoming pregnant by him. In order to avoid arrest and execution by the army, Tom disguises himself as a "rawney", described in the film as a kind of "magic" madwoman, who (in the gypsy culture) is able to see the future and can control animals. Frightened at first, Darky befriends the "rawney", thinking him or her to be good luck, but soon Darky is revealed to be a flawed leader, unable to protect his clan from war, and beset by family turmoil which is exacerbated by Tom's presence. Throughout the film, the army and the partially blinded officer is a menace, threatening the gypsies' way of life and those who befriend them. In a moving finale, the army corners the gypsy clan, who manage to hold them off with meagre rifles and pistols long enough to enable the young members of the clan, including Tom and Jessie, to escape, at the cost of their own lives.
Output: What is the real name of the person Darky thinks is good luck?
Passage: something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.
Hammerstein included an incident he had seen when he was a neophyte assistant stage manager: a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks. Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals but who was not available. Irene Sharaff was engaged to design the more than 300 costumes which would be needed. The show was originally named Hercules and Juliet, but they soon changed it to Me and Juliet. The Majestic Theatre, which Rodgers and Hammerstein desired to have for Me and Juliet, was currently occupied by their South Pacific, four years into its run. Arrangements were made to shift South Pacific to the Broadway Theatre though, due to schedule conflicts, this meant moving that show to Boston for five weeks.
Output: What was the full name of the person whose orchestrations who be simpler than those of Robert Russell Bennett?
Passage: something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.
Hammerstein included an incident he had seen when he was a neophyte assistant stage manager: a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks. Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals but who was not available. Irene Sharaff was engaged to design the more than 300 costumes which would be needed. The show was originally named Hercules and Juliet, but they soon changed it to Me and Juliet. The Majestic Theatre, which Rodgers and Hammerstein desired to have for Me and Juliet, was currently occupied by their South Pacific, four years into its run. Arrangements were made to shift South Pacific to the Broadway Theatre though, due to schedule conflicts, this meant moving that show to Boston for five weeks.
Output: What was the original name of the show Me and Juliet?
Passage: something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.
Hammerstein included an incident he had seen when he was a neophyte assistant stage manager: a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks. Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals but who was not available. Irene Sharaff was engaged to design the more than 300 costumes which would be needed. The show was originally named Hercules and Juliet, but they soon changed it to Me and Juliet. The Majestic Theatre, which Rodgers and Hammerstein desired to have for Me and Juliet, was currently occupied by their South Pacific, four years into its run. Arrangements were made to shift South Pacific to the Broadway Theatre though, due to schedule conflicts, this meant moving that show to Boston for five weeks.
Output: What was the name of the show that had to be moved to Boston for  five weeks?