niryuu/sni-each-converted huggingface dataset:
Passage: Tchaikovsky remained abroad for a year after the disintegration of his marriage. During this time, he completed Eugene Onegin, orchestrated his Fourth Symphony, and composed the Violin Concerto. He returned briefly to the Moscow Conservatory in the autumn of 1879. For the next few years, assured of a regular income from von Meck, he traveled incessantly throughout Europe and rural Russia, mainly alone, and avoided social contact whenever possible. During this time, Tchaikovsky's foreign reputation grew and a positive reassessment of his music also took place in Russia, thanks in part to Russian novelist Fyodor Dostoyevsky's call for "universal unity" with the West at the unveiling of the Pushkin Monument in Moscow in 1880. Before Dostoyevsky's speech, Tchaikovsky's music had been considered "overly dependent on the West". As Dostoyevsky's message spread throughout Russia, this stigma toward Tchaikovsky's music evaporated. An unprecedented acclaim for him even drew a cult following among the young intelligentsia of Saint Petersburg, including Alexandre Benois, Léon Bakst and Sergei Diaghilev.Two musical works from this period stand out. With the Cathedral of Christ the Saviour nearing completion in Moscow in 1880, the 25th anniversary of the coronation of Alexander II in 1881, and the 1882 Moscow Arts and Industry Exhibition in the planning stage, Nikolai Rubinstein suggested that Tchaikovsky compose a grand commemorative piece. Tchaikovsky agreed and finished it within six weeks. He wrote to Nadezhda von Meck that this piece, the 1812 Overture, would be "very loud and noisy, but I wrote it with no warm feeling of love, and therefore there will probably be no artistic merits in it". He also warned conductor Eduard Nápravník that "I shan't be at all surprised and offended if you find that it is in a style unsuitable for symphony concerts". Nevertheless, the overture became, for many, "the piece by Tchaikovsky they know best"., particularly well-known for the use of cannon in the scores.On 23 March 1881, Nikolai Rubinstein died in Paris. That December, Tchaikovsky started work on his Piano Trio in A minor, "dedicated to the memory of a great artist". First performed privately at the Moscow Conservatory on the first anniversary of Rubinstein's death, the piece became extremely popular during the composer's lifetime; in November 1893, it would become Tchaikovsky's own elegy at memorial concerts in Moscow and St. Petersburg.
Output: What is the full name of the great artist to whose memory Tchaikovsky dedicated his Piano Trio in A minor?
Passage: By 1870, the District's population had grown 75% from the previous census to nearly 132,000 residents. Despite the city's growth, Washington still had dirt roads and lacked basic sanitation. Some members of Congress suggested moving the capital further west, but President Ulysses S. Grant refused to consider such a proposal.Congress passed the Organic Act of 1871, which repealed the individual charters of the cities of Washington and Georgetown, and created a new territorial government for the whole District of Columbia. President Grant appointed Alexander Robey Shepherd to the position of governor in 1873. Shepherd authorized large-scale projects that greatly modernized Washington, but ultimately bankrupted the District government. In 1874, Congress replaced the territorial government with an appointed three-member Board of Commissioners.The city's first motorized streetcars began service in 1888 and generated growth in areas of the District beyond the City of Washington's original boundaries. Washington's urban plan was expanded throughout the District in the following decades. Georgetown was formally annexed by the City of Washington in 1895. However, the city had poor housing conditions and strained public works. Washington was the first city in the nation to undergo urban renewal projects as part of the "City Beautiful movement" in the early 1900s.Increased federal spending as a result of the New Deal in the 1930s led to the construction of new government buildings, memorials, and museums in Washington, though the chairman of the House Subcommittee on District Appropriations Ross A. Collins from Mississippi justified cuts to funds for welfare and education for local residents, stating that "my constituents wouldn't stand for spending money on niggers".World War II further increased government activity, adding to the number of federal employees in the capital; by 1950, the District's population reached its peak of 802,178 residents.
Output: What was the name of the program that resulted in 1930s construction in the District that was bankrupted by Alexander Robey Shepherd?
Passage: The red-necked grebe has a large range, estimated at 1–10 million square kilometres (0.4–3.8 million square miles), and a global population of 150,000–370,000 individuals, with P. g. holboellii about twice as numerous as the nominate race. The population trend has not been quantified, but it is not believed to meet the thresholds for the population decline criterion (declining more than 30% in ten years or three generations) of the IUCN Red List. For these reasons, the species is evaluated as Least Concern.The red-necked grebe is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies. Parties to the Agreement are required to engage in a wide range of conservation strategies which are describes in a detailed action plan. The plan is intended to address key issues such as species and habitat conservation, management of human activities, research, education, and implementation.The Red-necked Grebe was hunted by humans in northern Europe in the Mesolithic and Paleolithic periods, but there is no evidence that there is any significant level of hunting at the present time. In North America, there are potential threats from pollutants such as polychlorinated biphenyls (PCBs) and pesticides such as DDT which cause reduced reproductive success due to egg sterility and eggshell thinning. Breeding areas may be threatened by the modification and degradation of lakes and by human disturbance from water-based recreational activities. There is no evidence to suggest that these threats could result in a significant risk to the overall population; more than 70% of North American red-necked grebes breed in Canada, where the population is stable or increasing.
Output: What is P.g. holboelli twice as numerous as?
Passage: The red-necked grebe has a large range, estimated at 1–10 million square kilometres (0.4–3.8 million square miles), and a global population of 150,000–370,000 individuals, with P. g. holboellii about twice as numerous as the nominate race. The population trend has not been quantified, but it is not believed to meet the thresholds for the population decline criterion (declining more than 30% in ten years or three generations) of the IUCN Red List. For these reasons, the species is evaluated as Least Concern.The red-necked grebe is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies. Parties to the Agreement are required to engage in a wide range of conservation strategies which are describes in a detailed action plan. The plan is intended to address key issues such as species and habitat conservation, management of human activities, research, education, and implementation.The Red-necked Grebe was hunted by humans in northern Europe in the Mesolithic and Paleolithic periods, but there is no evidence that there is any significant level of hunting at the present time. In North America, there are potential threats from pollutants such as polychlorinated biphenyls (PCBs) and pesticides such as DDT which cause reduced reproductive success due to egg sterility and eggshell thinning. Breeding areas may be threatened by the modification and degradation of lakes and by human disturbance from water-based recreational activities. There is no evidence to suggest that these threats could result in a significant risk to the overall population; more than 70% of North American red-necked grebes breed in Canada, where the population is stable or increasing.
Output: What is the name of the plan that is intended to address key issues such as species and habitat conservation?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the last name of the person who often approached a canvas without having a clear idea of what might emerge?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the last name of the person who was drinking heavily and spending most nights in Soho casinos and poker rooms?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the last name of the person who would often approach his canvas "in a bad mood of drinking?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the last name of the person who incorporated his appetite for chance into his work?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the last name of the person for whom lifestyle and art were intertwined?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the name of the person who often approached a canvas without having a clear idea of what might emerge?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the name of the person who was drinking heavily and spending most nights in Soho casinos and poker rooms in the mid to late 1940s?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the name of the person whose appetite for chance was reportedly incorporated into his work?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the name of the person who would often approach his canvas "in a bad mood of drinking...under tremendous hangovers"?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the name of the person whose progression as an artist reportedly hinged on a sense of freedom that he actively sought out and felt crucial?
Passage: The paintings depict isolated figures enclosed in spaces that are undefined, overwhelmingly claustrophobic, reductive and eerie. Coming early in Bacon's career, they are uneven in quality, but show a clear progression especially in how they utilise and present ideas he was still clearly developing and coming to terms with. Head I (actually begun in the winter of 1948) and Head II show formless pieces of flesh that broadly resemble human heads; they have half-open eyes and a pharynx, though it is positioned much higher than would be expected in a human. Heads III, IV and V show fully formed busts recognisable as men, and are characterised by a haunted atmosphere. These two broad ideas coalesce in Head VI, which is as physiologically tortured as the first two paintings, and as spectral as the middle three. In Head VI the figure has developed and is now shown wearing vestments, the first indication in Bacon's work of the influence of Velázquez, while the focus has become the open mouth and the study of the human scream.Bacon said that chance played a significant role in his work, and that he often approached a canvas without having a clear idea of what might emerge. This was especially the case in the mid- to late 1940s, a period when he was drinking heavily and spending most nights in Soho casinos and poker rooms. The following morning he would often approach his canvas "in a bad mood of drinking ... under tremendous hangovers and drink; I sometimes hardly knew what I was doing." He incorporated his appetite for chance into his work: an image often would morph midway through into something quite different from what he had first intended. He actively sought out this freedom and felt it crucial to his progression as an artist. To him, lifestyle and art were intertwined; he said that "perhaps the drink helped me to be a bit freer." This is very evident in the 1949 series, which began as a rather morbid study of a collapsed head, but evolved over the six surviving panels into a reworking of Velázquez masterpieces, and arrived at an image that was to preoccupy Bacon for the subsequent 20 years.
Output: What is the name of the person who said that "perhaps the drink helped me to be a bit freer," and to whom life and art were intertwined?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the last name of the people who reconsider their relationship?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the last name of the Mrs. Mississippi pageant winner?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the full name of the person who is preparing to compete for Mrs. America?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the name of Jeff's "now-fiancée?"?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the last name of the person who burns the letter?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the first name of the person that is married to the "Mrs. Missippi" winner?
Passage: When elderly Mr. Bush is appointed justice of the peace, he starts marrying couples on Christmas Eve. However, his appointment takes effect on the first of January. Later, this issue becomes known when one of the six couples he married files for divorce. To avoid a bigger scandal, the remaining five couples are informed that they are not really married. The film then shows how the other couples react to the news.
Steve and Ramona Gladwyn are a husband-and-wife radio team whose on-air loving behavior on their show "Breakfast with the Glad Gladwyns" conceals the fact that they cannot stand each other. However, they do not want to lose their large salaries. When they arrive outside the marriage license bureau, they encounter a happy couple leaving. The sight makes Steve reconsider his relationship with Ramona, then she does too.
The second couple is Jeff and Annabel Norris. Annabel has just won the "Mrs. Mississippi" pageant. Jeff is fed up with taking care of their child, while Annabel and her manager Duffy are out preparing to compete for the title of "Mrs. America". Jeff is delighted at the prospect of getting Annabel back when he learns they are not married. He sees to it that she loses her title, but in the end is pleased when his now-fiancée wins the "Miss 
Mississippi" contest.
Bush remembers Hector and Katie Woodruff talking constantly, but they have now run out of things to say to each other. When Hector gets the letter from Bush, he imagines seeing all his gorgeous girlfriends again, then burns the letter before Katie sees it.
Output: What is the first name of the wife of the man who gets a letter from the justice?
Passage: In medieval Nubia, pottery and its decoration were appreciated as an art form. Until the 7th century, the most common pottery type found at Soba was the so-called "Red Ware". These wheel-made hemispherical bowls were made of red or orange slip and painted with separated motifs such as boxes with inner cross-hatchings, stylized floral motifs or crosses. The outlines of the motifs were drawn in black while the interiors were white. In their design, they are a direct continuation of Kushite styles, with possible influences from Aksumite Ethiopia. Due to their relative rarity, it has been suggested that they were imported, although they bear similarities to the pottery type, known as "Soba Ware", that succeeded them."Soba Ware" was a type of wheel-made pottery with a distinctive decoration very different from that found in the rest of Nubia. The shape of the pottery was diverse, as was the repertoire of painted decoration. One of the most distinctive features was the use of faces as painted decoration. They were simplified, if not geometric, in form and with big round eyes. This style is foreign to Makuria and Egypt, but bears a resemblance to paintings and manuscripts from Ethiopia. It is possible the potters copied these motifs from local church murals. Also unique was the application of animal-shaped bosses (protomes). Glazed vessels were also produced, copying Persian aquamaniles without reaching their quality. Beginning in the 9th century, "Soba Ware" was increasingly replaced by fine ware imported from Makuria.
Output: What is the name of the pottery type that succeeded the most popular pottery until the 7th century?
Passage: In medieval Nubia, pottery and its decoration were appreciated as an art form. Until the 7th century, the most common pottery type found at Soba was the so-called "Red Ware". These wheel-made hemispherical bowls were made of red or orange slip and painted with separated motifs such as boxes with inner cross-hatchings, stylized floral motifs or crosses. The outlines of the motifs were drawn in black while the interiors were white. In their design, they are a direct continuation of Kushite styles, with possible influences from Aksumite Ethiopia. Due to their relative rarity, it has been suggested that they were imported, although they bear similarities to the pottery type, known as "Soba Ware", that succeeded them."Soba Ware" was a type of wheel-made pottery with a distinctive decoration very different from that found in the rest of Nubia. The shape of the pottery was diverse, as was the repertoire of painted decoration. One of the most distinctive features was the use of faces as painted decoration. They were simplified, if not geometric, in form and with big round eyes. This style is foreign to Makuria and Egypt, but bears a resemblance to paintings and manuscripts from Ethiopia. It is possible the potters copied these motifs from local church murals. Also unique was the application of animal-shaped bosses (protomes). Glazed vessels were also produced, copying Persian aquamaniles without reaching their quality. Beginning in the 9th century, "Soba Ware" was increasingly replaced by fine ware imported from Makuria.
Output: What was the name of the pottery that the wheel-made pottery with a distinctive decoration was a successor to?