niryuu/sni-each-converted huggingface dataset:
Passage: Bryce Canyon National Park lies within the Colorado Plateau geographic province of North America and straddles the southeastern edge of the Paunsaugunt Plateau west of the Paunsaugunt Fault (Paunsaugunt is Paiute for "home of the beaver"). Park visitors arrive from the plateau part of the park and look over the plateau's edge toward a valley containing the fault and the Paria River just beyond it (Paria is Paiute for "muddy or elk water"). The edge of the Kaiparowits Plateau bounds the opposite side of the valley.
Bryce Canyon was not formed from erosion initiated from a central stream, meaning it technically is not a canyon. Instead headward erosion has excavated large amphitheater-shaped features in the Cenozoic-aged rocks of the Paunsaugunt Plateau. This erosion exposed delicate and colorful pinnacles called hoodoos that are up to 200 feet (60 m) high. A series of amphitheaters extends more than 20 miles (30 km) north-to-south within the park. The largest is Bryce Amphitheater, which is 12 miles (19 km) long, 3 miles (5 km) wide and 800 feet (240 m) deep. A nearby example of amphitheaters with hoodoos in the same formation but at a higher elevation, is in Cedar Breaks National Monument, which is 25 miles (40 km) to the west on the Markagunt Plateau.Rainbow Point, the highest part of the park at 9,105 feet (2,775 m), is at the end of the 18-mile (29 km) scenic drive. From there, Aquarius Plateau, Bryce Amphitheater, the Henry Mountains, the Vermilion Cliffs and the White Cliffs can be seen. Yellow Creek, where it exits the park in the north-east section, is the lowest part of the park at 6,620 feet (2,020 m).
Output: What is the highest point in the park?
Passage: Bryce Canyon National Park lies within the Colorado Plateau geographic province of North America and straddles the southeastern edge of the Paunsaugunt Plateau west of the Paunsaugunt Fault (Paunsaugunt is Paiute for "home of the beaver"). Park visitors arrive from the plateau part of the park and look over the plateau's edge toward a valley containing the fault and the Paria River just beyond it (Paria is Paiute for "muddy or elk water"). The edge of the Kaiparowits Plateau bounds the opposite side of the valley.
Bryce Canyon was not formed from erosion initiated from a central stream, meaning it technically is not a canyon. Instead headward erosion has excavated large amphitheater-shaped features in the Cenozoic-aged rocks of the Paunsaugunt Plateau. This erosion exposed delicate and colorful pinnacles called hoodoos that are up to 200 feet (60 m) high. A series of amphitheaters extends more than 20 miles (30 km) north-to-south within the park. The largest is Bryce Amphitheater, which is 12 miles (19 km) long, 3 miles (5 km) wide and 800 feet (240 m) deep. A nearby example of amphitheaters with hoodoos in the same formation but at a higher elevation, is in Cedar Breaks National Monument, which is 25 miles (40 km) to the west on the Markagunt Plateau.Rainbow Point, the highest part of the park at 9,105 feet (2,775 m), is at the end of the 18-mile (29 km) scenic drive. From there, Aquarius Plateau, Bryce Amphitheater, the Henry Mountains, the Vermilion Cliffs and the White Cliffs can be seen. Yellow Creek, where it exits the park in the north-east section, is the lowest part of the park at 6,620 feet (2,020 m).
Output: What five areas can be seen from the highest part of the park?
Passage: Bryce Canyon National Park lies within the Colorado Plateau geographic province of North America and straddles the southeastern edge of the Paunsaugunt Plateau west of the Paunsaugunt Fault (Paunsaugunt is Paiute for "home of the beaver"). Park visitors arrive from the plateau part of the park and look over the plateau's edge toward a valley containing the fault and the Paria River just beyond it (Paria is Paiute for "muddy or elk water"). The edge of the Kaiparowits Plateau bounds the opposite side of the valley.
Bryce Canyon was not formed from erosion initiated from a central stream, meaning it technically is not a canyon. Instead headward erosion has excavated large amphitheater-shaped features in the Cenozoic-aged rocks of the Paunsaugunt Plateau. This erosion exposed delicate and colorful pinnacles called hoodoos that are up to 200 feet (60 m) high. A series of amphitheaters extends more than 20 miles (30 km) north-to-south within the park. The largest is Bryce Amphitheater, which is 12 miles (19 km) long, 3 miles (5 km) wide and 800 feet (240 m) deep. A nearby example of amphitheaters with hoodoos in the same formation but at a higher elevation, is in Cedar Breaks National Monument, which is 25 miles (40 km) to the west on the Markagunt Plateau.Rainbow Point, the highest part of the park at 9,105 feet (2,775 m), is at the end of the 18-mile (29 km) scenic drive. From there, Aquarius Plateau, Bryce Amphitheater, the Henry Mountains, the Vermilion Cliffs and the White Cliffs can be seen. Yellow Creek, where it exits the park in the north-east section, is the lowest part of the park at 6,620 feet (2,020 m).
Output: What is the name of the lowest part of the park?
Passage: Cable layer Steve Reardon is in a tank at the bottom of the ocean near Hawaii reading an adventure story "The Son of Neptune", written by his girlfriend Edith McNeil who based the stories on Steve's life. After repairing the cable he was sent to fix, Steve returns to San Francisco and asks his boss Willard Stone for a $1000 bonus and two weeks vacation so that he can marry Edith. Later, Steve and Edith have an argument, when he arrives hours late for their date and complains that she is taking too long to get dress. Steve, believing that Edith has been using him to get inspiration for her stories, storms out. At a bar, he meets piano player Eddie Mitchell and gets into a fight with two men who try to steal Steve's money, and is knocked out unconscious. The next day, Steve wakes up in Eddie's apartments. When Steve Learns that Eddie studied engineering in college, he offers help to his new friend to become a real engineer.
Output: What is the first name of the person who was sent to fix a cable?
Passage: Seeking background material for a mystery he is working on, novelist Charles Condomine invites eccentric medium Madame Arcati to his home in Lympne, Kent, to conduct a séance. As Charles, his wife Ruth and their guests, George and Violet Bradman barely restrain themselves from laughing, Madame Arcati performs peculiar rituals and finally goes into a trance. Charles then hears the voice of his dead first wife, Elvira. When he discovers that the others cannot hear her, he passes off his odd behaviour as a joke. When Arcati recovers, she is certain that something extraordinary has occurred, but everyone denies it.
After Madame Arcati and the Bradmans have left, Charles is unable to convince Ruth that he was not joking. After Ruth retires for the night, Elvira becomes visible, but only to Charles. He becomes both dismayed and amused by the situation. Relations between Charles and Ruth become strained until he persuades Elvira to act as a poltergeist and transport a vase and a chair in front of his current wife.
Ruth seeks Madame Arcati's help in sending Elvira back where she came from, but the medium professes that she does not know how. Ruth warns her disbelieving husband that Elvira is seeking to be reunited with him by arranging his demise. However, the spirit miscalculates; Ruth, not Charles, drives off in the car she has tampered with and ends up dead. A vengeful Ruth, now in spirit form, harasses Elvira to the point that she wants to leave.
In desperation, Charles seeks Madame Arcati's help. Various incantations fail, until Arcati realises that it was the Condomines' maid Edith who summoned Elvira. Arcati appears to succeed in sending the spirits away, but it soon becomes clear that both have remained. Acting on Madame Arcati's suggestion, Charles sets out on a long vacation. However, he has a fatal accident as he is driving away, and he joins Elvira and Ruth as a spirit.
Output: What's the first name of the person the poltergeist was once married to?
Passage: Seeking background material for a mystery he is working on, novelist Charles Condomine invites eccentric medium Madame Arcati to his home in Lympne, Kent, to conduct a séance. As Charles, his wife Ruth and their guests, George and Violet Bradman barely restrain themselves from laughing, Madame Arcati performs peculiar rituals and finally goes into a trance. Charles then hears the voice of his dead first wife, Elvira. When he discovers that the others cannot hear her, he passes off his odd behaviour as a joke. When Arcati recovers, she is certain that something extraordinary has occurred, but everyone denies it.
After Madame Arcati and the Bradmans have left, Charles is unable to convince Ruth that he was not joking. After Ruth retires for the night, Elvira becomes visible, but only to Charles. He becomes both dismayed and amused by the situation. Relations between Charles and Ruth become strained until he persuades Elvira to act as a poltergeist and transport a vase and a chair in front of his current wife.
Ruth seeks Madame Arcati's help in sending Elvira back where she came from, but the medium professes that she does not know how. Ruth warns her disbelieving husband that Elvira is seeking to be reunited with him by arranging his demise. However, the spirit miscalculates; Ruth, not Charles, drives off in the car she has tampered with and ends up dead. A vengeful Ruth, now in spirit form, harasses Elvira to the point that she wants to leave.
In desperation, Charles seeks Madame Arcati's help. Various incantations fail, until Arcati realises that it was the Condomines' maid Edith who summoned Elvira. Arcati appears to succeed in sending the spirits away, but it soon becomes clear that both have remained. Acting on Madame Arcati's suggestion, Charles sets out on a long vacation. However, he has a fatal accident as he is driving away, and he joins Elvira and Ruth as a spirit.
Output: How is the woman that thinks Charles is joking related to him?
Passage: Seeking background material for a mystery he is working on, novelist Charles Condomine invites eccentric medium Madame Arcati to his home in Lympne, Kent, to conduct a séance. As Charles, his wife Ruth and their guests, George and Violet Bradman barely restrain themselves from laughing, Madame Arcati performs peculiar rituals and finally goes into a trance. Charles then hears the voice of his dead first wife, Elvira. When he discovers that the others cannot hear her, he passes off his odd behaviour as a joke. When Arcati recovers, she is certain that something extraordinary has occurred, but everyone denies it.
After Madame Arcati and the Bradmans have left, Charles is unable to convince Ruth that he was not joking. After Ruth retires for the night, Elvira becomes visible, but only to Charles. He becomes both dismayed and amused by the situation. Relations between Charles and Ruth become strained until he persuades Elvira to act as a poltergeist and transport a vase and a chair in front of his current wife.
Ruth seeks Madame Arcati's help in sending Elvira back where she came from, but the medium professes that she does not know how. Ruth warns her disbelieving husband that Elvira is seeking to be reunited with him by arranging his demise. However, the spirit miscalculates; Ruth, not Charles, drives off in the car she has tampered with and ends up dead. A vengeful Ruth, now in spirit form, harasses Elvira to the point that she wants to leave.
In desperation, Charles seeks Madame Arcati's help. Various incantations fail, until Arcati realises that it was the Condomines' maid Edith who summoned Elvira. Arcati appears to succeed in sending the spirits away, but it soon becomes clear that both have remained. Acting on Madame Arcati's suggestion, Charles sets out on a long vacation. However, he has a fatal accident as he is driving away, and he joins Elvira and Ruth as a spirit.
Output: Who does Charles' first wife accidentally kill?
Passage: Seeking background material for a mystery he is working on, novelist Charles Condomine invites eccentric medium Madame Arcati to his home in Lympne, Kent, to conduct a séance. As Charles, his wife Ruth and their guests, George and Violet Bradman barely restrain themselves from laughing, Madame Arcati performs peculiar rituals and finally goes into a trance. Charles then hears the voice of his dead first wife, Elvira. When he discovers that the others cannot hear her, he passes off his odd behaviour as a joke. When Arcati recovers, she is certain that something extraordinary has occurred, but everyone denies it.
After Madame Arcati and the Bradmans have left, Charles is unable to convince Ruth that he was not joking. After Ruth retires for the night, Elvira becomes visible, but only to Charles. He becomes both dismayed and amused by the situation. Relations between Charles and Ruth become strained until he persuades Elvira to act as a poltergeist and transport a vase and a chair in front of his current wife.
Ruth seeks Madame Arcati's help in sending Elvira back where she came from, but the medium professes that she does not know how. Ruth warns her disbelieving husband that Elvira is seeking to be reunited with him by arranging his demise. However, the spirit miscalculates; Ruth, not Charles, drives off in the car she has tampered with and ends up dead. A vengeful Ruth, now in spirit form, harasses Elvira to the point that she wants to leave.
In desperation, Charles seeks Madame Arcati's help. Various incantations fail, until Arcati realises that it was the Condomines' maid Edith who summoned Elvira. Arcati appears to succeed in sending the spirits away, but it soon becomes clear that both have remained. Acting on Madame Arcati's suggestion, Charles sets out on a long vacation. However, he has a fatal accident as he is driving away, and he joins Elvira and Ruth as a spirit.
Output: What causes Charles to be reunited with his dead wives?
Passage: Seeking background material for a mystery he is working on, novelist Charles Condomine invites eccentric medium Madame Arcati to his home in Lympne, Kent, to conduct a séance. As Charles, his wife Ruth and their guests, George and Violet Bradman barely restrain themselves from laughing, Madame Arcati performs peculiar rituals and finally goes into a trance. Charles then hears the voice of his dead first wife, Elvira. When he discovers that the others cannot hear her, he passes off his odd behaviour as a joke. When Arcati recovers, she is certain that something extraordinary has occurred, but everyone denies it.
After Madame Arcati and the Bradmans have left, Charles is unable to convince Ruth that he was not joking. After Ruth retires for the night, Elvira becomes visible, but only to Charles. He becomes both dismayed and amused by the situation. Relations between Charles and Ruth become strained until he persuades Elvira to act as a poltergeist and transport a vase and a chair in front of his current wife.
Ruth seeks Madame Arcati's help in sending Elvira back where she came from, but the medium professes that she does not know how. Ruth warns her disbelieving husband that Elvira is seeking to be reunited with him by arranging his demise. However, the spirit miscalculates; Ruth, not Charles, drives off in the car she has tampered with and ends up dead. A vengeful Ruth, now in spirit form, harasses Elvira to the point that she wants to leave.
In desperation, Charles seeks Madame Arcati's help. Various incantations fail, until Arcati realises that it was the Condomines' maid Edith who summoned Elvira. Arcati appears to succeed in sending the spirits away, but it soon becomes clear that both have remained. Acting on Madame Arcati's suggestion, Charles sets out on a long vacation. However, he has a fatal accident as he is driving away, and he joins Elvira and Ruth as a spirit.
Output: What does the man the spirit was once married to do for a living?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the last name of the man who thought the album that received considerable acclaim from contemporary critics was the year's best album due to it fusing free jazz and modern funk?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What publication did the editors rank the album that received considerable acclaim 13th?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the last name of the critic who said the album that was described as the artist's most accomplished work of harmolodics is stylistically ambiguous and potentially controversial?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the first name of the person who highlighted the melody of "Sleep Talk"?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the last name of the person whose melody for Sleep Talk was deemed among the best of their career?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What did Christgau name as the second-best album of the 1980s?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What did Giddins hail as another landmark recording?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the first name of the person who highlighted the melody of "Sleep Talk?"?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the first name of the person who deemed Sleep Talk among the best of the saxophonist's career?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the name of the work in which Robert Christgau found its exchange of rhythms and simple melodies heartfelt and sophisticated?
Passage: Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for Esquire, Gary Giddins hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional polyphony and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Giddins also highlighted the melody of "Sleep Talk", deeming it among the best of the saxophonist's career. Kofi Natambu from the Detroit Metro Times wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found the songs inspirational, danceable, and encompassing developments in African-American music over the previous century. Robert Christgau called its "warm, listenable harmolodic funk" an artistic "breakthrough if not a miracle". He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in The Village Voice, "the way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."Purist critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In Stereo Review, Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused. Dan Sullivan of the Los Angeles Times believed the album's supporters in "hip rock circles" had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique "beacon of clarity" amid an incessant background. Leonard Feather wrote in the Toledo Blade that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for The Boston Phoenix, James Hunter and Howard Hampton ranked the album number one and number four, respectively. It was voted 13th best in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.
Output: What is the name of the work that Keepnews viewed as a prime example of fusing free jazz with modern funk?