niryuu/sni-each-converted huggingface dataset:
Passage: In July 1969, astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface.
Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that because of problems with Alan Shepard's crew, his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to the measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband getting killed in space, but goes to the Kennedy Space Center the night before launch to see him off.
On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the Command/Service Module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket.
Output: Which Apollo spacecraft was Lovell initially scheduled to ride?
Passage: In July 1969, astronaut Jim Lovell hosts a house party where guests watch Neil Armstrong's televised first human steps on the Moon. Afterwards Lovell, who had orbited the Moon on Apollo 8, tells his wife Marilyn that he intends to return to the Moon to walk on its surface.
Three months later, as Lovell conducts a VIP tour of NASA's Vertical Assembly Building, his boss Deke Slayton informs him that because of problems with Alan Shepard's crew, his crew will fly Apollo 13 instead of 14. Lovell, Ken Mattingly, and Fred Haise train for their new mission. A few days before launch, Mattingly is exposed to the measles, and the flight surgeon demands his replacement with Mattingly's backup, Jack Swigert. Lovell resists breaking up his team, but relents when Slayton threatens to bump his crew to a later mission. As the launch date approaches, Marilyn has a nightmare about her husband getting killed in space, but goes to the Kennedy Space Center the night before launch to see him off.
On April 11, 1970, Flight Director Gene Kranz gives the go-ahead from Houston's Mission Control Center for the Apollo 13 launch. As the Saturn V rocket climbs through the atmosphere, a second stage engine cuts off prematurely, but the craft reaches its Earth parking orbit. After the third stage fires to send Apollo 13 to the Moon, Swigert performs the maneuver to connect the Command/Service Module Odyssey to the Lunar Module Aquarius and pull it away from the spent rocket.
Output: Which astronaut was replaced by Swigert?
Passage: Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included  Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Output: What is the full name of the woman who became the second wife of the man who became professor of composition in 1966?
Passage: Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included  Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Output: Where did the man who died on April 27, 1992 become professor of composition in 1966?
Passage: Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included  Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Output: In what year did the French composer, organist, and ornithologist become a prisoner of war?
Passage: Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included  Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Output: What year was the man who wrote music for chamber ensembles and orchestra released as a prisoner of war?
Passage: Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included  Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Output: In what year did the man who was born on December 10, 1908 retire from being a professor at the Paris Conservatoire?
Passage: Olivier Eugène Prosper Charles Messiaen (French: [ɔlivje mɛsjɑ̃]; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime.
He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi. He said he perceived colours when he heard certain musical chords (a phenomenon known as synaesthesia in its literal manifestation); combinations of these colours, he said, were important in his compositional process. For a short period Messiaen experimented with the parametrisation associated with "total serialism", in which field he is often cited as an innovator. His style absorbed many global musical influences such as Indonesian gamelan (tuned percussion often features prominently in his orchestral works).
Messiaen entered the Paris Conservatoire at the age of 11 and was taught by Paul Dukas, Maurice Emmanuel, Charles-Marie Widor and Marcel Dupré, among others. He was appointed organist at the Église de la Sainte-Trinité, Paris, in 1931, a post held until his death. He taught at the Schola Cantorum de Paris during the 1930s. On the fall of France in 1940, Messiaen was made a prisoner of war, during which time he composed his Quatuor pour la fin du temps ("Quartet for the end of time") for the four available instruments—piano, violin, cello and clarinet. The piece was first performed by Messiaen and fellow prisoners for an audience of inmates and prison guards. He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included  Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, and Yvonne Loriod, who became his second wife.
He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Output: Where did the man who served as organist at Église de la Sainte-Trinité until his death teach at in the 1930s?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: Where did the families that were forced out of the mining town move to?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: In what year were the last vestiges of the mining community around the Corsica pit gone?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: What type of ore was dumped on the roads by the company that shut down the mine in 1954?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: What is the name of the town were people moved after Elcor's land prices skyrocketed?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: By what year was the mining community gone in the town that shut down the Corsica pit?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: What was the name of the road that could see the remains of the town that had a mine operated by, Pickands Mather and Company?
Passage: In 1954, the Corsica pit was shut down. Workers were told that the shutdown was temporary because the demand for that particular type of ore had declined. The pit was allowed to flood, and Pickands Mather officially conceded that "temporary" might stretch into quite a long time, although the mine would perhaps "eventually" be reopened. A year later, Pickands Mather and Company, manager of the mines at Elcor and the land on which the houses rested, ordered residents to vacate the property. By edict of the mining company, the remaining families were forced out so that the company could reclaim the land.Sources differ on why the order was issued, speculating that the company wanted the land for a dump site, no longer wanted to tend to the town's maintenance, or decided it was not economical to own houses anymore. No one in authority revealed what was to become of the land.Residents of the company-owned houses were given the option to buy the structures at bargain prices, provided they moved them out of town. For many, it took much of their life savings to relocate elsewhere, taking their homes in caravans along the highways and leaving behind empty foundations. Most Elcor residents purchased lots in the surrounding communities, trying to beat land speculators. In the few months after  Elcor's fate became official, land prices skyrocketed. Lots that had originally been priced at $75 were sold for as much as $500. Most of the remaining families moved about two miles west to Gilbert, although other homes were replanted in nearby McKinley. The last vestiges of the old mining community were gone by 1956. Every building was torn down or removed. All that remained for some years after were old foundations, sidewalks, rusting stoves, pipes, bottles, and yard shrubbery, formerly visible from the old section of Minnesota State Highway 135 between Gilbert and Biwabik. A rusted fire hydrant adorned what was once a street corner, and a porcelain toilet bowl remained bolted to a concrete floor. An abandoned rail line for the Duluth, Missabe and Iron Range Railway went through what was left of the town site. Mine shafts were boarded up with old timbers. After everyone had left, the company dumped heaps of iron ore on the roads leading into Elcor, and in the process a ghost town was made out of what was once a thriving community.
Output: What type of ore was dumped on the roads leading to the town that allowed its mining pit to flood?
Passage: Bowie declared himself gay in an interview with Michael Watts for a 1972 issue of Melody Maker, coinciding with his campaign for stardom as Ziggy Stardust. According to Buckley, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality." In a September 1976 interview with Playboy, Bowie said, "It's true—I am a bisexual. But I can't deny that I've used that fact very well. I suppose it's the best thing that ever happened to me." His first wife, Angie, supports his claim of bisexuality and alleges that Bowie had a relationship with Mick Jagger.In a 1983 interview with Rolling Stone, Bowie said his public declaration of bisexuality was "the biggest mistake I ever made" and "I was always a closet heterosexual." On other occasions, he said his interest in homosexual and bisexual culture had been more a product of the times and the situation in which he found himself than of his own feelings.Blender asked Bowie in 2002 whether he still believed his public declaration was his biggest mistake. After a long pause, he said, "I don't think it was a mistake in Europe, but it was a lot tougher in America. I had no problem with people knowing I was bisexual. But I had no inclination to hold any banners nor be a representative of any group of people." Bowie said he wanted to be a songwriter and performer rather than a headline for his bisexuality, and in "puritanical" America, "I think it stood in the way of so much I wanted to do."Buckley wrote that Bowie "mined sexual intrigue for its ability to shock", and was probably "never gay, nor even consistently actively bisexual", instead experimenting "out of a sense of curiosity and a genuine allegiance with the 'transgressional'." Biographer Christopher Sandford said, according to Mary Finnigan—with whom Bowie had an affair in 1969—the singer and his first wife Angie "created their bisexual fantasy". Sandford wrote that Bowie "made a positive fetish of repeating the quip that he and his wife had met while 'fucking the same bloke' ... Gay sex was always an anecdotal and laughing matter. That Bowie's actual tastes swung the other way is clear from even a partial tally of his affairs with women." The BBC's Mark Easton wrote in 2016 that Britain was "far more tolerant of difference" and that gay rights, such as same-sex marriage, and gender equality would not have "enjoyed the broad support they do today without Bowie's androgynous challenge all those years ago".
Output: What is the name of the person whose first wife was named Angie?
Passage: Bowie declared himself gay in an interview with Michael Watts for a 1972 issue of Melody Maker, coinciding with his campaign for stardom as Ziggy Stardust. According to Buckley, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality." In a September 1976 interview with Playboy, Bowie said, "It's true—I am a bisexual. But I can't deny that I've used that fact very well. I suppose it's the best thing that ever happened to me." His first wife, Angie, supports his claim of bisexuality and alleges that Bowie had a relationship with Mick Jagger.In a 1983 interview with Rolling Stone, Bowie said his public declaration of bisexuality was "the biggest mistake I ever made" and "I was always a closet heterosexual." On other occasions, he said his interest in homosexual and bisexual culture had been more a product of the times and the situation in which he found himself than of his own feelings.Blender asked Bowie in 2002 whether he still believed his public declaration was his biggest mistake. After a long pause, he said, "I don't think it was a mistake in Europe, but it was a lot tougher in America. I had no problem with people knowing I was bisexual. But I had no inclination to hold any banners nor be a representative of any group of people." Bowie said he wanted to be a songwriter and performer rather than a headline for his bisexuality, and in "puritanical" America, "I think it stood in the way of so much I wanted to do."Buckley wrote that Bowie "mined sexual intrigue for its ability to shock", and was probably "never gay, nor even consistently actively bisexual", instead experimenting "out of a sense of curiosity and a genuine allegiance with the 'transgressional'." Biographer Christopher Sandford said, according to Mary Finnigan—with whom Bowie had an affair in 1969—the singer and his first wife Angie "created their bisexual fantasy". Sandford wrote that Bowie "made a positive fetish of repeating the quip that he and his wife had met while 'fucking the same bloke' ... Gay sex was always an anecdotal and laughing matter. That Bowie's actual tastes swung the other way is clear from even a partial tally of his affairs with women." The BBC's Mark Easton wrote in 2016 that Britain was "far more tolerant of difference" and that gay rights, such as same-sex marriage, and gender equality would not have "enjoyed the broad support they do today without Bowie's androgynous challenge all those years ago".
Output: Who said his interest in homosexual and bisexual culture was a product of the times and the situation in which he found himself??
Passage: Bowie declared himself gay in an interview with Michael Watts for a 1972 issue of Melody Maker, coinciding with his campaign for stardom as Ziggy Stardust. According to Buckley, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality." In a September 1976 interview with Playboy, Bowie said, "It's true—I am a bisexual. But I can't deny that I've used that fact very well. I suppose it's the best thing that ever happened to me." His first wife, Angie, supports his claim of bisexuality and alleges that Bowie had a relationship with Mick Jagger.In a 1983 interview with Rolling Stone, Bowie said his public declaration of bisexuality was "the biggest mistake I ever made" and "I was always a closet heterosexual." On other occasions, he said his interest in homosexual and bisexual culture had been more a product of the times and the situation in which he found himself than of his own feelings.Blender asked Bowie in 2002 whether he still believed his public declaration was his biggest mistake. After a long pause, he said, "I don't think it was a mistake in Europe, but it was a lot tougher in America. I had no problem with people knowing I was bisexual. But I had no inclination to hold any banners nor be a representative of any group of people." Bowie said he wanted to be a songwriter and performer rather than a headline for his bisexuality, and in "puritanical" America, "I think it stood in the way of so much I wanted to do."Buckley wrote that Bowie "mined sexual intrigue for its ability to shock", and was probably "never gay, nor even consistently actively bisexual", instead experimenting "out of a sense of curiosity and a genuine allegiance with the 'transgressional'." Biographer Christopher Sandford said, according to Mary Finnigan—with whom Bowie had an affair in 1969—the singer and his first wife Angie "created their bisexual fantasy". Sandford wrote that Bowie "made a positive fetish of repeating the quip that he and his wife had met while 'fucking the same bloke' ... Gay sex was always an anecdotal and laughing matter. That Bowie's actual tastes swung the other way is clear from even a partial tally of his affairs with women." The BBC's Mark Easton wrote in 2016 that Britain was "far more tolerant of difference" and that gay rights, such as same-sex marriage, and gender equality would not have "enjoyed the broad support they do today without Bowie's androgynous challenge all those years ago".
Output: What is the name of the person with whom Bowie had an affair in 1969?
Passage: Bowie declared himself gay in an interview with Michael Watts for a 1972 issue of Melody Maker, coinciding with his campaign for stardom as Ziggy Stardust. According to Buckley, "If Ziggy confused both his creator and his audience, a big part of that confusion centred on the topic of sexuality." In a September 1976 interview with Playboy, Bowie said, "It's true—I am a bisexual. But I can't deny that I've used that fact very well. I suppose it's the best thing that ever happened to me." His first wife, Angie, supports his claim of bisexuality and alleges that Bowie had a relationship with Mick Jagger.In a 1983 interview with Rolling Stone, Bowie said his public declaration of bisexuality was "the biggest mistake I ever made" and "I was always a closet heterosexual." On other occasions, he said his interest in homosexual and bisexual culture had been more a product of the times and the situation in which he found himself than of his own feelings.Blender asked Bowie in 2002 whether he still believed his public declaration was his biggest mistake. After a long pause, he said, "I don't think it was a mistake in Europe, but it was a lot tougher in America. I had no problem with people knowing I was bisexual. But I had no inclination to hold any banners nor be a representative of any group of people." Bowie said he wanted to be a songwriter and performer rather than a headline for his bisexuality, and in "puritanical" America, "I think it stood in the way of so much I wanted to do."Buckley wrote that Bowie "mined sexual intrigue for its ability to shock", and was probably "never gay, nor even consistently actively bisexual", instead experimenting "out of a sense of curiosity and a genuine allegiance with the 'transgressional'." Biographer Christopher Sandford said, according to Mary Finnigan—with whom Bowie had an affair in 1969—the singer and his first wife Angie "created their bisexual fantasy". Sandford wrote that Bowie "made a positive fetish of repeating the quip that he and his wife had met while 'fucking the same bloke' ... Gay sex was always an anecdotal and laughing matter. That Bowie's actual tastes swung the other way is clear from even a partial tally of his affairs with women." The BBC's Mark Easton wrote in 2016 that Britain was "far more tolerant of difference" and that gay rights, such as same-sex marriage, and gender equality would not have "enjoyed the broad support they do today without Bowie's androgynous challenge all those years ago".
Output: What is the name of the person who said said his interest in homosexual and bisexual culture had been more a product of the times and the situation in which he found himself than of his own feelings?