niryuu/sni-each-converted huggingface dataset:
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What year was the last recording session of the man who attempted to curb his alcohol intake?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What year was the song played during the last recording session by the man who attempted to curb his alcohol intake inducted to the Grammy Hall of Fame?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What is the name of the person that prepared for The King of Jazz?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: Whose parents helped them seek treatment?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What town did Beiderbecke spend a month at in 1929?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What is Beiderbecke's nickname?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What is the name of the person that admitted to using alcohol for nine years?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What was the name of the song that would go on to become a jazz and popular music standard?
Passage: On November 30, 1928, whilst on tour in Cleveland, Beiderbecke suffered what Lion terms "a severe nervous crisis" and Sudhalter and Evans suggest "was in all probability an acute attack of delirium tremens", presumably triggered by Beiderbecke's attempt to curb his alcohol intake. "He cracked up, that's all", trombonist Bill Rank said. "Just went to pieces; broke up a roomful of furniture in the hotel."In February 1929, Beiderbecke returned home to Davenport to convalesce and was hailed by the local press as "the world's hottest cornetist". He then spent the summer with Whiteman's band in Hollywood in preparation for the shooting of a new talking picture, The King of Jazz. Production delays prevented any real work from being done on the film, leaving Beiderbecke and his pals plenty of time to drink heavily. By September, he was back in Davenport, where his parents helped him to seek treatment. He spent a month, from October 14 until November 18, at the Keeley Institute in Dwight, Illinois. According to Lion, an examination by Keeley physicians confirmed the damaging effects of Bix's long-term reliance on alcohol: "Bix admitted to having used liquor 'in excess' for the past nine years, his daily dose over the last three years amounting to three pints of 'whiskey' and twenty cigarettes.....A Hepatic dullness was obvious, 'knee jerk could not be obtained' – which confirmed the spread of the polyneuritis, and Bix was 'swaying in Romberg position' – standing up with his eyes closed".While he was away, Whiteman famously kept his chair open in Beiderbecke's honor, in the hope that he would occupy it again. However, when he returned to New York at the end of January 1930, Beiderbecke did not rejoin Whiteman and performed only sparingly. On his last recording session, in New York, on September 15, 1930, Beiderbecke played on the original recording of Hoagy Carmichael's new song, "Georgia on My Mind", with Carmichael doing the vocal, Eddie Lang on guitar, Joe Venuti on violin, Jimmy Dorsey on clarinet and alto saxophone, Jack Teagarden on trombone, and Bud Freeman on tenor saxophone. The song would go on to become a jazz and popular music standard. In 2014, the 1930 recording of "Georgia on My Mind" was inducted into the Grammy Hall of Fame.Beiderbecke's playing had an influence on Carmichael as a composer. One of his compositions, "Stardust", was inspired by Beiderbecke's improvisations, with a cornet phrase reworked by Carmichael into the song's central theme. Bing Crosby, who sang with Whiteman, also cited Beiderbecke as an important influence. "Bix and all the rest would play and exchange ideas on the piano", he said.
Output: What is the name of the person that wrote the composition Stardust?
Passage: In 2011, a group of soldiers and a  journalist team head out to the jungles of Belize. The mission was thought to just be plant surveillance on hostile state borders. The soldiers and Julie Evans team locate an abandoned boat in the middle of an open field.  One of the soldiers advises Julie that the nearest ocean to where they found the boat is at least 150 miles. A camera with an intact SD card was retrieved from the boat. Footage from the SD card contained underwater footage and ended with a man screaming  as the screen fades to black.
Afterwards, the team decides to make camp and set up security cameras. Night vision cameras show various animals roaming around. One of the cameras suddenly blacks out. At dawn, the soldiers find markings on trees near Julie's sleeping area. They soon discover that a camera - the one that blacked out earlier, was destroyed.
The group soon receives new orders from base. An archaeological team has gone missing. And they are to head to the area where Dr. Holden's archaeological team was last seen. They soon run into a man cutting wood and asks him about the missing archaeological team. He claims to have no idea where they are.
The group arrives at Dr. Holden's camp site. They only find a man who claims to also be looking for Dr. Holden. A video diary belonging to Dr. Holden is then shown. It's shown in the video that Dr. Holden located a mysterious skull inside the cave. Afterwards, a strange sound is heard and the camera woman Susan runs outside the cave panicking.
Julie is then informed that one of the two missing archaeologist has been found and they head to the location. On their way they encounter a Mennonite community. The Mennonites then proceed to show them to where Susan is. Susan claims she knows where Holden is and will take them to where she last saw him. Susan explains that what attacked them was not human. It is then that they experience a strange trembling and Susan claims that it is the same thing that happened to them.
Output: Who is filming the video diary in the cave?
Passage: In 2011, a group of soldiers and a  journalist team head out to the jungles of Belize. The mission was thought to just be plant surveillance on hostile state borders. The soldiers and Julie Evans team locate an abandoned boat in the middle of an open field.  One of the soldiers advises Julie that the nearest ocean to where they found the boat is at least 150 miles. A camera with an intact SD card was retrieved from the boat. Footage from the SD card contained underwater footage and ended with a man screaming  as the screen fades to black.
Afterwards, the team decides to make camp and set up security cameras. Night vision cameras show various animals roaming around. One of the cameras suddenly blacks out. At dawn, the soldiers find markings on trees near Julie's sleeping area. They soon discover that a camera - the one that blacked out earlier, was destroyed.
The group soon receives new orders from base. An archaeological team has gone missing. And they are to head to the area where Dr. Holden's archaeological team was last seen. They soon run into a man cutting wood and asks him about the missing archaeological team. He claims to have no idea where they are.
The group arrives at Dr. Holden's camp site. They only find a man who claims to also be looking for Dr. Holden. A video diary belonging to Dr. Holden is then shown. It's shown in the video that Dr. Holden located a mysterious skull inside the cave. Afterwards, a strange sound is heard and the camera woman Susan runs outside the cave panicking.
Julie is then informed that one of the two missing archaeologist has been found and they head to the location. On their way they encounter a Mennonite community. The Mennonites then proceed to show them to where Susan is. Susan claims she knows where Holden is and will take them to where she last saw him. Susan explains that what attacked them was not human. It is then that they experience a strange trembling and Susan claims that it is the same thing that happened to them.
Output: Who is found by the Mennonites?
Passage: In 2011, a group of soldiers and a  journalist team head out to the jungles of Belize. The mission was thought to just be plant surveillance on hostile state borders. The soldiers and Julie Evans team locate an abandoned boat in the middle of an open field.  One of the soldiers advises Julie that the nearest ocean to where they found the boat is at least 150 miles. A camera with an intact SD card was retrieved from the boat. Footage from the SD card contained underwater footage and ended with a man screaming  as the screen fades to black.
Afterwards, the team decides to make camp and set up security cameras. Night vision cameras show various animals roaming around. One of the cameras suddenly blacks out. At dawn, the soldiers find markings on trees near Julie's sleeping area. They soon discover that a camera - the one that blacked out earlier, was destroyed.
The group soon receives new orders from base. An archaeological team has gone missing. And they are to head to the area where Dr. Holden's archaeological team was last seen. They soon run into a man cutting wood and asks him about the missing archaeological team. He claims to have no idea where they are.
The group arrives at Dr. Holden's camp site. They only find a man who claims to also be looking for Dr. Holden. A video diary belonging to Dr. Holden is then shown. It's shown in the video that Dr. Holden located a mysterious skull inside the cave. Afterwards, a strange sound is heard and the camera woman Susan runs outside the cave panicking.
Julie is then informed that one of the two missing archaeologist has been found and they head to the location. On their way they encounter a Mennonite community. The Mennonites then proceed to show them to where Susan is. Susan claims she knows where Holden is and will take them to where she last saw him. Susan explains that what attacked them was not human. It is then that they experience a strange trembling and Susan claims that it is the same thing that happened to them.
Output: Who provides help in where to find Holden?
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Output: What was the name of the person that painted The Old Swimming Hole?
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Output: What painting did The Amon Carte Museum return to its orginal name?
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Output: What was the original name of the painting that featured an artificial lake in Mill Creek?
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Output: What painter possibly influenced Eakins in the painting of The Swimming Hole?
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Output: What painting possibly influenced the painting The Swimming Hole?
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Output: What is the name of the person that gave lectures on Ancient Greek sculpture?