niryuu/sni-each-converted huggingface dataset:
Passage: 46-year-old former high school dropout and self-described "junkie whore" Jerri Blank is released from prison and returns to her childhood home. She discovers her mother has died, her father, Guy, has remarried to the hateful Sara Blank, and she has an arrogant half-brother Derrick. To make matters worse, her father is in a "stress-induced coma". Taking the suggestion of the family doctor literally, Jerri decides to pick her life back up where she left it, beginning her high school all over again as a freshman at Flatpoint High.
Jerri joins Chuck Noblet's science fair team, the Fig Neutrons, along with her new friends, Megawatti Sucarnaputri (a spoof on Megawati Sukarnoputri) and Tammi Littlenut. Noblet is not pleased to learn that Principal Onyx Blackman has hired a ringer for their team, Roger Beekman, to ensure that Flatpoint wins, and so Noblet creates a second team. As she struggles to fit in and make her teammates proud, Jerri discovers that though the faces may have changed, the hassles of high school are just the same.
Output: What is the first name of the person who struggles to fit in?
Passage: In Western Europe, some of the older Roman elite families died out while others became more involved with ecclesiastical than secular affairs. Values attached to Latin scholarship and education mostly disappeared, and while literacy remained important, it became a practical skill rather than a sign of elite status. In the 4th century, Jerome (d. 420) dreamed that God rebuked him for spending more time reading Cicero than the Bible. By the 6th century, Gregory of Tours (d. 594) had a similar dream, but instead of being chastised for reading Cicero, he was chastised for learning shorthand. By the late 6th century, the principal means of religious instruction in the Church had become music and art rather than the book. Most intellectual efforts went towards imitating classical scholarship, but some original works were created, along with now-lost oral compositions. The writings of Sidonius Apollinaris (d. 489), Cassiodorus (d. c. 585), and Boethius (d. c. 525) were typical of the age.Changes also took place among laymen, as aristocratic culture focused on great feasts held in halls rather than on literary pursuits. Clothing for the elites was richly embellished with jewels and gold. Lords and kings supported entourages of fighters who formed the backbone of the military forces. Family ties within the elites were important, as were the virtues of loyalty, courage, and honour. These ties led to the prevalence of the feud in aristocratic society, examples of which included those related by Gregory of Tours that took place in Merovingian Gaul. Most feuds seem to have ended quickly with the payment of some sort of compensation. Women took part in aristocratic society mainly in their roles as wives and mothers of men, with the role of mother of a ruler being especially prominent in Merovingian Gaul. In Anglo-Saxon society the lack of many child rulers meant a lesser role for women as queen mothers, but this was compensated for by the increased role played by abbesses of monasteries. Only in Italy does it appear that women were always considered under the protection and control of a male relative.
Output: What type of ties led to feuds in aristocratic society?
Passage: The Port of Sheerness is a significant feature of the Isle of Sheppey's economy. Covering more than 1.5 million square metres, it is one of the largest foreign car importers in the UK, and it handles thousands of tonnes of fruits and meat products from all over the world. Inexpensive land and good infrastructure, including a rail network that branches off the main passenger line, have attracted industries to the port area, including producers of pharmaceuticals, steel, sausages and garden gnomes.The major employers are HBC Engineering Solutions, Sheerness Steel, Regis Furniture and The Bond Group - although HBC has closed and the Steel plant is currently closed but is currently being changed and upgraded ready for reopening. The steel mill was established in 1972, designed to recycle scrap steel into rods and coils. It survived a number of closure threats and changes of ownership; from 2003 it was operated by Thamesteel. Thamesteel went into administration in January 2012, with the loss of 350 jobs. Six months later, the plant was bought back by the former owners Al-Tuwairqi Group. As of October 2014 there were plans to reopen the plant as a rolling mill. PeelPort now own the site and are preparing it for reopening is a steel mill.  The port has a seafarers' centre, which was refurbished in May 2015, and is operated by Apostleship of the Sea, a seafarers' charity.The seafront is popular with tourists, and in 2007 Sheerness' recently refurbished town centre had more than 200 shops.At the 2001 UK census, 35.8% of residents aged 16–74 were employed full-time, 11.6% part-time, 5.8% self-employed and 6.2% unemployed, while 1.5% were students with jobs, 3.4% students without jobs, 11.9% retired, 10.6% looking after home or family, 8.5% permanently sick or disabled and 4.8% economically inactive for other reasons. The unemployment rate of 6.2% was high compared to the national rate of 3.4% and was the highest rate throughout the Swale district. Five percent of Sheerness residents aged 16–74 had a higher education qualification compared to 20% nationally.Employment by industry was 22% manufacturing; 18% retail; 10% construction; 10% transport and communications; 9% real estate; 8% health and social work; 6% public administration; 5% education; 5% hotels and restaurants; 1% finance; 1% agriculture; 1% energy and water supply; and 4% other community, social or personal services. Compared to national figures, Sheerness had a relatively high percentage of workers in manufacturing, transport and communications, and a relatively low percentage in agriculture, hotels, restaurants, education, health, social work and finance.At the 2001 UK census, 4,292 of the town's residents were employed and there were 5,532 jobs within the town. According to Office for National Statistics estimates, the average gross weekly income of households in Sheerness from April 2001 to March 2002 was £385 (£20,075 per year).
Output: What was established in 1972, designed to recycle scrap steel into rods and coils?
Passage: The Port of Sheerness is a significant feature of the Isle of Sheppey's economy. Covering more than 1.5 million square metres, it is one of the largest foreign car importers in the UK, and it handles thousands of tonnes of fruits and meat products from all over the world. Inexpensive land and good infrastructure, including a rail network that branches off the main passenger line, have attracted industries to the port area, including producers of pharmaceuticals, steel, sausages and garden gnomes.The major employers are HBC Engineering Solutions, Sheerness Steel, Regis Furniture and The Bond Group - although HBC has closed and the Steel plant is currently closed but is currently being changed and upgraded ready for reopening. The steel mill was established in 1972, designed to recycle scrap steel into rods and coils. It survived a number of closure threats and changes of ownership; from 2003 it was operated by Thamesteel. Thamesteel went into administration in January 2012, with the loss of 350 jobs. Six months later, the plant was bought back by the former owners Al-Tuwairqi Group. As of October 2014 there were plans to reopen the plant as a rolling mill. PeelPort now own the site and are preparing it for reopening is a steel mill.  The port has a seafarers' centre, which was refurbished in May 2015, and is operated by Apostleship of the Sea, a seafarers' charity.The seafront is popular with tourists, and in 2007 Sheerness' recently refurbished town centre had more than 200 shops.At the 2001 UK census, 35.8% of residents aged 16–74 were employed full-time, 11.6% part-time, 5.8% self-employed and 6.2% unemployed, while 1.5% were students with jobs, 3.4% students without jobs, 11.9% retired, 10.6% looking after home or family, 8.5% permanently sick or disabled and 4.8% economically inactive for other reasons. The unemployment rate of 6.2% was high compared to the national rate of 3.4% and was the highest rate throughout the Swale district. Five percent of Sheerness residents aged 16–74 had a higher education qualification compared to 20% nationally.Employment by industry was 22% manufacturing; 18% retail; 10% construction; 10% transport and communications; 9% real estate; 8% health and social work; 6% public administration; 5% education; 5% hotels and restaurants; 1% finance; 1% agriculture; 1% energy and water supply; and 4% other community, social or personal services. Compared to national figures, Sheerness had a relatively high percentage of workers in manufacturing, transport and communications, and a relatively low percentage in agriculture, hotels, restaurants, education, health, social work and finance.At the 2001 UK census, 4,292 of the town's residents were employed and there were 5,532 jobs within the town. According to Office for National Statistics estimates, the average gross weekly income of households in Sheerness from April 2001 to March 2002 was £385 (£20,075 per year).
Output: 4,292 of what town's residents were employed?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: What is the full name of the person who, along with StarGate, produced a song's drum machine beat after other instrumental music was recorded?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: What is the full name of the person who applied timbre and used audio software to create ghostly accompaniment lines?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: What is the last name of the person who is said to almost never play the keyboards?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: What is the last name of the person who is said to throw in weird samples and alter them to the right pitch to go along with the song.?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: Who had a song played to them?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: Who liked a song?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: What is the full name of the person who was called from London?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: Who was said to be "flippin' out"?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: Who was said to play a song seven times in a row?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: Who said a song was their favorite?
Passage: In 2012, American songwriter and record producer Benny Blanco met with Norwegian production duo StarGate at a recording studio in New York City to write new songs, including one for Rihanna. StarGate had previously produced her singles "Don't Stop the Music" (2007) and "Only Girl (In the World)" (2010). According to Blanco, he and StarGate wanted to deviate from Rihanna's usual sound and produce as though the song would be for a rapper such as Kanye West: "It's the one that we weren't thinking Rihanna ... that turned into the Rihanna record ... But that's how it always happens like with me". They produced the song's drum machine beat after the other instrumental music was recorded.StarGate's Mikkel Eriksen told The New York Times that Blanco took a recorded snippet of Eriksen's singing, altered it electronically, and made it sound "dirtier". He then applied timbre and used audio software to create ghostly accompaniment lines. Eriksen described Blanco's style as "unorthodox, as he almost never plays the keyboards but throws in weird samples and alters them to the right pitch to go with the song." Australian singer-songwriter Sia later joined them and wrote the lyrics for "Diamonds" in 14 minutes.After the song was completed, they wanted to play it to Rihanna, but Blanco was skeptical about the reaction towards the song because of its slow sound. After StarGate played it to her, they called Blanco from London and told him that she liked the song: "She's flippin' out. She played it like seven times in a row. It's her favorite song." Phil Tan and the assistant Daniela Rivera, mixed and mastered "Diamonds". Recalling it, in an interview with The Huffington Post, Blanco commented, "we needed to have it recorded, the beat finished, mixed and mastered in 24 hours. She was recording in a separate part of the world, sending back the files, we're finishing the music and then we're mixing and mastering it, and then it was out in a few days. It's fucking amazing and incredible." Kuk Harrell produced Rihanna's vocals on the song and recorded them together with Marcos Tovar.
Output: What is the name of the song Stargate played for Rhianna, after which they called Blanco and told him that she liked it?
Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.
Output: What is the full name of the person who effectively legitimized Netherlandish art as a field of study?
Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.
Output: What is the full name of the person who built on Friedländer's attempts at attribution, but focused more on social history and religious iconography?
Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.
Output: What are the full names of the two individuals who were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience?
Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.
Output: What is the first name of the the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap?
Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.
Output: What is the last name of the person who considered the study of manuscripts to be integral to the study of panels?
Passage: Johnny English is a kindhearted but inept MI7 secret agent with dreams of being their most trusted employee. After Agent One dies in a submarine accident unknowingly caused by English, the remaining agents are assassinated via a bombing at Agent One's funeral, leaving English as the lone surviving agent capable of finishing the mission Agent One left when he died. 
English is assigned to thwart a plot to steal the Crown Jewels, which are on display at the Tower of London. During the display, the power suddenly suffers a blackout and the jewels are stolen. During the chaos, English accidentally knocks out the deputy head of security and pretends to fight an assailant to make up for his mistakes.
He later makes up a false description of the "assailant" to MI7 head Pegasus. English and his assistant Angus Bough find that the jewels were removed via a hole dug beneath their display case. The two follow a tunnel where they confront the two thieves Dieter Klein and Klaus Vendetta, who escape in a hearse, with English trying to pursue them but he mistakes another hearse for the escaped vehicle to which he accidentally gatecrashes a funeral until Bough comes to his aid by pretending English is an escaped mental patient.
English connects the thieves to Pascal Sauvage, a French prison entrepreneur who helped restore the Crown Jewels. Pegasus finds the claims of his involvement absurd and warns English not to involve Sauvage. In the car park, English and Bough are attacked by Vendetta but are unharmed. English again encounters Lorna in a sushi restaurant as he recognized her pink motorcycle.
During their meeting, English is suspicious of her since he has seen her at two of their crime scenes and her records cannot be found on any government computer. English and Bough then decide to break into Sauvage's headquarters via parachutes, but English mistakenly lands on a visually identical tower which turns out to be the City Hospital.
Output: What is the full name of the person who pretend fights with an assailant to make up for his mistakes?