niryuu/sni-each-converted huggingface dataset:
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the real name of the person whose parents expected them to go on to university?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the real name of the person who told her parents of her plans?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the real name of the person whose parents told them, "your father and I are very pleased you're going to art school"?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the real name of the person who studied and worked in Sydney?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the real name of the person who intended to enroll in painting classes?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the first name of the person who attended weekend art classes in Inverell?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the last name of the person who was a farmer turned greenkeeper?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What was the last name of the person who worked in a pharmacy?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: Where did Oliver's mother work?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What did Oliver's father do for a living?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the first name of the person whose creativity was nurtured from a young age?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the first name of the person who said that if Oliver was a son they would have been disappointed?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the first name of the person who intended to enroll in painting classes?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the first name of the person who graduated from the Alexander Mackie College of Advanced Education in 1980?
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Output: What is the first name of the person who studied under Gormley and Puryear?
Passage: Captain Kirk Redgrave and his first mate, Flint Weaver, are two pirates who set out to be the fiercest pirates on the Great Sea (the Great Salt Lake). The movie begins with a man in white using a metal detector on the beach. He happens upon a sleeping Kirk and begins to tell the audience the legend of a young man who wanted to find his fortune. On his journey, the young man meets a mapmaker and ends up at a cursed mountain cave filled with treasure. While taking the riches, he is attacked by the skeleton in the cave and killed, ripping the map in his attempt to escape.
Back at the Great Sea, after  Flint and Kirk "raid" a boat, Kirk finds a map tucked into the inside of a shoe Flint fished out of the lake. The two can't help but plunder an unattended corn stall on their way to bike to the library to find the origin of the mysterious map. Once there, a librarian aids the boys by telling them "either it's real, or it's fake". She shows them a page in an encyclopedia containing the second half of the map. Unfortunately, the book is from "General Reference" and cannot be checked out, much to Kirk's irritation. While trying to tear the page out of the book, Kirk notices an unattended photo copying machine, which they use to photocopy the page and their faces. Later, Kirk becomes frustrated and throws away the map, complaining he can't decipher it because a "pirate map is only good to the pirate who made it". Flint saves the map.
Output: What is the last name of the person who the man with the metal detector finds sleeping?
Passage: Captain Kirk Redgrave and his first mate, Flint Weaver, are two pirates who set out to be the fiercest pirates on the Great Sea (the Great Salt Lake). The movie begins with a man in white using a metal detector on the beach. He happens upon a sleeping Kirk and begins to tell the audience the legend of a young man who wanted to find his fortune. On his journey, the young man meets a mapmaker and ends up at a cursed mountain cave filled with treasure. While taking the riches, he is attacked by the skeleton in the cave and killed, ripping the map in his attempt to escape.
Back at the Great Sea, after  Flint and Kirk "raid" a boat, Kirk finds a map tucked into the inside of a shoe Flint fished out of the lake. The two can't help but plunder an unattended corn stall on their way to bike to the library to find the origin of the mysterious map. Once there, a librarian aids the boys by telling them "either it's real, or it's fake". She shows them a page in an encyclopedia containing the second half of the map. Unfortunately, the book is from "General Reference" and cannot be checked out, much to Kirk's irritation. While trying to tear the page out of the book, Kirk notices an unattended photo copying machine, which they use to photocopy the page and their faces. Later, Kirk becomes frustrated and throws away the map, complaining he can't decipher it because a "pirate map is only good to the pirate who made it". Flint saves the map.
Output: What are the last names of the men who raid a boat?
Passage: Captain Kirk Redgrave and his first mate, Flint Weaver, are two pirates who set out to be the fiercest pirates on the Great Sea (the Great Salt Lake). The movie begins with a man in white using a metal detector on the beach. He happens upon a sleeping Kirk and begins to tell the audience the legend of a young man who wanted to find his fortune. On his journey, the young man meets a mapmaker and ends up at a cursed mountain cave filled with treasure. While taking the riches, he is attacked by the skeleton in the cave and killed, ripping the map in his attempt to escape.
Back at the Great Sea, after  Flint and Kirk "raid" a boat, Kirk finds a map tucked into the inside of a shoe Flint fished out of the lake. The two can't help but plunder an unattended corn stall on their way to bike to the library to find the origin of the mysterious map. Once there, a librarian aids the boys by telling them "either it's real, or it's fake". She shows them a page in an encyclopedia containing the second half of the map. Unfortunately, the book is from "General Reference" and cannot be checked out, much to Kirk's irritation. While trying to tear the page out of the book, Kirk notices an unattended photo copying machine, which they use to photocopy the page and their faces. Later, Kirk becomes frustrated and throws away the map, complaining he can't decipher it because a "pirate map is only good to the pirate who made it". Flint saves the map.
Output: What is the last name of the person who finds a map?
Passage: Captain Kirk Redgrave and his first mate, Flint Weaver, are two pirates who set out to be the fiercest pirates on the Great Sea (the Great Salt Lake). The movie begins with a man in white using a metal detector on the beach. He happens upon a sleeping Kirk and begins to tell the audience the legend of a young man who wanted to find his fortune. On his journey, the young man meets a mapmaker and ends up at a cursed mountain cave filled with treasure. While taking the riches, he is attacked by the skeleton in the cave and killed, ripping the map in his attempt to escape.
Back at the Great Sea, after  Flint and Kirk "raid" a boat, Kirk finds a map tucked into the inside of a shoe Flint fished out of the lake. The two can't help but plunder an unattended corn stall on their way to bike to the library to find the origin of the mysterious map. Once there, a librarian aids the boys by telling them "either it's real, or it's fake". She shows them a page in an encyclopedia containing the second half of the map. Unfortunately, the book is from "General Reference" and cannot be checked out, much to Kirk's irritation. While trying to tear the page out of the book, Kirk notices an unattended photo copying machine, which they use to photocopy the page and their faces. Later, Kirk becomes frustrated and throws away the map, complaining he can't decipher it because a "pirate map is only good to the pirate who made it". Flint saves the map.
Output: What is the last name of the person who fished a shoe out of the lake?
Passage: Since the abolition of bishops within the Scottish Church in 1689, ownership of the abandoned cathedral fell to the crown, but no attempt to halt the decline of the building took place. Acknowledging the necessity to stabilise the structure, the Elgin Town Council initiated the reconstruction of the perimeter wall in 1809 and cleared debris from the surrounding area in about 1815. The Lord Provost of Elgin petitioned the King's Remembrancer for assistance to build a new roof for the chapterhouse and in 1824, £121 was provided to the architect Robert Reid for its construction. Reid was significant in the development of a conservation policy for historical buildings in Scotland and was to become the first Head of the Scottish Office of Works (SOW) in 1827. It was probably during his tenure at the SOW that the supporting buttresses to the choir and transept walls were built.In 1824 John Shanks, an Elgin shoemaker and an important figure in the conservation of the cathedral, started his work. Sponsored by local gentleman Isaac Forsyth, Shanks cleared the grounds of centuries of rubbish dumping and rubble. Shanks was officially appointed the site's Keeper and Watchman in 1826. Although his work was highly valued at the time and brought the cathedral back into public focus, his unscientific clearance work may have resulted in much valuable evidence of the cathedral's history being lost. He died on 14 April 1841, aged 82. A fortnight later, the Inverness Courier published a commemorative piece on Shanks, calling him the "beadle or cicerone of Elgin Cathedral", and writing:
Some minor works took place during the remainder of the 19th century and continued into the early 20th century. During the 1930s further maintenance work followed that included a new roof to protect the vaulted ceiling of the south choir aisle. From 1960 onwards the crumbling sandstone blocks were replaced and new windows were fitted in the chapterhouse, which was re-roofed to preserve its vaulted ceiling. From 1988 to 2000, the two western towers were substantially overhauled with a viewing platform provided at the top of the north tower.
Output: What is the first name of the person who it was probably during his tenure at the SOW that the supporting buttresses to the choir and transept walls were built?
Passage: Since the abolition of bishops within the Scottish Church in 1689, ownership of the abandoned cathedral fell to the crown, but no attempt to halt the decline of the building took place. Acknowledging the necessity to stabilise the structure, the Elgin Town Council initiated the reconstruction of the perimeter wall in 1809 and cleared debris from the surrounding area in about 1815. The Lord Provost of Elgin petitioned the King's Remembrancer for assistance to build a new roof for the chapterhouse and in 1824, £121 was provided to the architect Robert Reid for its construction. Reid was significant in the development of a conservation policy for historical buildings in Scotland and was to become the first Head of the Scottish Office of Works (SOW) in 1827. It was probably during his tenure at the SOW that the supporting buttresses to the choir and transept walls were built.In 1824 John Shanks, an Elgin shoemaker and an important figure in the conservation of the cathedral, started his work. Sponsored by local gentleman Isaac Forsyth, Shanks cleared the grounds of centuries of rubbish dumping and rubble. Shanks was officially appointed the site's Keeper and Watchman in 1826. Although his work was highly valued at the time and brought the cathedral back into public focus, his unscientific clearance work may have resulted in much valuable evidence of the cathedral's history being lost. He died on 14 April 1841, aged 82. A fortnight later, the Inverness Courier published a commemorative piece on Shanks, calling him the "beadle or cicerone of Elgin Cathedral", and writing:
Some minor works took place during the remainder of the 19th century and continued into the early 20th century. During the 1930s further maintenance work followed that included a new roof to protect the vaulted ceiling of the south choir aisle. From 1960 onwards the crumbling sandstone blocks were replaced and new windows were fitted in the chapterhouse, which was re-roofed to preserve its vaulted ceiling. From 1988 to 2000, the two western towers were substantially overhauled with a viewing platform provided at the top of the north tower.
Output: What is the first name of the person whose work was highly valued at the time and brought the cathedral back into public focus?
Passage: Since the abolition of bishops within the Scottish Church in 1689, ownership of the abandoned cathedral fell to the crown, but no attempt to halt the decline of the building took place. Acknowledging the necessity to stabilise the structure, the Elgin Town Council initiated the reconstruction of the perimeter wall in 1809 and cleared debris from the surrounding area in about 1815. The Lord Provost of Elgin petitioned the King's Remembrancer for assistance to build a new roof for the chapterhouse and in 1824, £121 was provided to the architect Robert Reid for its construction. Reid was significant in the development of a conservation policy for historical buildings in Scotland and was to become the first Head of the Scottish Office of Works (SOW) in 1827. It was probably during his tenure at the SOW that the supporting buttresses to the choir and transept walls were built.In 1824 John Shanks, an Elgin shoemaker and an important figure in the conservation of the cathedral, started his work. Sponsored by local gentleman Isaac Forsyth, Shanks cleared the grounds of centuries of rubbish dumping and rubble. Shanks was officially appointed the site's Keeper and Watchman in 1826. Although his work was highly valued at the time and brought the cathedral back into public focus, his unscientific clearance work may have resulted in much valuable evidence of the cathedral's history being lost. He died on 14 April 1841, aged 82. A fortnight later, the Inverness Courier published a commemorative piece on Shanks, calling him the "beadle or cicerone of Elgin Cathedral", and writing:
Some minor works took place during the remainder of the 19th century and continued into the early 20th century. During the 1930s further maintenance work followed that included a new roof to protect the vaulted ceiling of the south choir aisle. From 1960 onwards the crumbling sandstone blocks were replaced and new windows were fitted in the chapterhouse, which was re-roofed to preserve its vaulted ceiling. From 1988 to 2000, the two western towers were substantially overhauled with a viewing platform provided at the top of the north tower.
Output: What is the publication that called the Elgin shoemaker the "beadle or cicerone of Elgin Cathedral"?
Passage: The Shakespeare Gallery, when it opened on 4 May 1789, contained 34 paintings, and by the end of its run it had between 167 and 170.  (The exact inventory is uncertain and most of the paintings have disappeared; only around 40 paintings can be identified with any certainty.) According to Frederick Burwick, during its sixteen-year operation, the Gallery reflected the transition from Neoclassicism to Romanticism. Works by artists such as James Northcote represent the conservative, neoclassical elements of the gallery, while those of Henry Fuseli represent the newly emerging Romantic movement. William Hazlitt praised Northcote in an essay entitled "On the Old Age of Artists", writing "I conceive any person would be more struck with Mr. Fuseli at first sight, but would wish to visit Mr. Northcote oftener."The gallery itself was a fashionable hit with the public. Newspapers carried updates of the construction of the gallery, down to drawings for the proposed façade. The Daily Advertiser featured a weekly column on the gallery from May through August (exhibition season). Artists who had influence with the press, and Boydell himself, published anonymous articles to heighten interest in the gallery, which they hoped would increase sales of the edition.At the beginning of the enterprise, reactions were generally positive. The Public Advertiser wrote on 6 May 1789: "the pictures in general give a mirror of the poet ... [The Shakespeare Gallery] bids fair to form such an epoch in the History of the Fine Arts, as will establish and confirm the superiority of the English School". The Times wrote a day later:
This establishment may be considered with great truth, as the first stone of an English School of Painting; and it is peculiarly honourable to a great commercial country, that it is indebted for such a distinguished circumstance to a commercial character—such an institution—will place, in the Calendar of Arts, the name of Boydell in the same rank with the Medici of Italy.
Fuseli himself may have written the review in the Analytical Review, which praised the general plan of the gallery while at the same time hesitating: "such a variety of subjects, it may be supposed, must exhibit a variety of powers; all cannot be the first; while some must soar, others must skim the meadow, and others content themselves to walk with dignity". However, according to Frederick Burwick, critics in Germany "responded to the Shakespeare Gallery with far more thorough and meticulous attention than did the critics in England".Criticism increased as the project dragged on: the first volume did not appear until 1791. James Gillray published a cartoon labelled "Boydell sacrificing the Works of Shakespeare to the Devil of Money-Bags". The essayist and soon-to-be co-author of the children's book Tales from Shakespeare (1807) Charles Lamb criticised the venture from the outset:.
Output: What is the last name of the essayist that critcised gallery that opened on 4 May 1789 from the outset?
Passage: The diet of pelicans usually consists of fish, but occasionally amphibians, turtles, crustaceans, insects, birds, and mammals are also eaten. The size of the preferred prey fish varies depending on pelican species and location. For example, in Africa, the pink-backed pelican generally takes fish ranging in size from fry up to 400 g (0.9 lb) and the great white pelican prefers somewhat larger fish, up to 600 g (1.3 lb), but in Europe, the latter species has been recorded taking fish up to 1,850 g (4.1 lb). In deep water, white pelicans often fish alone. Nearer the shore, several encircle schools of small fish or form a line to drive them into the shallows, beating their wings on the water surface and then scooping up the prey. Although all pelican species may feed in groups or alone, the Dalmantian, pink-backed, and spot-billed pelicans are the only ones to prefer solitary feeding. When fishing in groups, all pelican species have been known to work together to catch their prey, and Dalmantian pelicans may even cooperate with great cormorants. They catch multiple small fish by expanding the throat pouch, which must be drained above the water surface before swallowing. This operation takes up to a minute, during which time other seabirds may steal the fish.
Output: What beats their wings on the water surface?
Passage: The diet of pelicans usually consists of fish, but occasionally amphibians, turtles, crustaceans, insects, birds, and mammals are also eaten. The size of the preferred prey fish varies depending on pelican species and location. For example, in Africa, the pink-backed pelican generally takes fish ranging in size from fry up to 400 g (0.9 lb) and the great white pelican prefers somewhat larger fish, up to 600 g (1.3 lb), but in Europe, the latter species has been recorded taking fish up to 1,850 g (4.1 lb). In deep water, white pelicans often fish alone. Nearer the shore, several encircle schools of small fish or form a line to drive them into the shallows, beating their wings on the water surface and then scooping up the prey. Although all pelican species may feed in groups or alone, the Dalmantian, pink-backed, and spot-billed pelicans are the only ones to prefer solitary feeding. When fishing in groups, all pelican species have been known to work together to catch their prey, and Dalmantian pelicans may even cooperate with great cormorants. They catch multiple small fish by expanding the throat pouch, which must be drained above the water surface before swallowing. This operation takes up to a minute, during which time other seabirds may steal the fish.
Output: What encircles schools of small fish?
Passage: Pod was released in the UK on May 29, 1990 by 4AD. Watts-Russell planned the date to be not too close to the release of the Pixies' Bossanova two and a half months later, for more effective publicity of both albums.  Watts-Russell believed the album would be better suited to a US independent distribution label rather than the Pixies' American distributor Elektra, and licensed Pod to Rough Trade America. When this division of Rough Trade went bankrupt, Elektra assumed distribution of Pod in the US. Deal has noted that the Breeders did not receive any royalties from initial US sales because of Rough Trade's bankruptcy.The album was widely anticipated by the British music press due to the involvement of Deal and Donelly—known from their highly regarded work with the Pixies and Throwing Muses, respectively—and Albini, who likewise had a strong reputation for his previous engineering work. It reached number 22 in the UK, where it was promoted by a full-page ad in Melody Maker, and number 73 in the Netherlands. Pod sold moderately well, although Deal has noted it "never sold [anything]" compared to their next album, Last Splash (1993), which was certified platinum in the US and silver in the UK.Deal took the idea for the album's title from a painting that she saw in Boston; for her, the word "pod" evoked a uterus, which Wiggs has noted relates to the theme of fertility and the group's name. The cover art was designed by longtime 4AD album designer Vaughan Oliver and employs photography by Kevin Westenberg. Oliver, in an attempt to seduce Deal, whom he believed would appreciate the humor, attached a belt of dead eels over his underwear, which he intended as phallic symbols. He performed a fertility dance, while Westenberg took pictures of him using a long exposure to achieve the blurring and other visual effects.
Output: What was the last name of the person who designed the album cover that had dead eels on it for the band that released Pod in the UK on May 29, 1990?