niryuu/sni-each-converted huggingface dataset:
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the last name of the person who feels in part to be responsible for the "death of the guitar solo"?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the last name of the person who said that his punk rocker aspects made him feel that he did not want to solo?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the full name of the person who preferred to make noise and do feedback during the guitar solo?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the full name of the person who was called the Eric Clapton of grunge?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the full name of the person Time magazine names as number five in their list of "The 10 Best Electric Guitar Players?"?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the full name of the person who used blues-influenced, rapid licks?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the full name of the person whose playing skill demonstrated that grunge guitarists do not have to be sloppy players to rebel against mainstream music?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the first name of the person who stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the name of the person who shows,  through his playing skill, that grunge guitarists do not have to be sloppy players to rebel against mainstream music?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: Who stated that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument?
Passage: Grunge guitarists "flatly rejected" the virtuoso "shredding" guitar solos that had become the centerpiece of heavy metal songs, instead opting for melodic, blues-inspired solos – focusing "on the song, not the guitar solo". Jerry Cantrell of Alice in Chains stated that solos should be to serve the song, rather than to show off a guitarist's technical skill. In place of the strutting guitar heroes of metal, grunge had "guitar anti-heroes" like Cobain, who showed little interest in mastering the instrument.In Will Byers' article "Grunge committed a crime against music—it killed the guitar solo", in The Guardian, he states that while the guitar solo managed to survive through the punk rock era, it was weakened by grunge. He states that when Kurt Cobain played guitar solos that were a restatement of the main vocal melody, fans realized that they did not need to be a Jimi Hendrix-level virtuoso to play the instrument; he says this approach helped to make music feel accessible by fans in a way not seen since the 1960s folk music movement. The producer of Nirvana's Nevermind, Butch Vig, stated that this album and Nirvana "killed the guitar solo". Soundgarden guitarist Kim Thayil stated he feels in part to be responsible for the "death of the guitar solo"; he said that his punk rocker aspects made him feel that he did not want to solo, so in the 1980s, he preferred to make noise and do feedback during the guitar solo. Baeble Music calls the grunge guitar solos of the 1990s "..raw", "sloppy" and "basic".Not all sources support the "grunge killed the guitar solo" argument. Sean Gonzalez states that Pearl Jam has plentiful examples of guitar solos. Michael Azerrad praises the guitar playing of Mudhoney's Steve Turner, calling him the "... Eric Clapton of grunge", a reference to the British blues guitarist  who Time magazine has named as number five in their list of "The 10 Best Electric Guitar Players". Pearl Jam guitarist Mike McCready has been praised for his blues-influenced, rapid licks. The Smashing Pumpkins' guitarist Billy Corgan has been called the "... arena rock genius of the '90s" for pioneering guitar playing techniques and showing through his playing skill that grunge guitarists do not have to be sloppy players to rebel against mainstream music. Thayil stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos.
Output: What is the full name of the person who stated that when other major grunge bands, such as Nirvana, were reducing their guitar solos, Soundgarden responded by bringing back the solos?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the full name of the person who Inspector Bailey says must be sent back to Europe?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the full name of the person who starts searching for Tom?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the full name of the person who has their injuries tended to at Maggie's apartment?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the full name of the person who Mrs. Hinckley threatens to evict?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the name of the person that Nancy persuades to attend an important audition?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the name of Nancy's boyfriend?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the name of the person who wants to go to the immigration department, but whose girlfriend convinces him not to?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the last name of the person who helps Maggie elude police?
Passage: After the end of World War II, Peter Kuban, a Hungarian displaced person and survivor of the Nazi concentration camps, stows away on a ship bound for New York City. However, he is spotted and held for the authorities. When they arrive, he claims that he qualifies for entry under an exception for those who helped Allied soldiers during the war, but all he knows about the paratrooper he hid from the enemy is that his name is Tom and he plays clarinet in a jazz band in New York City's Times Square.The immigration authorities led by Inspector Bailey say that without better documentation he must be sent back to Europe.
He jumps off the ship, breaking some ribs, and starts searching for Tom. He encounters an unemployed ex-factory worker named Maggie Summers. When she steals a coat in a restaurant, Peter helps her elude the police. They go to her apartment, where she tends his injury as best she can and learns his story. When her landlady, Mrs. Hinckley, threatens to evict her for being behind on her rent, Peter gives her all the money he has. Eddie Hinckley, the landlady's  son, barges in and tries to get amorous with Maggie. Peter bursts out of hiding and starts fighting him, but gets the worst of it. Maggie knocks Eddie out with a chair and flees with Peter.  The Hinckleys notify the police. Meanwhile, Tom sees Peter's picture on the front page of a newspaper. He wants to go to the immigration department, but his girlfriend Nancy persuades him to attend an important audition instead. Tom impresses band leader Jack Teagarden, but leaves abruptly to try to help Peter.
Output: What is the last name of the person Eddie tries to get amorous with?
Passage: After the release of Highway 61 Revisited in August 1965, Dylan set about hiring a touring band. Guitarist Mike Bloomfield and keyboard player Al Kooper had backed Dylan on his new album and at Dylan's controversial electric debut at the 1965 Newport Folk Festival. Bloomfield chose not to tour with Dylan, preferring to remain with the Paul Butterfield Blues Band. After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him. Dylan's manager, Albert Grossman, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of Levon Helm from Arkansas and four Canadian musicians: Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson. They had come together as a band in Canada, backing American rocker Ronnie Hawkins. Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Grossman, and blues singer John Hammond, Jr., son of record producer John Hammond, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album So Many Roads.Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, and on September 24, they made their debut in Austin, Texas. Two weeks later, encouraged by the success of their Texas performance, Dylan took the Hawks into Studio A of Columbia Records in New York City. Their immediate task was to record a hit single as the follow-up to "Positively 4th Street", but Dylan was already shaping his next album, the third one that year backed by rock musicians.
Output: What is the first name of the person who was in the Paul Butterfield Blues Band?
Passage: After the release of Highway 61 Revisited in August 1965, Dylan set about hiring a touring band. Guitarist Mike Bloomfield and keyboard player Al Kooper had backed Dylan on his new album and at Dylan's controversial electric debut at the 1965 Newport Folk Festival. Bloomfield chose not to tour with Dylan, preferring to remain with the Paul Butterfield Blues Band. After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him. Dylan's manager, Albert Grossman, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of Levon Helm from Arkansas and four Canadian musicians: Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson. They had come together as a band in Canada, backing American rocker Ronnie Hawkins. Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Grossman, and blues singer John Hammond, Jr., son of record producer John Hammond, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album So Many Roads.Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, and on September 24, they made their debut in Austin, Texas. Two weeks later, encouraged by the success of their Texas performance, Dylan took the Hawks into Studio A of Columbia Records in New York City. Their immediate task was to record a hit single as the follow-up to "Positively 4th Street", but Dylan was already shaping his next album, the third one that year backed by rock musicians.
Output: What is the first name of the person who backed Dylan at concerts in late August and early September before leaving the band?