niryuu/sni-each-converted huggingface dataset:
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the full name of the person who invited members of Fear to jam with her at a studio she was renting?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the full name of the person who returned to New York to look for a backing group in March 2000?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the full name of the person whose involvement in other musical projects left him an insufficient amount of time to devote to the Breeders?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the first name of the person who likes "interesting mistakes" in song production?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the name of the band whose other members contributed musical ideas to the tracks even though Deal is credited as sole songwriter on the majority?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What are the first names of the people who recorded "The She", "Forced to Drive", and "Too Alive" in Chicago?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the full name of the person who decided he did not have enough time for the Breeders?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the first name of the person who returned to New York to look for a backing group in March 2000?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the full name of the person who said that she likes "interesting mistakes" in song production?
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London.
Output: What is the name of the album which mastering was also done using analog processes?
Passage: Just after midnight on 3 January, 200 police officers from the City of London and Metropolitan forces cordoned off the area around 100 Sidney Street. Armed officers were placed at number 111, directly opposite number 100, and throughout the night the residents of the houses on the block were roused and evacuated. Wensley woke the ground floor tenants at number 100 and asked them to fetch Gershon, claiming that she was needed by her sick husband. When Gershon appeared she was grabbed by the police and taken to the City of London police headquarters; the ground floor lodgers also evacuated. Number 100 was now empty of all residents, apart from Svaars and Sokoloff, neither of whom seemed to be aware of the evacuation.The police's operating procedure—and the law which governed their actions—meant they were unable to open fire without being fired upon first. This, along with the structure of the building, which had a narrow, winding stairwell up which police would have to pass, meant any approach to the gang members was too perilous to attempt. It was decided to wait until dawn before taking any action. At about 7:30 am a policeman knocked on the door of number 100, which elicited no response; stones were then thrown at the window to wake the men. Svaars and Sokoloff appeared at the window and opened fire at the police. A police sergeant was wounded in the chest: he was evacuated under fire across the rooftops, and taken to the London Hospital. Some members of the police returned fire, but their guns were only effective over shorter ranges, and proved ineffective against the comparatively advanced automatic weapons of Svaars and Sokoloff.By 9:00 am it was apparent that the two gunmen possessed superior weapons and ample ammunition. The police officers in charge on the scene, Superintendent Mulvaney and Chief Superintendent Stark, contacted Assistant Commissioner Major Frederick Wodehouse at Scotland Yard. He telephoned the Home Office and obtained permission from Churchill to bring in a detachment of Scots Guards, who were stationed at the Tower of London. It was the first time that the police had requested military assistance in London to deal with an armed siege. Twenty-one volunteer marksmen from the Guards arrived at about 10:00 am and took firing positions at each end of the street and in the houses opposite. The shooting continued without either side gaining any advantage.
Output: What is the last name of the person who telephoned the Home Office and obtained permission from Churchill to bring in a detachment of Scots Guards?
Passage: Just after midnight on 3 January, 200 police officers from the City of London and Metropolitan forces cordoned off the area around 100 Sidney Street. Armed officers were placed at number 111, directly opposite number 100, and throughout the night the residents of the houses on the block were roused and evacuated. Wensley woke the ground floor tenants at number 100 and asked them to fetch Gershon, claiming that she was needed by her sick husband. When Gershon appeared she was grabbed by the police and taken to the City of London police headquarters; the ground floor lodgers also evacuated. Number 100 was now empty of all residents, apart from Svaars and Sokoloff, neither of whom seemed to be aware of the evacuation.The police's operating procedure—and the law which governed their actions—meant they were unable to open fire without being fired upon first. This, along with the structure of the building, which had a narrow, winding stairwell up which police would have to pass, meant any approach to the gang members was too perilous to attempt. It was decided to wait until dawn before taking any action. At about 7:30 am a policeman knocked on the door of number 100, which elicited no response; stones were then thrown at the window to wake the men. Svaars and Sokoloff appeared at the window and opened fire at the police. A police sergeant was wounded in the chest: he was evacuated under fire across the rooftops, and taken to the London Hospital. Some members of the police returned fire, but their guns were only effective over shorter ranges, and proved ineffective against the comparatively advanced automatic weapons of Svaars and Sokoloff.By 9:00 am it was apparent that the two gunmen possessed superior weapons and ample ammunition. The police officers in charge on the scene, Superintendent Mulvaney and Chief Superintendent Stark, contacted Assistant Commissioner Major Frederick Wodehouse at Scotland Yard. He telephoned the Home Office and obtained permission from Churchill to bring in a detachment of Scots Guards, who were stationed at the Tower of London. It was the first time that the police had requested military assistance in London to deal with an armed siege. Twenty-one volunteer marksmen from the Guards arrived at about 10:00 am and took firing positions at each end of the street and in the houses opposite. The shooting continued without either side gaining any advantage.
Output: What is the precise name of the military detachment to which the twenty-one volunteer marksmen who arrived at about 10:00 am and took firing positions at each end of the street belonged?
Passage: Farthest South was the most southerly latitudes reached by explorers before the conquest of the South Pole in 1911. Significant steps on the road to the pole were the discovery of lands south of Cape Horn in 1619, Captain James Cook's crossing of the Antarctic Circle in 1773, and the earliest confirmed sightings of the Antarctic mainland in 1820. From the late 19th century onward, the quest for Farthest South latitudes became in effect a race to reach the pole, which culminated in Roald Amundsen's success in December 1911.
In the years before reaching the pole was a realistic objective, other motives drew adventurers southward. Initially, the driving force was the discovery of new trade routes between Europe and the Far East. After such routes had been established and the main geographical features of the earth had been broadly mapped, the lure for mercantile adventurers was the great fertile continent of "Terra Australis" which, according to myth, lay hidden in the south. Belief in the existence of this supposed land of plenty persisted well into the 18th century; explorers were reluctant to accept the truth that slowly emerged, of a cold, harsh environment in the lands of the Southern Ocean.
James Cook's voyages of 1771–74 demonstrated conclusively the likely hostile nature of any hidden lands. This caused a shift of emphasis in the first half of the 19th century, away from trade and towards sealing and whaling, and then exploration and discovery. After the first overwintering on continental Antarctica in 1898–99 (Adrien de Gerlache), the prospect of reaching the South Pole appeared realistic, and the race for the pole began. The British were pre-eminent in this endeavor, which was characterized by the rivalry between Robert Falcon Scott and Ernest Shackleton during the Heroic Age of Antarctic Exploration. Shackleton's efforts fell short; Scott reached the pole in January 1912 only to find that he had been beaten by the Norwegian Amundsen.
Output: What is the first name of the person whose efforts fell short?
Passage: Farthest South was the most southerly latitudes reached by explorers before the conquest of the South Pole in 1911. Significant steps on the road to the pole were the discovery of lands south of Cape Horn in 1619, Captain James Cook's crossing of the Antarctic Circle in 1773, and the earliest confirmed sightings of the Antarctic mainland in 1820. From the late 19th century onward, the quest for Farthest South latitudes became in effect a race to reach the pole, which culminated in Roald Amundsen's success in December 1911.
In the years before reaching the pole was a realistic objective, other motives drew adventurers southward. Initially, the driving force was the discovery of new trade routes between Europe and the Far East. After such routes had been established and the main geographical features of the earth had been broadly mapped, the lure for mercantile adventurers was the great fertile continent of "Terra Australis" which, according to myth, lay hidden in the south. Belief in the existence of this supposed land of plenty persisted well into the 18th century; explorers were reluctant to accept the truth that slowly emerged, of a cold, harsh environment in the lands of the Southern Ocean.
James Cook's voyages of 1771–74 demonstrated conclusively the likely hostile nature of any hidden lands. This caused a shift of emphasis in the first half of the 19th century, away from trade and towards sealing and whaling, and then exploration and discovery. After the first overwintering on continental Antarctica in 1898–99 (Adrien de Gerlache), the prospect of reaching the South Pole appeared realistic, and the race for the pole began. The British were pre-eminent in this endeavor, which was characterized by the rivalry between Robert Falcon Scott and Ernest Shackleton during the Heroic Age of Antarctic Exploration. Shackleton's efforts fell short; Scott reached the pole in January 1912 only to find that he had been beaten by the Norwegian Amundsen.
Output: What is the first name of the person who reached the pole in January 1912?
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Output: What is the first name of the person who objected to many of Burges's designs on the grounds of cost and of style?
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Output: What is the last name of the person who was replaced by Crace?
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Output: What is the first name of the person who diluted or altered much of the interior features that were fully executed?
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Output: What is the last name of the person whose redecoration of the college Chapel remains?
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Output: What was the full name of Burges's client who didn't like most of his designs?
Passage: The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style. Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan of a large central block with projecting gables. The tower Burges planned was never built.
The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs. Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors. However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain or have been re-instated.Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed, although his redecoration of the college Chapel remains. The aim is, as far as possible, to reinstate the work of Burges and Crace.
Output: Where did the National Trust get a bookcase for the house they took ownership of in 1972?