niryuu/sni-each-converted huggingface dataset:
Passage: Bobby, who lives on a farm in an unspecified area of Nebraska with his mother, Glenna, and grandfather (Charles Napier), is a typical eight-year-old boy with an overactive imagination. Often receiving punishment for his make-believe adventures, Bobby believes his imagination to be a negative trait. When Bobby's grandfather falls and breaks his arm due to an approaching storm, Bobby is left on the farm alone while his mother accompanies his grandfather to the hospital.
During this storm, a "vortex in time" is created and deposits "Captain" Jezebel Jack, a self-centered pirate who was forced to walk the plank on his own ship and sent into the vortex. Jack awakes in a field of wheat, where he finds Bobby, who tends to his wounds after he loses consciousness again.
While adapting to the advances of modern technology (such as a television), Jack is told of an old buried treasure map by Bobby, and demands they follow the map. Bobby explains that his grandfather explained to him the story, and that the map is written in some unknown code. Jack says that the map is in "Adventurer's Code", in which he is fluent. The two immediately begin to follow the map, and quickly find the treasure buried under an old tool shed.
Shortly after uncovering the treasure, another vortex in time is opened, and the rest of Jack's mutinied crew is deposited. The crew quickly learn of the treasure, and open attack on Jack and Bobby, who are forced to defend the house and the treasure. After Bobby, who has by now become close friends with Jack, is captured and held in ransom, Jack is forced to hand over what is believed to be the treasure. The boy is released, but Jack is forced to stay with the crew, who are teleported back to their native time.
Output: After his friend is released, who is stuck with the mutinied crew members?
Passage: Bobby, who lives on a farm in an unspecified area of Nebraska with his mother, Glenna, and grandfather (Charles Napier), is a typical eight-year-old boy with an overactive imagination. Often receiving punishment for his make-believe adventures, Bobby believes his imagination to be a negative trait. When Bobby's grandfather falls and breaks his arm due to an approaching storm, Bobby is left on the farm alone while his mother accompanies his grandfather to the hospital.
During this storm, a "vortex in time" is created and deposits "Captain" Jezebel Jack, a self-centered pirate who was forced to walk the plank on his own ship and sent into the vortex. Jack awakes in a field of wheat, where he finds Bobby, who tends to his wounds after he loses consciousness again.
While adapting to the advances of modern technology (such as a television), Jack is told of an old buried treasure map by Bobby, and demands they follow the map. Bobby explains that his grandfather explained to him the story, and that the map is written in some unknown code. Jack says that the map is in "Adventurer's Code", in which he is fluent. The two immediately begin to follow the map, and quickly find the treasure buried under an old tool shed.
Shortly after uncovering the treasure, another vortex in time is opened, and the rest of Jack's mutinied crew is deposited. The crew quickly learn of the treasure, and open attack on Jack and Bobby, who are forced to defend the house and the treasure. After Bobby, who has by now become close friends with Jack, is captured and held in ransom, Jack is forced to hand over what is believed to be the treasure. The boy is released, but Jack is forced to stay with the crew, who are teleported back to their native time.
Output: What's the name of the woman who leaves her eight-year-old alone on a farm?
Passage: Bobby, who lives on a farm in an unspecified area of Nebraska with his mother, Glenna, and grandfather (Charles Napier), is a typical eight-year-old boy with an overactive imagination. Often receiving punishment for his make-believe adventures, Bobby believes his imagination to be a negative trait. When Bobby's grandfather falls and breaks his arm due to an approaching storm, Bobby is left on the farm alone while his mother accompanies his grandfather to the hospital.
During this storm, a "vortex in time" is created and deposits "Captain" Jezebel Jack, a self-centered pirate who was forced to walk the plank on his own ship and sent into the vortex. Jack awakes in a field of wheat, where he finds Bobby, who tends to his wounds after he loses consciousness again.
While adapting to the advances of modern technology (such as a television), Jack is told of an old buried treasure map by Bobby, and demands they follow the map. Bobby explains that his grandfather explained to him the story, and that the map is written in some unknown code. Jack says that the map is in "Adventurer's Code", in which he is fluent. The two immediately begin to follow the map, and quickly find the treasure buried under an old tool shed.
Shortly after uncovering the treasure, another vortex in time is opened, and the rest of Jack's mutinied crew is deposited. The crew quickly learn of the treasure, and open attack on Jack and Bobby, who are forced to defend the house and the treasure. After Bobby, who has by now become close friends with Jack, is captured and held in ransom, Jack is forced to hand over what is believed to be the treasure. The boy is released, but Jack is forced to stay with the crew, who are teleported back to their native time.
Output: Who acts as the man who breaks his arm?
Passage: Romance was released internationally on 19 November 1991, and sold over 400,000 copies in its first 10 days. In Mexico it was certified octuple platinum by the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON) for shipping two million copies, the country's all-time third-bestselling album (only Juan Gabriel and José José has sold more copies with Recuerdos, Vol. II and 20 Triunfadoras respectively). In the United States, Romance debuted at number ten on the Billboard Latin Pop Albums chart for the week of 14 December 1991, and reached number one four weeks later. The record topped the chart for 32 consecutive weeks when it was displaced by Jon Secada's eponymous album on the week of 22 August 1992, ending 1992 and 1993 as the bestselling Latin pop album of the year in the country. It was the first record by a Spanish-speaking artist to be certified gold in Brazil and Taiwan, and the first gold certification by a non-crossover Latin artist in the United States (later certified platinum in the U.S. by the RIAA for shipments of one million copies). In South America, Romance was certified platinum in Colombia and Venezuela, gold in Paraguay and double platinum in Peru. In Argentina the album was certified 16× platinum for sales of over one million copies, the bestselling record by a non-Argentine artist. It received a diamond award from the Argentine Chamber of Phonograms and Videograms Producers (CAPIF), and was certified quadruple platinum in Chile and double platinum in Spain. As of 2013, Romance had sold over seven million copies worldwide and is Miguel's bestselling record.
Output: What is the name of the Spanish-speaking artist whose record was the first to be certified gold in Brazil and Taiwan?
Passage: Romance was released internationally on 19 November 1991, and sold over 400,000 copies in its first 10 days. In Mexico it was certified octuple platinum by the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON) for shipping two million copies, the country's all-time third-bestselling album (only Juan Gabriel and José José has sold more copies with Recuerdos, Vol. II and 20 Triunfadoras respectively). In the United States, Romance debuted at number ten on the Billboard Latin Pop Albums chart for the week of 14 December 1991, and reached number one four weeks later. The record topped the chart for 32 consecutive weeks when it was displaced by Jon Secada's eponymous album on the week of 22 August 1992, ending 1992 and 1993 as the bestselling Latin pop album of the year in the country. It was the first record by a Spanish-speaking artist to be certified gold in Brazil and Taiwan, and the first gold certification by a non-crossover Latin artist in the United States (later certified platinum in the U.S. by the RIAA for shipments of one million copies). In South America, Romance was certified platinum in Colombia and Venezuela, gold in Paraguay and double platinum in Peru. In Argentina the album was certified 16× platinum for sales of over one million copies, the bestselling record by a non-Argentine artist. It received a diamond award from the Argentine Chamber of Phonograms and Videograms Producers (CAPIF), and was certified quadruple platinum in Chile and double platinum in Spain. As of 2013, Romance had sold over seven million copies worldwide and is Miguel's bestselling record.
Output: What was the name of the album by José José?
Passage: Romance was released internationally on 19 November 1991, and sold over 400,000 copies in its first 10 days. In Mexico it was certified octuple platinum by the Asociación Mexicana de Productores de Fonogramas y Videogramas (AMPROFON) for shipping two million copies, the country's all-time third-bestselling album (only Juan Gabriel and José José has sold more copies with Recuerdos, Vol. II and 20 Triunfadoras respectively). In the United States, Romance debuted at number ten on the Billboard Latin Pop Albums chart for the week of 14 December 1991, and reached number one four weeks later. The record topped the chart for 32 consecutive weeks when it was displaced by Jon Secada's eponymous album on the week of 22 August 1992, ending 1992 and 1993 as the bestselling Latin pop album of the year in the country. It was the first record by a Spanish-speaking artist to be certified gold in Brazil and Taiwan, and the first gold certification by a non-crossover Latin artist in the United States (later certified platinum in the U.S. by the RIAA for shipments of one million copies). In South America, Romance was certified platinum in Colombia and Venezuela, gold in Paraguay and double platinum in Peru. In Argentina the album was certified 16× platinum for sales of over one million copies, the bestselling record by a non-Argentine artist. It received a diamond award from the Argentine Chamber of Phonograms and Videograms Producers (CAPIF), and was certified quadruple platinum in Chile and double platinum in Spain. As of 2013, Romance had sold over seven million copies worldwide and is Miguel's bestselling record.
Output: What was the acronym for the organization that gave Romance a diamond award?
Passage: English jeweller and naturalist William Bullock and his son travelled to Mexico soon after its independence, spending six months in 1823 collecting archeological artifacts and many bird and fish species new to science. The bird specimens were given to naturalist William John Swainson, their countryman, to formally describe, which he did in 1827. Among these was the red warbler, which was assigned to the genus Setophaga, as Setophaga rubra. Over the next half century, other authorities moved it to Cardellina, with the red-faced warbler, and to the widespread tropical warbler genus Basileuterus, as well as to the Old World warbler genus Sylvia and the Old World tit genus Parus. In 1873, English naturalists Philip Lutley Sclater and Osbert Salvin moved the species to the genus Ergaticus, where it remained for more than a century.The red warbler forms a superspecies with the pink-headed warbler of Chiapas and Guatemala. Despite their disjunct ranges and considerably different plumages, the two have sometimes been considered conspecific. Conversely, it has also been suggested that the red warbler should be split into a northern gray-eared species (C. melanauris) and a southern white-eared species (C. rubra). A comprehensive 2010 paper by Irby Lovette and colleagues analysing mitochondrial and nuclear DNA of the New World warblers found that the red and pink-headed warblers are each others' closest relative and that their common ancestor diverged from a lineage that gave rise to the red-faced warbler. The authors recommended moving the red and pink-headed warblers to the genus Cardellina, a suggestion which has been adopted by the International Ornithologists' Union (IOC).There are three subspecies, which differ slightly in appearance:
C. r. rubra, described by Swainson in 1827, has white ear patches and is found from southern Jalisco and southern Hidalgo to Oaxaca.
Output: What is the last name of the person who formally described bird specimens in 1827?
Passage: English jeweller and naturalist William Bullock and his son travelled to Mexico soon after its independence, spending six months in 1823 collecting archeological artifacts and many bird and fish species new to science. The bird specimens were given to naturalist William John Swainson, their countryman, to formally describe, which he did in 1827. Among these was the red warbler, which was assigned to the genus Setophaga, as Setophaga rubra. Over the next half century, other authorities moved it to Cardellina, with the red-faced warbler, and to the widespread tropical warbler genus Basileuterus, as well as to the Old World warbler genus Sylvia and the Old World tit genus Parus. In 1873, English naturalists Philip Lutley Sclater and Osbert Salvin moved the species to the genus Ergaticus, where it remained for more than a century.The red warbler forms a superspecies with the pink-headed warbler of Chiapas and Guatemala. Despite their disjunct ranges and considerably different plumages, the two have sometimes been considered conspecific. Conversely, it has also been suggested that the red warbler should be split into a northern gray-eared species (C. melanauris) and a southern white-eared species (C. rubra). A comprehensive 2010 paper by Irby Lovette and colleagues analysing mitochondrial and nuclear DNA of the New World warblers found that the red and pink-headed warblers are each others' closest relative and that their common ancestor diverged from a lineage that gave rise to the red-faced warbler. The authors recommended moving the red and pink-headed warblers to the genus Cardellina, a suggestion which has been adopted by the International Ornithologists' Union (IOC).There are three subspecies, which differ slightly in appearance:
C. r. rubra, described by Swainson in 1827, has white ear patches and is found from southern Jalisco and southern Hidalgo to Oaxaca.
Output: What is the full name of the person who, along with their colleagues, recommended moving the red and pink-headed warblers to the genus Cardellina?
Passage: Henry Altmann is stuck in Brooklyn traffic while on his way to a doctor's appointment. His car is suddenly struck by a taxi, which propels him into a rage which he unleashes upon the taxi driver. Henry goes to the Brooklyn hospital, where Dr. Sharon Gill is covering for his usual doctor, with whom she is having an affair. After examining scans of his brain, Sharon informs Henry that he has a brain aneurysm and his outlook is bad. Henry erupts, throwing insults at Sharon and demanding that she tell him how long he has to live. She tries to dodge the question, but Henry is persistent. Panicking, Sharon tells him that he will die in ninety minutes. Henry leaves the hospital in a rage. 
Sharon talks with another doctor and realizes the consequences of her actions; she will surely be fired and lose her license. Sharon resolves to find Henry and put him into immediate care. Henry arrives at the family law firm of Altmann, and storms into a meeting between his brother Aaron and  several older clients. He asks what a hypothetical client with only ninety minutes to live should do, they reply that the client should make love to his wife one last time. Henry then decides to run home to see his estranged wife, Bette, only to find that she is having an affair with their neighbor. Meanwhile, Sharon learns Henry's case is serious enough that he could potentially die at any minute.
Output: What is the full name of the person who could potentially die at any minute?
Passage: Henry Altmann is stuck in Brooklyn traffic while on his way to a doctor's appointment. His car is suddenly struck by a taxi, which propels him into a rage which he unleashes upon the taxi driver. Henry goes to the Brooklyn hospital, where Dr. Sharon Gill is covering for his usual doctor, with whom she is having an affair. After examining scans of his brain, Sharon informs Henry that he has a brain aneurysm and his outlook is bad. Henry erupts, throwing insults at Sharon and demanding that she tell him how long he has to live. She tries to dodge the question, but Henry is persistent. Panicking, Sharon tells him that he will die in ninety minutes. Henry leaves the hospital in a rage. 
Sharon talks with another doctor and realizes the consequences of her actions; she will surely be fired and lose her license. Sharon resolves to find Henry and put him into immediate care. Henry arrives at the family law firm of Altmann, and storms into a meeting between his brother Aaron and  several older clients. He asks what a hypothetical client with only ninety minutes to live should do, they reply that the client should make love to his wife one last time. Henry then decides to run home to see his estranged wife, Bette, only to find that she is having an affair with their neighbor. Meanwhile, Sharon learns Henry's case is serious enough that he could potentially die at any minute.
Output: What is the full name of the person who could be fired and lose her license?
Passage: Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris.
When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher Alexandre Pierre François Boëly. From the latter he acquired a lifelong love of the music of Bach, which was then little known in France.As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he remained a talented amateur in later life.
Output: What is the full name of the person who died of consumption?
Passage: Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris.
When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher Alexandre Pierre François Boëly. From the latter he acquired a lifelong love of the music of Bach, which was then little known in France.As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he remained a talented amateur in later life.
Output: What is the first name of the only child of  Jacques-Joseph-Victor Saint-Saëns?
Passage: Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris.
When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher Alexandre Pierre François Boëly. From the latter he acquired a lifelong love of the music of Bach, which was then little known in France.As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he remained a talented amateur in later life.
Output: What was the first name of the person who was born in the Rue du Jardinet in the 6th arrondissement of Paris?
Passage: Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris.
When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher Alexandre Pierre François Boëly. From the latter he acquired a lifelong love of the music of Bach, which was then little known in France.As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he remained a talented amateur in later life.
Output: What was the first name of the person who had perfect pitch by the time he was three years old?
Passage: Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris.
When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher Alexandre Pierre François Boëly. From the latter he acquired a lifelong love of the music of Bach, which was then little known in France.As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he remained a talented amateur in later life.
Output: What is the full name of the person who was well aware of her son's precocious talent?
Passage: Saint-Saëns was born in Paris, the only child of Jacques-Joseph-Victor Saint-Saëns (1798–1835), an official in the French Ministry of the Interior, and Françoise-Clémence, née Collin. Victor Saint-Saëns was of Norman ancestry, and his wife was from an Haute-Marne family; their son, born in the Rue du Jardinet in the 6th arrondissement of Paris, and baptised at the nearby church of Saint-Sulpice, always considered himself a true Parisian. Less than two months after the christening, Victor Saint-Saëns died of consumption on the first anniversary of his marriage. The young Camille was taken to the country for the sake of his health, and for two years lived with a nurse at Corbeil, 29 kilometres (18 mi) to the south of Paris.
When Saint-Saëns was brought back to Paris he lived with his mother and her widowed aunt, Charlotte Masson. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano. His great-aunt taught him the basics of pianism, and when he was seven he became a pupil of Camille-Marie Stamaty, a former pupil of Friedrich Kalkbrenner. Stamaty required his students to play while resting their forearms on a bar situated in front of the keyboard, so that all the pianist's power came from the hands and fingers rather than the arms, which, Saint-Saëns later wrote, was good training. Clémence Saint-Saëns, well aware of her son's precocious talent, did not wish him to become famous too young. The music critic Harold C. Schonberg wrote of Saint-Saëns in 1969, "It is not generally realized that he was the most remarkable child prodigy in history, and that includes Mozart." The boy gave occasional performances for small audiences from the age of five, but it was not until he was ten that he made his official public debut, at the Salle Pleyel, in a programme that included Mozart's Piano Concerto in B♭ (K450), and Beethoven's Third Piano Concerto. Through Stamaty's influence, Saint-Saëns was introduced to the composition professor Pierre Maleden and the organ teacher Alexandre Pierre François Boëly. From the latter he acquired a lifelong love of the music of Bach, which was then little known in France.As a schoolboy Saint-Saëns was outstanding in many subjects. In addition to his musical prowess, he distinguished himself in the study of French literature, Latin and Greek, divinity, and mathematics. His interests included philosophy, archaeology and astronomy, of which, particularly the last, he remained a talented amateur in later life.
Output: What is the first name of the person who considered himself a true Parisian?
Passage: The second of James Cook's historic voyages, 1772–1775, was primarily a search for the elusive Terra Australis Incognita that was still believed to lie somewhere in the unexplored latitudes below 40°S. Cook left England in September 1772 with two ships, HMS Resolution and HMS Adventure. After pausing at Cape Town, on 22 November the two ships sailed due south, but were driven to the east by heavy gales. They managed to edge further south, encountering their first pack ice on 10 December. This soon became a solid barrier, which tested Cook's seamanship as he manoeuvered for a passage through. Eventually, he found open water, and was able to continue south; on 17 January 1773, the expedition reached the Antarctic Circle at 66°20'S, the first ships to do so. Further progress was barred by ice, and the ships turned north-eastwards and headed for New Zealand, which they reached on 26 March.During the ensuing months, the expedition explored the southern Pacific Ocean before Cook took Resolution south again—Adventure had retired back to South Africa after a fracas with the New Zealand native population. This time Cook was able to penetrate deep beyond the Antarctic Circle, and on 30 January 1774 reached 71°10'S, his Farthest South, but the state of the ice made further southward travel impossible. This southern record would hold for 49 years.In the course of his voyages in Antarctic waters, Cook had encircled the world at latitudes generally above 60°S, and saw nothing but bleak inhospitable islands, without a hint of the fertile continent which some still hoped lay in the south. Cook wrote that if any such continent existed it would be "a country doomed by nature", and that "no man will venture further than I have done, and the land to the South will never be explored". He concluded: "Should the impossible be achieved and the land attained, it would be wholly useless and of no benefit to the discoverer or his nation".
Output: What was Cook looking for when he left England in September 1772 with two ships?
Passage: "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
Output: What are the last names of the people who announced that they were collaborating on a recording for the animated film Paddington?
Passage: "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
Output: What are the first names of the people who had previously worked together on four singles?
Passage: "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
Output: What is the full name of the person who said the film and the track allowed her children to recognise their origins?
Passage: "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
Output: What is the name of the song Stefani played  for the rest of the band to get their reaction?
Passage: "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
Output: What are the first names of the people whose work "brought to life the charm that Paddington represents?
Passage: "Shine" was written by Pharrell Williams and Gwen Stefani, and produced by Williams. In November 2014, the pair announced that they were collaborating on a recording for the animated film Paddington. They had previously worked together on four singles: "Hella Good" (2002), "Can I Have It Like That" (2005), "Hollaback Girl" (2005), and "Spark the Fire" (2014).Williams initially pitched "Shine" as a song for No Doubt, of which Stefani was lead vocalist. She immediately noticed similarities between the demo and her music with No Doubt and played it for the rest of the band to get their reaction. No Doubt recorded their version in late 2014. According to Rolling Stone, Stefani was collaborating with the band for a song for the Paddington soundtrack. Despite this announcement, Rolling Stone's Patrick Doyle suggested that it would be recorded by Williams and Stefani instead.In an official statement, film executive Bob Weinstein called Stefani and Williams "the perfect artistic duo", saying their work "brought to life the charm that Paddington represents". Stefani said her involvement was motivated by her personal connection to the film's setting through her marriage to English musician Gavin Rossdale. She added that the film and the track allowed her children to recognise their origins. Williams considered the song to be "a wonderful opportunity, as a parent, to contribute to something as classic, authentic and generational to all of our lives, as Paddington Bear"; Stefani said that she was "honored to join forces with Pharrell and be part of bringing this beloved classic to life for Paddington's next big adventure". Williams called the song "a trailer into a wonderful family experience" and developed its concept from his children's interest in Paddington Bear.
Output: What is the first name of the person who called the song "a trailer into a wonderful family experience"?