niryuu/sni-each-converted huggingface dataset:
Passage: In 1943, a British naval officer from Canada, Commander Bolton and a few surviving crew members of his 50-man submarine Gauntlet swim ashore after unsuccessfully attacking German battleship Lindendorf. After a review, Captain Bolton is cleared of any wrongdoing and placed in charge of a small group of experimental X class submarines. Bolton is assigned by Vice-Admiral Redmayne to quickly train crews to man the submarines and sink the Lindendorf while it is hidden away in a Norwegian fiord.
Commander Bolton is to train three 4-man crews along the northern coast of Scotland for a trio of midget submarines equipped with side cargoes of explosives. He must overcome tensions with some of his former crew members, while keeping their activities hidden from outsiders and German airplanes. The crews successfully fend off an attack by German parachute commandos, who discover their base. Bolton is forced to make hasty preparations for his attack before their submarine base can be destroyed.
Two of the submarines are lost while attempting to cut through submarine nets at the entrance to the fiord. X-2, is sunk by a German E-boat's depth charges, and a second, the X-1, is scuttled. One submarine crew is captured and taken to the German battleship for interrogation. X-3, the surviving submarine penetrates the submarine nets in the fiord and places explosives under the German battleship. The submarine then manages to escape as the battleship explodes.
Output: What is the name of the submarine that attacked the battleship in 1943?
Passage: In 1943, a British naval officer from Canada, Commander Bolton and a few surviving crew members of his 50-man submarine Gauntlet swim ashore after unsuccessfully attacking German battleship Lindendorf. After a review, Captain Bolton is cleared of any wrongdoing and placed in charge of a small group of experimental X class submarines. Bolton is assigned by Vice-Admiral Redmayne to quickly train crews to man the submarines and sink the Lindendorf while it is hidden away in a Norwegian fiord.
Commander Bolton is to train three 4-man crews along the northern coast of Scotland for a trio of midget submarines equipped with side cargoes of explosives. He must overcome tensions with some of his former crew members, while keeping their activities hidden from outsiders and German airplanes. The crews successfully fend off an attack by German parachute commandos, who discover their base. Bolton is forced to make hasty preparations for his attack before their submarine base can be destroyed.
Two of the submarines are lost while attempting to cut through submarine nets at the entrance to the fiord. X-2, is sunk by a German E-boat's depth charges, and a second, the X-1, is scuttled. One submarine crew is captured and taken to the German battleship for interrogation. X-3, the surviving submarine penetrates the submarine nets in the fiord and places explosives under the German battleship. The submarine then manages to escape as the battleship explodes.
Output: Where do the crews who train in Scotland have to go to attack the Lindendorf?
Passage: In 1943, a British naval officer from Canada, Commander Bolton and a few surviving crew members of his 50-man submarine Gauntlet swim ashore after unsuccessfully attacking German battleship Lindendorf. After a review, Captain Bolton is cleared of any wrongdoing and placed in charge of a small group of experimental X class submarines. Bolton is assigned by Vice-Admiral Redmayne to quickly train crews to man the submarines and sink the Lindendorf while it is hidden away in a Norwegian fiord.
Commander Bolton is to train three 4-man crews along the northern coast of Scotland for a trio of midget submarines equipped with side cargoes of explosives. He must overcome tensions with some of his former crew members, while keeping their activities hidden from outsiders and German airplanes. The crews successfully fend off an attack by German parachute commandos, who discover their base. Bolton is forced to make hasty preparations for his attack before their submarine base can be destroyed.
Two of the submarines are lost while attempting to cut through submarine nets at the entrance to the fiord. X-2, is sunk by a German E-boat's depth charges, and a second, the X-1, is scuttled. One submarine crew is captured and taken to the German battleship for interrogation. X-3, the surviving submarine penetrates the submarine nets in the fiord and places explosives under the German battleship. The submarine then manages to escape as the battleship explodes.
Output: What are the midget submarines named?
Passage: According to jazz critic Gary Giddins, Misterioso is a hard bop record. The songs performed for the album were arranged by Monk, who reworked four of his earlier compositions. In the album's liner notes, Keepnews wrote of Monk's approach to arrangements: "It should be axiomatic that Monk is a constantly self-renewing composer-arranger-musician, that each new recording of an 'old' number, particularly with different personnel, represents a fresh view of it—almost a new composition." In the producer's opinion, Monk played the piano more vividly and less introspectively than on his studio recordings in response to the enthusiastic crowds he drew nightly to the venue.On "Nutty", Griffin incorporated lines from "The Surrey with the Fringe on Top" and exhibited a frenetic swing that was complemented by counterplay from Haynes and Monk. "Blues Five Spot", a new composition by Monk for the album, is a twelve-bar blues homage to the Five Spot Café and featured solos from each player. Griffin and Monk transfigured chord structures and melodies throughout the performance. Griffin's solo vamp maintained the rhythm while quoting lines from other pieces, including the theme song for the animated Popeye theatrical shorts; he played "The Sailor's Hornpipe" at the end of "Blues Five Spot".
The quartet began "In Walked Bud" with an eight-bar piano intro and thirty-two-bar form. Griffin began his solo a minute into the song with saxophone wails. In the third minute, Monk did not play, while Griffin played fast phrases at the top of his register with intermittently slower R&B and free jazz elements. Monk shouted approvingly throughout Griffin's solo before he resumed piano and played a two-minute theme. "Just a Gigolo", a standard, was the only song on the album not composed by Monk, who performed it in a brief, unaccompanied version. It was played as a single chorus repeated at length.The title track—first recorded for Blue Note Records in 1948 with vibraphonist Milt Jackson—is one of Monk's most influential recordings and is based on a series of minor second clusters. His performance of the song at the Five Spot Café showcased his idiosyncratic playing of one blue note next to another. Monk superimposed musical ideas that deviated from the song's original tonal center, adding a C blue note to the D-flat blue note. Haynes' subdued drumming backed Griffin's aggressive bop playing and extended solo on "Misterioso".
Output: What are the titles of the songs on the record Misterioso?
Passage: According to jazz critic Gary Giddins, Misterioso is a hard bop record. The songs performed for the album were arranged by Monk, who reworked four of his earlier compositions. In the album's liner notes, Keepnews wrote of Monk's approach to arrangements: "It should be axiomatic that Monk is a constantly self-renewing composer-arranger-musician, that each new recording of an 'old' number, particularly with different personnel, represents a fresh view of it—almost a new composition." In the producer's opinion, Monk played the piano more vividly and less introspectively than on his studio recordings in response to the enthusiastic crowds he drew nightly to the venue.On "Nutty", Griffin incorporated lines from "The Surrey with the Fringe on Top" and exhibited a frenetic swing that was complemented by counterplay from Haynes and Monk. "Blues Five Spot", a new composition by Monk for the album, is a twelve-bar blues homage to the Five Spot Café and featured solos from each player. Griffin and Monk transfigured chord structures and melodies throughout the performance. Griffin's solo vamp maintained the rhythm while quoting lines from other pieces, including the theme song for the animated Popeye theatrical shorts; he played "The Sailor's Hornpipe" at the end of "Blues Five Spot".
The quartet began "In Walked Bud" with an eight-bar piano intro and thirty-two-bar form. Griffin began his solo a minute into the song with saxophone wails. In the third minute, Monk did not play, while Griffin played fast phrases at the top of his register with intermittently slower R&B and free jazz elements. Monk shouted approvingly throughout Griffin's solo before he resumed piano and played a two-minute theme. "Just a Gigolo", a standard, was the only song on the album not composed by Monk, who performed it in a brief, unaccompanied version. It was played as a single chorus repeated at length.The title track—first recorded for Blue Note Records in 1948 with vibraphonist Milt Jackson—is one of Monk's most influential recordings and is based on a series of minor second clusters. His performance of the song at the Five Spot Café showcased his idiosyncratic playing of one blue note next to another. Monk superimposed musical ideas that deviated from the song's original tonal center, adding a C blue note to the D-flat blue note. Haynes' subdued drumming backed Griffin's aggressive bop playing and extended solo on "Misterioso".
Output: What is the name of the song on Misterioso that was not written by Monk?
Passage: According to jazz critic Gary Giddins, Misterioso is a hard bop record. The songs performed for the album were arranged by Monk, who reworked four of his earlier compositions. In the album's liner notes, Keepnews wrote of Monk's approach to arrangements: "It should be axiomatic that Monk is a constantly self-renewing composer-arranger-musician, that each new recording of an 'old' number, particularly with different personnel, represents a fresh view of it—almost a new composition." In the producer's opinion, Monk played the piano more vividly and less introspectively than on his studio recordings in response to the enthusiastic crowds he drew nightly to the venue.On "Nutty", Griffin incorporated lines from "The Surrey with the Fringe on Top" and exhibited a frenetic swing that was complemented by counterplay from Haynes and Monk. "Blues Five Spot", a new composition by Monk for the album, is a twelve-bar blues homage to the Five Spot Café and featured solos from each player. Griffin and Monk transfigured chord structures and melodies throughout the performance. Griffin's solo vamp maintained the rhythm while quoting lines from other pieces, including the theme song for the animated Popeye theatrical shorts; he played "The Sailor's Hornpipe" at the end of "Blues Five Spot".
The quartet began "In Walked Bud" with an eight-bar piano intro and thirty-two-bar form. Griffin began his solo a minute into the song with saxophone wails. In the third minute, Monk did not play, while Griffin played fast phrases at the top of his register with intermittently slower R&B and free jazz elements. Monk shouted approvingly throughout Griffin's solo before he resumed piano and played a two-minute theme. "Just a Gigolo", a standard, was the only song on the album not composed by Monk, who performed it in a brief, unaccompanied version. It was played as a single chorus repeated at length.The title track—first recorded for Blue Note Records in 1948 with vibraphonist Milt Jackson—is one of Monk's most influential recordings and is based on a series of minor second clusters. His performance of the song at the Five Spot Café showcased his idiosyncratic playing of one blue note next to another. Monk superimposed musical ideas that deviated from the song's original tonal center, adding a C blue note to the D-flat blue note. Haynes' subdued drumming backed Griffin's aggressive bop playing and extended solo on "Misterioso".
Output: What year was Just a Gigolo first recorded?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person whose unorthodox camera angles and style prevented his work from gaining wider recognition?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person who is considered one of the seminal figures of photojournalism?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person whose family expected them to be a stockbroker?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person whose early work was published primarily in magazines?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person who briefly served in World War I?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the common last name of the person who moved to Paris in 1925?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person who moved against the wishes of their family?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person who worked for France's first illustrated magazine called VU?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the original name of the person who was involved with many young immigrant artists and the Dada movement?
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Output: What is the common last name of the person who achieved critical and commercial success?
Passage: After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.  Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.In the 1950s, Moore began to receive increasingly significant commissions.  He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris.  With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."  In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.
Output: What was the first name of Moore's mother?
Passage: After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.  Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.In the 1950s, Moore began to receive increasingly significant commissions.  He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris.  With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."  In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.
Output: What was the full name of the person who canceled Moore's sculpture?
Passage: After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.  Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.In the 1950s, Moore began to receive increasingly significant commissions.  He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris.  With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."  In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.
Output: What was the name of Moore's first large-scale project he completed?
Passage: After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.  Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.In the 1950s, Moore began to receive increasingly significant commissions.  He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris.  With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."  In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.
Output: What was the name of the 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull?
Passage: After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City.Before the war, Moore had been approached by educator Henry Morris, who was trying to reform education with his concept of the Village College. Morris had engaged Walter Gropius as the architect for his second village college at Impington near Cambridge, and he wanted Moore to design a major public sculpture for the site. The County Council, however, could not afford Gropius's full design, and scaled back the project when Gropius emigrated to America. Lacking funds, Morris had to cancel Moore's sculpture, which had not progressed beyond the maquette stage.  Moore was able to reuse the design in 1950 for a similar commission outside a secondary school for the new town of Stevenage. This time, the project was completed and Family Group became Moore's first large-scale public bronze.In the 1950s, Moore began to receive increasingly significant commissions.  He exhibited Reclining Figure: Festival at the Festival of Britain in 1951, and in 1958 produced a large marble reclining figure for the UNESCO building in Paris.  With many more public works of art, the scale of Moore's sculptures grew significantly and he started to employ an increasing number of assistants to work with him at Much Hadham, including Anthony Caro and Richard Wentworth.On the campus of the University of Chicago in December 1967, 25 years to the minute after the team of physicists led by Enrico Fermi achieved the first controlled, self-sustaining nuclear chain reaction, Moore's Nuclear Energy was unveiled on the site of what was once the university's football field stands, in the rackets court beneath which the experiments had taken place. This 12-foot-tall piece in the middle of a large, open plaza is often thought to represent a mushroom cloud topped by a massive human skull, but Moore's interpretation was very different. He once told a friend that he hoped viewers would "go around it, looking out through the open spaces, and that they may have a feeling of being in a cathedral."  In Chicago, Illinois, Moore also commemorated science with a large bronze sundial, locally named Man Enters the Cosmos (1980), which was commissioned to recognise the space exploration program.
Output: What was the name the large sundial Moore commemorated science with?
Passage: The American Federation of Labor (AFL), a coalition of labor unions formed in the 1880s, vigorously opposed unrestricted immigration from Europe for moral, cultural, and racial reasons. The issue unified the workers who feared that an influx of new workers would flood the labor market and lower wages. Nativism was not a factor because upwards of half the union members were themselves immigrants or the sons of immigrants from Ireland, Germany and Britain. However, nativism was a factor when the AFL even more strenuously opposed all immigration from Asia because it represented (to its Euro-American members) an alien culture that could not be assimilated into American society. The AFL intensified its opposition after 1906 and was instrumental in passing immigration restriction bills from the 1890s to the 1920s, such as the 1921 Emergency Quota Act and the Immigration Act of 1924, and seeing that they were strictly enforced.Mink (1986) concludes that the link between the AFL and the Democratic Party rested in part on immigration issues, noting the large corporations, which supported the Republicans, wanted more immigration to augment their labor force.United Farm Workers during Cesar Chavez tenure was committed to restricting immigration. Chavez and Dolores Huerta, cofounder and president of the UFW, fought the Bracero Program that existed from 1942 to 1964. Their opposition stemmed from their belief that the program undermined U.S. workers and exploited the migrant workers. Since the Bracero Program ensured a constant supply of cheap immigrant labor for growers, immigrants could not protest any infringement of their rights, lest they be fired and replaced. Their efforts contributed to Congress ending the Bracero Program in 1964. In 1973, the UFW was one of the first labor unions to oppose proposed employer sanctions that would have prohibited hiring illegal immigrants.
Output: What were the full names of the people whose opposition stemmed from their belief that the program undermined U.S. workers and exploited the migrant workers?
Passage: Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr. identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa".In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer".Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache".A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by the Moore and Chang who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka.
In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".
In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital (54.683, 25.2759). The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city.
Output: What is the full name of the person that the Phialella zappai is named after?