niryuu/sni-each-converted huggingface dataset:
Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.
Output: What is the full name of the person who recorded many of his own songs with Bernac and Duval?
Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.
Output: What is the first name of the composer who was among those that recognized the important role that the gramophone would play in the promotion of music in the 1920s?
Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.
Output: What is the name of the work for which the first studio recording was soon after its French premiere?
Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.
Output: What is the last name of the person whose music was first recorded in 1928?
Passage: Poulenc was among the composers who recognised in the 1920s the important role that the gramophone would play in the promotion of music. The first recording of his music was made in 1928, with the mezzo-soprano Claire Croiza accompanied by the composer at the piano, in the complete song cycle La bestiaire for French Columbia. He made numerous recordings, mainly for the French division of EMI. With Bernac and Duval he recorded many of his own songs, and those of other composers including Chabrier, Debussy, Gounod and Ravel. He played the piano part in recordings of his Babar the Elephant with Pierre Fresnay and Noël Coward as narrators. In 2005, EMI issued a DVD, "Francis Poulenc & Friends", featuring filmed performances of Poulenc's music, played by the composer, with Duval, Jean-Pierre Rampal, Jacques Février and Georges Prêtre.
A 1984 discography of Poulenc's music lists recordings by more than 1,300 conductors, soloists and ensembles, including the conductors Leonard Bernstein, Charles Dutoit, Milhaud, Charles Munch, Eugene Ormandy, Prêtre, André Previn and Leopold Stokowski. Among the singers, in addition to Bernac and Duval, the list includes Régine Crespin, Dietrich Fischer-Dieskau, Nicolai Gedda, Peter Pears, Yvonne Printemps and Gérard Souzay. Instrumental soloists include Britten, Jacques Février, Pierre Fournier, Emil Gilels, Yehudi Menuhin and Arthur Rubinstein.Complete sets of Poulenc's solo piano music have been recorded by Gabriel Tacchino, who had been Poulenc's only piano student (released on the EMI label), Pascal Rogé (Decca), Paul Crossley (CBS), Eric Parkin (Chandos) and Olivier Cazal (Naxos). Integral sets of the chamber music have been recorded by the Nash Ensemble (Hyperion), and a variety of young French musicians (Naxos).The world premiere of Dialogues des Carmélites (in Italian, as Dialoghi delle Carmelitane) was recorded and has been released on CD. The first studio recording was soon after the French premiere, and since then there have been at least ten live or studio recordings on CD or DVD, most of them in French but one in German and one in English.
Output: What is the last name of the person who played the piano part in recordings of his Babar the Elephant?
Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.
At Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. 
After Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.
Output: Which character does not want to be sold to a museum in Japan?
Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.
At Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. 
After Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.
Output: Which character did Woody blame for turning on Al's television?
Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.
At Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. 
After Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.
Output: What was the name of the person that donated Jessie?
Passage: Andy prepares to go to cowboy camp with Woody, but while playing with Woody and Buzz, he accidentally tears Woody's arm. Andy's mom puts Woody on a shelf, and Andy leaves without Woody. The next day, after having a nightmare of being thrown away, Woody finds Wheezy, a squeeze toy who has been shelved for months due to a broken squeaker. When Andy's mother puts Wheezy in a yard sale, Woody rescues him, but is stolen by a greedy toy collector. From a commercial, Andy's toys identify the thief as Al McWhiggin, owner of Al's Toy Barn. Buzz, Hamm, Mr. Potato Head, Slinky Dog, and Rex set out to rescue Woody.
At Al's apartment, Woody learns that he is based on a 1950s black-and-white television puppet show called Woody's Roundup, and that along with Jessie, Bullseye, and Stinky Pete the Prospector, he is set to be sold to a toy museum in Tokyo. While the others are excited about going, Woody intends to return to Andy, upsetting Jessie. Stinky Pete explains that the museum is only interested in the collection if it is complete, and without Woody, they will be returned to storage. 
After Woody's arm is torn off completely, his attempt to retrieve it is foiled when Al's television set turns on, and he blames Jessie when he finds the TV remote in front of her. The next morning, Woody's arm is fixed by a toy repair specialist. He learns that Jessie once belonged to a girl named Emily, who eventually outgrew and finally donated her. Stinky Pete warns Woody that the same fate awaits him when Andy grows up, whereas he will last forever in the museum. Hearing this, Woody decides to go to Japan.
Output: Which characted does Stinky Pete tell they will last forever in the museum?
Passage: The last great ambitious ruler of the Tang dynasty was Emperor Xianzong (r. 805–820), whose reign was aided by the fiscal reforms of the 780s, including a government monopoly on the salt industry. He also had an effective well trained imperial army stationed at the capital led by his court eunuchs; this was the Army of Divine Strategy, numbering 240,000 in strength as recorded in 798. Between the years 806 and 819, Emperor Xianzong conducted seven major military campaigns to quell the rebellious provinces that had claimed autonomy from central authority, managing to subdue all but two of them. Under his reign there was a brief end to the hereditary jiedushi, as Xianzong appointed his own military officers and staffed the regional bureaucracies once again with civil officials. However, Xianzong's successors proved less capable and more interested in the leisure of hunting, feasting, and playing outdoor sports, allowing eunuchs to amass more power as drafted scholar-officials caused strife in the bureaucracy with factional parties. The eunuchs' power became unchallenged after Emperor Wenzong's (r. 826–840) failed plot to have them overthrown; instead the allies of Emperor Wenzong were publicly executed in the West Market of Chang'an, by the eunuchs' command.
However, the Tang did manage to restore at least indirect control over former Tang territories as far west as the Hexi Corridor and Dunhuang in Gansu. In 848 the ethnic Han Chinese general Zhang Yichao (799–872) managed to wrestle control of the region from the Tibetan Empire during its civil war. Shortly afterwards Emperor Xuānzong of Tang (r. 846–859) acknowledged Zhang as the protector (防禦使, Fangyushi) of Sha Prefecture and jiedushi military governor of the new Guiyi Circuit.
Output: What was the full name of the person who had an effective well trained imperial army stationed at the capital?
Passage: The last great ambitious ruler of the Tang dynasty was Emperor Xianzong (r. 805–820), whose reign was aided by the fiscal reforms of the 780s, including a government monopoly on the salt industry. He also had an effective well trained imperial army stationed at the capital led by his court eunuchs; this was the Army of Divine Strategy, numbering 240,000 in strength as recorded in 798. Between the years 806 and 819, Emperor Xianzong conducted seven major military campaigns to quell the rebellious provinces that had claimed autonomy from central authority, managing to subdue all but two of them. Under his reign there was a brief end to the hereditary jiedushi, as Xianzong appointed his own military officers and staffed the regional bureaucracies once again with civil officials. However, Xianzong's successors proved less capable and more interested in the leisure of hunting, feasting, and playing outdoor sports, allowing eunuchs to amass more power as drafted scholar-officials caused strife in the bureaucracy with factional parties. The eunuchs' power became unchallenged after Emperor Wenzong's (r. 826–840) failed plot to have them overthrown; instead the allies of Emperor Wenzong were publicly executed in the West Market of Chang'an, by the eunuchs' command.
However, the Tang did manage to restore at least indirect control over former Tang territories as far west as the Hexi Corridor and Dunhuang in Gansu. In 848 the ethnic Han Chinese general Zhang Yichao (799–872) managed to wrestle control of the region from the Tibetan Empire during its civil war. Shortly afterwards Emperor Xuānzong of Tang (r. 846–859) acknowledged Zhang as the protector (防禦使, Fangyushi) of Sha Prefecture and jiedushi military governor of the new Guiyi Circuit.
Output: What is the full name of the person acknowledged by Emperor Xuānzong as jiedushi military governor of the new Guiyi Circuit?
Passage: "Paradise!" wrote Andrée. "Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sjuøyane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sjuøyane was out of their reach.
On 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, "which", writes Kjellström, "it had really been doing all along". Drifting rapidly due south towards Kvitøya, they hurriedly built a winter "home" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andrée recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvitøya, and they were forced to bring their stores on to the island itself, which took a couple of days. "Morale remains good", reports Andrée at the very end of the coherent part of his diary, which ends: "With such comrades one should be able to manage under, I may say, any circumstances". It is inferred from the incoherent and badly damaged last pages of Andrée's diary that the three men were all dead within a few days of moving onto the island.
Output: Who made fair apparent headway?
Passage: "Paradise!" wrote Andrée. "Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sjuøyane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sjuøyane was out of their reach.
On 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, "which", writes Kjellström, "it had really been doing all along". Drifting rapidly due south towards Kvitøya, they hurriedly built a winter "home" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andrée recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvitøya, and they were forced to bring their stores on to the island itself, which took a couple of days. "Morale remains good", reports Andrée at the very end of the coherent part of his diary, which ends: "With such comrades one should be able to manage under, I may say, any circumstances". It is inferred from the incoherent and badly damaged last pages of Andrée's diary that the three men were all dead within a few days of moving onto the island.
Output: Who tried in vain to overcome the wind?
Passage: "Paradise!" wrote Andrée. "Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sjuøyane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sjuøyane was out of their reach.
On 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, "which", writes Kjellström, "it had really been doing all along". Drifting rapidly due south towards Kvitøya, they hurriedly built a winter "home" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andrée recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvitøya, and they were forced to bring their stores on to the island itself, which took a couple of days. "Morale remains good", reports Andrée at the very end of the coherent part of his diary, which ends: "With such comrades one should be able to manage under, I may say, any circumstances". It is inferred from the incoherent and badly damaged last pages of Andrée's diary that the three men were all dead within a few days of moving onto the island.
Output: Who hurriedly built a winter "home" on the floe against the increasing cold?
Passage: "Paradise!" wrote Andrée. "Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sjuøyane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sjuøyane was out of their reach.
On 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, "which", writes Kjellström, "it had really been doing all along". Drifting rapidly due south towards Kvitøya, they hurriedly built a winter "home" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andrée recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvitøya, and they were forced to bring their stores on to the island itself, which took a couple of days. "Morale remains good", reports Andrée at the very end of the coherent part of his diary, which ends: "With such comrades one should be able to manage under, I may say, any circumstances". It is inferred from the incoherent and badly damaged last pages of Andrée's diary that the three men were all dead within a few days of moving onto the island.
Output: Who did Andrée hope might get far enough south to feed themselves entirely from the sea?
Passage: "Paradise!" wrote Andrée. "Large even ice floes with pools of sweet drinking water and here and there a tender-fleshed young polar bear!" They made fair apparent headway, but the wind turned almost as soon as they did, and they were again being pushed backward, away from Sjuøyane. The wind varied between southwest and northwest over the coming weeks; they tried in vain to overcome this by turning more and more westward, but it was becoming clear that Sjuøyane was out of their reach.
On 12 September, the explorers resigned themselves to wintering on the ice and camped on a large floe, letting the ice take them where it would, "which", writes Kjellström, "it had really been doing all along". Drifting rapidly due south towards Kvitøya, they hurriedly built a winter "home" on the floe against the increasing cold, with walls made of water-reinforced snow to Strindberg's design. Observing the rapidity of their drift, Andrée recorded his hopes that they might get far enough south to feed themselves entirely from the sea.However, the floe began to break up directly under the hut on 2 October, from the stresses of pressing against Kvitøya, and they were forced to bring their stores on to the island itself, which took a couple of days. "Morale remains good", reports Andrée at the very end of the coherent part of his diary, which ends: "With such comrades one should be able to manage under, I may say, any circumstances". It is inferred from the incoherent and badly damaged last pages of Andrée's diary that the three men were all dead within a few days of moving onto the island.
Output: Who was forced to bring their stores on to the island itself?
Passage: Little Alice Daley is mauled to death by a German Shepherd dog in the yard of her father Patrick's veterinary practice. After her death, Patrick and his wife Louise, a pharmacist, move to a rural village called Wakewood, where they struggle to cope with the loss of their only child (Louise cannot have any more children). The couple's car mysteriously breaks down one evening in the middle of nowhere and they go to the nearby house of Patrick's veterinary colleague, Arthur, to seek help. There Louise witnesses Arthur leading a strange and bloody pagan ritual but refuses to say anything to Patrick. It becomes apparent that something strange is happening in town and that Arthur knows that Louise saw the ritual.
Soon afterwards a farmer, Mick O'Shea, is accidentally killed by his own bull. Horrified, Louise and Patrick, who witness the accident, plan to leave, but Arthur, who needs their skills (and presumably doesn't want Louise telling what she saw), convinces them to stay by explaining that he has a ritual that brings back the dead, but only for three days, only within the boundaries of the townland, and only if the person has been dead for less than a year. This is the ritual that Louise witnessed. The couple agree to remain, excited to see their only child again.
The ritual requires a piece of the person to be resurrected, and the couple go grave-robbing, cutting off one of Alice's fingers and retrieving her necklace. The ritual also needs a fresh corpse. At Mick's wake, Arthur asks his widow, Peggy, to use his body, but she refuses, claiming there is something not right about the couple. However, Arthur persuades her by tacitly threatening her that if she refuses he will not resurrect Mick either.
Output: What is the full name of the person who's death causes the couple to plan to leave the village?
Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".
Output: What is the name of the publication who's critic claimed the songs on the album lack lyrical substance?
Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".
Output: What is the name of the the publication who's critic claimed the album that got an average score of 73 was inconsistent, short, and unfinished?
Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".
Output: What is the full name of the critic who said the album with 36 metacritic reviews sounded "uninspired"?
Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".
Output: What publication did the critic who said the album with a mean review score of 73 was marred with boring ballads in the first half?
Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".
Output: What is the full name of the critic who said the album with 36 metacritic reviews was not very consequential??
Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1–8 were taught within one school facility; from 1919 until the 1940s, students in grades 1–12 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.
Output: What school district serves over 1,000 students?
Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1–8 were taught within one school facility; from 1919 until the 1940s, students in grades 1–12 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.
Output: What school district is Todd Elementary School part of?
Passage: The village is home to the Briarcliff Manor Union Free School District, which covers 6.58 square miles (17.0 km2) of land and most of the village of Briarcliff Manor and an unincorporated portion of the town of Mount Pleasant. Parts of Briarcliff Manor not covered by the school district include Scarborough and Chilmark; these areas are part of the Ossining Union Free School District. The district serves over 1,000 students and includes Todd Elementary School, Briarcliff Middle School, and Briarcliff High School. From Briarcliff Manor's settlement until 1918, students in grades 1–8 were taught within one school facility; from 1919 until the 1940s, students in grades 1–12 were as well. The district is noted for its annual high-school musicals. The elementary school (opened in 1953) is named after George A. Todd, Jr., who was the village's first teacher, first superintendent of schools, and taught for over 40 years. The middle school became a Blue Ribbon School in 2005.Briarcliff Manor has been home to a number of schools. Long Hill School was a public school in Scarborough until 1912, with about 70 students, two classrooms, and two teachers. Dr. Holbrook's Military School was on Holbrook Road from 1866 to 1915. Miss Tewksbury's School and later Mrs. Marshall's Day & Boarding School for Little Girls was at Dysart House. Miss Knox's School ran from 1905 in Pocantico Lodge, a hotel on Pleasantville Road under Briarcliff Lodge management. When it burned down in 1912, the school moved to Tarrytown and then to Cooperstown. Since 1954, the Knox School has been located at St. James, New York. The Scarborough School was first Montessori school in the United States; it was located at the Beechwood estate from 1913 until it closed in 1978. Since then, The Clear View School has run a day treatment program for 83 students from nursery school age to 21 there. The Macfadden School ran from 1939 to 1950 at the William Kingsland mansion in the village.
Output: What school district is Briarcliff High School part of?