niryuu/sni-each-converted huggingface dataset:
Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.".
Output: What is the first name of the person who agreed to her mother's proposal that she travel to Italy to study art?
Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.".
Output: What is the first name of the person who explains that musicians' girlfriends were routinely described as "chicks?"?
Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.".
Output: What is the last name of the person who Suze resented being regarded as "a possession of?"?
Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.".
Output: What is the first name of the person who acknowledged Suze's influence?
Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.".
Output: What is the first name of the person who had a fraught relationship with Suze?
Passage: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers Clinton Heylin connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her."Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the Freewheelin' album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on Freewheelin' to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with Sing Out! magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would.".
Output: What is the first name of the artist who recorded The Freewheelin'?
Passage: Holst had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears. From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works. Among choir members who later achieved individual distinction were the bass-baritone John Shirley-Quirk, the tenors Robert Tear and Philip Langridge, and the founder and conductor of the Heinrich Schütz Choir, Roger Norrington. Langridge remembered with particular pleasure a performance in Orford church of Thomas Tallis's forty-part motet Spem in alium, on 2 July 1963.   When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schütz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister Grayston Burgess.On 2 June 1967 Holst shared the podium with Britten in the concert inaugurating the Aldeburgh Festival's new home at the Snape Maltings. From 1972 Holst was involved with the development of educational classes at the Maltings, which began with weekend singing classes and developed into the Britten-Pears School for Advanced Musical Studies, with its own training orchestra. By this time Imogen's performances at the festival had become increasingly rare, but in 1975 she conducted a concert of Gustav Holst's brass band music, held outdoors at Framlingham Castle. A report of the event described an evening of "persistent drizzle ... until a diminutive figure in a special scarlet dress took the conductor's baton. The band was transformed, and played Holst's Suite as it has never been played before".Britten had been in poor health since undergoing heart surgery in 1973, and on 4 December 1976 he died. Holst was unsure that she could maintain a working relationship with Pears alone, and on reaching the age of 70 in 1977, decided she would retire as artistic director after that year's festival. She made her final festival appearance as a performer when she stood in for the indisposed conductor André Previn at the Snape Maltings Training Orchestra's inaugural festival concert. On retirement, she accepted the honorary title of Artistic Director Emeritus.
Output: What is the last name of the person who made her final festival appearance as a performer at the Snape Maltings Training Orchestra's inaugural festival concert?
Passage: Holst had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears. From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works. Among choir members who later achieved individual distinction were the bass-baritone John Shirley-Quirk, the tenors Robert Tear and Philip Langridge, and the founder and conductor of the Heinrich Schütz Choir, Roger Norrington. Langridge remembered with particular pleasure a performance in Orford church of Thomas Tallis's forty-part motet Spem in alium, on 2 July 1963.   When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schütz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister Grayston Burgess.On 2 June 1967 Holst shared the podium with Britten in the concert inaugurating the Aldeburgh Festival's new home at the Snape Maltings. From 1972 Holst was involved with the development of educational classes at the Maltings, which began with weekend singing classes and developed into the Britten-Pears School for Advanced Musical Studies, with its own training orchestra. By this time Imogen's performances at the festival had become increasingly rare, but in 1975 she conducted a concert of Gustav Holst's brass band music, held outdoors at Framlingham Castle. A report of the event described an evening of "persistent drizzle ... until a diminutive figure in a special scarlet dress took the conductor's baton. The band was transformed, and played Holst's Suite as it has never been played before".Britten had been in poor health since undergoing heart surgery in 1973, and on 4 December 1976 he died. Holst was unsure that she could maintain a working relationship with Pears alone, and on reaching the age of 70 in 1977, decided she would retire as artistic director after that year's festival. She made her final festival appearance as a performer when she stood in for the indisposed conductor André Previn at the Snape Maltings Training Orchestra's inaugural festival concert. On retirement, she accepted the honorary title of Artistic Director Emeritus.
Output: What is the last name of the person who accepted the honorary title of Artistic Director Emeritus on retirement?
Passage: Holst had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears. From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works. Among choir members who later achieved individual distinction were the bass-baritone John Shirley-Quirk, the tenors Robert Tear and Philip Langridge, and the founder and conductor of the Heinrich Schütz Choir, Roger Norrington. Langridge remembered with particular pleasure a performance in Orford church of Thomas Tallis's forty-part motet Spem in alium, on 2 July 1963.   When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schütz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister Grayston Burgess.On 2 June 1967 Holst shared the podium with Britten in the concert inaugurating the Aldeburgh Festival's new home at the Snape Maltings. From 1972 Holst was involved with the development of educational classes at the Maltings, which began with weekend singing classes and developed into the Britten-Pears School for Advanced Musical Studies, with its own training orchestra. By this time Imogen's performances at the festival had become increasingly rare, but in 1975 she conducted a concert of Gustav Holst's brass band music, held outdoors at Framlingham Castle. A report of the event described an evening of "persistent drizzle ... until a diminutive figure in a special scarlet dress took the conductor's baton. The band was transformed, and played Holst's Suite as it has never been played before".Britten had been in poor health since undergoing heart surgery in 1973, and on 4 December 1976 he died. Holst was unsure that she could maintain a working relationship with Pears alone, and on reaching the age of 70 in 1977, decided she would retire as artistic director after that year's festival. She made her final festival appearance as a performer when she stood in for the indisposed conductor André Previn at the Snape Maltings Training Orchestra's inaugural festival concert. On retirement, she accepted the honorary title of Artistic Director Emeritus.
Output: What is the first name of the individual described as "a diminutive figure in a special scarlet dress" who "took the conductor's baton"?
Passage: Holst had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears. From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works. Among choir members who later achieved individual distinction were the bass-baritone John Shirley-Quirk, the tenors Robert Tear and Philip Langridge, and the founder and conductor of the Heinrich Schütz Choir, Roger Norrington. Langridge remembered with particular pleasure a performance in Orford church of Thomas Tallis's forty-part motet Spem in alium, on 2 July 1963.   When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schütz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister Grayston Burgess.On 2 June 1967 Holst shared the podium with Britten in the concert inaugurating the Aldeburgh Festival's new home at the Snape Maltings. From 1972 Holst was involved with the development of educational classes at the Maltings, which began with weekend singing classes and developed into the Britten-Pears School for Advanced Musical Studies, with its own training orchestra. By this time Imogen's performances at the festival had become increasingly rare, but in 1975 she conducted a concert of Gustav Holst's brass band music, held outdoors at Framlingham Castle. A report of the event described an evening of "persistent drizzle ... until a diminutive figure in a special scarlet dress took the conductor's baton. The band was transformed, and played Holst's Suite as it has never been played before".Britten had been in poor health since undergoing heart surgery in 1973, and on 4 December 1976 he died. Holst was unsure that she could maintain a working relationship with Pears alone, and on reaching the age of 70 in 1977, decided she would retire as artistic director after that year's festival. She made her final festival appearance as a performer when she stood in for the indisposed conductor André Previn at the Snape Maltings Training Orchestra's inaugural festival concert. On retirement, she accepted the honorary title of Artistic Director Emeritus.
Output: What is the last name of the person who gave up the conductorship of the Purcell Singers in 1967?
Passage: Set 19 years after the events of the first film, the movie deals with unresolved conflict and family strain, and also has elements of a coming of age story. Michael Goorjian reprises his role of Heroin Bob, and acts as a narrator for the film, both in voice over as well as sporadically intercut scenes of him in the afterlife
Ross is the child of Trish and Heroin Bob, being conceived shortly before Bob's accidental drug overdose. Ross has been raised by alone by Trish, above her steam punk curio and clothing boutique, and as a result of his mothers adoration of the macabre, as well as his immersion in the concept of death from a young age, he develops into a Victorian Goth. Despite his obvious affiliation, Ross insists that he is part of no social cliques, which is stressed even further when he states that despite a lifelong abstinence from drugs, alcohol, and sex; he is not Straight Edge either. 
Upon having his heart broken by his first girlfriend, Ross attempts to drown his sorrows, as well as his lifelong espousal that romantic love is trivial, with the aide of beer and liquor. In an attempt to further help him take his mind off of things, he also begrudgingly goes on a road trip to a punk rock concert with his only friend, Crash, as well as Crash's friend Penny. Ross has a low opinion of punks, despite his association with them, as Crash and Penny are punk rockers, as was his father.
Output: What two cliques does Trish's son claim not to be a part of, despite his resemblance to them?
Passage: Set 19 years after the events of the first film, the movie deals with unresolved conflict and family strain, and also has elements of a coming of age story. Michael Goorjian reprises his role of Heroin Bob, and acts as a narrator for the film, both in voice over as well as sporadically intercut scenes of him in the afterlife
Ross is the child of Trish and Heroin Bob, being conceived shortly before Bob's accidental drug overdose. Ross has been raised by alone by Trish, above her steam punk curio and clothing boutique, and as a result of his mothers adoration of the macabre, as well as his immersion in the concept of death from a young age, he develops into a Victorian Goth. Despite his obvious affiliation, Ross insists that he is part of no social cliques, which is stressed even further when he states that despite a lifelong abstinence from drugs, alcohol, and sex; he is not Straight Edge either. 
Upon having his heart broken by his first girlfriend, Ross attempts to drown his sorrows, as well as his lifelong espousal that romantic love is trivial, with the aide of beer and liquor. In an attempt to further help him take his mind off of things, he also begrudgingly goes on a road trip to a punk rock concert with his only friend, Crash, as well as Crash's friend Penny. Ross has a low opinion of punks, despite his association with them, as Crash and Penny are punk rockers, as was his father.
Output: What is the name of the friend of Heroin Bob's son?
Passage: Set 19 years after the events of the first film, the movie deals with unresolved conflict and family strain, and also has elements of a coming of age story. Michael Goorjian reprises his role of Heroin Bob, and acts as a narrator for the film, both in voice over as well as sporadically intercut scenes of him in the afterlife
Ross is the child of Trish and Heroin Bob, being conceived shortly before Bob's accidental drug overdose. Ross has been raised by alone by Trish, above her steam punk curio and clothing boutique, and as a result of his mothers adoration of the macabre, as well as his immersion in the concept of death from a young age, he develops into a Victorian Goth. Despite his obvious affiliation, Ross insists that he is part of no social cliques, which is stressed even further when he states that despite a lifelong abstinence from drugs, alcohol, and sex; he is not Straight Edge either. 
Upon having his heart broken by his first girlfriend, Ross attempts to drown his sorrows, as well as his lifelong espousal that romantic love is trivial, with the aide of beer and liquor. In an attempt to further help him take his mind off of things, he also begrudgingly goes on a road trip to a punk rock concert with his only friend, Crash, as well as Crash's friend Penny. Ross has a low opinion of punks, despite his association with them, as Crash and Penny are punk rockers, as was his father.
Output: What is the full name of the character who was formerly a punk rocker?
Passage: Taylor stated in an interview with The Sun that he was "so proud of [the album] lyrically" and thought the song "Made in the Dark" contained the best lyrics he had ever written. Taylor explained that it was "very easy" for him to focus on the "more serious lyrics, like a love song very dear to [his] heart" but stated that "Wrestlers" was "equally as important and feels like a very different style of music than we have ever got down on record before." He discussed "Wrestlers" in the band's interview with The Sun, explaining that the song is "musically and lyrically quite direct" because "it doesn't have thousands of layers", in contrast to the song "Bendable Poseable". The concept of the song "Wrestlers", originates from a text message from James Murphy of LCD Soundsystem. After Doyle toured with Murphy, Murphy sent a text message that said, "Sorry you can't have Al back, I'll wrestle you for him. And I'll beat you because I'm bigger and stronger than you." Goddard explained that "the words in that song are about wrestling", and the band "have no doubt" that Murphy would defeat them in a wrestling fight.The song "Ready for the Floor" contains an allusion to the 1989 film, Batman, with the line, "You're my number one guy". In an interview with The Fader magazine, Taylor said the reference was a result of thinking about the Batman film, which has many things that Taylor is fond of, such as the Prince soundtrack. He commented that sometimes those items "seep into what we're writing about" and said that he likes to reference "in an oblique way". He conjectured that he had included the line to say something to "everyone in the band, particularly to Joe [Goddard], 'You're my number one guy, why is there any problems between any of us?' ""Shake a Fist" was written by Taylor after Goddard took a legal herbal substance during the Glastonbury Festival which produced feelings akin to teleportation. Goddard said, "it was a brilliant time" and told Alexis to write down words to go with his experience. The song features a voice sample from Todd Rundgren.
Output: What song doesn't have thousands of layers?
Passage: Taylor stated in an interview with The Sun that he was "so proud of [the album] lyrically" and thought the song "Made in the Dark" contained the best lyrics he had ever written. Taylor explained that it was "very easy" for him to focus on the "more serious lyrics, like a love song very dear to [his] heart" but stated that "Wrestlers" was "equally as important and feels like a very different style of music than we have ever got down on record before." He discussed "Wrestlers" in the band's interview with The Sun, explaining that the song is "musically and lyrically quite direct" because "it doesn't have thousands of layers", in contrast to the song "Bendable Poseable". The concept of the song "Wrestlers", originates from a text message from James Murphy of LCD Soundsystem. After Doyle toured with Murphy, Murphy sent a text message that said, "Sorry you can't have Al back, I'll wrestle you for him. And I'll beat you because I'm bigger and stronger than you." Goddard explained that "the words in that song are about wrestling", and the band "have no doubt" that Murphy would defeat them in a wrestling fight.The song "Ready for the Floor" contains an allusion to the 1989 film, Batman, with the line, "You're my number one guy". In an interview with The Fader magazine, Taylor said the reference was a result of thinking about the Batman film, which has many things that Taylor is fond of, such as the Prince soundtrack. He commented that sometimes those items "seep into what we're writing about" and said that he likes to reference "in an oblique way". He conjectured that he had included the line to say something to "everyone in the band, particularly to Joe [Goddard], 'You're my number one guy, why is there any problems between any of us?' ""Shake a Fist" was written by Taylor after Goddard took a legal herbal substance during the Glastonbury Festival which produced feelings akin to teleportation. Goddard said, "it was a brilliant time" and told Alexis to write down words to go with his experience. The song features a voice sample from Todd Rundgren.
Output: What is the name of the person that likes to reference "in an oblique way"?
Passage: Taylor stated in an interview with The Sun that he was "so proud of [the album] lyrically" and thought the song "Made in the Dark" contained the best lyrics he had ever written. Taylor explained that it was "very easy" for him to focus on the "more serious lyrics, like a love song very dear to [his] heart" but stated that "Wrestlers" was "equally as important and feels like a very different style of music than we have ever got down on record before." He discussed "Wrestlers" in the band's interview with The Sun, explaining that the song is "musically and lyrically quite direct" because "it doesn't have thousands of layers", in contrast to the song "Bendable Poseable". The concept of the song "Wrestlers", originates from a text message from James Murphy of LCD Soundsystem. After Doyle toured with Murphy, Murphy sent a text message that said, "Sorry you can't have Al back, I'll wrestle you for him. And I'll beat you because I'm bigger and stronger than you." Goddard explained that "the words in that song are about wrestling", and the band "have no doubt" that Murphy would defeat them in a wrestling fight.The song "Ready for the Floor" contains an allusion to the 1989 film, Batman, with the line, "You're my number one guy". In an interview with The Fader magazine, Taylor said the reference was a result of thinking about the Batman film, which has many things that Taylor is fond of, such as the Prince soundtrack. He commented that sometimes those items "seep into what we're writing about" and said that he likes to reference "in an oblique way". He conjectured that he had included the line to say something to "everyone in the band, particularly to Joe [Goddard], 'You're my number one guy, why is there any problems between any of us?' ""Shake a Fist" was written by Taylor after Goddard took a legal herbal substance during the Glastonbury Festival which produced feelings akin to teleportation. Goddard said, "it was a brilliant time" and told Alexis to write down words to go with his experience. The song features a voice sample from Todd Rundgren.
Output: What song features a voice sample from Todd Rundgren?
Passage: A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.
Output: What is the exact name of the character who tells the audience of the girl he is determined not to marry, Carmen?
Passage: A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.
Output: To whom does the producer give the role of Carmen?
Passage: A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.
Output: What are the names of the two individuals whose dates the rest of the cast is aware of?
Passage: A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.
Output: What are the names of the two individuals one dancer spotted in a chill restaurant on Eighth Avenue?