niryuu/sni-each-converted huggingface dataset:
Passage: The film begins at Heathrow Airport, where a Polish immigrant named Lena Malley is working a shift as a cleaner. While there, her colleague Birdie helps her to clean the toilets. The two begin to talk and Lena reveals that she lives alone and doesn't keep in touch with her family. Birdie introduces Lena to her adopted brother Elbie, who also works at the airport and is a mute. Lena tells Birdie that she doesn't get on with her family. While talking, Lena notices scars on Birdie's arm; Birdie explains that she used to have behavioral problems; but that she's better now. At the end of the shift Lena misses her bus so Birdie tells her that her dad will drive Lena home if they walk to Birdie's house.
Upon arriving at the house Lena is knocked out from behind and injected with a syringe. She wakes up tied to a chair to the sound of screaming coming from another room. Moments later Mum and Dad enter the room and introduce themselves. Mum tells Lena that if she does what she is told everything will be ok. Lena is unable to respond because of the injection she received earlier and Mum proceeds to inject her with a sedative. When she wakes up again Mum begins carving marks into her back. 
Lena is unable to speak, and Mum tells her to not try to talk. She gives Lena another injection, and Lena falls asleep. She wakes up later, tied to a frame. Mum tells her that she wanted another girl to come and live there. Mum then pierces Lena's skin with some metal and carves some marks into her back. Following this incident Lena is taken to see Dad who tells her that in his house she will follow his rules
At breakfast, the family are watching pornography. Lena makes an escape attempt but Dad grabs her and Elbie drags her back to the table. 
Question: Who cannot be the person screaming?
Output: Elbie.
Passage: Charles Spotswoode's son Jimmy became involved with "the Canary", a conniving showgirl. The Canary, determined to force Jimmy to marry her so she can join the social elite, threatens to reveal that Jimmy was embezzling from his father. She turns down the elder Spotswoode's bribe to leave Jimmy alone. She telephones two men she has been blackmailing, Cleaver and Mannix, and demands one final generous gift from each of them by the next day. She makes the same request of "creepy" admirer Dr. Lindquist. Her ex-husband Tony Sheel eavesdrops and wants half, but she refuses to give him anything, even after he hits her. Cleaver, Mannix and Lindquist are all shown lurking about her apartment building late that night.
Spotswoode visits her at her apartment around midnight, but cannot get her to change her mind. After he reaches the lobby of her building, he and another person hear screams from her place. They knock on the door, but she assures them that she is fine.
The Canary is found strangled the next day. The coroner places the time of death around midnight. District Attorney Markham investigates, aided by Philo Vance (a close friend of Charles Spotswoode) and Police Sergeant Heath. After all the suspects are brought in for questioning, Vance asks Markham to keep them waiting for a few hours. Markham agrees. Vance subtly maneuvers Cleaver, Mannix, Lindquist and the two Spotswoodes into playing poker to pass the time so he can observe their personality traits. Only one shows the daring, imagination and discipline required for the crime; that man bluffs Vance, betting everything with just a pair of deuces. The suspects are then released.
Sheel, who witnessed the murder while hiding in the closet, sends the killer several blackmail letters. He too is strangled. A pen found at the scene has Jimmy's name on it, so Heath arrests him for the murder. Jimmy then confesses to both murders, but Vance knows better. 
Question: What is the nickname of the person who has been blackmailing someone?
Output: The Canary.
Passage: Blood Sugar Sex Magik was written at a more rapid pace than the band's previous album. Before the Chili Peppers relocated into the mansion, Frusciante and Kiedis collaborated at each other's homes, in order to arrange song structures and guitar riffs. The band then presented ideas to Flea and Smith, and as a whole, they decided on what they would use for the bass, guitar, vocal and percussion ensembles.
Kiedis focused lyrically on sexual references and innuendos, as they were frequently on his mind. Songs such as "Suck My Kiss", "If You Have to Ask", "Sir Psycho Sexy", "Give It Away" and "Blood Sugar Sex Magik" all contained various sexual links, with lyrics like "A state of sexual light / Kissing her virginity / My affinity" and "Glorious euphoria / Is my must / Erotic shock / Is a function of lust." The concept behind "The Greeting Song" was a request that Rubin had made. Rubin asked Kiedis to write a song solely about girls and cars. Although Kiedis disliked the concept, he wrote the song as Rubin requested and ended up disliking almost every one of the lyrics' aspects. Kiedis also began writing songs about anguish, and the self mutilating thoughts he experienced thanks to his addiction to both heroin and cocaine; he believed that his life had come to its lowest point under a bridge in downtown Los Angeles. Over a month later, Rubin stumbled upon a poem that eventually become the lyrics to "Under the Bridge". Also, he suggested that Kiedis would show it to the band's other members. However, Kiedis was apprehensive because he thought the lyrics were "too soft" and different from the band's style. After singing the verse to Frusciante and Smith, the band started working on the song's structure the next day. Both Rubin and Kiedis worked several hours on arranging the song's chords and melodies until they both accepted it as complete. Frusciante ultimately chose the chords he played in the intro so it could balance out the song's depressing atmosphere: "my brain interpreted it as being a really sad song so I thought if the lyrics are really sad like that I should write some chords that are happier." "Naked in the Rain" was among the first songs that the band wrote for the album. The Chilli Peppers even played once at the end of the Mother's Milk Tour in 1990, while the intros for "The Greeting Song" and "Sir Psycho Sexy" were also teased during the end of that tour; however, neither song was completed or had lyrics. 
Question: What is the name of the person who believed that his life had come to its lowest point under a bridge in downtown Los Angeles?
Output: Kiedis.
Passage: News anchor Barry Baron discovers that a drug smuggling ring is operating out of the building where he works, and is chased down and eventually shot dead by the drug dealers. His co-anchor, Dulcie Niles finds Barry's body, calls the police and prepares to film the investigation, but before the police can arrive Barry's body is stolen by the building's cleaner, Chafuka, who uses her voodoo powers to reanimate Barry's corpse as a zombie, allowing her to take over Barry's luxury apartment.
In order to keep up appearances, Chafuka has Barry, who is otherwise unable to speak, continue performing his news broadcasts by controlling him with a voodoo doll, while Dulcie continues to investigate the drug ring with the help of incompetent police detective Jordan Penrose. Meanwhile, the head of the drug ring, Nolan sees one of Barry's news broadcasts and assumes that his henchmen bungled Barry's murder, and sends them to finish the job off. When they arrive at the station however, they end up being killed in a series of mishaps, and Chafuka turns them into more zombies.
On seeing his zombified former henchmen, Nolan panics and takes refuge with the station's owner, Alex Cavanaugh, who it turns out is the mastermind behind the drug ring. He takes Dulcie and Jordan hostage and has Nolan drive them to safety, while Barry, Chafuka and the zombie henchmen give chase. During the course of the chase Dulcie and Jordan are rescued, and then Nolan loses control of the car, with both he and Cavanaugh being killed in the resulting crash. Chafuka turns Cavanaugh and Nolan into zombies and then takes full control of the station, with Barry continuing as lead anchor after his original personality fully returns, and Jordan quitting the police to become the station's head of security, with the zombie Nolan and his henchmen becoming security guards. 
Question: What is the full name of the person who is controlled with a voodoo doll?
Output: Barry Baron.
Passage: Every night on the tour to support their 2000 album Return of Saturn, No Doubt threw after-show parties where people danced to Jamaican dancehall music. During a discussion over dinner in late 2000, the band members decided they wanted to explore dancehall-style rhythms for their next album. Drawing inspiration from artists such as Bounty Killer, Cutty Ranks, and Mr. Vegas, the band began work on the album in January 2001 by creating beats on Pro Tools at guitarist Tom Dumont's apartment. The group often tried recreating beats from other song files on the computer, which resulted in modified versions of the original rhythms. They worked with producer Philip Steir at Toast Studios in San Francisco during this time, where the beginnings of "Hey Baby" emerged. When writing lyrics for previous albums, Stefani typically read works by Sylvia Plath that would make her depressed "or find different words that inspire me." In contrast, for Rock Steady she wrote the lyrics quicker and on the spot to meet the goal of writing a song a day. Many of the demos recorded during these early sessions were used in the final tracks, rather than completely reworking the songs. The band saw this as a way to preserve the "initial spark" from when the songs were conceived.The next month, Stefani left Los Angeles for London to visit boyfriend Rossdale, and the band traveled with her to finish recording "Detective". There, they worked with Eurythmics member David A. Stewart and wrote the song "Underneath It All" in only 10 minutes. In March, No Doubt traveled to Jamaica, staying at the Blue Lagoon in Port Antonio. The band "spent most of the time swimming and getting sunburned and drinking and smoking and recording a little music", according to Dumont. The group would often have Red Stripe beers or rum and cokes with jerk food for breakfast; on one occasion, Dumont passed out from heavy drinking while recording a track. They began work in the mid-afternoon and worked into the night, with an after-party following the session. The group collaborated with Sly & Robbie, who produced "Underneath It All" and "Hey Baby" and brought in dancehall toasters Lady Saw and Bounty Killer, and Steely & Clevie, who produced "Start the Fire". 
Question: What is the name of the song that the band finished in London?
Output: Detective.
Passage: Although Watts's plans for the memorial had envisaged names inscribed on the wall, in the event the memorial was designed to hold panels of hand-painted and glazed ceramic tiles. Watts was an acquaintance of William De Morgan, at that time one of the world's leading tile designers, and consequently found them easier and cheaper to obtain than engraved stone. The four initial memorial tablets, installed for the unveiling, each consisted of two large custom-made tiles, with each tablet costing £3 5s (about £360 as of 2019) to produce. Only four tablets were installed by the time of the unveiling ceremony, and Watts already had concerns about the potential costs of installing the 120 tablets envisaged in the memorial's design.Costs were allayed by using standard 6-inch (15 cm) tiles for the next set of tablets, reducing the costs to a more manageable £2 per tablet. In 1902, nine further tablets were installed, intermittently spaced along the central of the five rows, including the memorial to Alice Ayres for which Watts had lobbied.
The subjects of the 13 initial tiles had been personally selected by Watts, who had for many years maintained a list of newspaper reports of heroic actions potentially worthy of recognition. However, by this time he was in his eighties and in increasingly poor health, and in January 1904 the vicar and churchwardens of St Botolph's Aldersgate formed the Humble Heroes Memorial Committee to oversee the completion of the project, agreeing to defer to Watts regarding additions to the memorial. Watts strenuously objected to the name, as "not being applicable to anything as splendid as heroic self-sacrifice", and the committee was renamed the "Heroic Self Sacrifice Memorial Committee".On 1 July 1904 George Frederic Watts died at New Little Holland House, aged 87. He was hailed "The last great Victorian", and a memorial service was held in St Paul's Cathedral, 300 yards (270 m) south of Postman's Park, on 7 July 1904.On 11 July 1904 Mary Watts wrote to the Heroic Self Sacrifice Memorial Committee, stating that she intended to complete the memorial and offering to select 35 names from Watts's list of names and to raise the £62 (about £7,000 as of 2019) necessary to finance the completion of the first two rows of tablets. Mary Watts selected eleven names to complete the first row, and De Morgan provided the tiles in October 1905. Unfortunately, five of the tiles were damaged during shipping and needed to be replaced. 
Question: What was the name that Watts objected to?
Output: Humble Heroes Memorial Committee.
Passage: Edmund Sharpe was born on 31 October 1809 at Brook Cottage, Brook Street in Knutsford, Cheshire, the first child of Francis and Martha Sharpe.  His father, a peripatetic music teacher and organist at Knutsford parish church, came from Stamford in Lincolnshire.  At the time of marriage his wife, Martha Whittaker, was on the staff of an academy for young ladies, Belvedere House, in Bath, Somerset. During his childhood in Knutsford, the young Edmund played with Elizabeth Stevenson, the future Mrs Gaskell. In 1812 the Sharpe family moved across town from Over Knutsford to a farm in Nether Knutsford called Heathside, when Francis Sharpe then worked as both farmer and music teacher.  Edmund was initially educated by his parents, but by 1818 he was attending a school in Knutsford.  Two years later he was a boarder at a school near Runcorn, and in 1821 at Burney's Academy in Greenwich. Edmund's father died suddenly in November 1823, aged 48, and his mother moved to Lancaster with her family, where she later resumed her teaching career.Edmund continued his education at Burney's Academy, and became head boy. In August 1827 he moved to Sedbergh School (then in the West Riding of Yorkshire, now in Cumbria), where he remained for two years. In November 1829 he entered St John's College, Cambridge as a Lupton scholar. At the end of his course in 1832 he was awarded a Worts Travelling Bachelorship by the University of Cambridge, which enabled him to travel abroad for three years' study.  At this time his friend from Lancaster at Trinity College, William Whewell, was Professor of Mineralogy. John Hughes, Edmund Sharpe's biographer, is of the opinion that Whewell was influential in gaining this award for Sharpe. Edmund graduated BA in 1833, and was admitted to the degree of MA in 1836. During his time abroad he travelled in Germany and southern France, studying Romanesque and early Gothic architecture. He had intended to travel further into northern France, but his tour was curtailed in Paris owing to "fatigue and illness". Edmund returned home to Lancaster late in 1835, having by then decided to become an architect. In December he wrote a letter to William Whewell saying that he had "finally determined to adopt the Profession of Architecture".  Some sources state that Sharpe was articled to the architect Thomas Rickman. Sharpe did visit Rickman for a few days in 1832 and corresponded with him later. He may have been "acting as a research assistant" while on the Continent, but Hughes states "there is no evidence to suggest that Sharpe spent more time with Rickman, or served any kind of formal apprenticeship with him". 
Question: What is the first name of the person who entered St. John's College, Cambridge in 1829?
Output: Edmund.
Passage: Eve Gill is an aspiring actress at the Royal Academy of Dramatic Art in London. She is interrupted in rehearsal by her friend (and crush), actor Jonathan Cooper, the secret lover of flamboyant stage actress/singer Charlotte Inwood. Via a flashback, he says Charlotte visited him after killing her husband; she was wearing a bloodstained dress. Jonathan claims he went back to her house for another dress, but was seen by Nellie Goode, Charlotte's cockney maid/dresser. He escaped the police and needs help.
Eve takes him to her father's house on the coast to hide. Commodore Gill notices that the blood on Charlotte's dress has been smeared on deliberately; he and Eve think that Jonathan was framed by Charlotte. Jonathan angrily destroys the dress and thus the most useful piece of evidence.
Eve starts to investigate. She hears Charlotte's dresser Nellie Goode boasting about her new found notoriety in a bar. While she is there, Eve meets Detective Inspector Wilfred O. Smith, and they become friendly. Eve then poses as a reporter; she bribes Nellie to tell Charlotte she is ill and to introduce her cousin "Doris Tinsdale" as a replacement. Using her acting skills, Eve becomes "Doris" and starts working for Charlotte. Eve discovers Charlotte is having an affair with her manager Freddie Williams.
Eve and "Ordinary" Smith become more friendly. When Smith visits Charlotte, Eve has to disguise the fact that she is also "Doris" the maid. Smith makes a courtship visit to Eve and her mother at home, where the commodore drops subtle hints that Jonathan has left the seaside house. 
Question: What is the first name of the person who hears Nellie Goode boasting in a bar?
Output: Eve.
Passage: The movie follows a man's search for perfection in a world where life rarely measures up to the idealized images that constantly bombard us. Gary Shaller, who gained commercial success in previous years as the keyboard player in the fictional band "On The One" is in a failing marriage with Dora, and working for his former band mate Paul, writing and recording commercial jingles. Gary eventually discovers that he is having lucid dreams about a glamorous woman named Anna, with whom he is deeply infatuated. He aims to learn more about lucid dreaming by buying books and even attending classes taught by an eccentric lucid-dreaming enthusiast, Mel.
Gary eventually discovers that the girl he dreams about does, in fact, exist. Paul arranges for Gary to meet her, but this proves disappointing, as she fails to live up to the expectations that Gary has built up in his dreams of her. He eventually continues to dream about her, and even soundproofs his apartment, and makes other efforts to be able to sleep longer, so that he can remain with Anna for longer periods of time. Eventually, feeling as though he is betraying Dora, he attempts to go back to her. 
Question: What is the full name of the character who buys books about lucid dreaming?
Output: Gary Shaller.
Passage: Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture. In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us." President Jimmy Carter remarked on his legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture. His following was immense, and he was a symbol to people the world over of the vitality, rebelliousness, and good humor of his country." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: at the age of 21, within a year of his first appearance on American network television, he was one of the most famous people in the world.Presley's name, image, and voice are instantly recognizable around the globe. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans. "Elvis Presley is the greatest cultural force in the twentieth century", said composer and conductor Leonard Bernstein. "He introduced the beat to everything and he changed everything—music, language, clothes. It's a whole new social revolution—the sixties came from it." In the words of John Lennon, "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
On the 25th anniversary of Presley's death, The New York Times asserted, "All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely." Not only Presley's achievements, but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:. 
Question: What is the last name of the person that said "Nothing really affected me until Elvis." when referring to the artist that transformed the field of popular music?
Output: Lennon.
Passage: In 2010 Starr self-produced and released his fifteenth studio album, Y Not, which included the track "Walk with You" and featured a vocal contribution from McCartney. Later that year, he appeared during Hope for Haiti Now: A Global Benefit for Earthquake Relief as a celebrity phone operator. On 7 July 2010, he celebrated his 70th birthday at Radio City Music Hall with another All-Starr Band concert, topped with friends and family joining him on stage including Ono, his son Zak, and McCartney.Starr recorded a cover of Buddy Holly's "Think It Over" for the 2011 tribute album Listen to Me: Buddy Holly. In January 2012, he released the album Ringo 2012. Later that year, he announced that his All-Starr Band would tour the Pacific Rim during 2013 with select dates in New Zealand, Australia and Japan; it was his first performance in Japan since 1996, and his debut in both New Zealand and Australia.
In January 2014, Starr joined McCartney for a special performance at the 56th Annual Grammy Awards in Los Angeles, where they performed the song "Queenie Eye". That summer he toured Canada and the US with an updated version of the Twelfth All-Starr Band, featuring multi-instrumentalist Warren Ham instead of saxophonist Mark Rivera. In July, Starr became involved in "#peacerocks", an anti-violence campaign started by fashion designer John Varvatos, in conjunction with the David Lynch Foundation. In September 2014, he won at the GQ Men of the Year Awards for his humanitarian work with the David Lynch Foundation.In January 2015, Starr tweeted the title of his new 11-track studio album, Postcards from Paradise. The album came just weeks in advance of Starr's induction into the Rock and Roll Hall of Fame, and was released on 31 March 2015 to mixed to positive reviews. Later that month, Ringo and his band announced a forthcoming Summer 2016 Tour of the US. Full production began in June 2016 in Syracuse.On 7 July 2017 (his 77th birthday), he released a new single entitled "Give More Love," followed by, on 15 September 2017 (by UMe), his nineteenth studio album also entitled Give More Love. The album features appearances by Paul McCartney, as well as frequent collaborators such as Joe Walsh, David A. Stewart, Gary Nicholson, and members of the All-Starr Band. 
Question: What is the full name of the man that worked with the winner of the 2014 GQ Men of the Year Award?
Output: David Lynch.
Passage: The term "Viking metal" has sometimes been used as a nickname for the 1990s Norwegian black metal scene, which was "noisy, chaotic, and often augmented by sorrowful keyboard melodies". It has also been variously described as a subgenre of black metal, albeit one that abandoned black metal's Satanic imagery, "slow black metal" with influences from Nordic folk music, straddling black metal and folk metal almost equally, or running the gamut from "folk to black to death metal". Typically, Viking metal artists rely extensively on keyboards, which are often played at a "swift, galloping pace". These artists often add "local cultural flourishes" such as traditional instruments and ethnic melodies. It is similar to folk metal, and is sometimes categorized as such, but it uses folk instruments less extensively. For vocals, Viking metal incorporates both singing and the typical black metal screams and growls.
Overall, Viking metal is hard to define since, apart from certain elements like anthem-like choruses, it is not based entirely on musical features and overlaps with other metal genres, with origins in black and death metal Some bands, such as Unleashed and Amon Amarth, play death metal, but incorporate Viking themes and thus are labeled as part of the genre. Generally, Viking metal is defined more by its thematic material and imagery than musical qualities. Rather than being a mock-up of medieval music, "it is in the band names, album titles, artwork of album covers and, especially, in the song lyrics that Viking themes are so evident." Viking metal, and the closely related style pagan metal, is more of a term or "etiquette" than a musical style. Since they are defined chiefly by lyrical focus, any musical categorizations of these two styles is controversial. Thus, Viking metal is more of a cross-genre term than a descriptor of a certain sound. Ashby and Schofield write that "The term 'Viking metal' is one of many that falls within a complex web of genres and subgenres, the precise form of which is constantly shifting, as trends and fads emerge and fade." From its origins in black metal, Viking metal "has diversified (at least in aural terms), and now covers a range of styles that run the gamut between black metal and what one might justifiably term classic rock". 
Question: What genres are defined chiefly by lyrical focus?
Output: Viking metal.
Passage: The term "Viking metal" has sometimes been used as a nickname for the 1990s Norwegian black metal scene, which was "noisy, chaotic, and often augmented by sorrowful keyboard melodies". It has also been variously described as a subgenre of black metal, albeit one that abandoned black metal's Satanic imagery, "slow black metal" with influences from Nordic folk music, straddling black metal and folk metal almost equally, or running the gamut from "folk to black to death metal". Typically, Viking metal artists rely extensively on keyboards, which are often played at a "swift, galloping pace". These artists often add "local cultural flourishes" such as traditional instruments and ethnic melodies. It is similar to folk metal, and is sometimes categorized as such, but it uses folk instruments less extensively. For vocals, Viking metal incorporates both singing and the typical black metal screams and growls.
Overall, Viking metal is hard to define since, apart from certain elements like anthem-like choruses, it is not based entirely on musical features and overlaps with other metal genres, with origins in black and death metal Some bands, such as Unleashed and Amon Amarth, play death metal, but incorporate Viking themes and thus are labeled as part of the genre. Generally, Viking metal is defined more by its thematic material and imagery than musical qualities. Rather than being a mock-up of medieval music, "it is in the band names, album titles, artwork of album covers and, especially, in the song lyrics that Viking themes are so evident." Viking metal, and the closely related style pagan metal, is more of a term or "etiquette" than a musical style. Since they are defined chiefly by lyrical focus, any musical categorizations of these two styles is controversial. Thus, Viking metal is more of a cross-genre term than a descriptor of a certain sound. Ashby and Schofield write that "The term 'Viking metal' is one of many that falls within a complex web of genres and subgenres, the precise form of which is constantly shifting, as trends and fads emerge and fade." From its origins in black metal, Viking metal "has diversified (at least in aural terms), and now covers a range of styles that run the gamut between black metal and what one might justifiably term classic rock". 
Question: What genres are defined chiefly by lyrical focus?
Output: pagan metal.
Passage: Set in Casablanca shortly after World War II, escaped Nazi war criminal Heinrich Stubel has steadily murdered three different managers of the Hotel Casablanca. Disguised as a Count Pfferman, Stubel's goal is to reclaim the stolen art treasures that he has hidden in the hotel. However, the only way he can do this undetected is by murdering the hotel's managers and running the hotel himself.
The newest manager of Hotel Casablanca is former motel proprietor Ronald Kornblow, who is very much unaware that he has been hired because no one else will dare take the position. Inept Kornblow takes charge of the hotel, and eventually crosses paths with Corbaccio, owner of the Yellow Camel company, who appoints himself as Kornblow's bodyguard, aided and abetted by Stubel's valet Rusty. In his many efforts to murder Kornblow, Stubel sends beautiful Beatrice Reiner to romance the clueless manager.
Before Stubel can make his escape to the airfield with the loot, Kornblow, his friends, and Miss Reiner invade his hotel room and sneak from suitcase to closet and back again to unpack his bags, which serves to drive him thoroughly mad. Arrested on false charges, Kornblow, Corbaccio and Rusty eventually crash Stubel's plane into a police station where the brothers expose Stubel as an escaped Nazi. 
Question: What is the first name of the person that Beatrice is sent to romance?
Output: Ronald.
Passage: William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones.
Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. (Etty's male nude portraits were primarily of mythological heroes and classical combat, genres in which the depiction of male nudity was considered acceptable in England.) From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes but made conscious efforts to try to reflect moral lessons in his work. 
Question: What is the last name of the English artist whose repeated depictions of female nudity were condemned as indecent by many critics?
Output: Etty.
Passage: Lennon and Ono co-produced the song and album with Phil Spector, who commented on the track: "We knew what we were going to do ... It was going to be John making a political statement, but a very commercial one as well ... I always thought that 'Imagine' was like the national anthem." Lennon described his working arrangement with Ono and Spector: "Phil doesn't arrange or anything like that—[Ono] and Phil will just sit in the other room and shout comments like, 'Why don't you try this sound' or 'You're not playing the piano too well' ... I'll get the initial idea and ... we'll just find a sound from [there]."Recording took place on 27 May 1971 at Ascot Sound Studios, Lennon's newly built home studio at Tittenhurst Park, with string overdubs taking place on 4 July 1971 at the Record Plant, in New York City. Relaxed and patient, the sessions began during the late morning, running to just before dinner in the early evening. Lennon taught the musicians the chord progression and a working arrangement for "Imagine", rehearsing the song until he deemed the musicians ready to record. In his attempt to recreate Lennon's desired sound, Spector had some early tapings feature Lennon and Nicky Hopkins playing in different octaves on one piano. He also initially attempted to record the piano part with Lennon playing the white baby grand in the couple's all-white room. However, after having deemed the room's acoustics unsuitable, Spector abandoned the idea in favour of the superior environment of Lennon's home studio. They completed the session in minutes, recording three takes and choosing the second one for release. The finished recording featured Lennon on piano and vocal, Klaus Voormann on bass guitar, Alan White on drums and the Flux Fiddlers on strings.Issued by Apple Records in the United States in October 1971, "Imagine" became the best-selling single of Lennon's solo career. It peaked at number three on the Billboard Hot 100 and reached number one in Canada on the RPM national singles chart, remaining there for two weeks. Upon its release the song's lyrics upset some religious groups, particularly the line: "Imagine there's no heaven". When asked about the song during one of his final interviews, Lennon said he considered it to be as strong a composition as any he had written with the Beatles. He described the song's meaning and explicated its commercial appeal: "Anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic, but because it is sugarcoated it is accepted ... Now I understand what you have to do. Put your political message across with a little honey." In an open letter to Paul McCartney published in Melody Maker, Lennon said that "Imagine" was "'Working Class Hero' with sugar on it for conservatives like yourself". On 30 November 1971, the Imagine LP reached number one on the UK chart. It became the most commercially successful and critically acclaimed album of Lennon's solo career. 
Question: What is the first name of the person whose best-selling single of his solo career was Imagine?
Output: John.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What is the full name of the person that looked after the house the fringe of Montfort-l'Amaury?
Output: Mme Revelot.
Passage: Despite the positive reception accorded to L'Arianna at its premiere, the duke did not request a second showing, as he had with L'Orfeo the previous year". The next hint of a performance of L'Arianna is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the celebration for the Duchess Caterina's birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of L'Arianna.There is some evidence to suggest a possible performance in Dubrovnik, in or some time after 1620; a Croatian translation of the libretto was published in Ancona in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new Teatro San Cassiano opened with a performance of L'Andromeda by Francesco Manelli. The popularity of this and other works led to more theatres converting their facilities for opera; L'Arianna was chosen to inaugurate the Teatro San Moisè as an opera house during the 1639–40 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at St Mark's Basilica since 1613. The dedication in the revised and republished libretto describes him as "[the] most celebrated Apollo of the century and the highest intelligence of the heavens of humanity".  The opera was received with great enthusiasm by a Venetian audience already familiar with the lament, which had been published in the city in 1623. Within a few weeks the theatre replaced L'Arianna with Monteverdi's new opera Il ritorno d'Ulisse in patria, which proved an even greater success. 
Question: What is the name of the theatre that replaced L'Arianna with Monteverdi's new opera Il ritorno d'Ulisse in patria, which proved an even greater success?
Output: Teatro San Moisè.
Passage: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. 
Question: What is the first name of the person who attentively describes the subject's hands in the paintings?
Output: Albrecht.
Passage: Smiley Smile became the first in a three-part series of lo-fi Beach Boys albums (preceding Wild Honey and Friends) and the first in a seven-year string of under-performing Beach Boys albums (ending with the 1974 compilation Endless Summer). The Smile era is generally viewed as the ending of the Beach Boys' most artistically creative period, and the point after which Brian began relinquishing his hold as the group's creative leader. After Smiley Smile, Carl took Brian's place as the most musically dominant member, and Brian would not be credited as producer for another Beach Boys album until 1976's 15 Big Ones. Journalist Brian Chidester designed the nominal "Bedroom Tapes" label as a catch-all term for the work produced by Wilson in between his "full retreat as leader of the Beach Boys [in mid 1968] ... following a brief stint in a mental institution" and his admittance under Eugene Landy's 24-hour therapy in late 1975. By 1969, Wilson was increasingly known for his reclusiveness, and could be found managing a health food store in West Hollywood called the Radiant Radish.Much of the group's recordings from 1967 to 1970 continued the pattern of sparse instrumentation, a more relaxed ensemble, and a seeming inattention to production quality. Harrison opined that this experimental songwriting and production phase lasted until Sunflower (1970), after which their albums "contain a mixture of middle-of-the-road music entirely consonant with pop style during the early 1970s with a few oddities that proved that the desire to push beyond conventional boundaries was not dead".After Smile was cancelled, some of its tracks continued to trickle out in later releases, often as filler songs to offset Brian's unwillingness to contribute. "Cool, Cool Water", an outtake from Smiley Smile and Wild Honey sessions, was partially rerecorded and issued as the closing track for Sunflower. When The Smile Sessions box set was released in 2011, co-producer Mark Linett acknowledged that "there's things that some people think – should Smiley Smile sessions be there – [with tracks such as] 'Can't Wait Too Long', we get into a very fuzzy area". In 2017, additional session highlights from the album were released on the rarities compilation 1967 – Sunshine Tomorrow. The compilation was followed several months later with two more digital-exclusive releases: 1967 – Sunshine Tomorrow 2: The Studio Sessions and 1967 – Live Sunshine. 
Question: What was the name of the track that issued as the closing track for Sunflower?
Output: Cool, Cool Water.