niryuu/sni-each-converted huggingface dataset:
Passage: During an expedition into Central Africa, paleontologist Dr. Susan Matthews-Loomis and her husband George Loomis attempt to track down evidence of a local monster legend. The monster, which the local natives refer to as Mokele-mbembe, shares many characteristics with the Sauropod order of dinosaurs. During the expedition, they discover Brontosaurs in the deep jungle and are further amazed when the animals show very little fear of them. The couple begins observing the creatures and become especially enamored with the curious young offspring of the pair, whom they nickname "Baby". Unfortunately, the discovery soon places the dinosaurs in jeopardy from both the local military as well as fellow scientist Dr. Eric Kiviat. 
Whereas Dr. Kiviat sees Baby and his parents as his ticket to fame & fortune, the African military led by Colonel Nsogbu sees the dinosaurs as a threat and makes several attempts to destroy them. During one such attempt, one of the adult Brontosaurs is killed and the other captured. The Loomises are able to escape with Baby, but quickly find themselves lost in the jungle while being pursued by Colonel Nsogbu's forces. After finally escaping their pursuers, the pair decide to circle back and rescue the captive parent, whom Dr. Kiviat has persuaded Nsogbu to transport back to civilization.
With the aid of the local tribe - who see Baby and his parents as legends - George and Susan are able to break into the military compound and release the adult Brontosaur. During the escape, both Kiviat and Nsogbu are killed. Afterwards, the Loomises take the pair to a secluded jungle lagoon and say a tearful goodbye to Baby as he follows his lone parent away into the deeper parts of the jungle. 
Question: What are the full names of the people who decide to try and rescue the captive parent?
Output: Dr. Susan Matthews-Loomis.
Passage: During an expedition into Central Africa, paleontologist Dr. Susan Matthews-Loomis and her husband George Loomis attempt to track down evidence of a local monster legend. The monster, which the local natives refer to as Mokele-mbembe, shares many characteristics with the Sauropod order of dinosaurs. During the expedition, they discover Brontosaurs in the deep jungle and are further amazed when the animals show very little fear of them. The couple begins observing the creatures and become especially enamored with the curious young offspring of the pair, whom they nickname "Baby". Unfortunately, the discovery soon places the dinosaurs in jeopardy from both the local military as well as fellow scientist Dr. Eric Kiviat. 
Whereas Dr. Kiviat sees Baby and his parents as his ticket to fame & fortune, the African military led by Colonel Nsogbu sees the dinosaurs as a threat and makes several attempts to destroy them. During one such attempt, one of the adult Brontosaurs is killed and the other captured. The Loomises are able to escape with Baby, but quickly find themselves lost in the jungle while being pursued by Colonel Nsogbu's forces. After finally escaping their pursuers, the pair decide to circle back and rescue the captive parent, whom Dr. Kiviat has persuaded Nsogbu to transport back to civilization.
With the aid of the local tribe - who see Baby and his parents as legends - George and Susan are able to break into the military compound and release the adult Brontosaur. During the escape, both Kiviat and Nsogbu are killed. Afterwards, the Loomises take the pair to a secluded jungle lagoon and say a tearful goodbye to Baby as he follows his lone parent away into the deeper parts of the jungle. 
Question: What are the full names of the people who decide to try and rescue the captive parent?
Output: George Loomis.
Passage: A diocesan return of 1563 recorded 145 households in the parish of New Sleaford, while the Compton Census (1676) reveals that New Sleaford had a Conformist population of 576 people, no "Papists", and 6 Non-conformists. There is a widely held local tradition that St Denys' was used during the English Civil War (1642–51) as a barracks for parliamentary troops  who destroyed the interior furnishings. The local historian Trollope stated that the soldiers looted the brass eagle lectern (last recorded in 1622), broke the stained glass windows and the organ, and stole valuables. Whether this damage occurred or not, repairs to the windows and roof were carried out in 1657, paid for by public subscription. Galleries were also added to the church in the 18th century: the south in 1758, west in 1772, and north in 1783–84. In 1772, Edward Evans, a ship's surgeon on HMS Egmont, donated £300 to replace the organ with one built by Samuel Green of London.For most of the 19th century, the Anglican community dominated Sleaford's civic bodies, including the Board of Guardians, who oversaw the workhouse, and the Local Board of Health. Dr Richard Yerburgh and his son, Richard, were vicars in 1809–51 and 1851–82 respectively and had family connections with the local builders Kirk and Parry; Yerburgh and Thomas Parry (one half of the firm) were on the Board of Guardians and were labelled members of a "family party" by opponents during the Board's 1870 elections (they were nonetheless re-elected). They and other local clergymen were key players in the establishment of National schools in Sleaford and Quarrington, which Kirk and Parry built. The Anglican congregation, at an estimated 700 to 800 people in 1851 (St Denys' had enough space for 743 people), was less than half of the size of the nonconformist community, which was probably larger than 2,000 and tended to flourish in poorer parts of the town.The 19th century also witnessed two major restorations to St Denys'. As the congregation expanded, the need for greater space was met with the addition of a new north aisle in 1853. This coincided with a wider restoration project carried out at the cost of £3,500 by Kirk and Parry, which included the demolition of the galleries, the addition of a strainer arch and the relocation of the organ. The church was damaged by an electrical storm in 1884 and parts, including the stone broach spire—one of the oldest in England—were rebuilt by Kirk and Parry in 1885–86. The old organ was sold in 1891 and St Hugh's Chapel and the choir vestry were dedicated to the memory of a local solicitor, Henry Snow, in 1906. Electric lighting was introduced in 1951–53 and extensive restoration work was carried out in 1966, when the organ was rebuilt, and in 1988. Fifty-four solar panels were added in 2008, at the cost of £70,000, and by 2011 were able to cover the church's electricity bill. 
Question: What is the name of the church to which galleries were added in the 18th century?
Output: St Denys'.
Passage: Critical opinion as to the merit of The Oceanides has been overwhelmingly positive, and today the piece is counted among Sibelius's masterpieces. Following the 1914 premiere, Olin Downes, the American music critic and Sibelius devotee, described the new work as "the finest evocation of the sea which has ever been produced in music", praising the composer for his "extraordinarily developed feeling for form, proportion and continuity". Downes furthermore assessed Sibelius's Norfolk concert as just the third time since 1900 that he had "felt himself in the presence of a genius of world class" (the other two being Richard Strauss in 1904 and Arturo Toscanini in 1910). An unsigned review in the New York Tribune (almost certainly penned by critic Henry Krehbiel) found the new work "fresh and vital, full of imagination and strong in climax". He continues:
Extremists will probably deplore the fact that the composer is still a respecter of form, still a devotee of beauty, still a believer in the potency of melody; but this is rather a matter for congratulation than regret ... Mr. Sibelius is a fine musical constructionist, an eloquent harmonist and a fine colorist despite his fondness for dark tints.
The influential Swedish critic Wilhelm Peterson-Berger, always a thorn in Sibelius's side and whom the composer had once mocked as "his lordship", required some three encounters with The Oceanides before warming to the new symphonic poem: after hearing the Stockholm Concert Society under Sibelius in 1923, Peterson-Berger at last embraced the piece. "The Oceanides was totally and completely different from three years ago under Schnéevoigt", he wrote. "In this beautiful poem one really heard something of the sound of the Aegean Sea and of Homer". 
Question: What is the full name of the person that warmed to the new symphonic poem after hearing it performed by the Stockholm Concert Society?
Output: Wilhelm Peterson-Berger.
Passage: Three girls in their early twenties, Margo, Kelly, and Cece are roommates living in Los Angeles working menial jobs by day, and by night they enjoy the vibrant and decadent night life of 1980s Los Angeles. 
Margo has a boring job in telemarketing, Cece gets fired from her job at a department store, while Kelly works in a pet store and is very good at selling pets, mainly thanks to her looks.
It's Friday night and the girls are getting ready for a night out on the town, however Margo and Cece soon discover that Kelly has taken Margo's car to go meet a DJ she's infatuated with.
Luckily, Kelly's date for the night, Clifford (Rohner, in a dual role), one of her many infatuated customers, arrives to pick her up, so Margo and Cece hitch a ride with him to go to the club where the DJ is working. Cliffie (as Cece calls him) reluctantly tags along a roller-coaster ride with them and learns how the girls usually spend their nights out.
Meeting rock star Bruno X, surviving a police raid, getting dumped by DJ Brad, taking a trip on Ecstasy, escaping from crazed fans and a run-in with a sexual criminal are some of the situations the group gets themselves into. 
Question: What is the name of the person who gets dumped by DJ Brad?
Output: Kelly.
Passage: In 1955 in Portland, Oregon, a businessman finds his wife in bed with another man, and commits a double murder-suicide. His young son, Paul, witnesses the three deaths, and is traumatized. Twenty-five years later, in 1980, Paul is incarcerated at a psychiatric institution near Stanford Bay, a small town on the Oregon Coast. One day, Paul manages to murder an orderly, and subsequently retrieves a beloved wooden flute given to him by his father before escaping the institution.
Local teenager Marion is struggling to adjust to her disability—she survived a car accident several years prior, caused by her drunken father Frank, which left her unable to walk without the help of a leg brace. She is plagued by bizarre dreams, which she comes to discover are in fact premonitions; while in the hospital after her accident, she received a blood transfusion from Paul, which has given her extrasensory perception into Paul's actions. Marion's home life is troubled, with her father being verbally abusive to her and her mother, Bea, and she dreams of leaving Stanford Bay once her fisherman boyfriend, Joey, obtains a job in Portland.
Meanwhile, Paul hitchhikes with a truck driver whom he bludgeons to death with a hatchet, and then steals his vehicle. He subsequently picks up a female hitchhiker, who he brings to a local motel in Stanford Bay, and murders her after failing to charm her with his flute-playing. Marion's psychic visions of Paul's murders increase in frequency and intensity, and sh soon witnesses him in person disposing of a body on a rural beach, making her his next target. Marion manages to elude to Paul, but he later discovers where she lives, and infiltrates her home, killing Frank. Struggling to walk, Marion manages to flee her home to an adjacent sawmill, and is pursued by Paul. While chasing Marion, Paul impales a worker with a forklift, and then inadvertently crashes through a barrier, driving the forklift off the pier and into the bay. 
Question: What is the name of the person who wants to leave Stanford Bay?
Output: Marion.
Passage: The historic center of San Francisco is the northeast quadrant of the city anchored by Market Street and the waterfront. It is here that the Financial District is centered, with Union Square, the principal shopping and hotel district, and the Tenderloin nearby. Cable cars carry riders up steep inclines to the summit of Nob Hill, once the home of the city's business tycoons, and down to the waterfront tourist attractions of Fisherman's Wharf, and Pier 39, where many restaurants feature Dungeness crab from a still-active fishing industry. Also in this quadrant are Russian Hill, a residential neighborhood with the famously crooked Lombard Street; North Beach, the city's Little Italy and the former center of the Beat Generation; and Telegraph Hill, which features Coit Tower. Abutting Russian Hill and North Beach is San Francisco's Chinatown, the oldest Chinatown in North America. The South of Market, which was once San Francisco's industrial core, has seen significant redevelopment following the construction of AT&T Park and an infusion of startup companies. New skyscrapers, live-work lofts, and condominiums dot the area. Further development is taking place just to the south in Mission Bay area, a former railroad yard, which now has a second campus of the University of California, San Francisco, and where the new Warriors arena will be built.West of downtown, across Van Ness Avenue, lies the large Western Addition neighborhood, which became established with a large African American population after World War II. The Western Addition is usually divided into smaller neighborhoods including Hayes Valley, the Fillmore, and Japantown, which was once the largest Japantown in North America but suffered when its Japanese American residents were forcibly removed and interned during World War II. The Western Addition survived the 1906 earthquake with its Victorians largely intact, including the famous "Painted Ladies", standing alongside Alamo Square. To the south, near the geographic center of the city is Haight-Ashbury, famously associated with 1960s hippie culture. The Haight is now home to some expensive boutiques and a few controversial chain stores, although it still retains some bohemian character.
North of the Western Addition is Pacific Heights, an affluent neighborhood that features the homes built by wealthy San Franciscans in the wake of the 1906 earthquake. Directly north of Pacific Heights facing the waterfront is the Marina, a neighborhood popular with young professionals that was largely built on reclaimed land from the Bay. 
Question: What location is the new Warriors arena being built?
Output: second campus of the University of California.
Passage: It is the present day. In their home, the family Camboro - Eileen, Calvin and Tom – reminisce a childhood memory of an afternoon picnic. Tom's brother-in law Jason abruptly enters the kitchen. Jason makes unsettling comments about European Union President Franco Macalousso, an outspoken advocate for global peace and unity. Tom Camboro believes that Jason needs psychiatric help, to the disagreement of his wife Suzy, who distrusts hospitals and doctors.
Later that night, Tom is called to intervene on a crime. Tim Tucker, college professor on psychic theory and admirer of Macalousso, is being violent towards his Christian wife, denouncing the Bible as a lie. Tom arrives at their apartment, and is startled when Tim displays supernatural powers, such as wielding a knife without touching it. Tim abruptly snaps and commits suicide by jumping out the window.
Back home, Jason falls victim to a similar phenomenon, verbally abusing the Christian Eileen. He also concludes by jumping from the window in a fit of madness, yet survives.
While Tom is driving Suzy to visit Jason in hospital, they argue about what happened. Suzy, having witnessed the event firsthand, reports to her husband that Jason was speaking insanely about Macalousso. Tom is troubled by this detail.
At the hospital, Jason tearfully begs Suzy not to allow the doctors to keep him. Eileen believes that Jason needs help from God, advice which angers Tom, who demands his sister to get a grip on reality. An argument ensues, in which Tom denounces the illogical nature of biblical stories. He eventually agrees to compromise by attending church next Sunday, so long as Eileen cease her preaching in future. 
Question: What is the last name of the outspoken advocate for global peace and unity?
Output: Macalousso.
Passage: In 1944, German intelligence strives to find the target of an upcoming raid by the reputed "B-99 bomber". To achieve this end, they interrogate a recently shot-down aircrew from a B-99 reconnaissance mission that was shot down over Italy. The aircrew is sent to Dulag Luft POW camp.
The German officers, commanded by Major von Behn use various methods to discover this information, some of them quite subtle. While interviewing Lieutenant Frank L. Williams, Jr. and Captain James Spencer, the two airmen at first resist any probing for information. Other members of the crew include Sergeant Alfred Mason.
Though no physical brutality is used, the Germans at one point stage a mock execution to scare a prisoner. Another prisoner is subjected to isolation to heighten his fear. Red Cross officers and a nurse use their positions to extract information from the prisoners.  Each airman eventually provides useful information because of their arrogance, fear or naivety. Some of what they say, which the enemy finds useful, seems innocuous but is used by the Germans as pieces to solve the larger puzzle.
In the end, the Germans are able to determine the target of the raid and the B-99 bombing mission is intercepted. The intended target is spared heavy damage with 21 B-99s shot down and the loss of 105 aircrew. 
The U.S. intelligence officer  (Lloyd Nolan) in his briefing to the surviving members of the raid, stresses not to talk under any circumstances, concerned that the danger of talking too much, even innocuous conversation can help the enemy. He also states not to let down one's guard, that everything in a prison camp is suspect, and to not try to outwit the enemy. 
Question: What is the position of the person who advises the raid survivors to not try to outwit the enemy?
Output: U.S. intelligence officer.
Passage: Bush starred in the 1990 black comedy film Les Dogs, produced by The Comic Strip for BBC television. Bush plays the bride Angela at a wedding set in a post-apocalyptic Britain. In another Comic Strip Presents film, GLC, she produced and sang on the theme song "Ken". The song was written about Ken Livingstone, the leader of the Greater London Council and future mayor of London, who at the time was working with musicians to help the Labour Party garner the youth vote.Bush wrote and performed the song "The Magician", using a fairground-like arrangement, for Menahem Golan's 1979 film The Magician of Lublin. The track was scored and arranged by Michael Kamen. In 1986, she wrote and recorded "Be Kind to My Mistakes" for the Nicolas Roeg film Castaway. An edited version of this track was used as the B-side to her 1989 single "This Woman's Work". In 1988, the song "This Woman's Work" was featured in the John Hughes film She's Having a Baby, and a slightly remixed version appeared on Bush's album The Sensual World. The song has since appeared on television shows, and in 2005 reached number-eight on the UK download chart after featuring in a British television advertisement for the charity NSPCC.In 1999, Bush wrote and recorded a song for the Disney film Dinosaur, but the track was not included on the soundtrack. According to the winter 1999 issue of HomeGround, a Bush fanzine, it was scrapped when Disney asked her to rewrite the song and she refused. Also in 1999, Bush's song "The Sensual World" was featured prominently in Canadian filmmaker Atom Egoyan's film "Felicia's Journey".In 2007, Bush was asked to write a song for The Golden Compass soundtrack which made reference to the lead character, Lyra Belacqua. The song, "Lyra", was used in the closing credits of the film, reached number 187 in the UK Singles Chart and was nominated for the International Press Academy's Satellite Award for original song in a motion picture. According to Del Palmer, Bush was asked to compose the song on short notice and the project was completed in 10 days. 
Question: What is the name of the person Disney asked to rewrite the song for the film Dinosaurs?
Output: Bush.
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What are the precise names of the first three symphonies to which Vaughan Williams assigned titles rather than numbers?
Output: A Sea Symphony.
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What are the precise names of the first three symphonies to which Vaughan Williams assigned titles rather than numbers?
Output: A London Symphony.
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What are the precise names of the first three symphonies to which Vaughan Williams assigned titles rather than numbers?
Output: A Pastoral Symphony.
Passage: Tony Rivers, a troubled teenager at Rockdale High, is known for losing his temper and overreacting. A campus fight between Tony and classmate Jimmy gets the attention of the local police, Det. Donovan in particular. Donovan breaks up the fight and advises Tony to talk with a "psychologist" that works at the local aircraft plant, Dr. Alfred Brandon, a practitioner of hypnotherapy.
Tony declines, but his girlfriend Arlene, as well as his widowed father, show concern about his violent behavior. Later, at a Halloween party at the "haunted house", an old house at which several of the teenagers hang out, Tony attacks his friend Vic after being surprised from behind. After seeing the shocked expressions on his friends's faces, he realizes he needs help and goes to see Dr. Brandon.
On Tony's first visit, however, Brandon makes it clear that he has his own agenda while the teenager lies on the psychiatrist's couch: Tony will be an excellent subject for his experiments with a scopolamine serum he has developed that regresses personalities to their primitive instincts. Brandon believes that the only future that mankind has is to "hurl him back to his primitive state." Although Brandon's assistant, Dr. Hugo Wagner, protests that the experiment might kill Tony, Brandon continues and within two sessions suggests to Tony that he was once a wild animal. 
Question: Who is surpised by the reactions on their friends faces?
Output: Tony.
Passage: The American Chemical Society (ACS) has used the Joseph Priestley House as a place to mark special celebrations. On July 31 and August 1, 1874, "seventy-seven chemists made a pilgrimage to the site to celebrate the centennial of chemistry". The date was chosen to mark the hundredth anniversary of Priestley's experiment producing oxygen by heating mercuric oxide with a magnifying lens and sunlight. These chemists came from 15 US states and the District of Columbia, Canada, and England, and their meeting at the house and a local school "is now recognized as the first National Chemistry Congress, and many ACS historians believe it led to ACS's formation two years later on April 6, 1876". On September 5, 1926, about 500 ACS members met again at the home to dedicate the small brick museum and to celebrate the meeting 50 years earlier (two survivors of that first meeting were present).Representatives of the ACS were present at the October 1970 dedication of the house as a museum. On April 25, 1974 around 400 chemists from the ACS Middle Atlantic Regional Meeting in Scranton came to visit the home. The Priestley Medal, the highest and oldest honor awarded by the ACS, was awarded to Paul Flory at the house that day. (A replica of the Priestley Medal is on display at the house.) On August 1, 1974—what has been labeled the bicentennial of the discovery of oxygen—over 500 chemists attending the third Biennial Conference on Chemical Education at State College traveled to the house to celebrate "Oxygen Day". In October 1976, the ACS celebrated its own centennial with a celebration in Northumberland. A 100-plus piece replica of Priestley's laboratory equipment, made by universities, corporations, and the Smithsonian Institution, was presented to the house for display. On April 13, 1983, ACS President Fred Basolo spoke at the house to celebrate Priestley's 250th birthday and as part of a first day of issue ceremony for the United States Postal Service's Joseph Priestley commemorative stamp. In 2001 the ACS again met at the house to celebrate the 125th anniversary of the society, and reenacted parts of the 1874 and 1926 celebrations, including a march to Priestley's grave, at which each participant left a red rose. 
Question: Where did 500 ACS members met again on September 5 1926?
Output: the Joseph Priestley House.
Passage: During the 1980s, there was increasing pressure on both the Polish and Soviet governments to release documents related to the massacre. Polish academics tried to include Katyn in the agenda of the 1987 joint Polish-Soviet commission to investigate censored episodes of the Polish-Russian history. In 1989, Soviet scholars revealed Joseph Stalin had indeed ordered the massacre, and in 1990 Mikhail Gorbachev admitted the NKVD had executed the Poles and confirmed two other burial sites similar to the site at Katyn: Mednoye and Piatykhatky.
On 30 October 1989, Gorbachev allowed a delegation of several hundred Poles, organized by the Polish association Families of Katyń Victims, to visit the Katyn memorial. This group included former U.S. national security advisor Zbigniew Brzezinski. A mass was held and banners hailing the Solidarity movement were laid. One mourner affixed a sign reading "NKVD" on the memorial, covering the word "Nazis" in the inscription such that it read "In memory of Polish officers killed by the NKVD in 1941." Several visitors scaled the fence of a nearby KGB compound and left burning candles on the grounds. Brzezinski commented:
It isn't a personal pain which has brought me here, as is the case in the majority of these people, but rather recognition of the symbolic nature of Katyń. Russians and Poles, tortured to death, lie here together. It seems very important to me that the truth should be spoken about what took place, for only with the truth can the new Soviet leadership distance itself from the crimes of Stalin and the NKVD. Only the truth can serve as the basis of true friendship between the Soviet and the Polish peoples. The truth will make a path for itself. I am convinced of this by the very fact that I was able to travel here.
Brzezinski further stated:
The fact that the Soviet government has enabled me to be here—and the Soviets know my views—is symbolic of the breach with Stalinism that perestroika represents.
His remarks were given extensive coverage on Soviet television. At the ceremony he placed a bouquet of red roses bearing a handwritten message penned in both Polish and English: "For the victims of Stalin and the NKVD. Zbigniew Brzezinski".On 13 April 1990, the forty-seventh anniversary of the discovery of the mass graves, the USSR formally expressed "profound regret" and admitted Soviet secret police responsibility. The day was declared a worldwide Katyn Memorial Day (Polish: Światowy Dzień Pamięci Ofiar Katynia). 
Question: What is the last name of the person for whom the very fact that that the Soviet government enabled him to be there is ostensibly symbolic of the breach with Stalinism that perestroika represents?
Output: Brzezinski.
Passage: Etty considered Britomart Redeems Faire Amoret one of his major works.
Following its exhibition at the 1833 Summer Exhibition, it was exhibited in August of the same year at the Royal Manchester Institution. It was sold at this second exhibition for £157 (about £15,000 in today's terms) to an anonymous collector listed in Etty's records only as "Mr. L., Manchester". It was one of 133 Etty paintings exhibited in a major retrospective exhibition of his work at the Royal Society of Arts in June–August 1849; during this exhibition it was sold on to Lord Charles Townshend for a sum of 520 guineas (about £56,000 in today's terms).Etty died in 1849, having continued working and exhibiting up to his death, and continued to be regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the sales prices achieved by his paintings were falling below the original values. 
Question: What is the last name of the person whose paintings fell below their original values?
Output: Etty.
Passage: Gaga grew up listening to artists such as Michael Jackson, the Beatles, Stevie Wonder, Queen, Bruce Springsteen, Pink Floyd, Mariah Carey, the Grateful Dead, Led Zeppelin, Whitney Houston, Elton John, Blondie and Garbage, who have all influenced her music. Gaga's musical inspiration varies from dance-pop singers such as Madonna and Michael Jackson to glam rock artists such as David Bowie and Freddie Mercury, as well as the theatrics of the pop artist Andy Warhol and her own performance roots in musical theater. She has been compared to Madonna, who has said that she sees herself reflected in Gaga. Gaga says that she wants to revolutionize pop music as Madonna has. Gaga has also cited heavy metal bands as an influence, including Iron Maiden and Black Sabbath. She credits Beyoncé as a key inspiration to pursue a musical career.Gaga was inspired by her mother to be interested in fashion, which she now says is a major influence and integrated with her music. Stylistically, Gaga has been compared to Leigh Bowery, Isabella Blow, and Cher; she once commented that as a child, she absorbed Cher's fashion sense and made it her own. She considers Donatella Versace her muse and the English fashion designer Alexander McQueen as an inspiration. In turn, Versace calls Lady Gaga "the fresh Donatella". Gaga has also been influenced by Princess Diana, whom she has admired since her childhood.Gaga has called the Indian alternative medicine advocate Deepak Chopra a "true inspiration", and has also quoted Indian leader Osho's book Creativity on Twitter. Gaga says she was influenced by Osho's work in valuing rebellion through creativity and equality. 
Question: What is the full name of the person who calls Lady Gaga "the fresh Donatella"?
Output: Donatella Versace.
Passage: Sean was Lennon's only child with Ono. Sean was born on 9 October 1975 (Lennon's thirty-fifth birthday), and John took on the role of househusband. Lennon began what would be a five-year hiatus from the music industry, during which time he gave all his attention to his family. Within the month, he fulfilled his contractual obligation to EMI/Capitol for one more album by releasing Shaved Fish, a compilation album of previously recorded tracks. He devoted himself to Sean, rising at 6 am daily to plan and prepare his meals and to spend time with him. He wrote "Cookin' (In the Kitchen of Love)" for Starr's Ringo's Rotogravure (1976), performing on the track in June in what would be his last recording session until 1980. He formally announced his break from music in Tokyo in 1977, saying, "we have basically decided, without any great decision, to be with our baby as much as we can until we feel we can take time off to indulge ourselves in creating things outside of the family." During his career break he created several series of drawings, and drafted a book containing a mix of autobiographical material and what he termed "mad stuff", all of which would be published posthumously.
Lennon emerged from his five-year interruption in music recording in October 1980, when he released the single "(Just Like) Starting Over". The following month saw the release of Double Fantasy, which contained songs written during a June 1980 journey to Bermuda on a 43-foot sailing boat. The music reflected Lennon's fulfilment in his new-found stable family life. Sufficient additional material was recorded for a planned follow-up album Milk and Honey, which was released posthumously, in 1984. Double Fantasy was jointly released by Lennon and Ono very shortly before his death;  the album was not well received and drew comments such as Melody Maker's "indulgent sterility ... a godawful yawn". 
Question: What is the last name of the person whose last recording session until 1980 would be performing on the track "Cookin' (In the Kitchen of Love)"?
Output: Lennon.
Passage: "Déjà Vu" debuted to mixed and positive reviews among critics. Mike Joseph of the international webzine PopMatters' believed that it was "fantastic to hear Beyoncé singing her lungs out over a full-bodied groove featuring live instruments". Spence D. of IGN Music, a multimedia news and reviews website, complimented Jerkins' bass-laden groove, writing that it brought the track to perfection. Describing "Déjà Vu" as a magnificent song, Caroline Sullivan of The Guardian complimented Beyoncé and Jay-Z collaboration calling it "feverish as pre-watershed pop gets". She added that even though when Jay-Z is not physically present, he manages to bring out something formidable in Beyoncé that evokes "the young, feral Tina Turner". Bernard Zuel The Sydney Morning Herald praised the assertiveness with which Beyoncé delivers her lines and considered buying "Déjà Vu" as worthwhile.Several other music critics have compared "Déjà Vu" to Beyoncé's 2003 single, "Crazy in Love", the lead single of her debut album. According to Gail Mitchell of Billboard magazine, the song is viewed by many as a sequel to "Crazy in Love". Jason King of the Vibe magazine deemed the song as "cloned from the DNA of the raucous 'Crazy in Love'" while Thomas Inskeep of Stylus Magazine referred to it as "'Crazy in Love' lite". Some reviewers, however, were negative to the parallels drawn between the two songs. Andy Kellman of AllMusic, an online music database, wrote that "['Déjà Vu'] "had the audacity to not be as monstrous as 'Crazy in Love'", referring to the commercial success the latter experienced in 2003. The internet-based publication Pitchfork's writer Ryan Dombal claimed that "this time [Beyoncé] out-bolds the beat".Sasha Frere-Jones of The New Yorker deemed the lyrics as a "perplexing view of memory", while Chris Richards of The Washington Post characterized Beyoncé as a "love-dazed girlfriend" in the song. Jody Rosen of the Entertainment Weekly referred to "Déjà Vu" as an "oddly flat" choice as a lead single. Jaime Gill of Yahoo! Music regarded "Déjà Vu" as a good choice for a single but concluded that it does lack "the kind of killer chorus" to suggest that Beyoncé would take one further step "to outright global domination". On the other hand, Jon Pareles of The New York Times wrote that Jay-Z shows up "as calmly boastful as ever" in the song but he only makes Beyoncé's "sound more insecure". Kelefa Sanneh of the same publication noted that "the refrain doesn't give Beyoncé a chance really to show off" and further described the song as a "fair-to-middling single from a singer who is the opposite of desperate". 
Question: What publication did Kelefa Sanneh write for?
Output: The New York Times.
Passage: Vance "Van" Wilder is a confident and sardonic seventh year senior at Coolidge College who is popular among most of the student body. With no ambition to graduate, Van spends his days driving around campus in his customized golf cart, posing nude for figure drawing classes, organizing soirees and fundraisers for his peers. Among his friends are his roommate and close confidant Hutch and his newly hired assistant Taj Badalandabad, a sexually repressed foreign exchange student from India.
Upon learning that his son is still in school, Van's father arrives at Coolidge intent on bringing him home. When Van refuses, his father decides to sever Van's financial support. Faced with disenrollment due to unpaid tuition, Van seeks a payment extension from the registrar, Deloris. After Van has sex with her, Deloris hands him the paperwork for an extension, which Van realizes he only needed to ask for in the first place.
Gwen Pearson works for the school paper, and despite her talents for journalism, her articles do not generate interest from the student body. Her editor assigns her to get an "unattainable" human interest story on Van Wilder as he normally refuses to do interviews for the paper. After a couple of attempts to get money fast, Van is approached by the Lambda Omega Omega fraternity, offering to pay him a thousand dollars to throw them a blowout party and boost their popularity.
Overhearing two of the Lambdas expressing their excitement over the party's success and their satisfaction with Van's work, Gwen writes a story crediting Van as the host of the party. Though Van hates the article at first, he realizes it can be the "cash cow" he needs to stay in school. Van eventually agrees to sit down with Gwen for the follow-up piece after losing a hockey bet to her. 
Question: What is the name of the person Vance has sex with?
Output: Deloris.
Passage: Teenager Elena Peters and her friends, Missy and Josh, go to a party. Elena witnesses her boyfriend, Brian, with another woman. She leaves the dance floor and enters an isolated room. There, she discovers a red trunk and opens it to find a severely injured Arkin O'Brien. Arkin grabs Elena and they dodge a steel spear, which triggers a series of deadly traps that kill everyone on the dance floor. The Collector appears and kidnaps Elena, while Arkin escapes by jumping out of a window, landing on a car and breaking his arm in the process.
Arkin is later taken to the hospital, where he is arrested by the police and put under constant surveillance due to his own criminal record. After suffering nightmares of his torture from the Collector, he is approached by Lucello, an employee of Elena's wealthy father, who has hired a team of mercenaries to hunt the Collector down and save Elena. Lucello implies that if Arkin leads them to the Collector's hideout, he will expunge Arkin's record. Arkin leads the mercenary group to the Collector's base, an abandoned hotel. Meanwhile, Elena witnesses a man being tortured before escaping from the trunk. Upon the team's arrival, Arkin refuses to go inside, but Lucello forces him at gunpoint to guide them through the hotel. The Collector reenters the room and notices Elena has escaped before being alerted to the team's presence. 
Question: What is the last name of the person whose record Lucello offered to expunge?
Output: O'Brien.