niryuu/sni-each-converted huggingface dataset:
Passage: Among his fellow musicians, Szigeti was widely admired and respected. Violinist Nathan Milstein wrote that Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture ... I always admired him, and he was respected by musicians ... in his late years, he finally got the appreciation he deserved from the general public as well.
In his memoirs, published in 2004, cellist János Starker asserts that Szigeti was one of the giants among the violinists I had heard from childhood on, and my admiration for him is undiminished up to this day.
Starker then describes a recital he attended late in Szigeti's career, illustrating both the extent to which Szigeti was suffering from arthritis and his ability to still communicate his musical ideas effectively: 
"He invited me to his recital in Town Hall ... the first few minutes were excruciating: as I saw later, his fingers had deteriorated to the point that he had almost no flesh on them. But once he loosened up a bit he produced heart-rending beauty.
Violinist Yehudi Menuhin comments at length about Szigeti in his own memoirs, remarking as many others did on Szigeti's intellectual approach to music, but in a somewhat more critical fashion:
Apart from Enesco, he was the most cultivated violinist I have ever known but while Enesco was a force of nature, Szigeti, slender, small, anxious, was a beautifully fashioned piece of porcelain, a priceless Sèvres vase. Curiously for a Hungarian, from whom one expects wild, energetic, spontaneous qualities, Szigeti travelled even farther up a one-way road of deliberate intellectualism. A young accompanist who worked with Szigeti told me that two hours concentration wouldn't get them beyond the first three bars of a sonata--so much analysis and ratiocination went into his practice ... A similar persnicketiness marked his adjudication. Shortly before he died in 1973, he was a member of our jury at the City of London Carl Flesch Concours ... I was struck not only by the sharpness of his intellect but also by what seemed to me the perversity of his opinions. Some particular aspect of a competitor's playing would hold his attention, and he would take violent issue with it, to the exclusion of everything else. For him a violinist was made or broken, a prize awarded or withheld, on details that to me scarcely mattered.
Nevertheless, Menuhin too referred to Szigeti as "a violinist whom I much admired and a man of whom I was very fond". 
Question: What is the last name of the violinist that the man suffering from arthritis was compared to by Yehudi Menuhin?
Output: Enesco.
Passage: In the West of the 1890s, a trio of outlaws, Bill Bowdre, Jesse Coe, and Tom Fitch, robs, tortures and brutally kills the white father and Indian mother of young Max Sand. The outlaws have stolen the father's grey horse with a double SS brand. Max sets out to avenge their deaths and uses this clue to trail the men.
During his travels in the desert, Max uncovers an old and rusty gun. When he comes upon Jonas Cord, Sr, a traveling gunsmith, he tries to rob him. Cord,  recognizing that Max's revolver is not loaded and is useless, convinces Max that his plan has failed. Max tells Cord of his vengeful journey. Cord takes pity on him, takes him in, feeds him and teaches him how to shoot. Max hunts the killers, who have separated. He tracks down Jesse Coe to Abilene, Texas. With the help of dancehall girl Neesa, a woman from the same tribe as his mother, he confronts him in a salon. Coe escapes and a knife fight ensues in a nearby corral. Coe is killed but Max is severely wounded. Neesa takes him to her tribe's camp, where she nurses him back to health. They become lovers.
Once he recovers, Max leaves Neesa to continue his pursuit. He reads that Bowdre is in a prison camp in Louisiana for a failed bank robbery. He commits a bank robbery, deliberately gets caught, and is sent to the same prison where Bowdre is serving time. Bowdre does not recognize Max whose plan is to convince Bowdre to join him in an escape attempt and kill him in the swamp. Pilar, a local Cajun girl working in the rice fields near the convicts' camp, gives Max comfort. She knows nothing about Max's plan to kill Bowdre but knows her way around the swamp. She finds a boat and joins the escape. The boat capsizes early on and Pilar is bitten by a snake. Max kills Bowdre and Pilar dies of the snakebite. 
Question: What was the full name of the person whose mother was from the same tribe as Neesa?
Output: Max Sand.
Passage: Travis Bickle, a 26-year-old honorably discharged U.S. Marine, is a lonely, depressed young man living in isolation in New York City. He takes a job as a taxi driver to cope with his chronic insomnia, driving passengers every night around the city's boroughs. He also frequents the porn theaters on 42nd Street and keeps a diary in which he consciously attempts to include aphorisms, such as "You're only as healthy as you feel."
Travis becomes infatuated with Betsy, a campaign volunteer for Senator and presidential candidate Charles Palantine. After watching her interact with fellow worker Tom through her window, Travis enters to volunteer, as a pretext to talk to her, and takes her out for coffee. On a later date, he naively takes her to see a pornographic film, which offends her, and she goes home alone. His attempts at reconciliation by sending flowers are rebuffed, so he berates her at the campaign office, before being kicked out by Tom.
Travis is disgusted by the sleaze, dysfunction, and prostitution that he witnesses throughout the city. His worldview is furthered when an adolescent prostitute and runaway, Iris, enters his taxi, attempting to escape her pimp, Sport. Sport drags Iris from the taxi and throws Travis a crumpled $20 bill, which continually reminds Travis of her and the corruption that surrounds him. A similarly influential event occurs when an unhinged passenger gloats to Travis of his intentions to murder his wife and her lover. Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent; however, Wizard assures him that he will be fine, leaving Travis to his own destructive path. 
Question: What is the last name of the person who sends Betsy flowers?
Output: Bickle.
Passage: In his personaggi listed in the 1609 score, Monteverdi unaccountably omits La messaggera (the Messenger), and indicates that the final chorus of shepherds who perform the moresca (Moorish dance) at the opera's end are a separate group (che fecero la moresca nel fine). Little information is available about who sang the various roles in the first performance. A letter published at Mantua in 1612 records that the distinguished tenor and composer Francesco Rasi took part, and it is generally assumed that he sang the title role. Rasi could sing in both the tenor and bass ranges "with exquisite style ... and extraordinary feeling". The involvement in the premiere of a Florentine castrato, Giovanni Gualberto Magli, is confirmed by correspondence between the Gonzaga princes. Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. The musicologist and historian Hans Redlich mistakenly allocates Magli to the role of Orfeo.A clue about who played Euridice is contained in a 1608 letter to Duke Vincenzo. It refers to "that little priest who performed the role of Euridice in the Most Serene Prince's Orfeo". This priest was possibly Padre Girolamo Bacchini, a castrato known to have had connections to the Mantuan court in the early 17th century. The Monteverdi scholar Tim Carter speculates that two prominent Mantuan tenors, Pandolfo Grande and Francesco Campagnola may have sung minor roles in the premiere.There are solo parts for four shepherds and three spirits. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists (except Orfeo) also forming the chorus. Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza. 
Question: What is the full name of the man who's participation was believed to be confirmed by Gonzaga princes in the opera that omits La messaggera in the 1609 score?
Output: Giovanni Gualberto Magli.
Passage: In a troop movement that took all night on a makeshift raft, the Texian army crossed Buffalo Bayou at Lynchburg April 19 with 930 soldiers, leaving behind 255 others as guards or for reasons of illness. The idea had been floated of leaving the Twin Sisters behind as protection, but Neill was adamant that the cannons be taken into the battle. In an April 20 skirmish the day before the main battle Neill was severely wounded, and George Hockley took command of the heavy artillery. Estimates of the Mexican army troop strength on the day of the main battle range from 1,250 to 1,500.The Texians attacked in the afternoon of April 21 while Santa Anna was still under the misconception that Houston was actually retreating. He had allowed his army time to relax and feed their horses, while he took a nap. When he was awakened by the attack, he immediately fled on horseback, but was later captured when Sergeant James Austin Sylvester found him hiding in the grass. Houston's own account was that the battle lasted "about eighteen minutes", before apprehending prisoners and confiscating armaments. When the Twin Sisters went up against the Mexican army's Golden Standard cannon, they performed so well that Hockley's unit was able to capture the Mexican cannon.The Yellowstone saw war service for the Republic one more time on May 7, when it transported Houston and his prisoner Santa Anna, along with the government Santa Anna tried to extinguish, to Galveston Island. From there, the government and Santa Anna traveled to Velasco for the signing of the treaties. Houston had suffered a serious wound during the battle, and on May 28 boarded the schooner Flora for medical treatment in New Orleans.Not until news of the victory at San Jacinto spread did the refugees return to their homesteads and businesses, or whatever was left after the destruction caused by both armies. Throughout Texas, possessions had been abandoned and later looted. Businesses, homes and farms were wiped out by the devastation of war. Often there was nothing left to go back to, but those who went home began to pick up their lives and move forward. San Felipe de Austin never really recovered from its total destruction. The few people who returned there moved elsewhere, sooner or later. Secretary of War Rusk would later commend the women of Texas who held their families together during the flight, while their men volunteered to fight: "The men of Texas deserve much credit, but more was due the women. Armed men facing a foe could not but be brave; but the women, with their little children around them, without means of defense or power to resist, faced danger and death with unflinching courage.". 
Question: What is the last name of the person who had allowed his army time to relax and feed their horses, while he took a nap?
Output: Houston.
Passage: The year 1960 marked another turning point in Shostakovich's life: he joined the Communist Party. The government wanted to appoint him General Secretary of the Composers' Union, but in order to hold that position he was required to attain Party membership. It was understood that Nikita Khrushchev, the First Secretary of the Communist Party from 1953 to 1964, was looking for support from the leading ranks of the intelligentsia in an effort to create a better relationship with the Soviet Union's artists. This event has been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, or his free decision. On the one hand, the apparat was undoubtedly less repressive than it had been before Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears, and he later told his wife Irina that he had been blackmailed. Lev Lebedinsky has said that the composer was suicidal. From 1962, he served as a delegate in the Supreme Soviet of the USSR. Once he joined the Party, several articles he did not write denouncing individualism in music were published in Pravda under his name. In joining the party, Shostakovich was also committing himself to finally writing the homage to Lenin that he had promised before. His Twelfth Symphony, which portrays the Bolshevik Revolution and was completed in 1961, was dedicated to Vladimir Lenin and called "The Year 1917." Around this time, his health began to deteriorate.
Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three days. He subtitled the piece "To the victims of fascism and war", ostensibly in memory of the Dresden fire bombing that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates quotations from several of his past works and his musical monogram. Shostakovich confessed to his friend Isaak Glikman, "I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself." Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels and the cellist Valentin Berlinsky, were also aware of the Eighth Quartet's biographical intent. Peter J. Rabinowitz has also pointed to covert references to Richard Strauss's Metamorphosen in the Eighth Quartet.In 1962 Shostakovich got married for the third time, to Irina Supinskaya. In a letter to Glikman, he wrote "her only defect is that she is 27 years old. In all other respects she is splendid: clever, cheerful, straightforward and very likeable." According to Galina Vishnevskaya, who knew the Shostakoviches well, this marriage was a very happy one: "It was with her that Dmitri Dmitriyevich finally came to know domestic peace... Surely, she prolonged his life by several years." In November he made his only venture into conducting, conducting a couple of his own works in Gorky; otherwise he declined to conduct, citing nerves and ill health. 
Question: What is the last name of the person who had been blackmailed, which he later told his wife?
Output: Shostakovich.
Passage: Arthur "Cody" Jarrett is a ruthless, psychotic criminal and leader of the Jarrett gang. Although married to Verna, he is overly attached to his equally crooked and determined mother, "Ma" Jarrett, his only true confidant.
Cody and his gang rob a mail train in the Sierra Nevada mountains (referred to as "the tunnel job"), killing four members of the train's crew. While on the lam, Cody has a severe, instant migraine, which Ma nurses him through. Afterward, Ma and Cody have a quick drink and toast, "Top of the world!" before rejoining the others. The gang uses the cover of a storm to change hideouts and split up. 
Informants enable the authorities close in on a motor court in Los Angeles where Cody, Verna, and Ma are holed up. Cody shoots and wounds US Treasury investigator Philip Evans and makes his escape. He then puts his emergency scheme in motion: confess to a lesser crime (the "hotel job") committed by an associate in Springfield, Illinois at the same time as the tunnel job - which was federal crime - thus providing him with a false alibi and assuring him a lesser sentence. He flies to Illinois and turns himself in, where he receives one- to three-years in state prison. This ruse does not fool Evans, however, who plants undercover agent Hank Fallon (aka prisoner Vic Pardo) in Cody's cell in the Illinois State Penitentiary. His task is to find the "Trader", a fence who launders stolen money for Cody. Hank's angle is to become a surrogate "ma" to Cody and get him to talk. 
Question: What's the alias of the man that Evans' agent is looking for?
Output: Trader.
Passage: As Greeneville ascended to periscope depth, Waddle checked the sonar displays and the fire control station monitors, but reported later that he heard and saw nothing to suggest that the previously detected vessels in the area were now any closer to the submarine's position than had been reported before the submarine began the high speed maneuvers. Because the AVSDU was not working, Greeneville's executive officer, Lieutenant Commander Gerald K. Pfeifer, entered the sonar room and observed the contacts on the sonar screens.  Pfeifer then stood in the doorway between the sonar and control rooms, but did not communicate any updated sonar information to Waddle in the control room.  At 13:34, sonar gained a new contact, designated S-14.  Because Greeneville had not maintained a steady, slow course for a sufficient amount of time, the sonar data available to the Fire Control Technician of the Watch did not allow  accurate determination on Ehime Maru's range or course.  Also, due to time constraints placed by Waddle, the ship did not perform normal maneuvers which would be used to obtain accurate course and range information on the sonar contacts prior to proceeding to periscope depth.At 13:38, Greeneville reached periscope depth (about 60 feet (18 m) below the surface).  At this time, Ehime Maru was about 2,315 yards (2.117 km) or 1.14 nautical miles (2.1 km) away from the submarine and heading in her direction.  Although sonar data began to more accurately depict Ehime Maru's true range and bearing at this point, this was not evident to the sonar operators.  Lieutenant, Junior Grade Michael J. Coen, the officer of the deck, conducted an initial low  magnification periscope search of the area and sighted no nearby ships.  
Waddle then took the periscope before Coen could complete the normal high magnification search.  Since waves were washing over the periscope, Waddle ordered the submarine to go up another few feet to increase the distance the periscope can view.  Waddle then looked through the periscope at the area where he believed the reported surface contacts to be (possibly in error).  Although Ehime Maru was at this point heading toward Greeneville's location, Waddle failed to see the ship.  Regulations mandated that Waddle conduct a three-minute, 360-degree periscope scan before executing the emergency main ballast blow maneuver.  Waddle, however, aware that they were still behind schedule, conducted a short scan, searching primarily in the sector where he believed
the known contacts were located, noted that the haze was still present, and saw no ships in the vicinity.  At the end of his scan, Waddle announced to the control room crew, "I hold no visual contacts." Waddle later explained how he conducted his periscope search:. 
Question: What is the first name of the person who didn't finish the normal high magnification search before Waddle took the periscope?
Output: Michael.
Passage: Following the release of The Final Cut, Waters embarked on a solo career. In 1984, he released his first solo album, The Pros and Cons of Hitch Hiking, a project about a man's dreams across one night that dealt with Waters' feelings about monogamy and family life versus "the call of the wild". In the end the character, Reg, chooses love and matrimony over promiscuity. The album featured guitarist Eric Clapton, jazz saxophonist David Sanborn, and artwork by Gerald Scarfe. Kurt Loder described The Pros And Cons of Hitch Hiking as a "strangely static, faintly hideous record". Rolling Stone rated the album a "rock bottom one star". Years later, Mike DeGagne of AllMusic praised the album for its "ingenious symbolism" and "brilliant use of stream of consciousness within a subconscious realm", rating it four out of five stars.Waters began touring in support of the album, aided by Clapton, a new band, new material, and a selection of Pink Floyd favourites. Waters débuted his tour in Stockholm on 16 June 1984. The tour suffered from poor ticket sales and some performances at larger venues were cancelled; Waters estimated that he lost £400,000 on the tour. In March 1985, Waters went to North America to play smaller venues with the Pros and Cons Plus Some Old Pink Floyd Stuff—North America Tour 1985. The Pros and Cons of Hitch Hiking has been certified Gold by the RIAA.In 1986, Waters contributed songs and a score to the soundtrack of the animated movie When the Wind Blows, based on the Raymond Briggs book of the same name. His backing band featuring Paul Carrack was credited as The Bleeding Heart Band. In 1987, Waters released Radio K.A.O.S., a concept album based on a mute man named Billy from an impoverished Welsh mining town who has the ability to physically tune into radio waves in his head. Billy first learns to communicate with a radio DJ, and eventually to control the world's computers. Angry at the state of the world in which he lives, he simulates a nuclear attack. Waters followed the release with a supporting tour also in 1987. 
Question: What is the last name of the person whose tour suffered from poor ticket sales?
Output: Waters.
Passage: The film begins with Naomi Arkoff being taken by her father Carver Arkoff into the basement of their castle home in Rome, Italy, where there lies a rack. Carver ties Naomi to both ends of the rack and turns the wheel, hurting her. Carver claims that her punishment this time is for having a cell phone, which was against the father's wishes. After begging her father to let her go, Carver unties her, but warns her that the next time she has a cellphone in the house, her punishment is not going to be slow and painful. As she gets released, she runs off upstairs, strangely screaming: "I can run faster than you!" over and over again.
The next afternoon, Carver comes downstairs into the dining room to be questioned by his wife Lisbeth about what he did to Naomi the previous night. They then encourage Carver's half brother Peter, who is mentally retarded, to have lunch with them, where Carver tells Peter that the lamb that they're eating was Sophia, who Peter had grown an affection with. When Naomi comes downstairs and finds out what's up, she gives her toy animal of a horse to him, which appears to cheer him up. Later, Lisbeth takes a tray of food upstairs to her father, who throughout the entire film has his face not seen. Lisbeth then continues to read Edgar Allan Poe's "From Childhood's Hour" to him. Afterward, she alerts him that his guardian angels are in the room to protect him, which are shown to be small little creatures with big skull heads. 
Question: What is the last name of the person who tells Naomi she is being punished for having a cell phone?
Output: Arkoff.
Passage: Sir Henry Joseph Wood  (3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms.  He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms".
Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company.  He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892.
From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario Robert Newman to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music.  When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the Royal Albert Hall.
Wood declined the chief conductorships of the New York Philharmonic and Boston Symphony Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long career: he and Newman greatly improved access to classical music, and Wood raised the standard of orchestral playing and nurtured the taste of the public, presenting a vast repertoire of music spanning four centuries. 
Question: What is the last name of the person during whose studies at the Royal Academy of Music he came under the influence of the voice teacher?
Output: Wood.
Passage: In a collection of Renaissance metalwork Benvenuto Cellini (1500–71) represents the ultimate attribution, as his genuine works as a goldsmith are rarer than paintings by Giorgione.  In his 1902 catalogue Charles Hercules Read mentions that many of the pendants had been attributed to Cellini, but refrains from endorsing the attributions.  A small silver hand-bell (WB.95) had belonged to Horace Walpole, who praised it extravagantly in a letter as "the uniquest thing in the world, a silver bell for an inkstand made by Benvenuto Cellini. It makes one believe all the extravagant encomiums he bestows on himself; indeed so does his Perseus. Well, my bell is in the finest taste, and is swarmed by caterpillars, lizards, grasshoppers, flies, and masques, that you would take it for one of the plagues of Egypt. They are all in altissimo, nay in out-issimo relievo and yet almost invisible but with a glass. Such foliage, such fruitage!"  However Baron Ferdinand had realized that it was more likely to be by Wenzel Jamnitzer, goldsmith to the Emperor Rudolf II, to whom it is still attributed.  Another piece no longer attributed to Cellini is a large bronze door-knocker, with a figure of Neptune, 40 cm high, and weighing over 11 kilos.One category of the bequest that has seen several demotions is the 16 pieces and sets of highly decorated cutlery (WB.201–216).  Read dated none of these later than the 17th century, but on the British Museum database in 2014 several were dated to the 19th century, and were recent fraudulent creations when they entered the collection, some made by Reinhold Vasters.  Doubts have also been raised over a glass cup and cover bearing the date 1518 (WB.59), which might in fact be 19th-century.  Eight pieces of silver plate were redated to the 19th century by Hugh Tait, and some of the jewellery. 
Question: What did Horace praise extravagantly?
Output: A small silver hand-bell.
Passage: Scary Monsters and Super Creeps (1980) produced the number-one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"—the main New Romantic hangout—to recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer, and Pete Townshend. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring as John Merrick in The Elephant Man.Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number-one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK Top 30.Bowie reached his peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became Top 20 hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" each made No. 2 in the UK, accompanied by a pair of "absorbing" promotional videos that biographer David Buckley said "activated key archetypes in the pop world. 'Let's Dance', with its little narrative surrounding the young Aborigine couple, targeted 'youth', and 'China Girl', with its bare-bummed (and later partially censored) beach lovemaking scene (a homage to the film From Here to Eternity), was sufficiently sexually provocative to guarantee heavy rotation on MTV". Stevie Ray Vaughan was guest guitarist playing solo on "Let's Dance", although the video depicts Bowie miming this part. By 1983, Bowie had emerged as one of the most important video artists of the day. Let's Dance was followed by the Serious Moonlight Tour, during which Bowie was accompanied by guitarist Earl Slick and backing vocalists Frank and George Simms. The world tour lasted six months and was extremely popular." At the 1984 MTV Video Music Awards Bowie received two awards including the inaugural Video Vanguard Award. 
Question: What was the first name of the person who was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal.?
Output: David.
Passage: Whether the move to America was Julius's idea or his son's is unknown. A leading Florida property firm had branches in several English cities including Bradford; in an article on Delius's time in Florida, William Randel conjectures that either Julius Delius visited the Bradford office and conceived the notion of sending his wayward son to grow oranges in Florida, or that Fritz himself saw it as a way to escape the hated family wool business and suggested the idea to his father. Delius was in Florida from the spring of 1884 to the autumn of 1885, living on a plantation at Solano Grove (29°52′29″N 81°34′34″W) between Picolata and Tocoi on the Saint Johns River, about 35 miles (55 kilometers) south of Jacksonville. He continued to be engrossed in music, and in Jacksonville he met Thomas Ward, who became his teacher in counterpoint and composition. Delius later said that Ward's teaching was the only useful music instruction he ever had.Delius later liked to represent his house at Solano Grove as "a shanty", but it was a substantial cottage of four rooms, with plenty of space for Delius to entertain guests. Ward sometimes stayed there, as did an old Bradford friend, Charles Douglas, and Delius's brother Ernest. Protected from excessive summer heat by river breezes and a canopy of oak trees, the house was an agreeable place to live in. Delius paid little attention to the business of growing oranges, and continued to pursue his musical interests. Jacksonville had a rich, though to a European, unorthodox musical life. Randel notes that in local hotels, the African-American waiters doubled as singers, with daily vocal concerts for patrons and passers-by, giving Delius his introduction to spirituals. Additionally, ship owners encouraged their deckhands to sing as they worked. "Delius never forgot the singing as he heard it, day or night, carried sweet and clear across the water to his verandah at Solano Grove, whenever a steam-ship passed; it is hard to imagine conditions less conducive to cultivating oranges—or more conducive to composing."While in Florida, Delius had his first composition published, a polka for piano called Zum Carnival. In late 1885 he left a caretaker in charge of Solano Grove and moved to Danville, Virginia. Thereafter he pursued a wholly musical career. An advertisement in the local paper announced, "Fritz Delius will begin at once giving instruction in Piano, Violin, Theory and Composition. He will give lessons at the residences of his pupils. Terms reasonable." Delius also offered lessons in French and German. Danville had a thriving musical life, and early works of his were publicly performed there. 
Question: What is the full name of the person whose early works were publicly performed in Danville, which had a thriving musical life?
Output: Fritz Delius.
Passage: The film opens with a trio of explorers in Africa who are hiding in a cave. One of the explorers, a pregnant woman, is bitten by a vampire bat.
The film then cuts forward in time to a small European village where a series of mysterious murders are taking place. The villagers readily assemble in mob form, with torches, at the house of Professor Kristan after every murder. The villagers suspect that a giant bat is to blame for the murders. Kristan gives the villagers advice on staying safe, and assures them a scientific explanation exists.
However, in subsequent scenes, Kristan himself is revealed to be the murderer. He is seized by attacks (triggered by darkness) which transform him into a trance-like state of murderousness. After he commits a murder, he awakens from the trance with no memory of the deed, believing himself merely to have fainted.  Kristan's obliviousness is further enabled by the intervention of his loyal hunchback Zan, the only person aware of Kristan's condition. Zan follows Kristan when he is in his trances, ensuring the professor is not discovered.
An old friend of Kristan's, Dr. Bizet, arrives to visit, and soon suspects what is happening. Bizet discloses to Kristan that his mother was bitten by a vampire bat, and that traits of vampirism have likely been passed down to him per Lamarckism. (The audience now understands the pregnant explorer in the opening flashback to have been Kristan's mother.)
After Kristan's fiance is attacked by an entranced Kristan, the mob of villagers assumes Zan is culpable and chases him to the edge of a cliff inside a cave. Kristan arrives and confesses to the murders, despite Zan's protestations (aimed at saving the professor) that he, the hunchback, is in fact the murderer.  As the mob watches, Kristan throws himself over the edge of the cliff and Zan follows. 
Question: Where was Professor Kristan's mother bitten by a vampire bat?
Output: Africa.
Passage: The film opens with a trio of explorers in Africa who are hiding in a cave. One of the explorers, a pregnant woman, is bitten by a vampire bat.
The film then cuts forward in time to a small European village where a series of mysterious murders are taking place. The villagers readily assemble in mob form, with torches, at the house of Professor Kristan after every murder. The villagers suspect that a giant bat is to blame for the murders. Kristan gives the villagers advice on staying safe, and assures them a scientific explanation exists.
However, in subsequent scenes, Kristan himself is revealed to be the murderer. He is seized by attacks (triggered by darkness) which transform him into a trance-like state of murderousness. After he commits a murder, he awakens from the trance with no memory of the deed, believing himself merely to have fainted.  Kristan's obliviousness is further enabled by the intervention of his loyal hunchback Zan, the only person aware of Kristan's condition. Zan follows Kristan when he is in his trances, ensuring the professor is not discovered.
An old friend of Kristan's, Dr. Bizet, arrives to visit, and soon suspects what is happening. Bizet discloses to Kristan that his mother was bitten by a vampire bat, and that traits of vampirism have likely been passed down to him per Lamarckism. (The audience now understands the pregnant explorer in the opening flashback to have been Kristan's mother.)
After Kristan's fiance is attacked by an entranced Kristan, the mob of villagers assumes Zan is culpable and chases him to the edge of a cliff inside a cave. Kristan arrives and confesses to the murders, despite Zan's protestations (aimed at saving the professor) that he, the hunchback, is in fact the murderer.  As the mob watches, Kristan throws himself over the edge of the cliff and Zan follows. 
Question: Where was Professor Kristan's mother bitten by a vampire bat?
Output: in a cave.
Passage: A group of young vigilantes seeking revenge for a sexual betrayal fall far from grace. When the truth is out, they find themselves on the dark side of justice.

It becomes a case study in how people handle themselves in a situation that goes awry. It's an essay in the consequences of ill-considered actions and how people manage themselves in a space they're entirely ill-equipped to handle.

Music teacher Bernard is attacked at his home in isolated bushland by five young people masked and dressed in black. The group have just attended the funeral of Cate's (Kestie Morassi) sister Alice, and they've come to kill Bernard, whom they blame for the girl's death as he had an affair with her when she was sixteen, and now, three years later she's taken her own life. Alice's boyfriend, Nick, is the lead agitator; Alice's best friend, Natalie, has persuaded her boyfriend, Anthony, to steal sleeping pills from his father's doctors surgery to make it look as though Bernard has committed suicide. It all however goes horribly wrong when their attempt fails and their victim fights for his life.
In the aftermath, questions are raised about the true nature of the events leading up to the botched attack. As lies and secrets are revealed, the dynamic of the once-tight group shifts as the friends begin to question each other's motives. As they move closer to the truth, the weight of their quest for justice drives them to a place of no return. 
Question: Who was 16 when she had an affair?
Output: Alice.
Passage: Joseph Bolitho Johns, better known as Moondyne Joe, was Western Australia's best known bushranger. In July 1865, Johns was sentenced to ten years penal servitude for killing a steer.  He and another prisoner absconded from a work party in early November, and were on the run for nearly a month, during which time Johns adopted the nickname Moondyne Joe. For absconding and for being in possession of a firearm, Moondyne Joe was sentenced to twelve months in irons, and transferred to Fremantle Prison. In July 1866 he received a further six months in irons for trying to cut the lock out of his door, but in August Moondyne Joe succeeded in escaping again. Moondyne Joe formulated a plan to escape the colony by travelling overland to South Australia, but was captured on 29 September about 300 kilometres (190 mi) north-east of Perth.As punishment for escaping and for the robberies committed while on the run, Moondyne Joe received five years hard labour on top of his remaining sentence.  Extraordinary measures were taken to ensure that he did not escape again. He was transferred to Fremantle Prison where a special "escape-proof" cell was made for him, built from stone, lined with jarrah sleepers and over 1000 nails. In early 1867 Moondyne Joe was set to work breaking stone, but rather than permit him to leave the prison, the acting comptroller-general ordered that the stone be brought in and dumped in a corner of the prison yard, where Moondyne Joe worked under the constant supervision of a warder.
Governor John Hampton was so confident of the arrangements, he was heard to say to Moondyne Joe: "If you get out again, I'll forgive you". However, the rock broken by Moondyne Joe was not removed regularly, and eventually a pile grew up until it obscured the guard's view of him below the waist. Partially hidden behind the pile of rocks, he occasionally swung his sledgehammer at the limestone wall of the prison. On 7 March 1867, Moondyne Joe escaped through a hole he had made in the prison wall. A few days before the second anniversary of his escape, Moondyne Joe was recaptured, returned to prison, and sentenced to an additional four years in irons. Eventually, Governor Frederick Weld heard of his predecessor Hampton's promise, and decided that further punishment would be unfair. Moondyne Joe was given a ticket of leave in May 1871. 
Question: In what year did Joseph Bolitho Johns escape from prison for the second time?
Output: 1866.
Passage: John Douglas (11 April 1830 – 23 May 1911) was an English architect who designed over 500 buildings in Cheshire, North Wales, and northwest England, in particular in the estate of Eaton Hall. He was trained in Lancaster and practised throughout his career from an office in Chester. Initially he ran the practice on his own, but from 1884 until two years before his death he worked in partnerships with two of his former assistants.
Douglas's output included new churches, restoring and renovating existing churches, church furnishings, new houses and alterations to existing houses, and a variety of other buildings, including shops, banks, offices, schools, memorials and public buildings. His architectural styles were eclectic. Douglas worked during the period of the Gothic Revival, and many of his works incorporate elements of the English Gothic style. He was also influenced by architectural styles from the mainland of Europe and included elements of French, German and Dutch architecture. However he is probably best remembered for his incorporation of vernacular elements in his buildings, in particular half-timbering, influenced by the black-and-white revival in Chester. Other vernacular elements he incorporated include tile-hanging, pargeting, and the use of decorative brick in diapering and the design of tall chimney stacks. Of particular importance is Douglas's use of joinery and highly detailed wood carving.
Throughout his career he attracted commissions from wealthy landowners and industrialists, especially the Grosvenor family of Eaton Hall. Most of his works have survived, particularly his churches. The city of Chester contains a number of his structures, the most admired of which are his half-timbered black-and-white buildings and Eastgate Clock. The highest concentration of his work is found in the Eaton Hall estate and the surrounding villages of Eccleston, Aldford and Pulford. 
Question: What is the last name of the person who was influenced by architectural styles from the mainland of Europe and included elements of French, German and Dutch architecture?
Output: Douglas.
Passage: In 1814 Young first exchanged correspondence about the stone with Jean-François Champollion, a teacher at Grenoble who had produced a scholarly work on ancient Egypt. Champollion saw copies of the brief hieroglyphic and Greek inscriptions of the Philae obelisk in 1822, on which William John Bankes had tentatively noted the names "Ptolemaios" and "Kleopatra" in both languages. From this, Champollion identified the phonetic characters k l e o p a t r a (in today's transliteration q l i҆ w p ꜣ d r ꜣ.t). On the basis of this and the foreign names on the Rosetta Stone, he quickly constructed an alphabet of phonetic hieroglyphic characters, which appears in his famous 1822 "Lettre à M. Dacier" sent to Bon-Joseph Dacier, secretary of the Paris Académie des Inscriptions et Belles-Lettres and immediately published by the Académie. In the postscript Champollion notes that similar phonetic characters seemed to occur in both Greek and Egyptian names, a hypothesis confirmed in 1823, when he identified the names of pharaohs Ramesses and Thutmose written in cartouches at Abu Simbel. These far older hieroglyphic inscriptions had been copied by Bankes and sent to Champollion by Jean-Nicolas Huyot. From this point, the stories of the Rosetta Stone and the decipherment of Egyptian hieroglyphs diverge, as Champollion drew on many other texts to develop an Ancient Egyptian grammar and a hieroglyphic dictionary which were published after his death in 1832. 
Question: What was the full name of the person that was immediatley published by the Paris Academie?
Output: Jean-François Champollion.
Passage: El Hatillo Municipality lies at the southeast area of the city of Caracas and at the northwest corner of the State of Miranda; it is one of the state's 21 municipalities. El Hatillo is also within the jurisdiction of the Alcaldía Mayor, which has power over three adjacent municipalities of Miranda, and over Libertador Municipality in the Capital District. These five municipalities make up the city of Caracas. El Hatillo has a land size of 114 square kilometres (44 sq mi) – the third largest municipality in the capital.
The municipality's natural southern boundary is the Turgua range, spanning east to west and separating El Hatillo from the Baruta and Paz Castillo municipalities. Parallel to Turgua in the north is the Sabaneta range; the Prepo stream runs between the two ranges. North of the Sabaneta range, the Prepo stream feeds into the Tusmare stream, which ends in the Guaire river.
La Guairita stream flows into the Guaire in northeastern El Hatillo. The Guaire river is the eastern limit of the municipality, separating it from Sucre and Paz Castillo in the southeastern sector of El Hatillo. La Guairita serves as the northern boundary between El Hatillo and the municipalities of Baruta and Sucre. Limiting Baruta to the west, the boundaries of the municipality follow El Volcán, Pariaguán, La Mata and other peaks until they meet Turgua range in southeastern El Hatillo.The tallest peak in El Hatillo is Picacho de El Volcán (Spanish for "Peak of the Volcano"), at 1,490 meters (4,888 ft) above sea level, from where radio, television and telecommunication antennas serve Caracas. Despite its name, the mountain has had no recorded volcanic history. Other significant mountains in El Hatillo are Gavilán at 1,148 metres (3,766 ft), Topo de El Paují at 1,245 metres (4,085 ft) and Topo de Piedras Pintadas at 1,196 metres (3,924 ft). 
Question: What is the name of the mountain in El Hatillo that has no recorded volcanic history, despite the nomenclature intimating otherwise?
Output: Picacho de El Volcán.
Passage: A young doctor, Robert Merivel, enters the service of King Charles II of England after having saved the King's favorite spaniel. Merivel finds himself enjoying a life of debauched pleasure and popularity at court, until the King informs him that he has arranged for Merivel to wed Celia, the King's favorite mistress. The purpose of the arranged marriage is to fool another of the King's mistresses. Merivel is given an estate named Bidnold in Suffolk, and Celia is installed in a house in Kew where the king can visit her secretly. Merivel lives a life of debauchery there, but also finds pleasure in restoring the house to its former beauty with the support of Will Gates, the man who runs the estate. However, things become complicated when Merivel breaks the King's cardinal rule by falling in love with Celia. Elias Finn, a painter commissioned by the King to paint a portrait of Celia, tricks Merivel into revealing his romantic feelings for Celia, who does not return Merivel's affections. After finding out about Merivel's romantic feelings toward Celia, the King banishes him from court back to his life as a physician.
Merivel rejoins his old friend, John Pearce, who has opened a Quaker sanitarium. There, Merivel meets Katherine, a troubled young woman whose husband walked out on her after their daughter drowned in the river. Merivel and Katherine become lovers. Pearce falls fatally ill with consumption, and while Merivel is tending to his dying friend, they discover that Katherine is pregnant with Merivel's child. After the death of Pearce, Merivel and Katherine leave.
The pair returns to London just as the Great Plague has hit. Katherine gives birth to a daughter, Margaret, via Caesarean section, but dies in the process as there is no way to ward off infection once the body has been cut open. In her dying moments, Merivel promises Katherine that he will care for Margaret, and that he loves Katherine. 
Question: What are the names of the cities Robert has lived?
Output: London.