niryuu/sni-each-converted huggingface dataset:
Passage: After a weekend's rest, the marchers proceeded to Harrogate. In this solidly Conservative, prosperous town the marchers were greeted warmly by the civic authorities and were fed by the Rotary Club. They were given sleeping quarters by the Territorial Army, a change from the school and church halls, and occasional workhouse accommodation, that was provided at most overnight stops. It was becoming evident that local Conservatives were often as likely to provide practical assistance as Labour, whose local parties were constrained  by the attitude of the party's national leadership. The marchers' claim that theirs was a unique situation, arising from specific actions (the closing of the shipyard and the blocking of the proposed steelworks) that could be remedied by immediate government action, may also have alienated local working-class communities. Cross-party support was important in maintaining the march's non-partisan ethos, a factor that led Riley to refuse a donation of £20 from a communist group, stating: "We are determined at all costs to preserve the non-political character of this Crusade".At Harrogate Wilkinson rejoined the march, as it proceeded through southern Yorkshire towards Chesterfield in Derbyshire. The march was attracting wide publicity; in London the government worried that King Edward might exceed his constitutional limits and receive the marchers. The cabinet issued a statement that emphasised the constitutional means for expressing  grievances, and condemned marches for causing "unnecessary hardship for those taking part in them"—"crocodile tears", according to Wilkinson. In reaching Chesterfield on 17 October, the marchers had travelled 70 miles (110 km) during the week, and were at the approximate half-way point in their journey. That day, the Bishop of Durham was gratified and the marchers correspondingly disappointed, when in a letter to The Times the Bishop of Jarrow denied that his blessing on the march had indicated his support for the venture. The blessing was, he said an act of Christian duty; in general he believed that such marches should be discouraged. Wilkinson was forgiving of the bishop's volte-face, knowing, she later said, "the difficulties he had to face". 
Question: What were the two specific actions made the marchers' claim their situation was unique?
Output: blocking of the proposed steelworks.
Passage: In November, a white, city-bred teenaged schoolgirl and her much-younger brother become stranded in the wilderness after their father goes berserk. After driving them far into the Australian outback, ostensibly for a picnic, the father suddenly begins shooting at the children. They run behind rocks for cover, whereupon he sets the car on fire and shoots himself in the head. The girl conceals what has happened from her brother and, after grabbing some food and supplies, the pair head out into the desert.
By the middle of the next day, they are weak and the boy can barely walk. Discovering a small water hole with a fruiting tree, they spend the day playing, bathing, and resting. By the next morning, the water has dried up. They are then discovered by an Aboriginal boy. Although the girl cannot communicate with him, due to the language barrier, her brother mimes their need for water and the newcomer cheerfully shows them how to draw it from the drying bed of the oasis. The three travel together, with the Aboriginal boy sharing food he has caught hunting. The boys learn to communicate slightly using words and sign language.
While in the vicinity of a plantation, a white woman walks past the Aboriginal boy, who simply ignores her when she speaks to him. She appears to see the other children, but they do not see her, and they continue on their journey. The children also discover a weather balloon belonging to a nearby research team working in the desert. After drawing markings of a modern-style house, the Aboriginal boy eventually leads them to an abandoned farm, and takes the other boy to a nearby road. The Aboriginal boy hunts down a water buffalo and is wrestling it to the ground when two white hunters appear in a truck and nearly run him over. He watches in shock as they shoot several buffalo with a rifle. The boy then returns to the farm, but passes by without speaking. 
Question: Who is nearly run over by a truck?
Output: Aboriginal boy.
Passage: Wheeler had been expecting and openly hoping for war with Nazi Germany for a year prior to the outbreak of hostilities; he believed that the United Kingdom's involvement in the conflict would remedy the shame that he thought had been brought upon the country by its signing of the Munich Agreement in September 1938. Volunteering for the armed services, he was assigned to assemble the 48th Light Anti-Aircraft Battery at Enfield, where he set about recruiting volunteers, including his son Michael. As the 48th swelled in size, it was converted into the 42nd Mobile Light Anti-Aircraft Regiment in the Royal Artillery, which consisted of four batteries and was led by Wheeler – now promoted to the rank of colonel – as Commanding Officer. Given the nickname of "Flash Alf" by those serving under him, he was recognised by colleagues as a ruthless disciplinarian and was blamed by many for the death of one of his soldiers from influenza during training. Having been appointed secretary of the Society of Antiquaries in 1939 and then director in 1940, he travelled to London to deal with society affairs on various occasions. In 1941 Wheeler was awarded a Fellowship of the British Academy. Cole had meanwhile entered into an affair with a man named Clive Entwistle, who lambasted Wheeler as "that whiskered baboon". When Wheeler discovered Entwistle in bed with his wife, he initiated divorce proceedings that were finalised in March 1942.In the summer of 1941, Wheeler and three of his batteries were assigned to fight against German and Italian forces in the North African Campaign. In September, they set sail from Glasgow aboard the RMS Empress of Russia; because the Mediterranean was controlled largely by enemy naval forces, they were forced to travel via the Cape of Good Hope, before taking shore leave in Durban. There, Wheeler visited the local kraals to compare them with the settlements of Iron Age Britain. The ship docked in Aden, where Wheeler and his men again took shore leave. They soon reached the British-controlled Suez, where they disembarked and were stationed on the shores of the Great Bitter Lake. There, Wheeler took a brief leave of absence to travel to Jerusalem, where he visited Petrie on his hospital deathbed. Back in Egypt, he gained permission to fly as a front gunner in a Wellington bomber on a bombing raid against Axis forces, to better understand what it was like for aircrew to be fired on by an anti-aircraft battery. 
Question: What is the first name of the person Wheeler discovered in bed with Clive?
Output: Cole.
Passage: During the 1913 Ballets Russes season in Paris, Monteux conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; Monteux thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds". The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. Monteux had been appalled when Stravinsky first played the score at the piano:
I decided then and there that the symphonies of Beethoven and Brahms were the only music for me, not the music of this crazy Russian. ... My one desire was to flee that room and find a quiet corner in which to rest my aching head. Then [Diaghilev] turned to me and with a smile said, "This is a masterpiece, Monteux, which will completely revolutionize music and make you famous, because you are going to conduct it." And, of course, I did.
Despite his initial reaction, Monteux worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Théâtre des Champs-Élysées to cope with the unfamiliar and difficult music Monteux held seventeen rehearsals, an unusually large number. Monteux's real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now." However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". 
Question: What is the name of the conductor that performed The Rite of Spring for 50 years?
Output: Monteux.
Passage: In 1975, Pink Floyd bought a three-storey group of church halls at 35 Britannia Row in Islington and began converting the building into a recording studio and storage space. In 1976, they recorded their tenth album, Animals, in their newly finished 24-track studio. The concept of Animals originated with Waters, loosely based on George Orwell's political fable, Animal Farm. The album's lyrics described different classes of society as dogs, pigs, and sheep. Hipgnosis received credit for the packaging of Animals; however, Waters designed the final concept, choosing an image of the ageing Battersea Power Station, over which they superimposed an image of a pig.The division of royalties was a source of conflict between band members, who earned royalties on a per-song basis. Although Gilmour was largely responsible for "Dogs", which took up almost the entire first side of the album, he received less than Waters, who contributed the much shorter two-part "Pigs on the Wing". Wright commented: "It was partly my fault because I didn't push my material ... but Dave did have something to offer, and only managed to get a couple of things on there." Mason recalled: "Roger was in full flow with the ideas, but he was really keeping Dave down, and frustrating him deliberately." Gilmour, distracted by the birth of his first child, contributed little else toward the album. Similarly, neither Mason nor Wright contributed much toward Animals; Wright had marital problems, and his relationship with Waters was also suffering. Animals is the first Pink Floyd album that does not include a writing credit for Wright, who commented: "Animals ... wasn't a fun record to make ... this was when Roger really started to believe that he was the sole writer for the band ... that it was only because of him that [we] were still going ... when he started to develop his ego trips, the person he would have his conflicts with would be me."Released in January 1977, the album peaked on the UK chart at number two, and the US chart at number three. NME described the album as "one of the most extreme, relentless, harrowing and downright iconoclastic hunks of music", and Melody Maker's Karl Dallas called it "[an] uncomfortable taste of reality in a medium that has become in recent years, increasingly soporific".Pink Floyd performed much of the album's material during their "In the Flesh" tour. It was the band's first experience playing large stadiums, whose size caused unease in the band. Waters began arriving at each venue alone, departing immediately after the performance. On one occasion, Wright flew back to England, threatening to leave the band. At the Montreal Olympic Stadium, a group of noisy and enthusiastic fans in the front row of the audience irritated Waters so much that he spat at one of them. The end of the tour marked a low point for Gilmour, who felt that the band achieved the success they had sought, with nothing left for them to accomplish. 
Question: What is the name of the album for which "Dogs" took up almost the entire first side?
Output: Animals.
Passage: Before the 1760s, Westgate consisted of only a farm, a coastguard station (built 1791 and still standing in Old Boundary Road) and a few cottages for the crew that surrounded it. These were located beside the coast at St Mildred's Bay, named after Mildrith, Thanet's patron saint and a one-time Abbess of Minster. The town inherited its name from the Westgate Manor, which was located in the area in medieval times. In the early 20th century, the remains of a Roman villa were discovered in what is now Beach Road, where a stream once used to flow. Fresh water can still be seen rising from the sand at low tide.
During the late 1860s, businessmen developed the area into a seaside resort for the upper to middle-classes. A stretch of sea wall, with promenade on top, was constructed around the beaches at St Mildred's Bay and West Bay, and the land divided into plots to be sold for what would become an exclusive development by the sea for wealthy metropolitan families  within a gated community, rather than for occasional tourists. The opening of a railway station, in 1871, led to the rapid expansion of the population, which reached 2,738 by 1901. The demands of the increasing population led to the building of the parish churches of St. James in 1872 and St. Saviour in 1884. St. Saviour's was designed by the architect C.N. Beazley. In 1884 it was reported that Essex, on the other side of the Thames Estuary, was hit by a tremor so large that it caused the bells of St. James' Church to ring. In 1884, ownership of most of the resort passed to Coutts Bank, after the previous proprietors had gone bankrupt.Around twenty schools were opened during the late 19th century, although many had only a few pupils or closed within a few years. The largest of the schools were Streete Court School, Wellington House Preparatory School and St Michael's School.Wellington House was established in 1886 by two clergymen, the Bull brothers. It closed in 1970 and was demolished in 1972. Notable old boys included Doctor Who actor Jon Pertwee and cabinet minister John Profumo, known for his involvement in the Profumo affair.
Streete Court School was opened in 1894 by John Vine Milne, the father of the author A. A. Milne. In the 1890s, the school was attended by St John Philby, the father of the spy Kim Philby.The Coronation Bandstand was built by the cliff edge in 1903, at a cost of £350, to celebrate the coronation of King Edward VII. The following year, a group of French Ursuline nuns, who were banned from teaching in France, fled with some of their pupils to Westgate-on-Sea and established the Ursuline Convent School, which in 1995 was re-established as Ursuline College. In 1910, a Swiss-Gothic styled town hall was built. However, it was soon decided that the building could be put to better use, and in 1912, it was transformed into the Town Hall Cinema. In 1932, it was renamed the Carlton Cinema. 
Question: What is the full name of the place that was transformed into the Town Hall Cinema?
Output: Swiss-Gothic styled town hall.
Passage: In South Africa within the Great Karoo, a half-striped zebra named Khumba is born into an insular isolated herd of all-striped zebras where his mother is Lungisa and his father is Seko. Rumors that the strange foal is cursed spread and before long he is blamed for the drought that sets into the Great Karoo. As he matures, Khumba is picked on and remains ostracized by most of the herd with the exception of Tombi, a young female zebra friend close in age - whom Khumba has a crush on - and uncomfortable in the herd due to her tomboyish manners.
When a mystical African mantis appears to Khumba, he draws a map to what could be interpreted as either water or stripes between it. Khumba jeopardizes the herd and gets into trouble when he attempts to admit several gemsbok (Nhlanhla Mkhwanazi and Anele Matoti) into the watering-hole enclosure when their wise elderly healer needs water. He also nearly admits the ferocious half-blind African leopard Phango who warns Mkhulu that he and his zebra herd can't stay in their enclosure forever. Seko berates and scolds Khumba for putting the herd at risk and for the next week, he'll drink half of his rations. Lungisa tells the story of how a white horse got its stripes by swimming in a magic river and other horses wanted to have stripes like him, making the zebra we know today. Shortly after, Lungisa succumbs to her disease and dies. Then, Khumba leaves the confines of his home knowing that he cannot survive in the herd where it is viewed as only "half-a-zebra" even to his father. 
Question: What adjective describes the strange characteristic of the zebra who wants to help Phango?
Output: half-striped.
Passage: Lyon Gaultier is a paratrooper in the French Foreign Legion, stationed in Djibouti, North Africa. His brother, who is married to an American woman in Los Angeles, is burned alive during a drug deal gone wrong and suffers third-degree burns, dying shortly afterward. Lyon deserts his legion when he finds out they have been withholding letters from his brother's wife and ultimately refuse to let him see his dying brother. He steals a jeep and escapes through the desert, finding work on a tramp steamer headed for the U.S. Meanwhile, the Legion Commandant travels to Paris, arriving at the government Consulate, where he is told that Lyon's desertion is ranked at low importance with the LAPD, so the Commandant suggests sending two of his own men to bring Gaultier back, which is approved.
Lyon arrives pennyless in New York City and is attracted to an illegal street fighting match that is being run by a New Yorker called Joshua, a man who runs fights for money. Gaultier steps forward to take part in the next fight and destroys his opponent, leaving Joshua looking astounded at what he just saw. Joshua takes Lyon to meet a person called Cynthia, also known as 'The Lady' who organizes underground fights for the rich elite and she decides to sponsor him. Figuring that this would be the best way to earn the money he needs to get to L.A., Lyon fights in a no-holds-barred bare-knuckle fights to finance the trip.
Once in L.A. Lyon goes to the hospital where his brother was taken. He learns that he cannot avenge his brother's murder, as he failed to identify his killers before dying. Grief-stricken, Lyon asks the help of Joshua who tracks down his brother's widow's address. However she refuses to accept any financial aid from him, even though she obviously needs it, because she is angry with Lyon for "deserting" his brother years ago. She threatens to call the cops and Lyon has no choice but to leave. 
Question: What is the full name of the person whose brother failed to identify his killers before dying?
Output: Lyon Gaultier.
Passage: The 1951 Festival production, by Siegfried's and Winifred's son Wieland, broke with tradition and featured an austere staging which replaced scenery and props with skilful lighting effects. The Rhinemaidens, along with all the other characters, were plainly dressed in simple robes, and sang their roles without histrionics. Thus the music and the words became the main focus of attention. Wieland was influenced by Adolphe Appia, whose Notes sur l'Anneau du Nibelungen (1924–25) had been dismissed by Cosima: "Appia seems to be unaware that the Ring was performed here in 1876. It follows that the staging is definitive and sacrosanct." However, Wieland and his brother Wolfgang praised Appia: "... the stylised stage, inspired by the music and the realisation of three-dimensional space – constitute the initial impulses for a reform of operatic stagings which led quite logically to the 'New Bayreuth' style."The innovative centenary Bayreuth Ring, directed by Patrice Chéreau, did away altogether with the underwater concept by setting the Rhinemaiden scenes in the lee of a large hydro-electric dam, as part of a 19th-century Industrial Revolution setting for the operas. For the scene with Siegfried in Götterdämmerung, Chéreau altered the perpetual youth aspect of the Rhine Maidens by depicting them as "no longer young girls merrily disporting themselves; they have become tired, grey, careworn, and ungainly". Since this production "the assumption of unrestricted interpretive license has become the norm". For example, Nikolaus Lehnhoff, in his 1987 Bayerische Staatsoper production, placed the Rhinemaidens in a salon and had their lament at the end of Rheingold played on a gramophone by Loge. 
Question: What was the full name of the person that led to the New Bayreuth style?
Output: Adolphe Appia.
Passage: A young American man arrives in Palermo by plane. A taxi driver at the airport immediately gets word to Frank Ginetta, who hides, armed with a gun, until he realizes that the visitor he's been warned about is actually his younger brother Vinnie.
Frank happily welcomes his brother and takes him home, catching up on old times. But his wife, Ida, reminds him that "they're going to send someone," suggesting that perhaps Vinnie is the one.
In a flashback, Frank recalls better times in New York City, beginning with Vinnie's homecoming from military service and subsequent marriage to Emma Bertolo. The father of the bride, Dominick Bertolo is a Mafia don, as is the groom's brother, Frank. And among those paying their respects as guests at the wedding are mob leaders like Egan, Rotherman and Levin, who are the equals of Frank and Dominick in the New York region's organized crime.
These capos within the Organization meet as a board to coordinate their business. The majority becomes increasingly unhappy with Frank's position, as he seems opposed to every new idea. Frank also dispenses justice on his own in the old Sicilian fashion, without seeking approval from the others. They, not being of Sicilian origin, are trying to leave behind the old traditional methods, such as when two of Frank's hit men kill a stool pigeon in the marshes and leave him tied to a chair with a canary stuffed in his mouth, as a warning to others who might talk too much.
Frank still fondly remembers his father, who also was a mafioso who was assassinated in a hit. Vinnie is more of a businessman, and takes sides with the other board members in ventures they intend to pursue without his brother. Frank resents this, striking Vinnie for defying him and insisting to the board that Vinnie will have no part in what they have planned. 
Question: What is the first name of the don's brother's wife?
Output: Emma.
Passage: The painting was well-received in Serbia and abroad; it has since attained iconic status in Serbian popular culture. An allusion to it is made in Emir Kusturica's 1995 film Underground, in which war refugees are depicted marching towards Belgrade in similar fashion, following the German bombing of the city in April 1941. Several authors have noted similarities between Jovanović's depiction of the migration and images of other upheavals in Serbian history. Historian Katarina Todić observes that there are striking similarities between the painting and photographs of the Royal Serbian Army's retreat to the Adriatic coast during World War I. Judah remarks that the composition resembles images of the exodus of Krajina Serbs following Croatia's Operation Storm in August 1995.The journalist John Kifner describes Migration of the Serbs as a "Balkan equivalent to Washington Crossing the Delaware ... an instantly recognizable [icon] of the 500-year struggle against the Ottoman Turks." Professor David A. Norris, a historian specializing in Serbian culture, calls Jovanović's approach "highly effective", and writes how the stoic attitude of the priests, warriors and peasants reminds the viewer of the historical significance of the migration. He asserts that Migration of the Serbs and similar paintings stimulated a "revived collective memory" among the new Serbian middle class, "transforming ... folk memory into a more modern vehicle for the invention of a new national ideology based on the Serbian struggle for freedom from foreign domination." Art historian Michele Facos describes the painting as a celebration of the Serbs' "valiant effort to defend Christian Europe against ... the Ottoman Turks." The historian Noel Malcolm doubts the historical veracity of depictions of Arsenije leading vast columns of refugees, saying that there is no concrete evidence to confirm or deny that the number of migrants exceeded 40,000, as Church leaders claimed.Filipovitch-Robinson ranks the painting among Jovanović's three best works, alongside The Takovo Uprising (1894) and The Proclamation of Dušan's Law Codex (1900). This view is shared by the art historian Jelena Milojković-Djurić, as well as Judah. Filipovitch-Robinson praises Jovanović's "uncompromising realism" and commends his portrayal of the migrants. She writes that the Pančevo version "validates Jovanović as an insightful commentator on ... Balkan history", and is indicative of "the methodology and technical skill which had already brought him international acclaim." Jovanović "persuades the viewer of the believability and authenticity of the event," she writes. "He captures the determination, strength, and dignity of a people. [...] Regardless of the reasons for this migration, they move forward in unison to meet the hard challenges of an unknown land.". 
Question: What is the name of the painting that was well-received in Serbia?
Output: Migration of the Serbs.
Passage: Black bears are common in the park and were a park symbol due to visitor interaction with the bears starting in 1910. Feeding and close contact with bears has not been permitted since the 1960s to reduce their desire for human foods. Yellowstone is one of the few places in the United States where black bears can be seen coexisting with grizzly bears. Black bear observations occur most often in the park's northern ranges and in the Bechler area which is in the park's southwestern corner.As of 2017, an estimated 700 grizzly bears were living in the Greater Yellowstone Ecosystem, with about 150 grizzlies living wholly or partially within Yellowstone National Park. The grizzly was initially listed as a threatened species in the contiguous United States on July 28, 1975 by the Fish and Wildlife Service. The grizzly bear was taken off the endangered species list in 2007. Opponents of delisting the grizzly expressed concerns that states might once again allow hunting and that better conservation measures were needed to ensure a sustainable population. A federal district judge overturned the delisting ruling in 2009, reinstating the grizzly; however, the grizzly was once again removed from the list in 2017. In September 2018, a US district judge ruled that the grizzly's protections must be restored in full, arguing the Fish and Wildlife Service was mistaken in removing the bear from the threatened status list. Regardless of the rulings, hunting is prohibited within Yellowstone National Park. Hunters who legally hunt animals outside park boundaries may transport the carcass through the park with a permit.
Population figures for elk are in excess of 30,000—the largest population of any large mammal species in Yellowstone. The northern herd has decreased enormously since the mid‑1990s; this has been attributed to wolf predation and causal effects such as elk using more forested regions to evade predation, consequently making it harder for researchers to accurately count them. The northern herd migrates west into southwestern Montana in the winter. The southern herd migrates southward, and the majority of these elk winter on the National Elk Refuge, immediately southeast of Grand Teton National Park. The southern herd migration is the largest mammalian migration remaining in the U.S. outside of Alaska. 
Question: What is the full name of the park in which black bears are common and whose symbol they once served as?
Output: Yellowstone National Park.
Passage: Wheeler was known as "Rik" among friends. He divided opinion among those who knew him, with some loving and others despising him, and during his lifetime, he was often criticised on both scholarly and moral grounds. The archaeologist Max Mallowan asserted that he "was a delightful, light-hearted and amusing companion, but those close to him knew that he could be a dangerous opponent if threatened with frustration".
His charm offensives were often condemned as being insincere. During excavations, he was known as an authoritarian leader but favoured those who he thought exhibited bravery by standing up to his authority. Hence, he has been termed "a benevolent dictator". He was meticulous in his writings, and would repeatedly revise and rewrite both pieces for publication and personal letters. Throughout his life, he was a heavy smoker.Wheeler expressed the view that he was "the least political of mortals". Despite not taking a strong interest in politics, Wheeler was described by his biographer as "a natural conservative"; for instance, during his youth he was strongly critical of the Suffragettes and their cause of greater legal rights for women. Nevertheless, he was "usually happy to advance young women professionally", something that may have been based largely on his sexual attraction toward them. He expressed little interest in his relatives; in later life, he saw no reason to have a social relationship with people purely on the basis of family ties.Wheeler was married three times. In May 1914, Wheeler married Tessa Verney. Tessa became an accomplished archaeologist, and they collaborated until she died in 1936. Their only child, Michael Mortimer Wheeler, was born in January 1915; he became a barrister. Following Tessa's death, in 1939, Wheeler married Mavis de Vere Cole, widow of the prankster Horace de Vere Cole. Their relationship was strained; Cole's diaries revealed that Wheeler physically hit her when she annoyed him. In 1945 Mortimer Wheeler married his third wife, Margaret "Kim" Collingridge. Although they became estranged in 1956, Collingridge's Catholicism prevented divorce. Meanwhile, Wheeler was well known for his conspicuous promiscuity, favouring young women for one-night stands, many of whom were his students. He was further known for having casual sex in public places. That behaviour led to much emotional suffering among his various wives and mistresses of which he was aware. As a result of his behaviour, later archaeologist Gabriel Moshenska informed a reporter from the Daily Mail that Wheeler had developed a reputation as "a bit of a groper and a sex pest and an incredible bully as well". 
Question: What is the real name of the person who was often criticized on both scholarly and moral grounds?
Output: Wheeler.
Passage: In 1969, American rock musician Jimi Hendrix, who was then at the height of his career, was arrested, tried, and acquitted in Canada for drug possession.
On May 3, 1969, customs agents at Toronto International Airport detained Hendrix after finding a small amount of what they suspected to be heroin and hashish in his luggage. Four hours later, after a mobile lab confirmed what had been found, he was formally charged with drug possession. Released on $10,000 bail, Hendrix was required to return on May 5 for an arraignment hearing. During a performance at Maple Leaf Gardens later that night, he displayed a jovial attitude, joking with the audience and singing a few lines of mock opera for comedic effect.
At a preliminary hearing on June 19, Judge Robert Taylor set a date for December 8, at which Hendrix would stand trial for two counts of illegal possession of narcotics, for which he faced as many as 20 years in prison. While there was no question as to whether the drugs were in Hendrix's luggage, in order for the Crown to prove possession they had to show that he knew they were there. In his cross-examination of Canadian customs officials, defense attorney John O'Driscoll raised doubts about whether the narcotics belonged to Hendrix, who had no drug paraphernalia in his luggage or needle tracks on his arms. After a trial that lasted for three days, the jury deliberated for 8 hours before returning a not guilty verdict, acquitting Hendrix of both charges.
The incident proved stressful for Hendrix, and it weighed heavily on his mind during the seven months that he awaited trial. Two weeks after the arrest, he told his friend, journalist Sharon Lawrence, that his fear of needles discouraged him from using heroin and that associating with junkies had convinced him it was not a drug he wanted to use. Both of Hendrix's Experience bandmates, Mitch Mitchell and Noel Redding, later stated that they had been warned about a planned drug bust the day before flying to Toronto and they believed that drugs had been planted in Hendrix's bag. Although Hendrix was one of the biggest stars in North America at the time, and the world's highest-paid performer, only a couple of Toronto newspapers carried the story. His public relations manager, Michael Goldstein, later revealed that he bribed a member of the Associated Press with a case of liquor in an effort to prevent the story from going out on the news wire. 
Question: What is the full name of the person that bribed a member of the Associated Press with a case of liquor?
Output: Michael Goldstein.
Passage: Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline. 
Question: What is the name of the band whose members critics have gone so far as to call Marxist?
Output: Stereolab.
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances. 
Question: What are the full names of the three individuals who met at the Kennedy Center in Washing D.C. in 1985 to begin intensive study of the six characters upon whom the opera would focus?
Output: Peter Sellars.
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances. 
Question: What are the full names of the three individuals who met at the Kennedy Center in Washing D.C. in 1985 to begin intensive study of the six characters upon whom the opera would focus?
Output: John Adams.
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances. 
Question: What are the full names of the three individuals who met at the Kennedy Center in Washing D.C. in 1985 to begin intensive study of the six characters upon whom the opera would focus?
Output: Alice Goodman.
Passage: One foggy night in Devon, Gail, a working border collie Herding dog, gives birth to a litter of three puppies, cozy in a barn on Borough Farm. As she lies quietly with her newborn litter, her father, Sir Gregory, walks inside, not realizing she had her puppies until she summons his attention and he spots them curled up next to her. She has already named two of them Storm and Drift but she thinks Sir Gregory should name the third. He looks out of the window and names her Mist after the "misty" night she was born. All the other dogs, Swift, her son Ernie, and Jake, are delighted to meet the puppies at last but Fern doesn't seem to like puppies and is not happy to be their auntie.
When the puppies realize they can finally see things, Mist looks out of a nearby window and sees a flock of sheep pass by, but does not exactly know what they are. She points them out to Storm and Drift, but by the time they come to the window, the sheep are gone. They think Mist is making it up, and they playfully tease and wrestle each other around the barn. This soon tires them out, and they slowly fall asleep side by side.
Mist seems to like the idea of working the flock more than her brother and sister. Later that day, Sir Gregory talks with Gail about how well Mist is doing compared to Storm and Drift. Gail realises it is finally time to choose which of the puppies will stay on Borough Farm to be trained as a working sheepdog, and which have to leave. One day the puppies are playing in the yard when two different families come to take Storm and Drift away. They are placed in the cars and Gail sadly watches them drive away.
Winter arrives at Borough Farm, but Fern has still not warmed up to Mist. One day Mist gets giddy and runs off into the woods; a dark place where she soon gets lost and has to be rescued by the Boss and Sir Gregory. This amuses Fern. 
Question: Who do not like the idea of working a flock as much as Mist?
Output: Storm.
Passage: One foggy night in Devon, Gail, a working border collie Herding dog, gives birth to a litter of three puppies, cozy in a barn on Borough Farm. As she lies quietly with her newborn litter, her father, Sir Gregory, walks inside, not realizing she had her puppies until she summons his attention and he spots them curled up next to her. She has already named two of them Storm and Drift but she thinks Sir Gregory should name the third. He looks out of the window and names her Mist after the "misty" night she was born. All the other dogs, Swift, her son Ernie, and Jake, are delighted to meet the puppies at last but Fern doesn't seem to like puppies and is not happy to be their auntie.
When the puppies realize they can finally see things, Mist looks out of a nearby window and sees a flock of sheep pass by, but does not exactly know what they are. She points them out to Storm and Drift, but by the time they come to the window, the sheep are gone. They think Mist is making it up, and they playfully tease and wrestle each other around the barn. This soon tires them out, and they slowly fall asleep side by side.
Mist seems to like the idea of working the flock more than her brother and sister. Later that day, Sir Gregory talks with Gail about how well Mist is doing compared to Storm and Drift. Gail realises it is finally time to choose which of the puppies will stay on Borough Farm to be trained as a working sheepdog, and which have to leave. One day the puppies are playing in the yard when two different families come to take Storm and Drift away. They are placed in the cars and Gail sadly watches them drive away.
Winter arrives at Borough Farm, but Fern has still not warmed up to Mist. One day Mist gets giddy and runs off into the woods; a dark place where she soon gets lost and has to be rescued by the Boss and Sir Gregory. This amuses Fern. 
Question: Who do not like the idea of working a flock as much as Mist?
Output: Drift.