niryuu/sni-each-converted huggingface dataset:
Passage: Barney Shirrel starts his first semester at Mid West University and works his way up in the fraternity with the help of Tex Roust and Mondrake, an alcoholic college football star. Barney is passionate about engineering and the law, and between his varied studies, football, and the fraternity, he neglects his girl friend Amber. In the next term, Mondrake gives his class sweater to Barney's sister Barbara. His drinking problem intensifies, however, when he learns that Barbara is falling in love with Professor Danvers, the singing drama teacher. When Mondrake fails to show up at an important football game against a rival university, Danvers finds him in jail. With the school's reputation at stake, Danvers has him released and takes him to the football field in time to play in the game. 
Afterwards, Danvers is called before the college president. Although rivals for Barbara's affections, Danvers stands up for Mondrake. The college president expels Mondrake for drunkenness and forces Danvers to resign because of his involvement in the matter. Feeling guilty over causing Mondrake's expulsion, Barbara proposes marriage to him. Later, however, she admits that she is not in love with him, but with Danvers. Mondrake bows out of the relationship, and Barbara rushes to Danvers' side before he leaves. 
During the next term, Barney has followed Mondrake's example and taken up drinking and smoking, which is not appealing to Amber. At the big football game, Barney is in sorry shape. Mid West is losing until he receives inspiration from Tex, who has returned to watch the game. After being knocked out, Barney recovers and wins the game for Mid West.  Some time later, Barney and Amber get married and they move to his father's dairy, where Barney works his way up from the lowest position. Barney and Amber enjoy listening to Danvers singing his song on the radio. 
Question: What is the full name of the man whose sister falls in love with Professor Danvers?
Output: Barney Shirrel.
Passage: Recording sessions for The Joshua Tree began in January 1986 in Danesmoate House in Dublin and continued throughout the year. U2 briefly interrupted these sessions in June to join Amnesty International's A Conspiracy of Hope tour of benefit concerts. Following the first concert in San Francisco, lead singer Bono met René Castro, a Chilean mural artist. Castro had been tortured and held in a concentration camp for two years by the dictatorial Chilean government because his artwork criticised the Pinochet-led regime that seized power in 1973 during a coup d'état. Castro showed Bono a wall painting in the Mission District that depicted the ongoing plight in Chile and Argentina. He also learned of the Madres de Plaza de Mayo, a group of women whose children were forcibly disappeared by the Argentine government. The Madres' children were students who had opposed the government during the Dirty War, and the coup d'état that brought Jorge Rafael Videla to power. The Madres joined together to campaign for information regarding the locations of their children's bodies and the circumstances of their deaths, believing them to have been kidnapped, tortured, and murdered.Inspired by the mural, Bono took an extended break from recording into July, traveling to Nicaragua and El Salvador with his wife, Alison Hewson, to see first-hand the distress of peasants bullied by political conflicts and US military intervention. While there, they worked with the Central American Mission Partners (CAMP), a human rights and economic development organization. In El Salvador they met members of the Comité de Madres Monsignor Romero (COMADRES: Committee of the Mothers Monsignor Romero), an organization of women whose children were forcibly disappeared by the Salvadoran government during the Civil War because they opposed the military regime that was in power. At one point during the trip, Bono, Alison, and a member of CAMP were shot at by government troops while on their way to deliver aid to a group of farmers. The shots were a warning and, according to author John Luerssen, the incident made Bono realize that "they didn't care for their intrusion and they could kill them if they felt compelled."In 2006, Bono recounted another experience he had in El Salvador, where he had seen a body thrown from a van into the road. He remarked, "People would just disappear. If you were part of the opposition, you might find an SUV with the windows blacked out parked outside your house.... If that didn't stop you, occasionally they would come in and take you and murder you; there would be no trial." Bono understood the cause of the Madres and COMADRES and wanted to pay tribute to it. His experiences in Central America inspired the lyrics of "Mothers of the Disappeared" and another track from The Joshua Tree, "Bullet the Blue Sky". 
Question: What was the full name of the concert in San Fransisco where Bono met René Castro?
Output: A Conspiracy of Hope.
Passage: Alex Gates is a wine merchant living in Miami who has distanced himself from his alcoholic wife Suzanne with his philandering, and from his stepson Jason with his indifference. Alex is heavily in debt, and hatches a plan to steal a valuable diamond necklace from the house of his clients, the Reese family, where his Cuban mistress Gabriela works. He cases the house during a wine delivery with Jason, who works in Alex's business, although not happily. Jason becomes attracted to Gabriela, unaware of her relationship with his father.
On the day of the heist, Alex and his British safe-cracker partner Victor arrive at the house under the pretense that the Reeses' wine cellar needs repairs, otherwise their wine will be ruined. Gabriela was supposed to let them in, but she was fired the day before. Fortunately, Alex had cultivated a relationship with the security guard and is able to convince him to admit them. Victor sends Alex and the guard off on an errand while he works on the safe, but a second guard becomes suspicious, although Victor is able to complete the job before being discovered.
The pair decide that Alex will pawn the necklace in New York City, and he invites Gabriela to go with him. As he is packing, Suzanne chances upon the airline tickets for him and Gabriela and immediately realizes he is having another affair. The two of them get into a physical alteration and she knocks him out. Deciding to leave him, she empties out his suitcase, where he has hidden the necklace, and uses it for her own clothes. Jason walks in and the two of them flee to the Florida Keys. Upon arriving, they discover the necklace, but Suzanne doesn't want to keep it, even after Jason has it appraised, discovering it is worth $1 million. Jason also visits Gabriela back in Miami, giving her the phone number of the place they are staying at. 
Question: What is the first name of the person who cases the house?
Output: Alex.
Passage: The film opens with an English schoolteacher, Gwen Mayfield, packing up her belongings at a mission school in colonial Africa. The local witch doctors have led a rebellion, and they reach the school before she is able to escape—the shaman wearing a body mask. Gwen screams, and the scene dissolves to the opening credits.
The next scene is back home in England, where Gwen meets with the apparently Reverend Alan Bax for a job interview. We discover that Gwen suffered a nervous breakdown from whatever she experienced at the hand of the rebels when the school was attacked. Alan is impressed by Gwen and hires her to be the new head teacher at the small private school he and his sister, well-known journalist Stephanie Bax, run for the local children in the village of Heddaby.
Upon moving into the teacher's cottage, Gwen asks her maid, Valerie Creek, where she might find the rectory. Valerie is confused—she knows there is no rectory—until Gwen explains she would like to thank Mr. Bax. "Oh, you mean the Baxes' house!" she says, and shows her the way after tea.
At the house, Gwen meets Stephanie and mentions she tried to look for the church on the way but couldn't find it. Stephanie explains there isn't any church, and no "Reverend Alan Bax"—but that the pretence is completely harmless. Alan shows Gwen the old church, now a ruin, as he walks her home. He confesses to her that he is not really a priest—"I wanted to enter the Church, but I failed." He notes that he does not try to persuade anyone or officiate, but sometimes wears the priestly collar "for security." Gwen tries to find out more about why the old church was left a ruin but Alan mysteriously turns silent and seems to be unable to move, so she says good night and leaves him to his thoughts. 
Question: The witch doctors reach the school before who can escape?
Output: Gwen.
Passage: After the band released two slow-paced albums in a row, R.E.M.'s 1994 album Monster was, as Buck said, "a 'rock' record, with the rock in quotation marks." In contrast to the sound of its predecessors, the music of Monster consisted of distorted guitar tones, minimal overdubs, and touches of 1970s glam rock. Like Out of Time, Monster topped the charts in both the US and UK. The record sold about nine million copies worldwide. The singles "What's the Frequency, Kenneth?" and "Bang and Blame" were the band's last American Top 40 hits, although all the singles from Monster reached the Top 30 on the British charts. Warner Bros. assembled the music videos from the album as well as those from Automatic for the People for release as Parallel in 1995.In January 1995, R.E.M. set out on its first tour in six years. The tour was a huge commercial success, but the period was difficult for the group. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album. The final three performances of the tour were filmed at the Omni Coliseum in Atlanta, Georgia and released in home video form as Road Movie.R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million (a figure the band constantly asserted originated with the media), rumored to be the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. The five million copies of the album sold were a reversal of the group's commercial fortunes of the previous five years. Time writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to sexual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer Bertis Downs assumed managerial duties. 
Question: What was the name of the tour where the band recorded the final three performances?
Output: Monster tour.
Passage: Annie Graham is a miniatures artist who lives in Utah with her husband, Steve; their 16-year-old son, Peter; and their 13-year-old daughter, Charlie. At the funeral of her secretive mother, Ellen Leigh, Annie delivers a eulogy explaining their fraught relationship and her mother's extremely private life. A week after, Steve is informed that Ellen's grave has been desecrated, while Annie thinks she sees an apparition of Ellen in her workshop. At a support group for the bereaved, Annie reveals that the rest of her family suffered from mental illness that resulted in their deaths.
To attend a party, Peter lies that he is going to a school event, and Annie forces him to take Charlie with him. Unsupervised, Charlie eats cake containing nuts, which she is allergic to, and falls into anaphylactic shock. As Peter drives her to a hospital, Charlie leans out of the window for air. Peter swerves to avoid a dead deer and Charlie is decapitated by a telephone pole. In shock, Peter silently drives home and leaves his sister's corpse in the car for their mother to discover the next morning. The family grieves following Charlie's funeral, heightening tensions between Annie and Peter. Peter is plagued by Charlie's presence around the house.
Annie is befriended by a support group member, Joan. Annie tells her she used to sleepwalk and recounts an incident in which she woke up in Peter's bedroom to find herself, Peter, and Charlie covered in paint thinner with a lit match in her hand. Joan teaches Annie to perform a séance to communicate with Charlie. 
Question: What is the first name of the person who discovers the corpse in the car?
Output: Annie.
Passage: Richard "Dick" Purcell, a taxi driver, aspires to achieve his dream of becoming a singer. After a couple of theatre critics discover him while riding in his cab, one of them recommends him to a radio producer. The producer's secretary, Alice Hughes, hears him sing and falls in love with him. She sets up an audition for Dick to sing for the sponsor, Mrs. Flaggenheim. He's late for his audition and blows his big chance. 
Convinced she must go to Italy to find a good enough singer, with enough "romance" to represent her fine cheese products, Mrs. Flaggenheim takes Alice with her to find one in Venice. Dick watches as Alice boards the ship and manages to get on board and work for his passage to Italy. When in Venice, he looks up his friend and mentor from New York City, professor de Vinci, who had gone ahead to use his old connections to help Dick's singing career. They manage to score a couple of jobs as gondoliers for an upcoming event.
Dick uses the opportunity to showcase his voice. Mrs. Flaggenheim hears him and wants to sign him to a contract immediately, thinking he's an authentic Italian named "Ricardo Purcelli". Alice recognizes him, but they continue to hide his true identity and they all go back to New York, where he quickly becomes a radio sensation. Alice's jilted boyfriend finds out Ricardo Purcelli is actually just Dick and gives him an ultimatum. Dick must decide if he wants to continue masquerading as Ricardo and finally attain the fame and fortune he'd always dreamed of....or give it all up for Alice, the one he loves. 
Question: In order to be with the radio producer's secretary, who must he stop pretending to be?
Output: Ricardo Purcelli.
Passage: Slint formed in 1987 in Louisville, Kentucky, from the remnants of the punk rock band Squirrel Bait; the founding members included Brian McMahan (guitar, vocals), David Pajo (guitar), Britt Walford (drums) and Ethan Buckler (bass guitar). The band's debut album, the Steve Albini-produced Tweez, was released on the group's self-owned label Jennifer Hartman Records and Tapes. The album's sound has been described as a combination of "scratchy guitars, thumping bass lines and hard hitting drums". Buckler promptly left the band out of dissatisfaction with Albini's production, and was replaced with Todd Brashear. The band's second recording was for the instrumental extended play Slint, which included a new version of "Rhoda" from Tweez. The EP, which would not be released until 1994, was a departure from Tweez's sound and reflected the band's new musical direction.After the band ended its brief tour in support of Tweez, most of its members attended college. Around this time McMahan and Walford began writing together for the band's next record, creating six new songs which the band practiced throughout the summer of 1990. Slint entered River North Records in August 1990 to record Spiderland. At that time there were no vocals or lyrics prepared for the album, so the band wrote them while in the studio. The album's producer, Brian Paulson, was known for his "live" recording style in the studio, with minimal takes. Paulson recalled "It was weird while I was doing [Spiderland] because I remember sitting there, and I just knew there was something about it. I've never heard anything like this. I'm really digging this but it's really fucking weird."The recording sessions for Spiderland are reputed to have been difficult for the members of the band and were, according to AllMusic, "intense, traumatic and one more piece of evidence supporting the theory that band members had to be periodically institutionalized during the completion of the album." Rumors circulated that at least one member of Slint had been checked into a psychiatric hospital. Walford later addressed these stories in an article in Select by saying, "[We were] definitely trying to be serious about things, pretty intense, which made recording the album kinda stressful." The recording was completed in four days. 
Question: What is the name of the album whose producer, Brian Paulson, was known for his "live" recording style in the studio, with minimal takes?
Output: Spiderland.
Passage: A cave family called the Croods survives a natural disaster, due to the overprotective nature of their stubborn and stern patriarch named Grug. The only one who questions the family's sheltered life is his teenaged daughter Eep, who frequently disobeys her father's orders out of curiosity, which he finds dangerous. Grug and Eep, along with her mother and his wife Ugga, her grandmother Gran, and her younger brother and sister, Thunk and Sandy, face time sheltered in their cave home.
Eep sneaks out when she sees what she discovers to be a torch of fire, and she encounters an inventive modern human boy named Guy and his pet sloth Belt. He warns her of an impending apocalypse and offers to take her with him, but concerned for her family, Eep stays, getting a shell horn from him to blow in case she needs his help. Reuniting with her frantic family, she tries to tell them what Guy told her, but fearing things that are "different" and "new", they destroy her horn.
A massive earthquake then destroys their home, and to avoid carnivores and omnivores, they descend down into a tropical forest that lay hidden behind their cave all the time. Encountering a "Macawnivore", a brightly colored feline that Gran dubs "Chunky", the family flees him until he is scared off by swarms of piranhakeets that devour a ground whale. Using another horn, Eep calls to Guy who rescues them from the birds with his fire. After a great deal of confusion regarding their first contact with fire, Grug imprisons Guy in a log until he can guide them somewhere safe. Guy suggests the Croods go to a mountain where there are caves because the Crood family desires a cave. Grug refuses at first, but he decides to go with the promise of a cave. The other Croods were worried that they would get tired and bicker, but Grug doesn't listen. 
Question: Who traps the modern human boy in a log?
Output: Grug.
Passage: Lennon was born on 9 October 1940 at Liverpool Maternity Hospital, to Julia (née Stanley) (1914–1958) and Alfred Lennon (1912–1976). Alfred was a merchant seaman of Irish descent who was away at the time of his son's birth. His parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother; the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia, by then pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon. In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them – with her partner at the time, Bobby Dykins – and after a heated argument, his father forced the five-year-old to choose between them. In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, however, Lennon's parents agreed that Julia should take him and give him a home. A witness who was there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years.Throughout the rest of his childhood and adolescence, Lennon lived at Mendips, 251 Menlove Avenue, Woolton, with Mimi and her husband George Toogood Smith, who had no children of their own. His aunt purchased volumes of short stories for him, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and when John was 11 years old, he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, taught him the banjo, and showed him how to play "Ain't That a Shame" by Fats Domino. In September 1980, Lennon commented about his family and his rebellious nature:. 
Question: What are the full names of the people that Julia followed?
Output: Alfred Lennon.
Passage: Lennon was born on 9 October 1940 at Liverpool Maternity Hospital, to Julia (née Stanley) (1914–1958) and Alfred Lennon (1912–1976). Alfred was a merchant seaman of Irish descent who was away at the time of his son's birth. His parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother; the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia, by then pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon. In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them – with her partner at the time, Bobby Dykins – and after a heated argument, his father forced the five-year-old to choose between them. In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, however, Lennon's parents agreed that Julia should take him and give him a home. A witness who was there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years.Throughout the rest of his childhood and adolescence, Lennon lived at Mendips, 251 Menlove Avenue, Woolton, with Mimi and her husband George Toogood Smith, who had no children of their own. His aunt purchased volumes of short stories for him, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and when John was 11 years old, he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, taught him the banjo, and showed him how to play "Ain't That a Shame" by Fats Domino. In September 1980, Lennon commented about his family and his rebellious nature:. 
Question: What are the full names of the people that Julia followed?
Output: John Winston Lennon.
Passage: By 2008, Gaga had relocated to Los Angeles to work extensively with her record label to complete her debut album, The Fame, and to set up her own creative team called the Haus of Gaga, modeled on Andy Warhol's Factory. The Fame was released on August 19, 2008, reached number one in Austria, Canada, Germany, Ireland, Switzerland and the UK, and the top five in Australia and the US. Its first two singles, "Just Dance" and "Poker Face", reached number one in the United States, Australia, Canada and the UK. The latter was also the world's best-selling single of 2009, with 9.8 million copies sold that year, and spent a record 83 weeks on Billboard magazine's Digital Songs chart. Three other singles, "Eh, Eh (Nothing Else I Can Say)", "LoveGame" and "Paparazzi", were released from the album; the last one reached number one in Germany. Remixed versions of the singles from The Fame, except "Eh, Eh (Nothing Else I Can Say)", were included on Hitmixes in August 2009. At the 52nd Annual Grammy Awards, The Fame and "Poker Face" won Best Dance/Electronica Album and Best Dance Recording, respectively.Following her opening act on The Pussycat Dolls' 2009 Doll Domination Tour in Europe and Oceania, Gaga headlined her worldwide The Fame Ball Tour, which ran from March to September 2009. While traveling the globe, she wrote eight songs for The Fame Monster, a reissue of The Fame. Those new songs were also released as a standalone EP on November 18, 2009. Its first single, "Bad Romance", was released one month earlier and went number one in Canada and the UK, and number two in the US, Australia and New Zealand. "Telephone", with Beyoncé, followed as the second single from the EP and became Gaga's fourth UK number one. Its third single was "Alejandro", which reached number one in Finland and attracted controversy when its music video was deemed blasphemous by the Catholic League. Both tracks reached the top five in the US. The video for "Bad Romance" became the most watched on YouTube in April 2010, and that October, Gaga became the first person with more than one billion combined views. At the 2010 MTV Video Music Awards, she won eight awards from 13 nominations, including Video of the Year for "Bad Romance". She was the most nominated artist for a single year, and the first female to receive two nominations for Video of the Year at the same ceremony. The Fame Monster won the Grammy Award for Best Pop Vocal Album, and "Bad Romance" won Best Female Pop Vocal Performance and Best Short Form Music Video at the 53rd Annual Grammy Awards. 
Question: What award did Poker Face win at the 52nd Annual Grammy Awards?
Output: Best Dance Recording.
Passage: Based on Andrea Yates and her family, the five children being drowned in the family bathroom by their mother.
In the film itself, which is set in a secluded family farm, the mother suffers a psychotic break down due to postpartum depression and after her husband, a truck driver, hits the road again after only being home a day. It's all too much for her and she snaps, begins to break things in the middle of dinner. She then calmly walks away with the baby to the upstairs bedroom.
Jimmy, the eldest son, trying to keep his younger brother and sister calm, starts cleaning up, but soon he decides to check on his mother and discovers the horrible truth. His baby brother is dead, and she's preparing to take care of the rest of her kids. Now hope for the family's survival rests on the shoulder of Jimmy, the eldest son and surrogate man of the house. After his mother tries to drown his sister and he knocks her out, Jimmy gets his brother onto a bike and tells him to ride for help while trying to get his sister to safety.
Using his wits and intricate knowledge of the farm, Jimmy must try to protect his siblings while fending off the woman he has always known and loved as his mother. Only one of the children survives as the mother stalks a further two of them down and kills them in typical slasher style. Jimmy manages to survive up until his father arrives back after hearing him on a radio transmission. The film then cuts to a hospital and Jimmy is set to come home. His father then tells Jimmy that his mother is also coming home, much to Jimmy's surprise. We are then shown the mother, stood pregnant and singing rock-a-bye baby. 
Question: What is the full name of the person whose husband is a truck driver?
Output: Andrea Yates.
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 who was engaged to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices?
Output: Wood.
Passage: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Åkerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Åkerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Åkerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Åkerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodies—any of which are subject to savage punctuations of death metal fury at any given moment." Åkerfeldt commented on the diversity of Opeth's music:
I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music. We're not afraid to experiment, or to be caught with our pants down, so to speak. That's what keeps us going.
More recently, Opeth have abandoned their death metal sound resulting in a mellower progressive rock sound. When talking about Heritage, guitarist Fredrik Åkesson stated:
In the beginning it took me a little while to get used to the new idea of the sound, not having any screaming vocals and stuff like that.  But I think the album was necessary for us to do. Maybe the band wouldn't have continued if we hadn't done Heritage.  I think the old Opeth fans understand this album. There's always going to be some haters, but you can't be loved by everyone. Opeth has always been about not repeating ourself. A lot of people don't think Heritage is metal but I think it's metal to go somewhere people don't expect. It doesn't mean we're not embracing the past sound of Opeth. 
Question: What is the last name of the person who was influenced by King Crimson?
Output: Åkerfeldt.
Passage: Despite their appreciation of his work, many of Glicken's associates considered him eccentric and highly disorganized. Chatty, noted for being extremely sensitive, Glicken also paid meticulous attention to detail. One of his friends writes, "Harry was a character his whole life. ... Everyone who knew him was amazed he was such a good scientist." Regarding Glicken's driving habits, the same acquaintance describes him as "a cartoon character" who "would drive at full speed down the road, talking about whatever was important to him, and ... come to a four-way stoplight and he'd sail through it, never knowing he'd just gone through".Glicken's father said in 1991 that his son died pursuing his passion, and that he was "totally absorbed" with volcanology. United States Geological Survey co-worker Don Peterson adds that Glicken was keen in his enthusiastic approach to observation, and praises his accomplishments throughout his career and as a graduate student. Speaking about Glicken's personal passion for his field, his mentor and professor Richard V. Fisher writes, "What happened at St. Helens is something that troubled [Glicken] deeply for a very long time, and, in a way, I think it made him even more dedicated than he was before." Associate Robin Holcomb remarks that "Harry was very enthusiastic, very bright, and very ambitious, ambitious to do something worthwhile on volcanoes." Many studies have utilized Glicken's criteria for volcanic landslide recognition, and many subsequent papers on avalanches have acknowledged or referenced Glicken's 1996 report. Reflecting on Glicken's body of work, USGS employee Don Swanson names him as "a world leader in studies of volcanic debris avalanches".Glicken was closely connected to the University of California, Santa Barbara, where he earned his doctorate and conducted research. To remember his association with the university, each year the Department of Earth Science awards an outstanding graduate geology student the "Harry Glicken Memorial Graduate Fellowship", established by the Harry Glicken Fund, which aims to support students "who will pursue research relating to the understanding of volcanic processes". 
Question: What is the last name of the person who thinks what happened at St. Helens made Glicken even more dedicated than he was before?
Output: Fisher.
Passage: Both Surfer Rosa and Steve Albini's production of the album have been influential on alternative rock, and on grunge in particular. Nirvana's Kurt Cobain cited Surfer Rosa as the basis for Nevermind's songwriting. When he first heard the album, Cobain discovered a template for the mix of heavy noise and pop he was aiming to achieve. He remarked in 1992 that he "heard songs off of Surfer Rosa that I'd written but threw out because I was too afraid to play them for anybody." Cobain hired Albini to produce Nirvana's 1993 album In Utero, primarily due to his contribution to Surfer Rosa. The Smashing Pumpkins' Billy Corgan described Surfer Rosa as "the one that made me go, 'holy shit'. It was so fresh. It rocked without being lame." Corgan was impressed by the album's drum sound, and acknowledged that The Smashing Pumpkins used to study the record for its technical elements. Musician PJ Harvey said that Surfer Rosa "blew my mind," and that she "immediately went to track down Steve Albini." Cobain listed Surfer Rosa as number 2 of the top 50 albums he thought were most influential to Nirvana's sound in his journal in 1993.People connected with the band were impressed by the record. Ivo Watts-Russell recalled: "I remember when I first heard Surfer Rosa thinking, 'I didn't know the Pixies could sound like The Fall.' That was my immediate reaction, in other words, incredibly raw." Gary Smith, who at the time was in a disagreement with the band, admitted he "was really happy that they had made such a forceful, aggressive, record." Dinosaur Jr.'s J Mascis, comparing the record to the later Pixies albums Bossanova and Trompe le Monde, said he thought that Steve Albini's production "sounded way better than the other ones."In 1991, as Pixies were recording Trompe le Monde, Albini described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure: "A patchwork pinch loaf from a band who at their top dollar best are blandly entertaining college rock. Their willingness to be 'guided' by their manager, their record company and their producers is unparalleled. Never have I seen four cows more anxious to be led around by their nose rings." Albini later apologized for his remarks, saying, "to this day I regret having done it. I don't think that I regarded the band as significantly as I should have.". 
Question: What is the first name of the person who described his impressions of Pixies during the recording of Surfer Rosa to the fan magazine Forced Exposure?
Output: Steve.
Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?
Output: Viñes.
Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?
Output: Cortot.
Passage: Sandringham is recorded in the Domesday Book as "sant-Dersingham" and the land was awarded to a Norman knight, Robert Fitz-Corbun after the Conquest. The local antiquarian Claude Messent, in his study The Architecture on the Royal Estate of Sandringham, records the discovery of evidence of the pavements of a Roman villa. In the Elizabethan era a manor was built on the site of the present house, which, by the 18th century, came into the possession of the Hoste Henley family, descendants of Dutch refugees. In 1771 Cornish Henley cleared the site to build a Georgian mansion, Sandringham Hall. In 1834, Henry Hoste Henley died without issue, and the estate was bought at auction by John Motteux, a London merchant. Motteux was also without heirs and bequeathed Sandringham, together with another Norfolk estate and a property in Surrey, to the third son of his close friend, Emily Lamb, the wife of Lord Palmerston. At the time of his inheritance in 1843, Charles Spencer Cowper was a bachelor diplomat, resident in Paris. On succeeding to Motteux's estates, he sold the other properties and based himself at Sandringham. He undertook extensions to the hall, employing Samuel Sanders Teulon to add an elaborate porch and conservatory. Cowper's style of living was extravagant—he and his wife spent much of their time on the Continent—and within 10 years the estate was mortgaged for £89,000. The death of their only child, Mary Harriette, from cholera in 1854 led the couple to spend even more time abroad, mainly in Paris, and by the early 1860s Cowper was keen to sell the estate. 
Question: What is the first name of the person whose style of living was extravagant?
Output: Charles.
Passage: Sir Edward William Elgar, 1st Baronet  (; 2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
Although Elgar is often regarded as a typically English composer, most of his musical influences were not from England but from continental Europe. He felt himself to be an outsider, not only musically, but socially. In musical circles dominated by academics, he was a self-taught composer; in Protestant Britain, his Roman Catholicism was regarded with suspicion in some quarters; and in the class-conscious society of Victorian and Edwardian Britain, he was acutely sensitive about his humble origins even after he achieved recognition. He nevertheless married the daughter of a senior British army officer. She inspired him both musically and socially, but he struggled to achieve success until his forties, when after a series of moderately successful works his Enigma Variations (1899) became immediately popular in Britain and overseas. He followed the Variations with a choral work, The Dream of Gerontius (1900), based on a Roman Catholic text that caused some disquiet in the Anglican establishment in Britain, but it became, and has remained, a core repertory work in Britain and elsewhere. His later full-length religious choral works were well received but have not entered the regular repertory.
In his fifties, Elgar composed a symphony and a violin concerto that were immensely successful. His second symphony and his cello concerto did not gain immediate public popularity and took many years to achieve a regular place in the concert repertory of British orchestras. Elgar's music came, in his later years, to be seen as appealing chiefly to British audiences. His stock remained low for a generation after his death. It began to revive significantly in the 1960s, helped by new recordings of his works. Some of his works have, in recent years, been taken up again internationally, but the music continues to be played more in Britain than elsewhere.
Elgar has been described as the first composer to take the gramophone seriously. Between 1914 and 1925, he conducted a series of acoustic recordings of his works. The introduction of the moving-coil microphone in 1923 made far more accurate sound reproduction possible, and Elgar made new recordings of most of his major orchestral works and excerpts from The Dream of Gerontius. 
Question: When did the music of the man who was mostly musically influenced by people outside of England begin to revive in popularity?
Output: 1960s.