niryuu/sni-each-converted huggingface dataset:
Passage: Kill 'Em All features intricate riffing reminiscent of the NWOBHM bands played at high velocity. The album is considered crucial in the thrash metal genesis because it introduced fast percussion, low-register chords, and shredding leads to the genre. Hammett played some pentatonic patterns in addition to his breakneck solos. Ulrich adopted a double time snare pattern that would become a mainstay on Metallica's subsequent albums. Hetfield's vocals evolved from the melodic wail on No Life 'til Leather to a rough-edged bark, and the entire band played faster and more accurately on Kill 'Em All. Music writer Joel McIver said Burton's and Hetfield's performances were nearly virtuosic, because of the smooth-sounding bass of the former and the precise picking skills of the latter. According to journalist Chuck Eddy, the juvenile lyrical approach to topics such as warfare, violence and life on the road gives the album a "naive charm". The musical approach on Kill 'Em All was in contrast to the glam metal bands who dominated the charts in the early 1980s. Because of its rebellious nature and Metallica's street appearance, it appealed to fans who were not into the mainstream of hard rock.
"Phantom Lord" is a lyrical nod to devilry. The song begins with synthesized bass drone and contains a middle section with clean, arpeggiated guitar chords. Written by Mustaine, its central riff is in NWOBHM fashion. "No Remorse" is a mid-tempo song which suddenly accelerates its tempo in the fifth minute. The song is about not feeling any remorse or sense of repentance during battle. "Seek & Destroy" was inspired by Diamond Head's "Dead Reckoning" and is the first song Metallica recorded during the Kill 'Em All sessions. Hetfield wrote the main riff in his truck outside a Los Angeles sticker factory where he was working. Because of its simple, one-line chorus, the song became a permanent setlist fixture and a crowd singalong. "Metal Militia", one of the fastest songs on the album, is about heavy metal's way of life and nonconformity. Mustaine composed the main riff, which emulates a marching army. The song ends with tramping feet and bullet ricochet in a fade-out. 
Question: What is the title of the song that ends with tramping feet and bullet ricochet in a fade-out?
Output: Metal Militia.
Passage: Petrified Forest National Park straddles the border between Apache County and Navajo County in northeastern Arizona. The park is about 30 miles (48 km) long from north to south, and its width varies from a maximum of about 12 miles (19 km) in the north to a minimum of about 1 mile (1.6 km) along a narrow corridor between the north and south, where the park widens again to about 4 to 5 miles (6 to 8 km).I-40, former U.S. Route 66, the BNSF Railway, and the Puerco River bisect the park generally east–west along a similar route. Adamana, a ghost town, is about 1 mile (1.6 km) west of the park along the BNSF tracks. Holbrook, about 26 miles (42 km) west of park headquarters along I-40, is the nearest city. Bisecting the park north–south is Park Road, which runs between I-40 near park headquarters on the north and U.S. Route 180 on the south. Historic Highway 180, an earlier alignment of the modern route, crosses the southern edge of the park. Like Route 66, it has deteriorated and is closed. Many unpaved maintenance roads, closed to the public, intersect Park Road at various points.The fee area of the park covers about 230 square miles (600 km2). The Navajo Nation borders the park on the north and northeast. State-owned land, federal land controlled by the Bureau of Land Management, and private land, much of it used for cattle ranching, adjoin the other borders. The park’s elevation above sea level varies from a low of 5,340 feet (1,630 m) along the Puerco River to a high of 6,230 feet (1,900 m) at Pilot Rock; the average elevation is about 5,400 feet (1,600 m). The terrain varies from gentle hills and major petrified wood deposits in the south to eroded badlands in the north.  Most of the park's intermittent streams—including Lithodendron Wash, Dead Wash, Ninemile Wash, and Dry Wash—empty into the Puerco River. In the southern part of the park, Cottonwood Wash and Jim Camp Wash flow into the Little Colorado River. 
Question: What is the name of the place that has an average elevation of about 5,400 feet?
Output: Petrified Forest National Park.
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches. 
Question: What are the full names of the persons who first gave Amazing Grace it's title?
Output: Dwight Moody.
Passage: Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. A tune named "Arlington" accompanied Newton's verses as much as "New Britain" for a time in the late 19th century.
Two musical arrangers named Dwight Moody and Ira Sankey heralded another religious revival in the cities of the U.S. and Europe, giving the song international exposure. Moody's preaching and Sankey's musical gifts were significant; their arrangements were the forerunners of gospel music, and churches all over the U.S. were eager to acquire them. Moody and Sankey began publishing their compositions in 1875, and "Amazing Grace" appeared three times with three different melodies, but they were the first to give it its title; hymns were typically published using the first line of the lyrics, or the name of the tune such as "New Britain". A publisher named Edwin Othello Excell gave the version of "Amazing Grace" set to "New Britain" immense popularity by publishing it in a series of hymnals that were used in urban churches. Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs. Several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin were published by Excell between 1900 and 1910, and his version of "Amazing Grace" became the standard form of the song in American churches. 
Question: What are the full names of the persons who first gave Amazing Grace it's title?
Output: Ira Sankey.
Passage: With her scholarship funds exhausted, Holst needed a job, and in June 1931 took charge of music at the Citizen House arts and education centre in Bath.  She disliked the disciplines imposed by an unsympathetic and unyielding superior, but stayed until the end of the year, by which time Citizen House had relocated to Hampstead.    She worked briefly as a freelance conductor and accompanist before joining the staff of the EFDS early in 1932. The organisation had by now expanded to become the "English Folk Dance and Song Society" (EFDSS) and was based in new headquarters at Cecil Sharp House. The duties, mainly teaching, were not full-time, and she was able to take up part-time teaching posts at her old school, Eothen, and at Roedean School.  Although she composed little original music during these years, she made many instrumental and vocal arrangements of traditional folk melodies.Gustav Holst's health had been poor for years; in the winter of 1933–34 it deteriorated, and he died on 25 May 1934. Imogen Holst privately determined that she would establish and protect her father's musical legacy. On 24 March 1935 she took part in a Gustav Holst memorial concert, in which she conducted her own arrangement of one of her father's brass band suites.  Meanwhile, her own music was beginning to attract attention. Her carol arrangement "Nowell and Nowell" was performed in a 1934 Christmas concert in Chichester Cathedral, and the following year saw the premiere of her Concerto for Violin and Strings, with Elsie Avril as the soloist.  In 1936 she paid a visit to Hollywood, where she stayed with her uncle (Gustav's brother), the actor Ernest Cossart.  Back in England, Holst worked on recorder arrangements of music by the neglected 16th-century composer Pelham Humphrey. These were published in 1936 to a positive critical reception.In 1938 Holst published a biography of her father.  Among many positive comments from friends and critics, the composer Edmund Rubbra praised her for producing a book that was not "clouded by sentiment ... her biography is at once intimate and objective". 
Question: What is the full name of the person who made many instrumental and vocal arrangements of traditional folk melodies during the years she was holding several part-time teaching posts?
Output: Imogen Holst.
Passage: The Covent Garden area has over 60 pubs and bars; several of them are listed buildings, with some also on CAMRA's National Inventory of Historic Pub Interiors; some, such as The Harp in Chandos Place, have received consumer awards. The Harp's awards include London Pub of the Year in 2008 by the Society for the Preservation of Beers from the Wood, and National Pub of the Year by CAMRA in 2010. It was at one time owned by the Charrington Brewery, when it was known as The Welsh Harp; in 1995 the name was abbreviated to just The Harp, before Charrington sold it to Punch Taverns in 1997. It was eventually purchased by the landlady Binnie Walsh around 2010 then subsequently sold by her to Fuller's Brewery in 2014.  It continues to win regular CAMRA pub awards under its new owners.
The Lamb and Flag in Rose Street is possibly the oldest pub in the area. The first mention of a pub on the site is 1772 (when it was called the Cooper's Arms – the name changing to Lamb & Flag in 1833); the 1958 brick exterior conceals what may be an early 18th-century frame of a house replacing the original one built in 1638. The pub acquired a reputation for staging bare-knuckle prize fights during the early 19th century when it earned the nickname "Bucket of Blood". The alleyway beside the pub was the scene of an attack on John Dryden in 1679 by thugs hired by John Wilmot, 2nd Earl of Rochester, with whom he had a long-standing conflict.The Salisbury in St Martin's Lane was built as part of a six-storey block around 1899 on the site of an earlier pub that had been known under several names, including the Coach & Horses and Ben Caunt's Head; it is both Grade II listed, and on CAMRA's National Inventory, due to the quality of the etched and polished glass and the carved woodwork, summed up as "good fin de siècle ensemble". The Freemasons Arms on Long Acre is linked with the founding of the Football Association in 1863; however, the meetings took place at The Freemason's Tavern on Great Queen Street, which was replaced in 1909 by the Connaught Rooms.Other Grade II listed pubs include three 19th century rebuilds of 17th century/18th century houses, the Nell Gwynne Tavern in Bull Inn Court, the Nag's Head on James Street, and the White Swan on New Row; a Victorian pub built by lessees of the Marquis of Exeter, the Old Bell on the corner of Exeter Street and Wellington Street; and a late 18th or early 19th century pub the Angel and Crown on St Martin's Lane. 
Question: What is the current name of the pub that acquired a reputation for staging bare-knuckle prize fights?
Output: Lamb and Flag.
Passage: George Frideric Handel was born on 23 February 1685 in the German city of Halle. It is unclear what initial musical education he received; his father, Georg Händel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at Weissenfels, where his half-brother Karl was in the service of the Duke of Saxe-Weissenfels, impressed the duke, who persuaded Händel senior that the boy should have a proper musical education. As a result, Handel began formal study under Friedrich Zachow, the organist of the Lutheran church at Halle.Handel's biographer Jonathan Keates writes that: "From [Zachow] Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style". Handel's musical development also benefited from an early and lasting friendship with Georg Philipp Telemann, whom he met in 1700. In February 1702 Handel enrolled at the University of Halle, perhaps intending to study law. In March he took up the post of organist at Halle's Calvinist cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the elector who, in 1701, had become the Prussian king Frederick I. In Berlin Handel first experienced Italian opera, and may have met the Italian composers Giovanni Bononcini and Attilio Ariosti, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil his year's contract at the Domkirche. With few career prospects available in his home city, Handel would have liked to go to Italy, but this, he realised, was not yet practicable, since he lacked both cash and contacts. Instead in mid-1703 he left Halle for Hamburg, a thriving free city which housed the leading opera house in northern Germany. 
Question: What is the last name of the person who took up the post of organist at Halle's Calvinist cathedral?
Output: Handel.
Passage: Shortly after Michael's birth, the family moved to Wetherden in Suffolk. Michael's education began in 1909, with a nursery governess and various private tutors who followed a  curriculum that included piano lessons—his first formal contact with music. There was a piano in the house, on which he "took to improvising crazily ... which I called 'composing', though I had only the vaguest notion of what that meant". In September 1914 Michael became a boarder at Brookfield Preparatory School in Swanage, Dorset. He spent four years there, at one point earning notoriety by writing an essay that challenged the existence of God. In 1918 he won a scholarship to Fettes College, a boarding school in Edinburgh, where he studied the piano, sang in the choir, and began to learn to play the pipe organ. The school was not a happy place; sadistic bullying of the younger pupils was commonplace. When Michael revealed to his parents in March 1920 that he had formed a homosexual relationship with another boy, they removed him. He transferred to Stamford School in Lincolnshire, where a decade previously Malcolm Sargent had been a pupil.Around this time Henry Tippett decided to live in France, and the house in Wetherden was sold. The 15-year-old Michael and his brother Peter remained at school in England, travelling to France for their holidays. Michael found Stamford much more congenial than Fettes, and developed both academically and musically. He found an inspiring piano teacher in Frances Tinkler, who introduced him to the music of Bach, Beethoven, Schubert and Chopin. Sargent had maintained his connection with the school, and was present when Tippett and another boy played a C minor Concerto for Two Harpsichords by Bach on pianos with a local string orchestra. Tippett sang in the chorus when Sargent directed a local performance of Robert Planquette's operetta Les Cloches de Corneville. Despite his parents' wish that he follow an orthodox path by proceeding to Cambridge University, Tippett had firmly decided on a career as a composer, a prospect that alarmed them and was discouraged by his headmaster and by Sargent.By mid-1922 Tippett had developed a rebellious streak. His overt atheism particularly troubled the school, and he was required to leave. He remained in Stamford in private lodgings, while continuing lessons with  Tinkler and with the organist of St Mary's Church. He also began studying Charles Villiers Stanford's book Musical Composition which, he later wrote, "became the basis of all my compositional efforts for decades to come". In 1923 Henry Tippett was persuaded that some form of musical career, perhaps as a concert pianist, was possible, and agreed to support his son in a course of study at the Royal College of Music (RCM). After an interview with the college principal, Sir Hugh Allen, Tippett was accepted despite his lack of formal entry qualifications. 
Question: What is the last name of the person who transferred to Stamford School in Lincolnshire?
Output: Tippett.
Passage: In 1861, Rossier was in Siam, where he assisted the French zoologist Firmin Bocourt by taking ethnographic portraits for the latter's scientific expedition of 1861–1862, and in 1863, Negretti and Zambra issued a series of 30 stereographic portraits and landscapes taken in Siam that are almost certainly the work of Rossier. In February 1862, Rossier was again in Shanghai, where he sold his cameras and other photographic equipment before embarking for Europe. During his time in Asia it is possible that Rossier photographed in India; Negretti and Zambra issued a series of views of India at about the same time as Rossier's China views.Rossier returned to Switzerland in early 1862 and, in October 1865, married Catharine Barbe Kaelin (1843–1867). The couple had a son, Christophe Marie Pierre Joseph, who was born on 30 July 1866. Catharine died on 4 April 1867.
Rossier maintained a photographic studio in Fribourg until at least 1876 and he also had a studio in Einsiedeln. During the 1860s and 1870s, he produced a number of stereographs and cartes-de-visite comprising portraits and views of Fribourg, Einsiedeln and other places in Switzerland. An 1871 advertisement in the French-language Fribourg newspaper La Liberté offered photographs by Rossier of religious paintings by the artist Melchior Paul von Deschwanden. In 1872, Rossier applied for a passport to travel to France where he may have produced photographs. At some point between 1871 and 1884, he married again. His second wife, Marie Virginie Overney, was employed as a household servant by the landlords of his studio. They had a son, Joseph Louis, who was born in Paris on 16 March 1884, and who went on to own a café in Vevey, Switzerland. He died in 1927.
Pierre Rossier died in Paris some time between 1883 and 1898.Examples of Rossier's views of Switzerland are held in several institutions and private collections in that country. Rossier took the first commercial photographs of China and Japan, and they are now quite rare. He complained at times of the adverse effects of the climate on his photographic chemicals and some of his negatives may have been damaged en route to London from Asia. Though his surviving images are scarce, his importance to the early history of photography in Asia is great. Before his arrival in Japan in 1859, Japanese students of photography had struggled to produce satisfactory images, but Rossier's experience, instruction, and contacts with suppliers of photographic materials were extremely helpful in the development of an autonomous photographic tradition in Japan. 
Question: What were the two locations where Rossier had a studio?
Output: Fribourg.
Passage: In 1861, Rossier was in Siam, where he assisted the French zoologist Firmin Bocourt by taking ethnographic portraits for the latter's scientific expedition of 1861–1862, and in 1863, Negretti and Zambra issued a series of 30 stereographic portraits and landscapes taken in Siam that are almost certainly the work of Rossier. In February 1862, Rossier was again in Shanghai, where he sold his cameras and other photographic equipment before embarking for Europe. During his time in Asia it is possible that Rossier photographed in India; Negretti and Zambra issued a series of views of India at about the same time as Rossier's China views.Rossier returned to Switzerland in early 1862 and, in October 1865, married Catharine Barbe Kaelin (1843–1867). The couple had a son, Christophe Marie Pierre Joseph, who was born on 30 July 1866. Catharine died on 4 April 1867.
Rossier maintained a photographic studio in Fribourg until at least 1876 and he also had a studio in Einsiedeln. During the 1860s and 1870s, he produced a number of stereographs and cartes-de-visite comprising portraits and views of Fribourg, Einsiedeln and other places in Switzerland. An 1871 advertisement in the French-language Fribourg newspaper La Liberté offered photographs by Rossier of religious paintings by the artist Melchior Paul von Deschwanden. In 1872, Rossier applied for a passport to travel to France where he may have produced photographs. At some point between 1871 and 1884, he married again. His second wife, Marie Virginie Overney, was employed as a household servant by the landlords of his studio. They had a son, Joseph Louis, who was born in Paris on 16 March 1884, and who went on to own a café in Vevey, Switzerland. He died in 1927.
Pierre Rossier died in Paris some time between 1883 and 1898.Examples of Rossier's views of Switzerland are held in several institutions and private collections in that country. Rossier took the first commercial photographs of China and Japan, and they are now quite rare. He complained at times of the adverse effects of the climate on his photographic chemicals and some of his negatives may have been damaged en route to London from Asia. Though his surviving images are scarce, his importance to the early history of photography in Asia is great. Before his arrival in Japan in 1859, Japanese students of photography had struggled to produce satisfactory images, but Rossier's experience, instruction, and contacts with suppliers of photographic materials were extremely helpful in the development of an autonomous photographic tradition in Japan. 
Question: What were the two locations where Rossier had a studio?
Output: Einsiedeln.
Passage: After usurping the throne of the Later Zhou dynasty, Emperor Taizu of Song (r. 960–976) spent sixteen years conquering the rest of China, reuniting much of the territory that had once belonged to the Han and Tang empires and ending the upheaval of the Five Dynasties and Ten Kingdoms period. In Kaifeng, he established a strong central government over the empire. The establishment of this capital marked the start of the Northern Song period. He ensured administrative stability by promoting the civil service examination system of drafting state bureaucrats by skill and merit (instead of aristocratic or military position) and promoted projects that ensured efficiency in communication throughout the empire. In one such project, cartographers created detailed maps of each province and city that were then collected in a large atlas. Emperor Taizu also promoted groundbreaking scientific and technological innovations by supporting such works as the astronomical clock tower designed and built by the engineer Zhang Sixun.The Song court maintained diplomatic relations with Chola India, the Fatimid Caliphate of Egypt, Srivijaya, the Kara-Khanid Khanate of Central Asia, the Goryeo kingdom in Korea, and other countries that were also trade partners with Japan. Chinese records even mention an embassy from the ruler of "Fu lin" (拂菻, i.e. the Byzantine Empire), Michael VII Doukas, and its arrival in 1081. However, China's closest neighbouring states had the greatest impact on its domestic and foreign policy. From its inception under Taizu, the Song dynasty alternated between warfare and diplomacy with the ethnic Khitans of the Liao dynasty in the northeast and with the Tanguts of the Western Xia in the northwest. The Song dynasty used military force in an attempt to quell the Liao dynasty and to recapture the Sixteen Prefectures, a territory under Khitan control since 938 that was traditionally considered to be part of China proper (Most parts of today's Beijing and Tianjin). Song forces were repulsed by the Liao forces, who engaged in aggressive yearly campaigns into Northern Song territory until 1005, when the signing of the Shanyuan Treaty ended these northern border clashes. The Song were forced to provide tribute to the Khitans, although this did little damage to the Song economy since the Khitans were economically dependent upon importing massive amounts of goods from the Song. More significantly, the Song state recognized the Liao state as its diplomatic equal. The Song created an extensive defensive forest along the Song-Liao border to thwart potential Khitan cavalry attacks. 
Question: What is the name of the person that supported the scientific innovations while in charge?
Output: Emperor Taizu.
Passage: Minogue has been inspired by and compared to Madonna throughout her career. Her producer, Pete Waterman, recalled Minogue during the early years of her success with the observation: "She was setting her sights on becoming the new Prince or Madonna ... What I found amazing was that she was outselling Madonna four to one, but still wanted to be her." Minogue received negative comments that her Rhythm of Love tour in 1991 was too similar visually to Madonna's Blond Ambition World Tour, for which critics labelled her a Madonna wannabe. Rufus Wainwright wrote for the Observer Music Monthly, "Madonna subverts everything for her own gain. I went to see her London show and it was all so dour and humourless. She surpasses even Joan Crawford in terms of megalomania. Which in itself makes her a kind of dark, gay icon ... I love Kylie, she's the anti-Madonna. Self-knowledge is a truly beautiful thing and Kylie knows herself inside out. She is what she is and there is no attempt to make quasi-intellectual statements to substantiate it. She is the gay shorthand for joy." Kathy McCabe for The Telegraph noted that Minogue and Madonna follow similar styles in music and fashion, but concluded, "Where they truly diverge on the pop-culture scale is in shock value. Minogue's clips might draw a gasp from some but Madonna's ignite religious and political debate unlike any other artist on the planet ... Simply, Madonna is the dark force; Kylie is the light force." Rolling Stone commented that, with the exception of the US, Minogue is regarded throughout the world as "an icon to rival Madonna", saying, "Like Madonna, Minogue was not a virtuosic singer but a canny trend spotter." Minogue has said of Madonna, "Her huge influence on the world, in pop and fashion, meant that I wasn't immune to the trends she created. I admire Madonna greatly but in the beginning she made it difficult for artists like me, she had done everything there was to be done", and "Madonna's the Queen of Pop, I'm the princess. I'm quite happy with that."In January 2007, Madame Tussauds in London unveiled its fourth waxwork of Minogue; only Queen Elizabeth II has had more models created. During the same week a bronze cast of her hands was added to Wembley Arena's "Square of Fame". On 23 November 2007, a bronze statue of Minogue was unveiled at Melbourne Docklands for permanent display. 
Question: What is the full name of the person that siad Minogue is the gay shorthand for joy?
Output: Rufus Wainwright.
Passage: F. Nelson Blount, the heir to the largest seafood processor in the United States, was an avid railroad enthusiast.  When he was just seventeen years old he wrote a book on steam power.  Acquiring the narrow-gauge Edaville Railroad in Carver, Massachusetts in 1955, he began amassing one of the largest collections of antique steam locomotives in the United States.  By 1964, another part of his collection housed at North Walpole, New Hampshire consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock.  The Monadnock, Steamtown & Northern Railroad, as the enterprise was then called, ran excursions between Keene and Westmoreland, New Hampshire.  In addition to Edaville Railroad and Steamtown, Blount also ran excursions at Pleasure Island in Wakefield, Massachusetts and Freedomland U.S.A. in New York City.  In the early 1960s, Blount came close to entering into an agreement with the state of New Hampshire in which he would donate 20 locomotives to a museum which was to be located in Keene.  However, the plan, which was originally approved by New Hampshire governor Wesley Powell, in 1962, was later rejected by the new governor, John W. King. An advisory committee had said of the proposed plan, that it "does not take advantage of anything that is singularly and peculiarly New Hampshire."In 1964, incorporation papers were filed for the "Steamtown Foundation for the Preservation of Steam and Railroad Americana".  The non-profit charitable, educational organization was to have nine non-salaried directors, including the five incorporators of which Blount was one.  The other incorporators were former New Hampshire governor, Lane Dwinell; Emile Bussiere; Robert L. Mallat, Jr., mayor of Keene; and Bellows Falls Municipal Judge, Thomas P. Salmon, who later became governor of Vermont.  The president of the Campbell Soup Company, William B. Murphy, who had also served as National Chairman of Radio Free Europe, and Fredrick Richardson, then vice president of Blount Seafood, were among the other directors.  The first order of business for the Steamtown Foundation was to acquire the Blount collection at North Walpole, and relocate it to property once owned by the Rutland Railroad, in Bellows Falls, Vermont. 
Question: What is the last name of the person whose collected housed at North Walpole consisted of 25 steam locomotives from the United States and Canada, 10 other locomotives, and 25 pieces of rolling stock?
Output: Blount.
Passage: A group of puppies are stolen from a pet store by two thieves. A St. Bernard puppy escapes and sneaks into the Newton family's home. The workaholic father, George Newton, doesn't want the responsibility of owning a dog, but his wife, Alice, and their children, Ryce, Ted, and Emily, convince him. They give him the name "Beethoven" when Emily plays a portion of Ludwig van Beethoven's Fifth Symphony on the piano and the dog barks along to it.
Beethoven grows into an extremely fat adult dog and helps the children overcome their problems: he helps Ryce talk to her crush, scares off bullies for Ted, and saves Emily's life when she falls into an irresponsible babysitter's swimming pool. George, jealous of the affection Beethoven receives, feels neglected as his family fawns over him. His antics ruin a barbecue he is hosting for Brad and Brie, rude, unpleasant venture capitalists looking to invest in and secretly swindle him out of his car freshener firm.
The Newtons take Beethoven to a veterinarian, Dr. Herman Varnick, for a routine medical examination and immunizations. They are unaware that he is involved in unethical and deadly animal experimentation. He speaks to George and tells him of a supposed mental instability among St. Bernards making them potentially dangerous to humans and advises him to watch Beethoven closely for any sign of viciousness. He actually requires large-skulled dogs such as St. Bernards for an ammunition test. 
Question: Who is the mother of the girl that plays the piano while the dog barks?
Output: Alice.
Passage: Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes.  Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques.
How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother, Fred Sullivan, may have encouraged him to write the music for Thespis.The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred. 
Question: What are the names of the comic operas that were written by the man who wrote the choral cantata On Shore and Sea?
Output: Cox and Box.
Passage: Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes.  Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques.
How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother, Fred Sullivan, may have encouraged him to write the music for Thespis.The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred. 
Question: What are the names of the comic operas that were written by the man who wrote the choral cantata On Shore and Sea?
Output: The Contrabandista.
Passage: Sharecroppers Zeke and Spunk Johnson sell their family's portion of the cotton crop for $100. They are promptly cheated out of the money by the shill Chick, in collusion with her gambling-hustler boyfriend, Hot Shot. Spunk is murdered in the ensuing brawl. Zeke runs away and reforms his life, becoming a minister, Zekiel.
Sometime later, he returns and preaches a rousing revival. After being ridiculed and enticed by Chick, Zekiel becomes engaged to a virtuous maiden named Missy, thinking this will ward off his desires for the sinful Chick. Chick attends a sermon, heckling Zekiel, then asks for baptism but is clearly not truly repentant. During a rousing sermon, Chick seduces Zekiel and he throws away his new life for her. Months later, Zeke has started a new life; he is working at a log mill and is married to Chick, who is secretly cheating on him with her old flame, Hot Shot.
Chick and Hot Shot decide run off together, just as Zeke finds out about the affair, Zeke chases after them.  The carriage carrying both Hot Shot and Chick loses a wheel and throws Chick out, giving Zeke a chance to catch up to them.  Holding her in his arms, he watches Chick die as she apologizes to him for being unable to change her ways.  Zeke then chases Hot Shot on foot. He stalks him relentlessly through the woods and swamp while Hot Shot tries to escape, but stumbles until Zeke finally catches and kills him. Zeke spends time in a work camp, breaking rocks.  The movie ends with Zeke returning home to his family, just as they are harvesting their crop. Despite the time that has passed and the way Zekiel left, the family joyfully welcome him back into the flock. 
Question: What is the name of the person who is stalked relentlessly?
Output: Hot Shot.
Passage: Alan Dudley Bush (22 December 1900 – 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works.
Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As  a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany.
In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and later vice-president of the Composers' Guild of Great Britain. His contribution to musical life was slowly recognised, in the form of doctorates from two universities and numerous tribute concerts towards the end of his life. Since his death aged 94 in 1995, his musical legacy has been nurtured by the Alan Bush Music Trust, established in 1997. 
Question: What is the last name of the person whose uncompromising political beliefs were often reflected in their music?
Output: Bush.
Passage: Kyle and Peter Reynolds are fraternal twins who were raised by their mother Helen as their father died before they were born. Kyle is dating his pregnant girlfriend Kaylani and is wealthy from royalties for his image on BBQ sauce labels. Peter is a divorced proctologist with a teenage son who resents him.
Shortly after Helen's wedding to Gene, Peter recognizes an actor on Law and Order: SVU from photos of his supposed father and confronts Helen. Helen explains that she had been promiscuous at the time of their conception, and did not want their father involved. When they keep pressing, Helen reveals that their father is Terry Bradshaw.
The brothers fly to Florida to meet Bradshaw, who they encounter at a signing event. Bradshaw is excited to have them as sons. As Bradshaw recounts stories with former teammate Rod Hamilton, the brothers realize that Bradshaw had been in Australia at the time of their conception, and thus isn't their father. Bradshaw points out that Roland Hunt, a New York investor, also dated Helen. 
Question: What do the twins believe about their father that they later find out is not true?
Output: their father died before they were born.
Passage: Temperley writes: "After 1855 [Bennett] was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence." Works from his later years included the cello Sonata Duo for Piatti; a pastoral cantata, The May Queen, Op. 39, for the opening of the Leeds Town Hall in 1858; an Ode (Op. 40) with words by Alfred, Lord Tennyson for the opening of the 1862 International Exhibition in London; an Installation Ode for Cambridge University (Op. 41) with words by Charles Kingsley, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,The Woman of Samaria for the Birmingham Triennial Music Festival of 1867; and finally a second Piano Sonata (The Maid of Orleans, Op. 46). Many of these works were composed during his summer holidays which were spent at Eastbourne. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by Prosper Sainton, between works by Meyerbeer and Daniel Auber also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the University of Cambridge. He modernised the system of awarding music degrees, instituting viva voce examinations and requiring candidates for doctorates to first take the degree of Bachelor of Music. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.In 1858 came yet another clash involving Costa, when the autocratic Earl of Westmorland, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a Mass of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the heads of the Academy directors. Bennett resigned from the RAM at this overbearing behaviour, and was not to return until 1866. Towards the end of 1862 Bennett's wife died after a painful illness. His biographer W. B. Squire suggests that "he never recovered from the effects of Mrs. Bennett's death, and that henceforward a painful change in him became apparent to his friends." In 1865 Bennett again visited Leipzig where he was reunited with old friends including Ferdinand David, and his Op. 43 Symphony was performed. 
Question: Who required candidates for doctorates to first take the degree of Bachelor of Music?
Output: Bennett.