niryuu/sni-each-converted huggingface dataset:
Passage: In Osbert: A Portrait of Osbert Lancaster, Boston comments that after the dramatic events in Athens his subject's later life was uneventful and industrious with "a somewhat dismaying dearth of rows, intrigues, scandals or scrapes to report." The Lancasters had a Georgian house in Henley-on-Thames, and a flat in Chelsea, where they lived from Mondays to Fridays. He worked at home in the mornings, on illustrations, stage designs, book reviews and any other commissions, before joining his wife for a midday dry martini and finally dressing and going to one of his clubs for lunch. After that he would walk to the Express building in  Fleet Street at about four in the afternoon. There he would gossip with his colleagues before sitting at his desk smoking furiously, producing the next day's pocket cartoon. By about half-past six he would have presented the cartoon to the editor and be ready for a drink at El Vino's across the road, and then the evening's social events.Karen Lancaster died in 1964. They were markedly different in character, she quiet and home-loving, he extrovert and gregarious, but they were devoted to each other, and her death left him devastated. Three years later he married the journalist Anne Scott-James; they had known each other for many years, although at first she did not much like him, finding him "stagey" and "supercilious". By the 1960s they had become good friends, and after Karen died the widowed Lancaster and the divorced Scott-James spent increasing amounts of time together. Their wedding was at the Chelsea Register Office on 2 January 1967. After their marriage they kept his Chelsea flat,  and lived at weekends in her house in the Berkshire village of Aldworth, the house in Henley having been sold. 
Question: What is the full name of the person who would go to one of his clubs for lunch after finally dressing?
Output: Osbert Lancaster.
Passage: Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself.". 
Question: What is the name of the person who said Monteverdi, Mozart, Chopin, Wagner, Mussorgsky, and Stravinsky all wrote strongly coloured music?
Output: Messiaen.
Passage: Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.
The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.
In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.
Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers. 
Question: What is the first name of the person whose career was boosted when she met a conductor ?
Output: Ferrier.
Passage: In the decades preceding World War I, this stretch of coast became famous for its wildfowling; locals were looking for food, but some more affluent visitors hunted to collect rare birds; Norfolk's first barred warbler was shot on the point in 1884. In 1901, the Blakeney and Cley Wild Bird Protection Society created a bird sanctuary and appointed as its "watcher", Bob Pinchen, the first of only six men, up to 2012, to hold that post.In 1910, the owner of the Point, Augustus Cholmondeley Gough-Calthorpe, 6th Baron Calthorpe, leased the land to University College London (UCL), who also purchased the Old Lifeboat House at the end of the spit. When the baron died later that year, his heirs put Blakeney Point up for sale, raising the possibility of development. In 1912, a public appeal initiated by Charles Rothschild and organised by UCL Professor Francis Wall Oliver and Dr Sidney Long enabled the purchase of Blakeney Point from the Calthorpe estate, and the land was then donated to the National Trust. UCL established a research centre at the Old Lifeboat House in 1913, where Oliver and his college pioneered the scientific study of Blakeney Point. The building is still used by students, and also acts as an information centre. Despite formal protection, the tern colony was not fenced off until the 1960s.The Point was designated as a Site of Special Scientific Interest (SSSI) in 1954, along with the adjacent Cley Marshes reserve, and subsumed into the newly created 7,700-hectare (19,000-acre) North Norfolk Coast SSSI in 1986. The larger area is now additionally protected through Natura 2000, Special Protection Area (SPA) and Ramsar listings, IUCN category IV (habitat/species management area) and is part of the Norfolk Coast Area of Outstanding Natural Beauty. The Point became a National Nature Reserve (NNR) in 1994, and the coast from Holkham NNR to Salthouse, together with Scolt Head Island, became a Biosphere Reserve in 1976. 
Question: What is the first name of the person who, along with his college, pioneered the study of Blakeney Point?
Output: Francis.
Passage: A few weeks after Of Human Feelings was recorded, Mwanga went to Japan to negotiate a deal with Trio Records to have the album released on Phrase Text. Trio, who had previously released a compilation of Coleman's 1966 to 1971 live performances in Paris, prepared to press the album once Mwanga provided the label with the record stamper. Coleman was also set to perform his song "Skies of America" with the NHK Symphony Orchestra, but cancelled both deals upon Mwanga's return from Japan. Mwanga immediately quit after less than four months as Coleman's manager. In 1981, Coleman hired Stan and Sid Bernstein as his managers, who sold the album's recording tapes to Island Records. He signed with the record label that year, and Of Human Feelings was released in 1982 on Island's subsidiary jazz label Antilles Records. Billboard magazine published a front-page story at the time about its distinction as both the first digital album recorded in New York City and the first digital jazz album recorded by an American label.According to jazz writer Francis Davis, "a modest commercial breakthrough seemed imminent" for Coleman, who appeared to be regaining his celebrity. German musicologist Peter Niklas Wilson said the album may have been the most tuneful and commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for radio airplay by Mandel, who described its production as "the surface consistency that would put it in the pop sphere". Of Human Feelings had no success on the American pop charts, only charting on the Top Jazz Albums, where it spent 26 weeks and peaked at number 15. Because the record offered a middle ground between funk and jazz, McRae argued that it consequently appealed to neither demographic of listeners. Sound & Vision critic Brent Butterworth speculated that it was overlooked because it had electric instruments, rock and funk drumming, and did not conform to what he felt was the hokey image of jazz that many of the genre's fans preferred. The album later went out of print. 
Question: On what chart did the album that was released on the label Antilles Records in 1982 peak at 15?
Output: Top Jazz Albums.
Passage: Joseph Krauzenberg is a very wealthy Hungarian Jewish industrial tycoon whose fortune is mirrored in the great palaces he owns. However, by 1944 his important businesses are needed by the Nazis and Hitler's 'Final Solution' is sweeping through Europe.
The Nazis are greedy to accumulate wealth as easily as possible, and under the terms of the Third Reich's "Europa Plan", Krauzenberg arranges with Nazi leaders to exchange his fortune, his business holdings (textile plants, steel mills, ownership of several banks) and a collection of rare art for safe passage to Switzerland for himself, his wife Rachel, and their family. As the night of transaction approaches, Krauzenberg visits his large family being held by the Gestapo, and reassures them that all will be safe.
Such is Krauzenberg's wealth and power that when he agrees to sign over his property, it is two of the most powerful men in the Nazi regime who announce they will be coming to his house to handle the paperwork – Adolf Eichmann and Heinrich Himmler.
However, as the Nazi leaders are ushered into Krauzenberg's home, they are struck by something unusual – his two most trusted servants, Hans Vassmann and his wife Ingrid are a married Aryan couple who, despite the law, are still working for Jews.
As it happens, Eichmann and Himmler's suspicions are well-founded – despite appearing to be the perfect Aryan couple, Hans and Ingrid are actually Jews working deep undercover with the underground Resistance. Young, married, in love and expecting their first child, they work as valet and maid for the elderly Jewish couple. They have everything to look forward to or so they would have believed. 
Question: What is the full name of the person that is married to Rachel?
Output: Joseph Krauzenberg.
Passage: The film shows a scene of a girl being kidnapped from a charity plane by Vietnamese rebels (a U.N. supplies [as in food and medicine] plane) in Vietnam.  Then we are taken to the United States to a detention center in Los Angeles where the warden of the center and 6 of the toughest prisoners are hired to rescue the girl, whose name is Gabrielle Presscott, daughter of Jameson Prescott, CEO and billionaire.  Warden Toliver and prisoners (by last name only, their first names are never revealed) Butts and Monster (black youths), Lopez and Vasquez (Latino youths, with Vasquez being a girl), and Brophy and Lamb (white youths). The group travels to Vietnam with three days to rescue Gabrielle, spending one day to train and the rest of the days to find her.
After winning a battle the group spends the night at a village brothel and has a small celebration, with Brophy sneaking away into the night.  The group awakens to find the rebels with Brophy as a hostage and asking the villagers to hand over the rest of the Americans.  The group decides to attempt a rescue for Brophy and are successful, however, Lopez and Monster are both killed during the fight. The group runs away into the jungle and is tiredly marching along when Lamb steps on a landmine.  While Toliver is trying to disarm the mine, some rebels are slowly getting nearer and nearer to the group.  Brophy once again sneaks away but sacrifices himself, bringing another death to the group.  Toliver and his men finally arrive at the rebel base camp, with Toliver combing the camp for Gabrielle.  After he finds her he returns to the others and hands each of them a set of explosives to be detonated by a timer. 
Question: Where is Gabrielle kidnapped?
Output: Vietnam.
Passage: The palazzo remained the principal Medici residence until the last male Medici heir died in 1737. It was then occupied briefly by his sister, the elderly Electress Palatine; on her death, the Medici dynasty became extinct and the palazzo passed to the new Grand Dukes of Tuscany, the Austrian House of Lorraine, in the person of Francis I, Holy Roman Emperor. The Austrian tenancy was briefly interrupted by Napoleon, who used the palazzo during his period of control over Italy.When Tuscany passed from the House of Lorraine to the House of Savoy in 1860, the Palazzo Pitti was included. After the Risorgimento, when Florence was briefly the capital of the Kingdom of Italy, Victor Emmanuel II resided in the palazzo until 1871. His grandson, Victor Emmanuel III, presented the palazzo to the nation in 1919.  The palazzo and other buildings in the Boboli Gardens were then divided into five separate art galleries and a museum, housing not only many of its original contents, but priceless artefacts from many other collections acquired by the state.  The 140 rooms open to the public are part of an interior, which is in large part a later product than the original portion of the structure, mostly created in two phases, one in the 17th century and the other in the early 18th century. Some earlier interiors remain, and there are still later additions such as the Throne Room. In 2005 the surprise discovery of forgotten 18th-century bathrooms in the palazzo revealed remarkable examples of contemporary plumbing very similar in style to the bathrooms of the 21st century. 
Question: What is the full name of the father of the man who presented the former Medici palazzo to the nation in 1919?
Output: Victor Emmanuel II.
Passage: In his usurpation of the throne from the Jianwen Emperor (r. 1398–1402), the Yongle Emperor was aided by the Buddhist monk Yao Guangxiao, and like his father, the Hongwu Emperor, the Yongle Emperor was "well-disposed towards Buddhism", claims Rossabi. On March 10, 1403, the Yongle Emperor invited Deshin Shekpa, 5th Karmapa Lama (1384–1415), to his court, even though the fourth Karmapa had rejected the invitation of the Hongwu Emperor. A Tibetan translation in the 16th century preserves the letter of the Yongle Emperor, which the Association for Asian Studies notes is polite and complimentary towards the Karmapa. The letter of invitation reads,My father and both parents of the queen are now dead. You are my only hope, essence of buddhahood. Please come quickly. I am sending as offering a large ingot of silver, one hundred fifty silver coins, twenty rolls of silk, a block of sandalwood, one hundred fifty bricks of tea and ten pounds of incense."
In order to seek out the Karmapa, the Yongle Emperor dispatched his eunuch Hou Xian and the Buddhist monk Zhi Guang (d. 1435) to Tibet. Traveling to Lhasa either through Qinghai or via the Silk Road to Khotan, Hou Xian and Zhi Guang did not return to Nanjing until 1407.
The Information Office of the State Council of the PRC preserves an edict of the Zhengtong Emperor (r. 1435–1449) addressed to the Karmapa in 1445, written after the latter's agent had brought holy relics to the Ming court. Zhengtong had the following message delivered to the Great Treasure Prince of Dharma, the Karmapa:
Out of compassion, Buddha taught people to be good and persuaded them to embrace his doctrines. You, who live in the remote Western Region, have inherited the true Buddhist doctrines. I am deeply impressed not only by the compassion with which you preach among the people in your region for their enlightenment, but also by your respect for the wishes of Heaven and your devotion to the Court. I am very pleased that you have sent bSod-nams-nyi-ma and other Tibetan monks here bringing with them statues of Buddha, horses and other specialties as tributes to the court.
Despite this glowing message by the Emperor, Chan writes that a year later in 1446, the Ming court cut off all relations with the Karmapa hierarchs. Until then, the court was unaware that Deshin Shekpa had died in 1415. The Ming court had believed that the representatives of the Karma Kagyu who continued to visit the Ming capital were sent by the Karmapa. 
Question: What is the full name of the person who was sent ten pounds of incense with an invitation?
Output: Deshin Shekpa.
Passage: By the time Smetana completed his schooling, his father's fortunes had declined. Although František now agreed that his son should follow a musical career, he could not provide financial support. In August 1843 Smetana departed for Prague with twenty gulden, and no immediate prospects. Lacking any formal musical training, he needed a teacher, and was introduced by Kateřina Kolářová's mother to Josef Proksch, head of the Prague Music Institute—where Kateřina was now studying. Proksch used the most modern teaching methods, drawing on Beethoven, Chopin, Berlioz and the Leipzig circle of Liszt. In January 1844 Proksch agreed to take Smetana as a pupil, and at the same time the young musician's financial difficulties were eased when he secured an appointment as music teacher to the family of a nobleman, Count Thun.For the next three years, besides teaching piano to the Thun children, Smetana studied theory and composition under Proksch. The works he composed in these years include songs, dances, bagatelles, impromptus and the G minor Piano Sonata. In 1846 Smetana attended concerts given in Prague by Berlioz, and in all likelihood met the French composer at a reception arranged by Proksch. At the home of Count Thun he met Robert and Clara Schumann, and showed them his G minor sonata, but failed to win their approval for this work—they detected too much of Berlioz in it. Meanwhile, his friendship with Kateřina blossomed. In June 1847, on resigning his position in the Thun household, Smetana recommended her as his replacement. He then set out on a tour of Western Bohemia, hoping to establish a reputation as a concert pianist. 
Question: What is the name of the person who showed Robert and Clara Schumann their G minor sonata?
Output: Smetana.
Passage: A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh. 
Question: Who is Danny's uncle running from?
Output: Eliot.
Passage: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket. 
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. 
Question: What is the road named where Martin's firm is located?
Output: George Street.
Passage: Tchaikovsky was born in 1840 in Votkinsk, a small town in present-day Udmurtia, formerly the Imperial Russian province of Vyatka. A precocious pupil, he began piano lessons at the age of five, and could read music as adeptly as his teacher within three years. However, his parents' passion for his musical talent soon cooled. In 1850, the family decided to send Tchaikovsky to the Imperial School of Jurisprudence in Saint Petersburg. This establishment mainly served the lesser nobility or gentry, and would prepare him for a career as a civil servant. As the minimum age for acceptance was 12, Tchaikovsky was sent by his family to board at the Imperial School of Jurisprudence's preparatory school in Saint Petersburg, 800 miles (1,300 km) from his family home in Alapayevsk. Once Tchaikovsky came of age for acceptance, he was transferred to the Imperial School of Jurisprudence to begin a seven-year course of studies.Music was not a priority at the School, but Tchaikovsky regularly attended the theater and the opera with other students. He was fond of works by Rossini, Bellini, Verdi and Mozart. Piano manufacturer Franz Becker made occasional visits to the School as a token music teacher. This was the only formal music instruction Tchaikovsky received there. From 1855 the composer's father, Ilya Tchaikovsky, funded private lessons with Rudolph Kündinger, a well-known piano teacher from Nuremberg, and questioned Kündinger about a musical career for his son. Kündinger replied that nothing suggested a potential composer or even a fine performer. Tchaikovsky was told to finish his course and then try for a post in the Ministry of Justice.Tchaikovsky graduated on May 25, 1859 with the rank of titular counselor, a low rung on the civil service ladder. On June 15, he was appointed to the Ministry of Justice in Saint Petersburg. Six months later he became a junior assistant and two months after that, a senior assistant. Tchaikovsky remained there for the rest of his three-year civil service career.In 1861, Tchaikovsky attended classes in music theory organized by the Russian Musical Society and taught by Nikolai Zaremba. A year later he followed Zaremba to the Saint Petersburg Conservatory. Tchaikovsky would not give up his Ministry post "until I am quite certain that I am destined to be a musician rather than a civil servant." From 1862 to 1865 he studied harmony, counterpoint and fugue with Zaremba, while Rubinstein taught him instrumentation and composition. In 1863 he abandoned his civil service career and studied music full-time, graduating in December 1865. 
Question: What is the first name of the person who questioned Kündinger about a music career for his son?
Output: Ilya.
Passage: Karluk had been chosen by Pedersen and bought by Stefansson for the bargain price of US$10,000. Stefansson was advised by Pedersen that, of four ships that were available, Karluk was "the soundest and best adapted for our purpose", but Bartlett had deep reservations about her fitness for prolonged Arctic service. The ship, a 29-year-old brigantine, was 129 feet (39 m) in length with a beam of 23 feet (7.0 m). She had been built for the Aleutian fishing industry (karluk is the Aleut word for "fish") and later converted for whaling, when her bows and sides had been sheathed with 2-inch (51 mm) Australian ironwood. Despite 14 arctic whaling voyages, including six overwinterings, she had not been built to withstand sustained ice pressure, and lacked the engine power to force a passage through the ice. She did not match the expectations of Bartlett, or of many of the more experienced crew.The ship spent most of April and May 1913 undergoing repairs and refitting at the dockyard in Esquimalt. When Bartlett arrived in early June he immediately ordered further repair work. In addition to Karluk, Stefansson had purchased sight unseen a small gasoline-driven schooner, Alaska, to act as a supply ship for the Southern Party. He later added a second schooner, Mary Sachs, when the hold space in Alaska proved inadequate. In the confusion surrounding the expedition's departure, McKinlay notes, no attempt was made to align men or equipment to their appropriate ships. Thus anthropologists Henri Beuchat and Diamond Jenness, both designated for the Southern Party, found themselves sailing with Karluk, while their equipment was on board Alaska. McKinlay himself, aboard Karluk as magnetic observer, discovered that most of his equipment was with Alaska. Stefansson insisted that all would be sorted out when the ships reached their Herschel Island rendezvous. "Heaven help us all if we failed to reach Herschel Island", McKinlay wrote. 
Question: What were the names of the three ships bought by Stefansson?
Output: Karluk.
Passage: Karluk had been chosen by Pedersen and bought by Stefansson for the bargain price of US$10,000. Stefansson was advised by Pedersen that, of four ships that were available, Karluk was "the soundest and best adapted for our purpose", but Bartlett had deep reservations about her fitness for prolonged Arctic service. The ship, a 29-year-old brigantine, was 129 feet (39 m) in length with a beam of 23 feet (7.0 m). She had been built for the Aleutian fishing industry (karluk is the Aleut word for "fish") and later converted for whaling, when her bows and sides had been sheathed with 2-inch (51 mm) Australian ironwood. Despite 14 arctic whaling voyages, including six overwinterings, she had not been built to withstand sustained ice pressure, and lacked the engine power to force a passage through the ice. She did not match the expectations of Bartlett, or of many of the more experienced crew.The ship spent most of April and May 1913 undergoing repairs and refitting at the dockyard in Esquimalt. When Bartlett arrived in early June he immediately ordered further repair work. In addition to Karluk, Stefansson had purchased sight unseen a small gasoline-driven schooner, Alaska, to act as a supply ship for the Southern Party. He later added a second schooner, Mary Sachs, when the hold space in Alaska proved inadequate. In the confusion surrounding the expedition's departure, McKinlay notes, no attempt was made to align men or equipment to their appropriate ships. Thus anthropologists Henri Beuchat and Diamond Jenness, both designated for the Southern Party, found themselves sailing with Karluk, while their equipment was on board Alaska. McKinlay himself, aboard Karluk as magnetic observer, discovered that most of his equipment was with Alaska. Stefansson insisted that all would be sorted out when the ships reached their Herschel Island rendezvous. "Heaven help us all if we failed to reach Herschel Island", McKinlay wrote. 
Question: What were the names of the three ships bought by Stefansson?
Output: Alaska.
Passage: Karluk had been chosen by Pedersen and bought by Stefansson for the bargain price of US$10,000. Stefansson was advised by Pedersen that, of four ships that were available, Karluk was "the soundest and best adapted for our purpose", but Bartlett had deep reservations about her fitness for prolonged Arctic service. The ship, a 29-year-old brigantine, was 129 feet (39 m) in length with a beam of 23 feet (7.0 m). She had been built for the Aleutian fishing industry (karluk is the Aleut word for "fish") and later converted for whaling, when her bows and sides had been sheathed with 2-inch (51 mm) Australian ironwood. Despite 14 arctic whaling voyages, including six overwinterings, she had not been built to withstand sustained ice pressure, and lacked the engine power to force a passage through the ice. She did not match the expectations of Bartlett, or of many of the more experienced crew.The ship spent most of April and May 1913 undergoing repairs and refitting at the dockyard in Esquimalt. When Bartlett arrived in early June he immediately ordered further repair work. In addition to Karluk, Stefansson had purchased sight unseen a small gasoline-driven schooner, Alaska, to act as a supply ship for the Southern Party. He later added a second schooner, Mary Sachs, when the hold space in Alaska proved inadequate. In the confusion surrounding the expedition's departure, McKinlay notes, no attempt was made to align men or equipment to their appropriate ships. Thus anthropologists Henri Beuchat and Diamond Jenness, both designated for the Southern Party, found themselves sailing with Karluk, while their equipment was on board Alaska. McKinlay himself, aboard Karluk as magnetic observer, discovered that most of his equipment was with Alaska. Stefansson insisted that all would be sorted out when the ships reached their Herschel Island rendezvous. "Heaven help us all if we failed to reach Herschel Island", McKinlay wrote. 
Question: What were the names of the three ships bought by Stefansson?
Output: Mary Sachs.
Passage: Dave Lizewski, bored after having retired from fighting crime as Kick-Ass, begins training with Hit-Girl Mindy Macready to become a real hero. Following the death of his father, Chris D'Amico accidentally kills his own mother by short-circuiting her tanning bed; Now in control of his father's criminal empire, Chris decides to become a supervillain named The Motherfucker, and assembles a gang of supervillains called the Toxic Mega Cunts with his aide Javier and has gained a cult following on Twitter, swearing vengeance on Kick-Ass.
Mindy's guardian, Marcus, discovers she is still fighting crime and makes her promise to give it up. Dave resumes his life as Kick-Ass, joining the superhero team Justice Forever (which Dave had inspired), led by Colonel Stars and Stripes. Kick-Ass begins a sexual relationship with Night Bitch, one of the members after breaking up with Katie Deauxma. He and Marty, who is also on the team as Battle Guy, alienate their friend Todd from participating in their heroics. Mindy, attempting to lead a normal life, tries out for the dance team at school, and promptly asks a boy to take her on a date after declining to join Justice Forever. The date ends up as a cruel prank planned by bullies in her school, but Mindy gets her revenge the next day, resulting in her suspension from school. 
Question: What is the superhero alias of the person being trained by Dave Lizewski?
Output: Hit-Girl.
Passage: Claudio Giovanni Antonio Monteverdi (Italian: [ˈklaudjo monteˈverdi] (listen); 15 May 1567 (baptized) – 29 November 1643) was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history.
Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di capella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics.
Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale sacred works such as his Vespro della Beata Vergine (Vespers) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for the commercial theatre in Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea.
While he worked extensively in the tradition of earlier Renaissance polyphony, such as in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded. 
Question: What is the last name of the person who was maestro di capella at the basilica of San Marco?
Output: Monteverdi.
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. 
Question: What are the names of the characters who are considered morally contemptible?
Output: Agrippina.
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. 
Question: What are the names of the characters who are considered morally contemptible?
Output: Nero.
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. 
Question: What are the names of the characters who are considered morally contemptible?
Output: Claudius.
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. 
Question: What are the names of the characters who are considered morally contemptible?
Output: Poppaea.
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. 
Question: What are the names of the characters who are considered morally contemptible?
Output: Pallas.
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score. 
Question: What are the names of the characters who are considered morally contemptible?
Output: Narcissus.
Passage: In the year 2000, Dick Harper has been promoted to Vice President of Communications for a large media corporation known as Globodyne. The following day, he is on a television program with presidential candidate Ralph Nader, who calls Globodyne "perverters of the American dream", claiming it helps the super-rich get even wealthier. As they speak, Globodyne's stock value collapses, rendering all investments – including all the employees' savings and pensions – worthless. Dick arrives home, where his wife Jane tells him that she quit her job as a travel agent following his promotion to spend more time with the family. Dick breaks the news of the company's failure over dinner. Despite his attempts, Dick is unable to find another job with comparable pay, and within a short time, the family faces bankruptcy.
After accepting the prospect of being poor, Dick and Jane apply for low-paying jobs. Both are unable to keep them, and soon their utilities are cut off, forcing them to sell off personal property to stay afloat. When they are confronted with a 24-hour eviction notice, Dick decides to turn to a life of crime. After several failed robbery attempts, Dick and Jane successfully rob a head shop. They begin nightly robbing sprees and become more comfortable and professional over time. They soon steal enough money to pay off their debts including their house and car, both of which were about to be repossessed. For one last heist, Dick and Jane plan to rob a local bank. All goes as planned until the Petersons – another couple formerly employed at Globodyne – make an amateurish attempt to rob the same bank. The Petersons are quickly arrested, and the Harpers take advantage of the hysteria to evade police and escape. 
Question: What was Dick's company called that caused a stock dive?
Output: "perverters of the American dream".