niryuu/sni-each-converted huggingface dataset:
Passage: John Doubleday (about 1798 – 25 January 1856) was a British craftsperson, restorer, and dealer in antiquities who was employed by the British Museum for the last 20 years of his life. He undertook several duties for the museum, not least as a witness in criminal trials, but was primarily their specialist restorer, perhaps the first person to hold the position. He is best known for his 1845 restoration of the severely-damaged Roman Portland Vase, an accomplishment that places him at the forefront of his profession at the time.
While at the British Museum, Doubleday also dealt in copies of coins, medals, and ancient seals. His casts in coloured sulphur and in white metal of works in both national and private collections, allowed smaller collections to hold copies at a fraction of the price that the originals would command. Thousands of his copies entered the collections of institutions and individuals. Yet the accuracy he achieved led to confusion with the originals; after his death he was labelled a forger, but with the caveat that "[w]hether he did copies with the intention of deceiving collectors or not is open to doubt".Little is known about Doubleday's upbringing or personal life. Several sources describe him as an American, including the 1851 United Kingdom census, which records him as a New York-born British subject. An obituary noted that he worked at a printer's shop for more than 20 years during his youth, which gave him the experience of casting type that he would employ in his later career as a copyist. Doubleday's early life, family, and education are otherwise unknown. He died in 1856, leaving a wife and five daughters, all English; the eldest child was born around 1833. 
Question: What is the first name of the person who also dealt in copies of coins, medals, and ancient seals?
Output: John.
Passage: Lucy Harmon, a nineteen-year-old American, is the daughter of well-known (now deceased) poet and model, Sara Harmon. The film opens as Lucy arrives for a vacation at the Tuscan villa of Sara's old friends, Ian and Diana Grayson (played by Donal McCann and Cusack, respectively). Other guests include a prominent New York art gallery owner, an Italian advice columnist and an English writer, Alex Parrish, who is dying of an unspecified disease. Lucy goes for a swim, and finds that Diana's daughter from a previous marriage, Miranda Fox, is also there with her boyfriend, entertainment lawyer Richard Reed. Miranda's brother, Christopher, is supposed to be there, but he is off on a road trip with the Italian son of a neighboring villa, Niccoló Donati. Lucy was particularly hoping to see Niccoló, whom she had met on a previous visit to the villa, four years earlier, and who was the first boy she'd ever kissed. Lucy and Niccoló had briefly exchanged letters after this first visit. One letter in particular Lucy had admired so much she memorized it.
Lucy reveals to the gallerist that she is there to have her portrait made by Ian, who is a sculptor. She says it's really just an excuse for her father to send her to Italy, "as a present." Smoking marijuana with Parrish, Lucy reveals that she is a virgin. When Parrish shares this information with the rest of the villa the next day, Lucy is furious and decides to cut her visit short. While she is on the telephone booking a flight to New York, however, Christopher and Niccoló return from their road trip, and Lucy is once again happy, although she is disappointed that Niccoló did not immediately recognize her. 
Question: What does Sara's daughter reveal to the writer?
Output: she is a virgin.
Passage: Broadway star Al Howard has a habit of walking out on hit shows. His sister Molly promises his agent he will never do it again, but he is banned from Broadway. Molly tracks Al down in Mexico, where he is on a binge and tells him she is done taking care of him. When Molly runs into Dorothy Wayne a friend who is a dancer, she begs Dorothy to form a team with Al, because she can get Al a job if he has a partner. At first Molly is reluctant but finally agreed. 
It takes some work to convince Al, but he eventually agrees to form a team with Dorothy. They become a big success in Chicago. Dorothy falls in love with Al and thinking that he does not return her affection decides to quit the act. Al asks her to stay, telling her that he plans to open his own nightclub on Broadway. Molly introduces Al to Duke Hutchinson a gangster who is willing to back the club as a showcase for his wife, Luana Bell a torch singer who wants to make a comeback. Al flirts with Luana, Dorothy warns him about his involvement with Luana, but Al continues his flirtation with her. Duke gives Al an additional $30,000 to open the club, but before opening night, Al uses the money to post bond for Molly, who has been arrested on suspicion of murder. 
When Al turns down a proposal from Luana, she angrily tells Duke the club will not open on schedule, and he sends gunmen to kill Al. At the last minute, Molly is cleared of the murder and the necessary money is returned, with the show opening on time and to great applause. Duke tries to call off his gunmen, but Luana does not give them the message. Al finally realizes that he is in love with Dorothy and asks her to dinner. As they step out the door, Dorothy sees the gunmen and throws her body in front of Al. She is wounded and as Al holds her, he tells Dorothy that he loves her. The doctor proclaims that Dorothy will be fine and Al's club is a huge success. 
Question: Where did the money for Molly's bond come from?
Output: Duke gives Al an additional $30,000 to open the club.
Passage: Gambler Nathan Detroit seeks to organize an unlicensed crap game, but the police, led by Lieutenant Brannigan, are "putting on the heat". All the places where Nathan usually holds his games refuse him entry due to Brannigan's intimidating pressure. The Biltmore garage is the only venue where Nathan can hold the game, but its owner requires a $1,000 security deposit, which Nathan doesn't have. Adding to his problems, Nathan's fiancée, Miss Adelaide, a nightclub singer, wants to bring an end to their 14-year engagement and actually tie the knot. She also wants him to go straight, but organizing illegal gambling is the only thing he's good at. 
Then Nathan spots an old acquaintance, Sky Masterson, a gambler willing to bet on virtually anything and for high amounts. To win the $1,000 security deposit, Nathan bets Sky that he can't take a girl of Nathan's choosing to dinner in Havana, Cuba. The bet seems impossible for Sky to win when Nathan nominates Sergeant Sarah Brown, a sister at the Save a Soul Mission, which opposes gambling.
To approach Sarah, Sky pretends that he is a gambler who wants to change. Sky suggests a bargain. He will get a dozen sinners into the Mission for her Thursday night meeting in return for her having dinner with him in Havana. With General Matilda Cartwright threatening to close the Broadway branch for lack of participation, Sarah has little choice left, and agrees to the date. 
Question: What rank is the woman who plans to close one of the Save a Soul Mission branches?
Output: General.
Passage: Sir Edwin Lutyens was among the most distinguished architects for war memorials in Britain. He became a nationally renowned designer of war memorials following his work as an adviser to (and later one of the principal architects for) the Imperial War Graves Commission and his design for the Cenotaph on London's Whitehall. As well as dozens of public war memorials in towns and cities across Britain, Lutyens designed several private memorials to individual casualties, usually the sons of friends or clients. Many were heirs to the country houses Lutyens had built earlier in his career, as in Mells where he renovated the manor at the beginning of the 20th century. His work in Mells arose through his friend and collaborator Gertrude Jekyll, who introduced him to the Horners through a family connection. Lutyens established a friendship which led to multiple commissions in the village. In addition to his work on the manor, he redesigned its gardens and worked on several related buildings and structures, and after the war was responsible for a tribute to Raymond Asquith (Edward's brother-in-law), also located in St Andrew's Church, and the village war memorial. Lutyens designed two other memorials to Horner: a wooden board featuring a description of the events leading up to his death, which was placed on a wall in the family chapel in St Andrew's Church; and a stone tablet in Cambrai Cathedral.Alfred Munnings was a painter specialising in horses. He volunteered for military service at the outbreak of war but was deemed unfit due to lack of sight in one eye. He volunteered to tend to army horses and was later recruited as a civilian war artist attached to Canadian cavalry. In 1919, he was beginning to move into sculpture. The Horner memorial was his first public work of sculpture, for which Lutyens commissioned him based on a pre-existing friendship. The work led to several further commissions for equine statues, including from the Jockey Club for a sculpture of the racehorse Brown Jack at Epsom Downs Racecourse. Munnings produced two models in clay for review by Lady Horner; he worked from photographs provided by Lady Horner and a live model in producing the statue. At one point, Munnings was so dissatisfied with the statue's head that he cut it off and re-cast it from scratch. 
Question: What is the first name of the person who established a friendship which led to multiple commissions in the village?
Output: Edwin.
Passage: Washington, D.C. detective and forensic psychologist Alex Cross heads to Durham, North Carolina when his niece Naomi, a college student, is reported missing. He learns from police detective Nick Ruskin that Naomi is the latest in a series of young women who have vanished. Soon after his arrival, one of the missing women is found dead, bound to a tree, and a short time later, Kate McTiernan is kidnapped from her home.
When she awakens from a drugged state, Kate discovers that she is being held by a masked man calling himself Casanova, and she is one of several prisoners trapped in his lair. She manages to escape and is severely injured when she jumps from a cliff into a river. After she recuperates, she joins forces with Cross to track down her captor, whom Cross concludes is a collector, not a killer, unless his victims fail to follow his rules. This means there is time to rescue the other imprisoned women, as long as they remain obedient.
Clues lead them to Los Angeles, where a series of gruesome kidnappings and murders have been credited to Dr. William Rudolph, known as the Gentleman Caller. Cross's efforts to capture and question Rudolph are foiled when Rudolph escapes. In North Carolina, Cross traces Casanova up the river. Alerted by a gunshot, he discovers Casanova's underground hideout. Rudolph is revealed to be Casanova's partner. Casanova escapes, while Rudolph is shot by Cross. Cross rescues the kidnapped women, including Naomi. 
Question: What is the full name of the character who jumps from a cliff into a river?
Output: Kate McTiernan.
Passage: Love has been candid about her diverse musical influences, the earliest being Patti Smith, The Runaways, and The Pretenders, artists she discovered while in juvenile hall at age fifteen. As a child, her first exposure to music was records that her parents retrieved each month through Columbia Record Club. The first record Love owned was Leonard Cohen's Songs of Leonard Cohen (1967), which she obtained from her mother: "He was so lyric-conscious and morbid, and I was a pretty morbid kid," she recalled. As a teenager, she named Flipper, Kate Bush, Soft Cell, Joni Mitchell, Laura Nyro, Lou Reed, and Dead Kennedys among her favorite artists. She has also spoken of her appreciation for new wave and post-punk bands she became acquainted with while living as a teenager in the United Kingdom, such as Echo and the Bunnymen, The Smiths, Siouxsie and the Banshees, Television, Bauhaus, and Joy Division.While in Dublin at age fifteen, Love attended a Virgin Prunes concert, an event she credited as being a pivotal influence: "I had never seen so much sex, snarl, poetry, evil, restraint, grace, filth, raw power and the very essence of rock and roll," she recalled. "[I had seen] U2 [who] gave me lashes of love and inspiration, and a few nights later the Virgin Prunes fucked–me–up." Decades later, in 2009, Love introduced the band's frontman Gavin Friday at a Carnegie Hall event, and performed a song with him.Love's diverse genre interests were illustrated in a 1991 interview with Flipside, in which she stated: "There's a part of me that wants to have a grindcore band and another that wants to have a Raspberries-type pop band." Discussing the abrasive sound of Hole's debut album, she said she felt she had to "catch up with all my hip peers who'd gone all indie on me, and who made fun of me for liking R.E.M. and The Smiths." She has also embraced the influence of experimental artists and punk rock groups, including Sonic Youth, Swans, Big Black, Diamanda Galás, the Germs, and The Stooges. While writing Celebrity Skin, she drew influence from Neil Young and My Bloody Valentine. She has also cited her contemporary PJ Harvey as an influence, saying: "The one rock star that makes me know I'm shit is Polly Harvey. I'm nothing next to the purity that she experiences." In 2014, she named "Bitter Sweet Symphony" by The Verve as one of her favorite songs.Literature and poetry have often been a major influence on her songwriting; Love said she had "always wanted to be a poet, but there was no money in it." She has named the works of T.S. Eliot and Charles Baudelaire as influential, and referenced works by Dante Rossetti, William Shakespeare, Rudyard Kipling, and Anne Sexton in her lyrics. 
Question: What is the name of the person who drew influence from Neil Young and My Bloody Valentine?
Output: Love.
Passage: MSgt Mike Takashima, Col Glenn Stevenson, and 1st Lt John Gregg, all members of the U. S. Air Force Air Rescue Service at Ashiya Air Base, Japan, set out to rescue the survivors of a Japanese ship wrecked in a still-raging storm. As they fly to the site of the wreck, each man recalls a part of his past: Gregg remembers the avalanche caused in Europe when his H-19 Chickasaw helicopter came too close to a mountain. The avalanche subsequently buried alive the group of people whom he was attempting to rescue. The accident has since caused him to fear flying solo. Stevenson, deeply prejudiced against the Japanese, recalls the reason for his hatred: as a civilian pilot in the Philippines prior to World War II, he met and married Caroline Gordon. She and their infant son later died in a Japanese prison camp when they were refused medical supplies which were being saved for Japanese soldiers. Takashima, half-Polish (mother), half-Japanese (father), reminisces about his tragic love affair with Leila, an Algerian girl, when he was an Army paratrooper during World War II. He was unable to stop a bridge from being blown up, a bridge where Leila had run to look for him after learning that his unit was being withdrawn from town. Stevenson, Gregg and Takashima are the crew of the lead aircraft of a flight of two HU-16s dispatched to rescue the Japanese civilians at sea.  When one HU-16 air rescue plane crashes while attempting to land in the treacherous seas, Stevenson refuses to jeopardize his plane for Japanese lives. At the last minute, however, he recalls Caroline's dying plea not to hate; he overcomes his prejudice.  Takashima volunteered to parachute to the life rafts with rescue equipment. Stevenson and Gregg then land the plane at sea and rescue the survivors, but when Stevenson is injured in the landing, Gregg is forced to overcome his fear and handle the dangerous takeoff and the flight back to Ashiya. 
Question: What is the full name of the person that overcomes his prejudice?
Output: Col Glenn Stevenson.
Passage: The Cure's second album Seventeen Seconds (1980) established the group as a prominent gothic rock band, which would be followed up by Faith (1981), and Pornography (1982). Three singles were released during 1982 and 1983 that were a significant divergence in style for The Cure; essentially, pop hits. "The Love Cats" became The Cure's first single to infiltrate the top ten in the United Kingdom, peaking at number seven. This shift is attributed to Smith's frustration over the band's labelling as a predictable gothic rock band: "My reaction to all those people ... was to make a demented and calculated song like 'Let's Go to Bed'." Following the return of guitarist Porl Thompson and bassist Simon Gallup in 1984 and the addition of drummer Boris Williams in 1985, Smith and keyboardist Lol Tolhurst continued to integrate more pop-oriented themes with the release of the group's sixth studio album The Head on the Door (1985). With the singles "In-Between Days" and "Close to Me", The Cure became a viable commercial force in the United States for the first time.The band's 1987 double album Kiss Me, Kiss Me, Kiss Me resulted in further commercial success, with a sold-out world tour booked in its wake. Despite the international success the band was now enjoying, internal friction was increasing due to Tolhurst's increasing alcoholism at the time. Keyboardist Roger O'Donnell (who had recently been touring with The Psychedelic Furs), was soon hired as a second touring keyboardist. As Tolhurst's alcohol consumption increased, the other band members would tease Tolhurst, leading Smith to later comment that his behaviour was similar to that of "some kind of handicapped child being constantly poked with a stick". At the end of the Kissing Tour in support of Kiss Me, Kiss Me, Kiss Me, Smith became uncomfortable with the side effects of being a pop star and moved to Maida Vale (in West London) with fiancée Mary Poole. Regularly taking LSD to cope with his depression, Smith once again felt The Cure were being misunderstood and sought to return to the band's dark side with their next record. 
Question: What album did the Cure release after Seventeen Seconds?
Output: Faith.
Passage: Van der Weyden's depiction of the Magdalen is based on Mary of Bethany, identified by the time of Pope Gregory I as the repentant prostitute of Luke 7:36–50. She then became associated with weeping and reading: Christ's mercy causes the eyes of the sinner to be contrite or tearful. Early Renaissance artists often conveyed this idea by portraying contemplative eyes, associating tears with words, and in turn weeping with reading. Examples can be seen in 16th-century works by Tintoretto and Titian which show the Magdalen reading, often with her eyes averted towards her book (and presumably away from a male gaze), or looking up to the heavens or, sometimes, glancing coyly towards the viewer. Writing in "The Crying Face", Mosche Barasch explains that in van der Weyden's time the gesture of averting or concealing the eyes became a "pictorial formula for crying".
By the medieval period, reading became synonymous with devotion, which involved withdrawal from public view. Van der Weyden's placement of the Magdalen in an interior scene reflects the increasing literacy of domestic or laywomen in the mid-15th century. The increased production of devotional texts showed that noble women of the period routinely read texts such as a psalter or book of hours in the privacy of their homes. Whether the Magdalen herself was a reader, by the 17th century she was firmly established as such in the visual arts. Because the Magdalen was present at Christ's death and subsequent resurrection, she was seen as the bearer of news—a witness—and hence directly associated with the text.The Magdalen imagery further draws on the idea of Christ as the word, represented by a book, with the Magdalen as the reader learning of her own life story in a moment of reflection and repentance.  Her devotion to reading reflects her traditional status as the piously repentant harlot, as well as a prophetess or seer.  According to legend, the Magdalen lived the last 30 years of her life as a hermit in Sainte-Baume and is often shown with a book, reading or writing, symbolizing her later years of contemplation and repentance. By the 13th century she acquired the imagery of a once-shamed woman who, clothed in long hair, now hid her nakedness in exile and "borne by angels, floats between heaven and earth".The Magdalen's ointment jar was common in the lexicon of art in van der Weyden's period. Mary of Bethany may have used a jar when she repented of her sins at Christ's feet in her home; by the Renaissance, the image of the Magdalen was of the woman who bathed Christ's feet with her tears and dried them with her hair. She signified the "sacrament of anointing (Chrism and Unction)" by pouring precious spikenard on Christ's feet at his tomb. 
Question: What is the first name of the Magdalen who became associated with weeping and reading?
Output: Mary.
Passage: In February 2009, Bono stated that by the end of the year, U2 would release an album consisting of unused material from the No Line on the Horizon sessions. Bono labelled it "a more meditative album on the theme of pilgrimage". Provisionally titled Songs of Ascent, it would be a sister release to No Line on the Horizon, similar to Zooropa's relationship to Achtung Baby. In June 2009, Bono said that although nine tracks had been completed, the album would only be released if its quality surpassed that of No Line on the Horizon. A December 2009 report stated that U2 had been working in the studio with the goal of a mid-2010 release. The band revealed that the first single was intended to be "Every Breaking Wave".Over time, the album continued to be delayed. In April 2010, U2's manager Paul McGuinness confirmed that the album would not be finished by June, but indicated that a release "before the end of the year [was] increasingly likely." In October 2010, Bono stated that their new album would be produced by Danger Mouse, and that 12 songs had been completed. He also noted that U2 were working on a potential album of club music in the spirit of "U2's remixes in the 1990s". Around the same time, McGuinness said the album was slated for an early 2011 release. In February 2011, he said that the album was almost complete and had a tentative release date of May 2011, although he noted that Songs of Ascent was no longer the likely title. The Songs of Ascent project ultimately did not come to fruition and has not been released; its evolution and apparent abandonment are examined in the book The Greatest Albums You'll Never Hear. Clayton said, "We thought there was more material left over from No Line... we now feel a long way from that material."After numerous delays, U2 digitally released their thirteenth album, Songs of Innocence, on 9 September 2014 in a surprise release. The band appeared the same day at an Apple Inc. product launch event to announce the album and reveal it was being released to all iTunes Store customers at no cost.In October 2014, Bono said that Songs of Ascent "will come" and that the group views it as the third release in a possible trilogy of albums. 
Question: What was the name of the band that released Achtung Baby?
Output: U2.
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 is the first name of the person who published several editions featuring Newton's first three stanzas and the verse previously included by Harriet Beecher Stowe in Uncle Tom's Cabin?
Output: Edwin.
Passage: On a dark, rainy morning at Westgate Prison, prisoners crammed into a small cell watch through the window as Joe Collins returns from his term in solitary confinement. Joe is angry and talks about escape. The beleaguered warden is under pressure to improve discipline. His chief of security, Capt. Munsey, is a sadist who manipulates prisoners to inform on one another and create trouble so he can inflict punishment. The often drunk prison doctor warns that the prison is a powder keg and will explode if they are not careful. He denounces Munsey's approach and complains that the public and government officials fail to understand the need for rehabilitation.
Joe's attorney visits and tells Joe his wife Ruth is not willing to have an operation for cancer unless Joe can be there with her. He takes his revenge on fellow inmate Wilson, who at Munsey's instigation had planted a weapon on Joe that earned him a stay in solitary. Joe has organized the brutal attack on Wilson in the prison machine shop but provides himself with an alibi by talking with the doctor in his office while the murder occurs.
Joe presses another inmate, Gallagher, to help him escape but Gallagher has a good job at the prison newspaper and Munsey has promised him parole soon. Munsey then instigates a prisoner's suicide, giving higher authorities the opportunity to revoke all prisoner privileges and cancel parole hearings. Gallagher feels betrayed and decides to join Joe's escape plan. Joe and Gallagher plan an assault on the guard tower where they can get access to the lever that lowers a bridge that controls access to the prison. 
Question: Who manipulated the prisoner that Joe organized a brutal attack on?
Output: Capt. Munsey.
Passage: The year 1960 marked another turning point in Shostakovich's life: he joined the Communist Party. The government wanted to appoint him General Secretary of the Composers' Union, but in order to hold that position he was required to attain Party membership. It was understood that Nikita Khrushchev, the First Secretary of the Communist Party from 1953 to 1964, was looking for support from the leading ranks of the intelligentsia in an effort to create a better relationship with the Soviet Union's artists. This event has been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, or his free decision. On the one hand, the apparat was undoubtedly less repressive than it had been before Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears, and he later told his wife Irina that he had been blackmailed. Lev Lebedinsky has said that the composer was suicidal. From 1962, he served as a delegate in the Supreme Soviet of the USSR. Once he joined the Party, several articles he did not write denouncing individualism in music were published in Pravda under his name. In joining the party, Shostakovich was also committing himself to finally writing the homage to Lenin that he had promised before. His Twelfth Symphony, which portrays the Bolshevik Revolution and was completed in 1961, was dedicated to Vladimir Lenin and called "The Year 1917." Around this time, his health began to deteriorate.
Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three days. He subtitled the piece "To the victims of fascism and war", ostensibly in memory of the Dresden fire bombing that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates quotations from several of his past works and his musical monogram. Shostakovich confessed to his friend Isaak Glikman, "I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself." Several of Shostakovich's colleagues, including Natalya Vovsi-Mikhoels and the cellist Valentin Berlinsky, were also aware of the Eighth Quartet's biographical intent. Peter J. Rabinowitz has also pointed to covert references to Richard Strauss's Metamorphosen in the Eighth Quartet.In 1962 Shostakovich got married for the third time, to Irina Supinskaya. In a letter to Glikman, he wrote "her only defect is that she is 27 years old. In all other respects she is splendid: clever, cheerful, straightforward and very likeable." According to Galina Vishnevskaya, who knew the Shostakoviches well, this marriage was a very happy one: "It was with her that Dmitri Dmitriyevich finally came to know domestic peace... Surely, she prolonged his life by several years." In November he made his only venture into conducting, conducting a couple of his own works in Gorky; otherwise he declined to conduct, citing nerves and ill health. 
Question: What is the last name of the person who made his only venture into conducting in November, conducting a couple of his own works in Gorky?
Output: Shostakovich.
Passage: Wedge Donovan is a tough construction boss, building airstrips in the Pacific for the U.S. Navy during World War II. He clashes with his liaison officer, Lieutenant Commander Robert Yarrow, over the fact that his men are not allowed to arm themselves against the Japanese. When the enemy lands in force on the island, he finally takes matters into his own hands, leading his men into the fray. This prevents Yarrow from springing a carefully devised trap that would have wiped out the invaders in a murderous machinegun crossfire, with minimal American losses. Instead, many of Donovan's men are killed unnecessarily.
As a result of this tragedy, Yarrow finally convinces the US Navy to form Construction Battalions (CBs, or the more familiar "Seabees") with Donovan's assistance, despite their mutual romantic interest in war correspondent Constance Chesley. Donovan and many of his men enlist and receive formal military training.
The two men are teamed together on yet another island. The Japanese launch a major attack, which the Seabees barely manage to hold off, sometimes using heavy construction machinery such as bulldozers and a clamshell bucket. When word reaches Donovan of another approaching enemy column, there are no sailors left to oppose this new threat. In desperation, he rigs a bulldozer with explosives on its blade, intending to ram it into a petroleum storage tank. The plan works, sending a cascade of burning liquid into the path of the Japanese, who retreat in panic, right into the sights of waiting machine guns.  However, Wedge is shot in the process and dies in the explosion. 
Question: Whose men were unarmed against the Japanese?
Output: Wedge Donovan.
Passage: Lennon was born on 9 October 1940 at Liverpool Maternity Hospital, to Julia (née Stanley) (1914–1958) and Alfred Lennon (1912–1976). Alfred was a merchant seaman of Irish descent who was away at the time of his son's birth. His parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother; the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia, by then pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon. In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them – with her partner at the time, Bobby Dykins – and after a heated argument, his father forced the five-year-old to choose between them. In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, however, Lennon's parents agreed that Julia should take him and give him a home. A witness who was there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years.Throughout the rest of his childhood and adolescence, Lennon lived at Mendips, 251 Menlove Avenue, Woolton, with Mimi and her husband George Toogood Smith, who had no children of their own. His aunt purchased volumes of short stories for him, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and when John was 11 years old, he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, taught him the banjo, and showed him how to play "Ain't That a Shame" by Fats Domino. In September 1980, Lennon commented about his family and his rebellious nature:. 
Question: What was the full name of the person who took his son to Blackpool?
Output: Alfred Lennon.
Passage: Stalin's death in 1953 was the biggest step toward Shostakovich's rehabilitation as a creative artist, which was marked by his Tenth Symphony. It features a number of musical quotations and codes (notably the DSCH and Elmira motifs, Elmira Nazirova being a pianist and composer who had studied under Shostakovich in the year before his dismissal from the Moscow Conservatory), the meaning of which is still debated, while the savage second movement, according to Testimony, is intended as a musical portrait of Stalin. The Tenth ranks alongside the Fifth and Seventh as one of Shostakovich's most popular works. 1953 also saw a stream of premieres of the "desk drawer" works.
During the forties and fifties, Shostakovich had close relationships with two of his pupils, Galina Ustvolskaya and Elmira Nazirova. In the background to all this remained Shostakovich's first, open marriage to Nina Varzar until her death in 1954. He taught Ustvolskaya from 1937 to 1947. The nature of their relationship is far from clear: Mstislav Rostropovich described it as "tender". Ustvolskaya rejected a proposal of marriage from him after Nina's death. Shostakovich's daughter, Galina, recalled her father consulting her and Maxim about the possibility of Ustvolskaya becoming their stepmother. Ustvolskaya's friend Viktor Suslin said that she had been "deeply disappointed" in Shostakovich by the time of her graduation in 1947. The relationship with Nazirova seems to have been one-sided, expressed largely through his letters to her, and can be dated to around 1953 to 1956. He married his second wife, Komsomol activist Margarita Kainova, in 1956; the couple proved ill-matched, and divorced three years later.
In 1954, Shostakovich wrote the Festive Overture, opus 96; it was used as the theme music for the 1980 Summer Olympics. (His '"Theme from the film Pirogov, Opus 76a: Finale" was played as the cauldron was lit at the 2004 Summer Olympics in Athens, Greece.)
In 1959, Shostakovich appeared on stage in Moscow at the end of a concert performance of his Fifth Symphony, congratulating Leonard Bernstein and the New York Philharmonic Orchestra for their performance (part of a concert tour of the Soviet Union). Later that year, Bernstein and the New York Philharmonic recorded the symphony in Boston for Columbia Records. 
Question: What is the first name of the person whose relationship with Shostakovich's was tender?
Output: Galina.
Passage: Deal began recording again in 1999, first in Austin, Texas, and then at Electrical Audio studio in Chicago with Steve Albini, with whom she had previously worked on Pod, Pacer, and the Pixies' album Surfer Rosa. Although Deal performed most of the instruments herself at the 1999 sessions, her sister had some involvement. They recorded "The She", "Forced to Drive", and "Too Alive" in Chicago, with Deal's drum performance on the third track taken from the Texas session.Deal was satisfied with the material recorded up to this point, but realized she would not be able to tour without a band. She returned to New York to look for a backing group in March 2000. After a chance meeting with members of Fear, she invited drummer Andrew Jaimez, bassist Mando Lopez, and guitarist Richard Presley to jam with her at the studio she was renting. Deal wanted to continue playing with these musicians, and so within three months she moved to Fear's hometown Los Angeles. Jaimez, Lopez, and Presley joined the Breeders, and Kelley Deal rejoined the group soon after. About a month after Kim Deal's arrival, Jose Medeles replaced Jaimez, who decided he did not have enough time for the Breeders because of his involvement in other musical projects. The new line-up spent the rest of the year writing and rehearsing.The Breeders returned to Chicago in mid-2001 to continue recording with Albini. "Little Fury", "London Song", "Off You", "Put on a Side", "Full on Idle", "T and T", and "Huffer" were recorded in 2001. At some point from 2000 to 2002, the group spent time at the Grandmaster Recording Ltd. studio in Los Angeles. The session at Grandmaster Recording, engineered by Mark Arnold and Andrew Alekel, resulted in "Son of Three" and "Sinister Foxx". "Fire the Maid", a song from these sessions written and sung by Kelley Deal, was performed in concert in 2000 and 2001 but was not included on the album.Kelley Deal has stated that "Little Fury" and "Sinister Foxx" started as "just ideas" by the sisters that turned into full collaborations by the group—all five musicians received songwriting credits on these tracks. Kim Deal is credited as sole songwriter on the remaining ten tracks, although other band members contributed musical ideas as well.During the Title TK sessions, Kim Deal adopted a philosophy she calls "All Wave". This approach stipulates that only analog recording may be used, without computer editing. Deal has said that she likes "interesting mistakes" in song production, and that her beliefs about recording are "a reaction ... to everything sounding so straight and clean in most records today". The album's mastering was also done using analog processes, by Albini and Steve Rook, at Abbey Road Studios in London. 
Question: What is the full name of the person who said that she likes "interesting mistakes" in song production?
Output: Kim Deal.
Passage: Etty considered Britomart Redeems Faire Amoret one of his major works.
Following its exhibition at the 1833 Summer Exhibition, it was exhibited in August of the same year at the Royal Manchester Institution. It was sold at this second exhibition for £157 (about £15,000 in today's terms) to an anonymous collector listed in Etty's records only as "Mr. L., Manchester". It was one of 133 Etty paintings exhibited in a major retrospective exhibition of his work at the Royal Society of Arts in June–August 1849; during this exhibition it was sold on to Lord Charles Townshend for a sum of 520 guineas (about £56,000 in today's terms).Etty died in 1849, having continued working and exhibiting up to his death, and continued to be regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the sales prices achieved by his paintings were falling below the original values. 
Question: What is the last name of the person interest declined in?
Output: Etty.
Passage: "The Thing That Should Not Be" was inspired by the Cthulhu Mythos created by famed horror writer H.P. Lovecraft, with notable direct references to The Shadow Over Innsmouth and to Cthulhu himself, who is the subject matter of the song's chorus.  It is considered the heaviest track on the album, with the main riff emulating a beast dragging itself into the sea. The Black Sabbath-influenced guitars are downtuned, creating slow and moody ambiance. "Welcome Home (Sanitarium)" was based on Ken Kesey's novel One Flew Over the Cuckoo's Nest and conveys the thoughts of a patient unjustly caged in a mental institution. The song opens with a section of clean single strings and harmonics. The clean, arpeggiated main riff is played in alternating 44 and 64 time signatures. The song is structured with alternating somber clean guitars in the verses, and distorted heavy riffing in the choruses, unfolding into an aggressive finale. This structure follows a pattern of power ballads Metallica set with "Fade to Black" on Ride the Lightning and would revisit with "One" on ...And Justice for All."Disposable Heroes" is an anti-war song about a young soldier whose fate is controlled by his superiors. With sections performed at 220 beats per minute, it is one of the most intense tracks on the record. The guitar passage at the end of each verse was Hammett's imitation of the sort of music he found in war films. The syncopated riffing of "Leper Messiah" challenges the hypocrisy of the televangelism that emerged in the 1980s. The song describes how people are willingly turned into blind religious followers who mindlessly do whatever they are told. The 136 beats per minute mid-tempo riffing of the verses culminates in a descending chromatic riff in the chorus; it increases to a galloping 184 beats per minute for the middle section that climaxes in a distorted scream of "Lie!". The title derives from the lyrics to the David Bowie song "Ziggy Stardust". "Orion" is a multipart instrumental highlighting Burton's bass playing. It opens with a fade-in bass section, heavily processed to resemble an orchestra. It continues with mid-tempo riffing, followed by a bass solo at half-tempo. The tempo accelerates during the latter part, and ends with music fading out. Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies. "Damage, Inc." rants about senseless violence and reprisal at an unspecified target. It starts with a series of reversed bass chords based on the chorale prelude of Bach's "Come, Sweet Death". The song then jumps into a rapid rhythm with a pedal-point riff in E that Hammett says was influenced by Deep Purple. 
Question: What song did Burton arranged the middle section, which features its moody bass line and multipart guitar harmonies?
Output: Orion.
Passage: For combination of grace, dramatic strength, and clearness in technique this picture would be difficult to surpass. There is nothing finicky about it; it tells its story with vivid directness. As a background to the figure Mrs. Rix Nicholas has set a piece of antique tapestry, so that the trees on either side lean in arch-wise over the head, the face and shoulders stand out clearly against an expanse of sky, and behind the body and limbs extends a countryside full of towers and rivers and trees. The quaint conventionality of this background accords exactly with the late eighteenth-century costume, all sprigged with roses and heliotrope; and the whole mass of detail harmonies [sic] perfectly with the type of the model's face. It is a cold, selfish face. The artist has brought out with revealing strokes an expression of vindictive malice which is for the moment resting there; and the hands, the fingers of one grasped tightly by the other, give a clear indication of nervous tension within. The treatment of flesh tones and the general arrangement, drawing attention gently but not too obtrusively to the columbines scattered on the polished floor—those are excellent.
While she exhibited many of the Australian works completed before arriving in France, she was also creating many new works, including illustrations and portraits of traditional life and costume, produced during a summer in Brittany. In 1926, Rix Nicholas was again included in London's Royal Academy of Art exhibition, where one of her Brittany paintings, Le Bigouden, was hung. She also appeared at the Société Nationale des Beaux-Arts Spring exhibition in Paris, in which she had eight works, a very large number for a single artist. The Société not only hung many of her paintings and drawings: she was also elected an Associate to the organisation in that year.At the end of 1926, Rix Nicholas and Dorothy Richmond together returned to Australia. Energised by her success, Rix Nicholas purchased a car, filled its rear compartment with painting equipment, and the pair set out to paint the landscape, ranging from Canberra and the Monaro plains to the south, up into central Queensland. This included a publicity-attracting occasion where she painted figures on the beach at Bondi, reported by various publications including Australian magazine, The Home. 
Question: What is the full name of the organization to which Rix Nicholas was also elected an Associate?
Output: Société Nationale des Beaux-Arts.