niryuu/sni-each-converted huggingface dataset:
Passage: Shortly after the return home in November 1936 Riley, together with three other Jarrow councillors who had led the march—James Hanlon, Paddy Scullion and Joseph Symonds—left Labour to form a breakaway group committed to a more direct fight for employment. All four later rejoined the party; Scullion and Symonds both served as the town's mayor, and Symonds was Labour MP for Whitehaven from 1959 to 1970. In 1939 Wilkinson published her history of Jarrow, The Town that Was Murdered. A reviewer for The Economic Journal found the book "not quite as polemical as one might have expected", but felt that in her denunciation of the BISF Wilkinson had not taken full account of the state of the iron and steel industry in the 1930s. Wilkinson continued her parliamentary career, and from 1940 to 1945 held junior ministerial office in Churchill's wartime coalition government. In the 1945 Labour government she was appointed Minister of Education, with a seat in the cabinet, a post in which she served until her death, aged 55, in February 1947.
In 1974 the rock singer Alan Price released  the "Jarrow Song", which helped to raise awareness of the events of 1936 among a new generation. Among dramatisations based on the Jarrow March is a play, Whistling at the Milestones (1977) by Alex Glasgow, and an opera, Burning Road (1996), by Will Todd and Ben Dunwell. In what Perry describes as one of the ironies surrounding the march, the opera was performed in Durham Cathedral in May 1997, in retrospective defiance of the bishop who had condemned the march. On 29 October 2017, the Tyne Bridge was closed off and was the venue the Freedom on The Tyne Finale. The Freedom on The Tyne Finale was the finale of the 2017 Freedom City festival. The event, promoted by Newcastle University re-enacted many world civil rights stories throughout history. The final event, revolved around the March, the re-enactment was described as a memorable closing to the finale. The town of Jarrow contains several commemorations, including a steel relief sculpture by Vince Rea at the new railway station, a tile mural designed by local schoolchildren, and a bronze sculpture—"The Spirit of the Crusade" by Graham Ibbeson—in the town centre. Buildings and street names bear the names of Wilkinson and Riley. Perry writes that "In Jarrow, landscape and memory have fused together, just as the red hot rivets once fastened great sheets of steel in Palmer's Yard.". 
Question: What was the last names of the two people who wrote the opera, Burning Road?
Output: Dunwell.
Passage: Spiderland received widespread critical acclaim from music critics, including Spin, NME, and The Village Voice. In a contemporary review for Melody Maker, Steve Albini, producer of Slint's 1989 album Tweez, gave the album ten stars and called it "a majestic album, sublime and strange, made more brilliant by its simplicity and quiet grace." Albini found its unadorned production impeccable and said that it vividly captures McMahan and Pajo's playing so well that their guitars "seem to hover in space directly past the listener's nose", while "the incredibly precise-yet-instinctive drumming has the same range and wallop it would in your living room." Select noted that the band's popularity in the college circuit was "probably due to the college circuit celebrity status of their drummer – Shannon Doughton, aka Britt Walford, the only male member of the 'all-female' indie supergroup The Breeders". Their review noted the multiple listens it may take to appreciate it, acknowledging the album as "immediate as a snail trail to hell, 'Spiderland' needs several plays to burn its way into your consciousness, but when it does..."In a retrospective review for AllMusic, Mark Deming said that Spiderland is "one of the most important indie albums of the '90s" and a "singular achievement" which found the band "working with dynamics that made the silences every bit as much presence as the guitars and drums, manipulating space and time as they stretched out and juggled time signatures, and conjuring melodies that were as sparse and fragmented as they were beautiful". Robert Christgau was less enthusiastic and wrote that, despite their "sad-sack affect", Slint are actually "art-rockers without the courage of their pretensions" with poor lyrics. In The New Rolling Stone Album Guide, Rolling Stone journalist Mac Randall felt that the album's music lacks songform, even though it sounds more accessible than Tweez: "[t]he absence of anything resembling a tune continues to nag."In 2003, Pitchfork wrote of Spiderland: "a heady, chilling listen; the irregularity of its hypnotic melodies, fractured beats and mismatched lyrics demand a new kind of appreciation, independent of traditional notions of songcraft. With its half-mumbled, half-hollered vocals, deliberate percussion and drone-gone-aggressive guitars, Spiderland's urgency is almost traumatic to swallow: despondency never tasted so real." They named it the twelfth best album of the 1990s. In 2014, Spiderland was reissued as a box set, featuring 14 previously unreleased tracks, and received widespread critical acclaim; it holds an average score of 99 out of 100 at Metacritic, based on 11 reviews from mainstream publications. 
Question: What is the name of the album to which Albini gave ten stars?
Output: Spiderland.
Passage: In an interview with Pitchfork in October 2007, Taylor said there would be an equal proportion of electronic elements to live material, as the band doesn't "do things by adding one thing and taking something else away". The album contained maximalist and minimalist songs; several tracks on the album were influenced by rock and heavy metal music, and the track "Wrestlers" started taking a new direction because the band was "wrestling with the idea of making an R. Kelly kind of slick R and B number" and ultimately "[sounded] more like Randy Newman's "Short People". He said, "if the press release says it's faster and rockier it doesn't account for the fact that there are more ballads on this record than any other record." Taylor said that feelings of happiness and love influenced the album's romantic feel.Goddard considered varying styles and influences a key factor in the band's music. He explained to The Sun that creating music could be difficult because a member could introduce a different influence. Goddard and Doyle said that clashes and restlessness during recording led to "unpleasant" periods of silence, but ultimately thought the clashes created "something more interesting because you have these different voices and not one person dictating".Martin told The Georgia Straight that the group are "afflicted with something akin to musical attention-deficit disorder" and said that the group "get bored quite easily [...] with [their] own records at times". He elaborated by saying that the group aren't "really interested in reproducing the same sound" because they don't find it exciting.Taylor stated Hot Chip "didn't set out to make something with one mood" and that he thought the band's style of "jump[ing] all over the place stylistically" made sense as a record. In an interview with The Georgia Straight, Martin expressed that Hot Chip didn't want to create a "'classic' record that would have a particular sound" as they wanted to make music that was "quite experimental and out-there". Made in the Dark was intended to represent the "whole live sound of the band" and they are "a band as much as originally having been a duo". 
Question: What is the name of the person that thought the band's style of "jump[ing] all over the place stylistically"?
Output: Taylor.
Passage: One day, Molly Standing is picking apples in her father's apple orchard in California, with her friend Gertie, when they meet two boys, Tommy Melville and Gus Schultz. Molly falls in love with Tommy while Gertie falls in love with Gus. They plan a double wedding.
Gerald Winters and his mother, who are wealthy art patrons, hear Molly singing, and, at Gerald's suggestion, since he is very attracted to her, they sponsor her to study in Italy. Molly is reluctant to go but finally accepts when she discovers her father is in need of money. She leaves on the day that Tommy had hoped would be their wedding day. He says goodbye to her before attending Gertie and Gus's wedding ceremony.
Molly becomes a success in Rome. She returns to the United States to sing at the Metropolitan Opera House in New York City, where she is again a great success. After the performance, Tommy attends the party which has been given by Gerald and his mother. Molly asks Tommy to sing, but her society friends do not think much of his singing. Realizing that Molly now lives in a world far apart from his, Tommy breaks off his engagement and returns to the orchards.
Molly stays in New York for two years and then moves on to San Francisco for a concert stop. Although she is supposed to marry Gerald soon, she is unhappy. She goes to her father's orchards to visit her old friend Gertie, to see how things are going with her. She happens to run into Tommy, and they rekindle their love and are married. Before they leave on their honeymoon, the doctor informs Molly's manager and Tommy that Schilling has lost her voice and will never sing again, except perhaps, a lullaby. 
Question: What is the full name of the person who is sponsored to study in Italy?
Output: Molly Standing.
Passage: Nicolas Rolin was appointed Chancellor of Burgundy by Philip the Good in 1422, a position he held for the next 33 years. His tenure with the duke made him a wealthy man, and he donated a large portion of his fortune for the foundation of the Hôtel-Dieu in Beaune.  It is not known why he decided to build in Beaune rather than in his birthplace of Autun. He may have chosen Beaune because it lacked a hospital and an outbreak of the plague decimated the population between 1438 and 1440.  Furthermore,  when in 1435 the Treaty of Arras failed to bring a cessation to the longstanding hostility and animosity between Burgundy and France, the town suffered brutal ravages and famine from écorcheurs (marauding bands) who roamed the countryside during the late 1430s and early 1440s.  The hospice was built after Rolin gained permission from Pope Eugene IV in 1441, and it was eventually consecrated on 31 December 1452. In conjunction, Rolin established the religious order of "Les sœurs hospitalières de Beaune". Rolin dedicated the hospice to St Anthony Abbot, who was commonly associated with sickness and healing during the Middle Ages.
In the hospice's founding charter, signed in August 1443, Rolin wrote that "disregarding all human concerns and in the interest of my salvation, desiring by a favourable trade to exchange for celestial goods temporal ones, that I might from divine goodness render those goods which are perishable for ones which are eternal ... in gratitude for the goods which the Lord, source of all wealth, has heaped upon me, from now on and for always, I found a hospital." In the late 1450s, only a few years before he died, he added a provision to the hospital charter stipulating that the Mass for the Dead be offered twice daily.  Rolin's wife, Guigone de Salins, played a major role in the foundation, as probably did his nephew Jan Rolin. De Salins lived and served at the hospice until her own death in 1470.Documents regarding the artwork's commissioning survive and, unusually for a Netherlandish altarpiece, the artist, patron, place of installation and date of completion are all known. It was intended as the centrepiece for the chapel, and Rolin approached van der Weyden around 1443, when the hospital was founded. The altarpiece was ready by 1451, the year the chapel was consecrated. Painted in van der Weyden's Brussels workshop – most likely with the aid of apprentices – the completed panels were then transported to the hospice. The altarpiece is first mentioned in a 1501 inventory, when it was positioned on the high altar. 
Question: What is the last name of the person who it is known why they decided to build in Beaune?
Output: Rolin.
Passage: Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire.". 
Question: What type of TV show is Kaufman's first?
Output: sitcom.
Passage: André Kertész (French: [kɛʁtɛs]; 2 July 1894 – 28 September 1985), born Kertész Andor, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of photojournalism.Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.
Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known.  They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period. 
Question: What is the original name of the person who is considered one of the seminal figures of photojournalism?
Output: Kertész Andor.
Passage: In May 1962 A Child of Our Time received its Israel premiere in Tel Aviv. Tippett says that this performance was delayed because for a while there were local objections to the word "Jesus" in the text. When it came about, among the audience was Herschel Grynszpan's father who, Tippett wrote, was "manifestly touched by the work his son's precipitate action 25 years earlier had inspired." The performance, by the Kol Yisrael Orchestra with the Tel Aviv Chamber Choir, was acclaimed by the audience of 3000, but received mixed reviews from the press. The Times report noted contrasting opinions from two leading Israeli newspapers. The correspondent for Haaretz had expressed disappointment: "Every tone is unoriginal, and the work repeats old effects in a most conventional manner". Conversely, according to the Times report, HaBoker's critic had "found that the composition had moved everyone to the depths of his soul ... no Jewish composer had ever written anything so sublime on the theme of the Holocaust."Despite its successes in Europe A Child of Our Time did not reach the United States until 1965, when it was performed during the Aspen Music Festival, with the composer present. In his memoirs Tippett mentions another performance on that American tour, at a women's college in Baltimore, in which the male chorus and soloists were black Catholic ordinands from a local seminary. The first significant American presentations of the work came a decade later: at Cleveland in 1977 where Prince Charles, who was visiting, delayed his departure so that he could attend, and at Carnegie Hall, New York, where Colin Davis conducted the Boston Symphony Orchestra and the Tanglewood Festival Chorus. Reviewing this performance for The New York Times, Donal Henahan was unconvinced that the work's "sincerity and unimpeachable intentions add[ed] up to important music". The spirituals were sung with passion and fervour, but the rest was "reminiscent of a familiar pious sermon" in which the words were only intermittently intelligible. Meanwhile, the work had achieved its African debut, where in 1975 Tippett observed a performance with an improvised orchestra which incorporated the Zambian Police Band. The Zambian president, Kenneth Kaunda, was present, and entertained the composer afterwards. 
Question: What was the last name of the critic who was unconvinced that the piece that was performed in Cleveland in 1977 was "...important music."?
Output: Henahan.
Passage: By this time, Etty had developed a great admiration for the portrait painter Thomas Lawrence, and hoped to learn from him. Having arranged an introduction via Henry Fuseli, Etty's uncle William met with Lawrence and paid him 100 guineas (about £8,200 in 2019 terms) in return for his accepting the younger William as a private pupil for a year.Under this arrangement Etty did not receive formal tuition from Lawrence. Instead, Lawrence set aside a room in his attic for Etty to copy from his pictures, and agreed to answer questions when he was in a position to do so. Etty found the experience of copying Lawrence's work extremely frustrating, and in his own words "was ready to run away", but he persisted and eventually taught himself to copy Lawrence's work very closely. Although Etty found his year with Lawrence a frustrating experience, his development of the ability to copy other works served him in good stead in future when he came to copy elements from the Old Masters.Once he had completed his year with Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings, as well as undertaking commissions and doing occasional work for Lawrence to earn money. He was unsuccessful in all the Academy's competitions, and every painting he submitted for the Summer Exhibition was rejected.In 1809 Etty's uncle William, with whom he had been staying, died. He was forced into an inconvenient transient lifestyle, moving from lodging to lodging. Etty had been left a significant sum in his uncle's will, and his brother Walter now took over their uncle's position at Bodley, Etty and Bodley, giving Walter the means to support the younger William's work financially. In 1811 Etty's persistence paid off. Two of his paintings were accepted for the Telemachus Rescues Antiope from the Fury of the Wild Boar exhibition at the Royal Academy Summer Exhibition, and Sappho at the British Institution. The latter sold for the respectable sum of 25 guineas (about £1,800 in 2019 terms). Although from now on Etty had at least one work accepted for the Summer Exhibition each year, he had little commercial success and generated little interest over the next few years. By 1814, Etty was becoming widely respected at the RA for his use of colour and in particular his ability to produce realistic flesh tones. 
Question: Whose painting Sappho was accepted for exhibition at the British Institution?
Output: Etty.
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus. 
Question: What does Beyoncé introduce by name as the song opens?
Output: the bass.
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus. 
Question: What does Beyoncé introduce by name as the song opens?
Output: hi-hat.
Passage: "Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D♯4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).
The title refers to the déjà vu phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus. 
Question: What does Beyoncé introduce by name as the song opens?
Output: Roland TR-808.
Passage: After meeting in the Navy recruiting line, Al Crowthers and Melvin Jones become friends.  Al has tried to enlist before, 11 times, but was always rejected because of a bad knee.  However, he keeps trying so that he can impress women (including Betty Hutton in a cameo role as "Hetty Button").  Melvin, meanwhile, is allergic to women's cosmetics and his doctor prescribed ocean travel, so he decided to join the Navy as this was the only way he could afford to follow doctor's orders.
Unbeknownst to Al, the naval requirements have been lowered and this time he has been accepted, as has Melvin.  They are assigned to Lardoski, a bully they met in line and referred to as "fathead."
While based in San Diego, Melvin falls in love with Hilda Jones, a woman who does not wear makeup. Melvin seems to attract many women, so Lardoski wagers with Al, betting that Melvin must get a kiss from any girl Lardoski names.  Al agrees and Lardoski picks Corinne Calvet, who is performing at a nightclub in Honolulu.  The crew then get sent out on the next submarine to Hawaii, with Melvin caught on deck when the ship is submerging.  Upon his rescue he is tied to a torpedo for the rest of the voyage to avoid any more incidents.
Once in Hawaii, Al romances Corinne at the same time Melvin vies for her affection in order to gain a kiss to win the bet, which his shipmates have informed him about. Melvin is unsuccessful in comforting Hilda, who becomes jealous.  Lardoski tries to prevent the kiss by getting the shore patrol to arrest Melvin, but after disguising himself as a hula dancer, Melvin gains the kiss.  Al wins the bet (and Corinne), and Melvin works things out with Hilda. 
Question: What's the first name of the dancer that Al's girl kisses?
Output: Melvin.
Passage: Percy Caldwell is a teenage boy who lives in Pine Bluffs, California. He is in love with Madison, his high school's most popular cheerleader, but his best friend Leonard doesn't think he stands a chance. One day, after Percy rescues Madison from two local bullies, brothers named Cletis and Devlin, the brothers knock his bicycle off the road with their truck, and Percy ends up crashing in the woods, falling unconscious.
When Percy wakes up, he sees a seven-foot-tall Bigfoot standing over him. Percy is initially scared, but the creature seems friendly and interacts with him. Then, Percy rushes home where he tells his parents but they do not believe him.
The next day, Madison thanks Percy for saving her from the bullies; giving him a kiss and declaring him her boyfriend. After school, Percy goes to see the Sasquatch in the woods and they share a picnic. Cletis and Devlin, who are going bear hunting, hear the Sasquatch burp from a distance and mistake him for a Grizzly bear.Percy hears the hunters and tells the Sasquatch to flee. When the brothers find Percy they threaten him, and Bigfoot comes to Percy's rescue; throwing the brothers down a hill. After that, the brothers start planning to catch the creature to sell for big money.
The next morning Percy goes back into the woods for another picnic with Bigfoot. When he gets home, Madison arrives. While they are watching King Kong, Percy tells Madison about his encounters with the Sasquatch but she doesn't believe him and begins to have doubts about him. Meanwhile, Cletis and Devlin are building a cage for the Sasquatch in their barn.
The following day, Percy tells Madison and Leonard to follow him to go see the Sasquatch, but Madison then decides that their relationship is over and she leaves. Leonard, however, agrees to go with him. 
Question: What is the first name of the person who Leonard agrees to go with?
Output: Percy.
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse. 
Question: What are the full names of the two people who play heads-up?
Output: Huck Cheever.
Passage: Set in 2003, Huck Cheever is a young and talented poker player in Las Vegas haunted by his relationship with his estranged father, L.C. Cheever, a two-time World Series of Poker Champion. Huck is a regular in Vegas poker rooms but needs $10,000 to get a seat in the World Series of Poker Main Event.
After a good night at the Bellagio hotel's poker room, Huck goes to a party and meets aspiring singer Billie Offer, who has just arrived in town. Billie's older sister Suzanne warns her that Huck is "hustle 10, commitment zero." Back at the Bellagio, Huck is doing well at the tables before L.C. returns to town from the South of France. Huck greets his father coldly. The two play heads-up.
Loan shark Roy Durucher tells Huck that he plays poker as well as anybody, except for his reputation as a "blaster" (not patient enough) who always goes for broke. Roy proposes to stake Huck in the $10,000 main-event with a 60% — 40% split of any winnings, but Huck refuses. After failing to borrow money from his friend Jack, Huck goes to Suzanne's place hoping for a loan. Instead he runs into Billie, who gets a call confirming that she has landed a job singing at a club.
Huck proposes a celebration and at Binion's Horseshoe he shows her how to play poker. L.C. arrives and shows Huck a wedding ring of Huck's late mother's that Huck had pawned and that L.C. has redeemed. Huck loses his winnings. Over dinner, he explains to Billie that his father stole from his mother before leaving her. Huck says his father taught him how to play on the kitchen table with "pennies, nickels, and dimes." They make love after dinner. As Billie sleeps, Huck steals money from Billie's purse. 
Question: What are the full names of the two people who play heads-up?
Output: L.C. Cheever.
Passage: Drake ended his studies at Cambridge nine months before graduation, and in autumn 1969 moved to London. His father remembered "writing him long letters, pointing out the disadvantages of going away from Cambridge ... a degree was a safety net, if you manage to get a degree, at least you have something to fall back on; his reply to that was that a safety net was the one thing he did not want." Drake spent his first few months in London drifting from place to place, occasionally staying at his sister's Kensington flat but usually sleeping on friends’ sofas and floors. Eventually, in an attempt to bring some stability and a telephone into Drake's life, Boyd organised and paid for a ground floor bedsit in Belsize Park, Camden.
On 5 August 1969, Drake recorded five songs for the BBC's John Peel show ("Cello Song", "Three Hours", "River Man", "Time of No Reply" and an early version of "Bryter Layter"), three of which were broadcast on the following night. A month later, on 24 September, he opened for Fairport Convention at the Royal Festival Hall in London, followed by appearances at folk clubs in Birmingham and Hull. Folk singer Michael Chapman said of the performances:The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!
The experience reinforced Drake's decision to retreat from live appearances; the few concerts he did play around this time were usually brief, awkward, and poorly attended. Drake seemed reluctant to perform and rarely addressed his audience. As many of his songs were played in different tunings, he frequently paused to retune between numbers. 
Question: What is the full name of the person that did not say an entire word the entire evening?
Output: Nick Drake.
Passage: In London, Grainger's charm, good looks and talent (with some assistance from the local Australian community) ensured that he was quickly taken up as a pianist by wealthy patrons. He was soon performing in concerts in private homes. The Times critic reported after one such appearance that Grainger's playing "revealed rare intelligence and a good deal of artistic insight".  In 1902 he was presented by the socialite Lillith Lowrey to Queen Alexandra, who thereafter frequently attended his London recitals. Lowrey, 20 years Grainger's senior, traded patronage and contacts for sexual favours – he termed the relationship a "love-serve job". She was the first woman with whom he had sex; he later wrote of this initial encounter that he had experienced "an overpowering landslide" of feeling, and that "I thought I was about to die. If I remember correctly, I only experienced fear of death. I don't think that any joy entered into it".In February 1902 Grainger made his first appearance as a piano soloist with an orchestra, playing Tchaikovsky's first piano concerto with the Bath Pump Room Orchestra. In October of that year he toured Britain in a concert party with Adelina Patti, the Italian-born opera singer. Patti was greatly taken by the young pianist and prophesied a glorious career for him. The following year he met the German-Italian composer and pianist Ferruccio Busoni. Initially the two men were on cordial terms (Busoni offered to give Grainger lessons free of charge) and, as a result, Grainger spent part of the 1903 summer in Berlin as Busoni's pupil.  However, the visit was not a success; as Bird notes, Busoni had expected "a willing slave and adoring disciple", a role Grainger was not willing to fulfill. Grainger returned to London in July 1903; almost immediately he departed with Rose on a 10-month tour of Australia, New Zealand and South Africa, as a member of a party organised by the Australian contralto Ada Crossley. 
Question: What is the full name of the first woman with whom Grainger had sex?
Output: Lillith Lowrey.
Passage: Two impecunious English sisters, Ellen and Agnes Isit (Dulcie Gray and Margaret Johnston), unexpectedly inherit a Neapolitan villa from a deceased uncle and move to Italy to view and sell their property. A local man, Salvatore, has since a boy been employed by the deceased uncle becoming major domo and he now manages the villa and its vineyard. Exploring her late uncles' studio, Ellen uncovers a painting of a nude Salvatore as Bacchus.
Soon Ellen becomes drawn to the carefree life of the locals and the romantic charisma of Salvatore, while the prudish Agnes resists. During the raucous revelry of the grape-treading festival, Agnes succumbs to her suppressed desire. Rushing to the balcony she cries out for Salvatore who drops Ellen and climbs from the grape vat and to her bed.  The pair are quickly married, and husband Salvatore now is master of the estate.
Soon, Ellen becomes aware of a change in Salvatore's behaviour towards Agnes.  Not long after the marriage, Agnes' health begins to deteriorate and Ellen's suspicions are aroused.  She expresses her concerns to a visiting English doctor, Benjamin Dench who is Agnes's former fiance'. Ellen is convinced that Agnes is being poisoned.  She enlists Dench's help in trying to prove that Salvatore is slowly murdering her sister with arsenic.  The villa once belonged to Salvatore's family and he has long been determined to regain ownership. Having poisoned his employer to inherit he had not anticipated the sisters arrival on the scene. 
Question: What is the full name of the person not drawn to the carefree life of the locals?
Output: Agnes Isit.
Passage: The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference.Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense. Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgment by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. 
Question: How was execution carried out?
Output: decapitation.
Passage: The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference.Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense. Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgment by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. 
Question: How was execution carried out?
Output: drowning.
Passage: The head of the legal system was officially the pharaoh, who was responsible for enacting laws, delivering justice, and maintaining law and order, a concept the ancient Egyptians referred to as Ma'at. Although no legal codes from ancient Egypt survive, court documents show that Egyptian law was based on a common-sense view of right and wrong that emphasized reaching agreements and resolving conflicts rather than strictly adhering to a complicated set of statutes. Local councils of elders, known as Kenbet in the New Kingdom, were responsible for ruling in court cases involving small claims and minor disputes. More serious cases involving murder, major land transactions, and tomb robbery were referred to the Great Kenbet, over which the vizier or pharaoh presided. Plaintiffs and defendants were expected to represent themselves and were required to swear an oath that they had told the truth. In some cases, the state took on both the role of prosecutor and judge, and it could torture the accused with beatings to obtain a confession and the names of any co-conspirators. Whether the charges were trivial or serious, court scribes documented the complaint, testimony, and verdict of the case for future reference.Punishment for minor crimes involved either imposition of fines, beatings, facial mutilation, or exile, depending on the severity of the offense. Serious crimes such as murder and tomb robbery were punished by execution, carried out by decapitation, drowning, or impaling the criminal on a stake. Punishment could also be extended to the criminal's family. Beginning in the New Kingdom, oracles played a major role in the legal system, dispensing justice in both civil and criminal cases. The procedure was to ask the god a "yes" or "no" question concerning the right or wrong of an issue. The god, carried by a number of priests, rendered judgment by choosing one or the other, moving forward or backward, or pointing to one of the answers written on a piece of papyrus or an ostracon. 
Question: How was execution carried out?
Output: impaling the criminal on a stake.