niryuu/sni-each-converted huggingface dataset:
Passage: The islands are composed of Tertiary igneous formations of granites and gabbro, heavily weathered by the elements. The archipelago represents the remnants of a long-extinct ring volcano rising from a seabed plateau approximately 40 metres (130 ft) below sea level.At 670 hectares (1,700 acres) in extent, Hirta is the largest island in the group and comprises more than 78% of the land area of the archipelago. Next in size are Soay (English: "sheep island") at 99 hectares (240 acres) and Boreray ('the fortified isle'), which measures 86 hectares (210 acres). Soay is 0.5 kilometres (0.31 mi) north-west of Hirta, Boreray 6 kilometres (4 mi) to the northeast. Smaller islets and stacks in the group include Stac an Armin ('warrior's stack'), Stac Lee ('grey stack') and Stac Levenish ('stream' or 'torrent'). The island of Dùn ('fort'), which protects Village Bay from the prevailing southwesterly winds, was at one time joined to Hirta by a natural arch. MacLean (1972) suggests that the arch was broken when struck by a galleon fleeing the defeat of the Spanish Armada, but other sources, such as Mitchell (1992) and Fleming (2005), suggest that the arch was simply swept away by one of the many fierce storms that batter the islands every winter.
The highest point in the archipelago, Conachair ('the beacon') at 430 metres (1,410 ft), is on Hirta, immediately north of the village. In the southeast is Oiseval ('east fell'), which reaches 290 metres (950 ft), and Mullach Mòr ('big hill summit') 361 metres (1,185 ft) is due west of Conachair. Ruival ('red fell') 137 metres (449 ft) and Mullach Bi ('pillar summit') 358 metres (1,175 ft) dominate the western cliffs. Boreray reaches 384 metres (1,260 ft) and Soay 378 metres (1,240 ft). The extraordinary Stac an Armin reaches 196 metres (643 ft), and Stac Lee, 172 metres (564 ft), making them the highest sea stacks in Britain.
In modern times, St Kilda's only settlement was at Village Bay (Scottish Gaelic: Bàgh a' Bhaile or Loch Hiort) on Hirta. Gleann Mòr on the north coast of Hirta and Boreray also contain the remains of earlier habitations. The sea approach to Hirta into Village Bay suggests a small settlement flanked by high rolling hills in a semicircle behind it. This is misleading. The whole north face of Conachair is a vertical cliff up to 427 metres (1,401 ft) high, falling sheer into the sea and constituting the highest sea cliff in the UK.The archipelago is the site of many of the most spectacular sea cliffs in the British Isles. Baxter and Crumley (1988) suggest that St Kilda: "...is a mad, imperfect God's hoard of all unnecessary lavish landscape luxuries he ever devised in his madness. These he has scattered at random in Atlantic isolation 100 miles from the corrupting influences of the mainland, 40 miles west of the westmost Western Isles. He has kept for himself only the best pieces and woven around them a plot as evidence of his madness.". 
Question: What is the name of the archipelago that is the site of many of the most spectacular sea cliffs in the British Isles?
Output: St Kilda.
Passage: For a French composer of the 19th century, opera was seen as the most important type of music. Saint-Saëns's younger contemporary and rival, Massenet, was beginning to gain a reputation as an operatic composer, but Saint-Saëns, with only the short and unsuccessful La princesse jaune staged, had made no mark in that sphere. In February 1877, he finally had a full-length opera staged. His four-act "drame lyricque", Le timbre d'argent ("The Silver Bell"), to Jules Barbier's and Michel Carré's libretto, reminiscent of the Faust legend, had been in rehearsal in 1870, but the outbreak of war halted the production. The work was eventually presented by the Théâtre Lyrique company of Paris; it ran for eighteen performances.The dedicatee of the opera, Albert Libon, died three months after the premiere, leaving Saint-Saëns a large legacy "To free him from the slavery of the organ of the Madeleine and to enable him to devote himself entirely to composition". Saint-Saëns, unaware of the imminent bequest, had resigned his position shortly before his friend died. He was not a conventional Christian, and found religious dogma increasingly irksome; he had become tired of the clerical authorities' interference and musical insensitivity; and he wanted to be free to accept more engagements as a piano soloist in other cities. After this he never played the organ professionally in a church service, and rarely played the instrument at all. He composed a Messe de Requiem in memory of his friend, which was performed at Saint-Sulpice to mark the first anniversary of Libon's death; Charles-Marie Widor played the organ and Saint-Saëns conducted.
In December 1877, Saint-Saëns had a more solid operatic success, with Samson et Dalila, his one opera to gain and keep a place in the international repertoire. Because of its biblical subject, the composer had met many obstacles to its presentation in France, and through Liszt's influence the premiere was given at Weimar in a German translation. Although the work eventually became an international success it was not staged at the Paris Opéra until 1892.Saint-Saëns was a keen traveller. From the 1870s until the end of his life he made 179 trips to 27 countries. His professional engagements took him most often to Germany and England; for holidays, and to avoid Parisian winters which affected his weak chest, he favoured Algiers and various places in Egypt. 
Question: What Saint-Saëns opera had a biblical subject?
Output: Samson et Dalila.
Passage: Todd Acosta, his girlfriend Sarah Fletcher, and their new carpooling friends Jodi, Keren, Jeff, and Eric become stranded on a remote country road when their SUV suffers a tire blowout. While changing the tire, Jeff is suddenly killed by silent sniper fire. The unseen sniper shoots Sarah next, prompting Eric to take cover behind a tree stump while Jodi, Keren, and Todd hide behind the vehicle. The sniper shoots a cellphone off a selfie stick when the trio behind the vehicle tries getting a signal to call 911. Keren uses her hoodie to create a distraction while Todd, who is additionally suffering from a slug lodged in his arm, unsuccessfully attempts to put the SUV in neutral so it can be moved for rolling cover. Eric uses a video shot from his cellphone camera to determine the sniper's position.
Todd retrieves a toolbox and duct tapes its metal lid to his arm for protection. Although he takes another shot in the process, Todd manages to get the SUV rolling on his second attempt. However, the SUV rolls in the opposite direction until the sniper shoots out another tire and disables it. Eric tries running toward nearby trees in the commotion. The sniper shoots Eric in his ankle as well as his leg. Eric hits the ground and eventually passes out.
Keren uses a lighter to heat a hammerhead for cauterizing Todd's arm wound. After retrieving a water bottle from the backseat and taking swigs themselves, the trio tosses the bottle to Eric. The sniper shoots Eric through his hand when he tries taking a sip. During a quiet moment, Todd tells Jodi and Keren that his girlfriend Sarah was pregnant, but lost their baby. Lost in reflection and losing hope, Todd goes to drape a shirt over Sarah's face. Surprisingly, the sniper does not fire. Eric eventually dies from blood loss. 
Question: What are the first names of the trio that tosses the water bottle to Eric?
Output: Keren.
Passage: Todd Acosta, his girlfriend Sarah Fletcher, and their new carpooling friends Jodi, Keren, Jeff, and Eric become stranded on a remote country road when their SUV suffers a tire blowout. While changing the tire, Jeff is suddenly killed by silent sniper fire. The unseen sniper shoots Sarah next, prompting Eric to take cover behind a tree stump while Jodi, Keren, and Todd hide behind the vehicle. The sniper shoots a cellphone off a selfie stick when the trio behind the vehicle tries getting a signal to call 911. Keren uses her hoodie to create a distraction while Todd, who is additionally suffering from a slug lodged in his arm, unsuccessfully attempts to put the SUV in neutral so it can be moved for rolling cover. Eric uses a video shot from his cellphone camera to determine the sniper's position.
Todd retrieves a toolbox and duct tapes its metal lid to his arm for protection. Although he takes another shot in the process, Todd manages to get the SUV rolling on his second attempt. However, the SUV rolls in the opposite direction until the sniper shoots out another tire and disables it. Eric tries running toward nearby trees in the commotion. The sniper shoots Eric in his ankle as well as his leg. Eric hits the ground and eventually passes out.
Keren uses a lighter to heat a hammerhead for cauterizing Todd's arm wound. After retrieving a water bottle from the backseat and taking swigs themselves, the trio tosses the bottle to Eric. The sniper shoots Eric through his hand when he tries taking a sip. During a quiet moment, Todd tells Jodi and Keren that his girlfriend Sarah was pregnant, but lost their baby. Lost in reflection and losing hope, Todd goes to drape a shirt over Sarah's face. Surprisingly, the sniper does not fire. Eric eventually dies from blood loss. 
Question: What are the first names of the trio that tosses the water bottle to Eric?
Output: Todd.
Passage: Todd Acosta, his girlfriend Sarah Fletcher, and their new carpooling friends Jodi, Keren, Jeff, and Eric become stranded on a remote country road when their SUV suffers a tire blowout. While changing the tire, Jeff is suddenly killed by silent sniper fire. The unseen sniper shoots Sarah next, prompting Eric to take cover behind a tree stump while Jodi, Keren, and Todd hide behind the vehicle. The sniper shoots a cellphone off a selfie stick when the trio behind the vehicle tries getting a signal to call 911. Keren uses her hoodie to create a distraction while Todd, who is additionally suffering from a slug lodged in his arm, unsuccessfully attempts to put the SUV in neutral so it can be moved for rolling cover. Eric uses a video shot from his cellphone camera to determine the sniper's position.
Todd retrieves a toolbox and duct tapes its metal lid to his arm for protection. Although he takes another shot in the process, Todd manages to get the SUV rolling on his second attempt. However, the SUV rolls in the opposite direction until the sniper shoots out another tire and disables it. Eric tries running toward nearby trees in the commotion. The sniper shoots Eric in his ankle as well as his leg. Eric hits the ground and eventually passes out.
Keren uses a lighter to heat a hammerhead for cauterizing Todd's arm wound. After retrieving a water bottle from the backseat and taking swigs themselves, the trio tosses the bottle to Eric. The sniper shoots Eric through his hand when he tries taking a sip. During a quiet moment, Todd tells Jodi and Keren that his girlfriend Sarah was pregnant, but lost their baby. Lost in reflection and losing hope, Todd goes to drape a shirt over Sarah's face. Surprisingly, the sniper does not fire. Eric eventually dies from blood loss. 
Question: What are the first names of the trio that tosses the water bottle to Eric?
Output: Jodi.
Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in André Charlot's West End revue. She reunites with close childhood friend Noël Coward who provides witty commentary on Gertie's actions.
Charlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of "Burlington Bertie". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.
After their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three. 
Question: What is the nickname of the person who marries Jack?
Output: Gertie.
Passage: Annie Walker is a single woman in her mid-thirties, living in Milwaukee. Following the failure of her bakery due to the recession, her boyfriend left her, and she lost her savings, forcing her to take a job as a sales clerk in a jewelry store and share an apartment with an English immigrant roommate Gil and his sister Brynn. Her business failure was so painful that she has given up baking entirely. Annie has a no-strings-attached sexual relationship with the self-absorbed Ted, but she hopes for something more from him. Her best friend, Lillian, is virtually her only source of happiness.
Lillian becomes engaged and asks Annie to be her maid of honor. At the engagement party, Annie meets Lillian's bridesmaids: cynical, worldly, long-married cousin Rita; naïve and idealistic newlywed friend from work Becca; the groom's decidedly unfiltered sister Megan; and Helen, the rich, beautiful, and elite wife of the groom's boss. Helen and Annie, who are jealous of each other's friendship with Lillian, take an instant dislike to each other, but Lillian persuades them to spend time together. 
Question: Who is the sister of the roommate of the woman that the bride asks to be maid of honor?
Output: Brynn.
Passage: The album  was recorded in Los Angeles, California with Reign in Blood producer Rick Rubin. PopMatters reviewer Adrien Begrand observed that Rubin's production "shoves [Dave] Lombardo's drumming right up front in the mix". Guitarist Jeff Hanneman has since said that South of Heaven was the only album the band members discussed before writing the music. Aware that they "couldn't top Reign in Blood", and that whatever they recorded would be "compared to that album", he believed they "had to slow down", something Slayer had never done on albums before, or since. Guitarist Kerry King cited the need to "keep people guessing" as another reason for the musical shift. "In order to contrast the aggressive assault put forth on Reign in Blood, Slayer consciously slowed down the tempo of the album as a whole", according to Slayer's official biography. "They also added elements like undistorted guitars and toned-down vocal styles not heard on previous albums."King has since been critical of his performance, which he describes as his "most lackluster". King attributes this to the fact he had recently married, and moved to Phoenix, Arizona. Describing himself as "probably the odd man out at that point", he stated he "didn't participate as much because of that".  Hanneman said: "We go through dry spells sometimes, but the good thing about having two guitar players that can write music is that you are never gonna go without. I guess at that time, Kerry was hitting a dry spell." King has also been critical of the album in general, describing it as one of his least favorite Slayer albums. He feels  vocalist Tom Araya moved too far away from his regular vocal style, and "added too much singing". Drummer Dave Lombardo has since observed: "There was fire on all the records, but it started dimming when South of Heaven came into the picture. And that's me personally. Again, I was probably wanting something else."Judas Priest's "Dissident Aggressor" is the first cover version to appear on a Slayer studio album. The song was chosen due to its war-themed lyrics. Hanneman described the track as "more just like one of those odd songs that a lot of people didn't know, but it was a favorite of Kerry and I, so we just picked that one". Meanwhile, "Cleanse the Soul" has been heavily criticized by King who said that he hates the track: "That's one of the black marks in our history, in my book. I just fucking think it's horrible. [Laughs] I hate the opening riff. It's what we call a 'happy riff.' It's just like 'la-lala-la-la-la.' I can't see myself playing it, but after that, where it gets heavier, I like that section. If we ever did a medley, I'd put part of that in there." The Slayer boxset Soundtrack to the Apocalypse featured, along with four songs of the album, an early version of the title track, recorded at Hanneman's home. 
Question: What band did Jeff Hanneman play with?
Output: Slayer.
Passage: Aaliyah Dana Haughton (; January 16, 1979 – August 25, 2001) was an American singer, actress, and model. Born in Brooklyn, New York, and raised in Detroit, Michigan, she first gained recognition at the age of 10, when she appeared on the television show Star Search and performed in concert alongside Gladys Knight. At the age of 12, Aaliyah signed with Jive Records and her uncle Barry Hankerson's Blackground Records. Hankerson introduced her to R. Kelly, who became her mentor, as well as lead songwriter and producer of her debut album, Age Ain't Nothing but a Number. The album sold 3 million copies in the United States and was certified double platinum by the Recording Industry Association of America (RIAA). After facing allegations of an illegal marriage with Kelly, Aaliyah ended her contract with Jive and signed with Atlantic Records.
Aaliyah worked with record producers Timbaland and Missy Elliott for her second album, One in a Million, which sold 3 million copies in the United States and more than 8 million copies worldwide. In 2000, Aaliyah appeared in her first film, Romeo Must Die. She contributed to the film's soundtrack, which spawned the single "Try Again". The song topped the Billboard Hot 100 solely on airplay, making Aaliyah the first artist in Billboard history to achieve this goal. "Try Again" also earned Aaliyah a Grammy Award nomination for Best Female R&B Vocalist. After completing Romeo Must Die, Aaliyah filmed her role in Queen of the Damned, and released her self-titled third and final studio album in 2001.
On August 25, 2001, Aaliyah and eight others were killed in a plane crash in the Bahamas after filming the music video for the single "Rock the Boat". The pilot, Luis Morales III, was unlicensed at the time of the accident and toxicology tests revealed that he had traces of cocaine and alcohol in his system. Aaliyah's family later filed a wrongful death lawsuit against Blackhawk International Airways, which was settled out of court. Aaliyah's music continued to achieve commercial success with several posthumous releases, and has sold an estimated 24 to 32 million albums worldwide. She has been credited for helping redefine contemporary R&B, pop and hip hop, earning her the nicknames the "Princess of R&B" and "Queen of Urban Pop". Billboard lists her as the tenth most successful female R&B artist of the past 25 years, and the 27th most successful in history. 
Question: What is the first name of the person who contributed to the soundtrack of Romeo Must Die?
Output: Aaliyah.
Passage: In 1841, Solomon Northup is a free African-American man working as a violinist, living with his wife and two children in Saratoga Springs, New York. Two white men, Brown and Hamilton, offer him short-term employment as a musician if he will travel with them to Washington, D.C. However, once they arrive they drug Northup and deliver him to a slave pen run by a man named Burch. Northup proclaims that he is a free man, only to be savagely beaten with a wooden paddle and then a leather belt.
Northup is later shipped to New Orleans along with other captive African Americans. He is told by the others that if he wants to survive in the South, he must adapt to being a slave and not tell anyone he is a free man. A slave trader named Theophilus Freeman gives Northup the identity of "Platt", a runaway slave from Georgia, and sells him to plantation owner William Ford. Ford takes a liking to Northup and gives him a violin. However, tension grows between Northup and plantation carpenter John Tibeats which ends with Northup savagely beating and whipping Tibeats. Tibeats and his group try to hang Northup. Although they are not successful, Northup is left on the noose for hours before he is finally cut down. To save Northup's life, Ford sells him to another slave owner named Edwin Epps. In the process, Northup attempts to explain that he is actually a free man, but Ford tells him he is too afraid and that he cannot help him now. 
Question: What city is Solomon Northup sold in?
Output: New Orleans.
Passage: In the second act of Tosca, according to Newman, Puccini rises to his greatest height as a master of the musical macabre. The act begins quietly, with Scarpia musing on the forthcoming downfall of Angelotti and Cavaradossi, while in the background a gavotte is played in a distant quarter of the Farnese Palace. For this music Puccini adapted a fifteen-year-old student exercise by his late brother, Michele, stating that in this way his brother could live again through him. In the dialogue with Spoletta, the "torture" motif—an "ideogram of suffering", according to Budden—is heard for the first time as a foretaste of what is to come. As Cavaradossi is brought in for interrogation, Tosca's voice is heard with the offstage chorus singing a cantata, "[its] suave strains contrast[ing] dramatically with the increasing tension and ever-darkening colour of the stage action". The cantata is most likely the Cantata a Giove, in the literature referred to as a lost work of Puccini's from 1897.Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of grand guignol to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung on a middle C♯ monotone  (sometimes spoken), the music gradually fades, ending what Newman calls "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key. 
Question: What is the name of the aria Fisher describes as, "a Job-like prayer questioning God for punishing a woman who has lived unselfishly and righteously"?
Output: Vissi d'arte.
Passage: Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945.
Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh.
After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since then, several short manuscript sketches have been tentatively identified with the Eighth, three of which (comprising less than three minutes of music) were recorded by the Helsinki Philharmonic Orchestra in 2011. While a few musicologists have speculated that, if further fragments can be identified, it may be possible to reconstruct the entire work, others have suggested that this is unlikely given the ambiguity of the extant material. The propriety of publicly performing music that Sibelius himself had rejected has also been questioned. 
Question: What is the last name of the person who was occupied intermittently from the mid 1920s until around 1938?
Output: Sibelius.
Passage: Sherman McCoy is a Wall Street bond trader who makes millions while enjoying the good life and the sexual favors of Maria Ruskin, a Southern belle gold digger. Sherman and Maria are driving back to Maria's apartment from JFK Airport when they take a wrong turn on the expressway and find themselves in the "war-zone" of the South Bronx. They are approached by two black youths after Sherman gets out of the car to move a tire out of the road. Sherman jumps back into the car and Maria guns the engine in reverse, running over one of the teenagers. The two drive away. Sherman initially wants to report the incident to the police, but Maria immediately talks him out of it, fearing that their affair would be publicly exposed.
Meanwhile, alcoholic journalist Peter Fallow, anxious for a story to make good with his editor, comes upon the hit-and-run case as a rallying point for the black community calling upon Jewish district attorney Abe Weiss, who is the Bronx District Attorney seeking re-election. According to Judge Leonard White, almost all of DA Weiss' prosecutions end up with black and Puerto Rican defendants going to prison and Weiss is seeking a white defendant for purposes of convincing the minority-majority community that he is worth re-electing. Weiss recognizes the press coverage inherent in prosecuting the callow Sherman, who has been discovered as the owner of the car, and therefore presumed to be the hit-and-run driver, in order to cultivate the image as an avenger for the minorities and be propelled to the mayorship of New York City. As Sherman is brought to his knees, New York City fragments into different factions who use the case to suit their own cynical purposes. 
Question: How many people does Ms. Ruskin's car hit?
Output: one.
Passage: In August 1560, parliament assembled in Edinburgh and legislated that the Scottish church would be Protestant, the Pope would have no authority and that the Catholic mass was illegal. Scottish cathedrals now survived only if they were used as parish churches and as Elgin had been fully served by the Kirk of St Giles, its cathedral was abandoned. An act of parliament passed on 14 February 1567 authorised Regent Lord James Stewart's Privy Council to order the removal of the lead from the roofs of both Elgin and Aberdeen cathedrals, to be sold for the upkeep of his army, but the overladen ship that was intended to take the cargo to Holland capsized and sank in Aberdeen harbour. In 1615, John Taylor, the 'Water Poet', described Elgin Cathedral as "a faire and beautiful church with three steeples, the walls of it and the steeples all yet standing; but the roofes, windowes and many marble monuments and tombes of honourable and worthie personages all broken and defaced".Decay had set in and the roof of the eastern limb collapsed during a gale on 4 December 1637. In 1640 the General Assembly ordered Gilbert Ross, the minister of St Giles kirk, to remove the rood screen which still partitioned the choir and presbytery from the nave. Ross was assisted in this by the Lairds of Innes and Brodie who chopped it up for firewood. It is believed that the destruction of the great west window was caused by Oliver Cromwell's soldiers sometime between 1650 and 1660.At some point, the cathedral grounds had become the burial ground for Elgin. The town council arranged for the boundary wall to be repaired in 1685 but significantly, the council ordered that the stones from the cathedral should not be used for that purpose. Although the building was becoming increasingly unstable the chapterhouse continued to be used for meetings of the Incorporated Trades from 1671 to 1676 and then again from 1701 to around 1731. No attempt was made to stabilise the structure and on Easter Sunday 1711 the central tower gave way, demolishing the nave. Following this collapse, the "quarrying" of the cathedral's stonework for local projects began. Many artists visited Elgin to sketch the ruins, and it is from their work that the slow but continuing ruination can be observed. By the closing years of the 18th century, travelers to Elgin began to visit the ruin, and pamphlets giving the history of the cathedral were prepared for those early tourists. In 1773 Samuel Johnson recorded, "a paper was put into our hands, which deduced from sufficient authorities the history of this venerable ruin.". 
Question: What structure did the council order the stones from the cathedral not be used for?
Output: boundary wall.
Passage: The first recordings were made during the European leg of Garbage's Version 2.0 world tour. After listening to the orchestral demo, the band worked on the key and tempo. Garbage used a portable studio from a number of European cities to record material for Arnold, keeping in touch by phone as he produced the song's string arrangement in London. Since the strings carried the structure of the song, they had to be finalised and recorded before Manson could sing her parts. Arnold recorded the strings with a 60-piece orchestra in one day at London's Metropolis Studios.
Garbage flew to London for a day to record the basic tracks, laying down electric guitar, bass guitar and Manson's vocals with the orchestra. Manson called working with the orchestra "exhilarating". That night, the band flew to Switzerland to resume their tour for three weeks. 
The final recording was made in August at Armoury Studios in Vancouver, Canada, where Garbage built upon their first mix of the song, adding and subtracting parts, and completed final recording and mixing. The band kept the arrangement tight to preserve the song's dynamic, sweeping melody. "The orchestra took up so much space and really dictated where the song was going dynamically," keeping the recording simple, Vig recalled. "Besides the drums and bass and some percussive loops, there's a little bit of guitar that Duke and Steve did. There's not a lot of miscellaneous tracks on there. There's a few little ear-candy things that we did, but it's all meant to work around Shirley's singing." Although Garbage owned its own recording studio in Madison, Wisconsin, for legal reasons the song could not be recorded in a U.S. studio. "The World Is Not Enough" was completed, mixed and mastered at the end of the month, and the group returned to their recording studio in Madison to record their mix of the song. Garbage's version (the "chilled-out remix") downplayed the classic Bond sound in favour of the band's style. Vig later said about the original recording, "We're pretty pleased with how it turned out. To Garbage fans, it sounds like a Garbage song. And to Bond fans, it's a Bond song."  However, Manson noted that the version featured in the film “got our hopes and joys squashed,” as “they had completely screwed with all the stems of mix and it sounded completely different.”. 
Question: What is the name of the song whose dynamic sweeping melody the band wanted to preserve?
Output: The World Is Not Enough.
Passage: Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener’s own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one’s own 'truly lived and felt experience' or one’s search for intensity in a deeply personal sense". 
Question: What is the first name of the person who, with Brown, said that Tchaikovsky's process builds momentum and adds intense drama?
Output: Hans.
Passage: Ravel was not by inclination a teacher, but he gave lessons to a few young musicians he felt could benefit from them. Manuel Rosenthal was one, and records that Ravel was a very demanding teacher when he thought his pupil had talent. Like his own teacher, Fauré, he was concerned that his pupils should find their own individual voices and not be excessively influenced by established masters. He warned Rosenthal that it was impossible to learn from studying Debussy's music: "Only Debussy could have written it and made it sound like only Debussy can sound." When George Gershwin asked him for lessons in the 1920s, Ravel, after serious consideration, refused, on the grounds that they "would probably cause him to write bad Ravel and lose his great gift of melody and spontaneity". The best known composer who studied with Ravel was probably Ralph Vaughan Williams, who was his pupil for three months in 1907–08. Vaughan Williams recalled that Ravel helped him escape from "the heavy contrapuntal Teutonic manner ... Complexe mais pas compliqué was his motto."Vaughan Williams's recollections throw some light on Ravel's private life, about which the latter's reserved and secretive personality has led to much speculation. Vaughan Williams, Rosenthal and Marguerite Long have all recorded that Ravel frequented brothels. Long attributed this to his self-consciousness about his diminutive stature, and consequent lack of confidence with women. By other accounts, none of them first-hand, Ravel was in love with Misia Edwards, or wanted to marry the violinist Hélène Jourdan-Morhange. Rosenthal records and discounts contemporary speculation that Ravel, a lifelong bachelor, may have been homosexual. Such speculation recurred in a 2000 life of Ravel by Benjamin Ivry; subsequent studies have concluded that Ravel's sexuality and personal life remain a mystery.Ravel's first concert outside France was in 1909. As the guest of the Vaughan Williamses, he visited London, where he played for the Société des Concerts Français, gaining favourable reviews and enhancing his growing international reputation. 
Question: What is the last name man that speculated about the mysterious personal life and sexuality of the musician that gave lessons to Maneul Rosenthal?
Output: Ivry.
Passage: Jackson had the highest royalty rate in the music industry at that point, about $2 for every album sold, and was making record-breaking profits. Dolls modeled after Jackson appeared in stores in May 1984 for $12 each. In 1984, The Making of Michael Jackson's Thriller won a Grammy for Best Music Video, Longform. Time described Jackson's influence at that point as "star of records, radio, rock video. A one-man rescue team for the music business. A songwriter who sets the beat for a decade. A dancer with the fanciest feet on the street. A singer who cuts across all boundaries of taste and style and color too". The New York Times wrote that "in the world of pop music, there is Michael Jackson and there is everybody else".On March 25, 1983, Jackson reunited with his brothers for Motown 25: Yesterday, Today, Forever, an NBC television special. The show aired on May 16, 1983, to an estimated audience of 47 million, and featured the Jacksons and other Motown stars. Jackson's solo performance of "Billie Jean" earned him his first Emmy nomination. Wearing a glove decorated with rhinestones, he debuted his moonwalk dance, which Jeffrey Daniel had taught him three years earlier. Jackson had originally turned down the invitation to the show, believing he had been doing too much television; at the request of Motown founder Berry Gordy, he performed in exchange for time to do a solo performance. Rolling Stone reporter Mikal Gilmore called the performance "extraordinary". Jackson's performance drew comparisons to Elvis Presley's and the Beatles' appearances on The Ed Sullivan Show. Anna Kisselgoff of The New York Times writing in 1988 praised the perfect timing and technique involved in the dance. Gordy described being "mesmerized" by the performance. 
Question: What was the occupation of the person who was mesmerized by Jackson's performance?
Output: Motown founder.
Passage: In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.
M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, "I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.". 
Question: What is the real name of the person who found someone's decision to perform without additional instrumentation to be brave and liberating?
Output: Mathangi "Maya" Arulpragasam.
Passage: 10-year-old India Opal Buloni has just moved to the fictional small town of Naomi, Florida with her father, a preacher.
While in the Winn-Dixie supermarket, she encounters a scruffy Berger Picard that is wreaking havoc. Opal (not wanting the store manager to send the dog to the pound) claims that it is her dog and names it "Winn-Dixie". Winn-Dixie becomes friends with everyone he encounters, and so Opal makes some new friends in the process. She also rekindles her relationship with her father, and learns ten things about her mother, who abandoned them seven years ago. Opal describes the preacher as a  turtle, always sticking his head into his turtle shell, and never wanting to come out into the real world. This is most likely because of how sad he is about her mother, with whom he is still in love.
One of the people Opal meets is Miss Franny Block, a kind and somewhat eccentric elder librarian, who tells her many great stories, including one involving a bear. Opal also meets Gloria Dump, a blind recovering alcoholic with a tree in her backyard that has beer bottles hanging from it. She calls it a 'mistake tree' and the bottles represent the ghosts of all the things she has done wrong. One day, fed up with Winn-Dixie, the landlord of the Bulonis' trailer park, Mr. Alfred, orders the preacher to get rid of the dog. The preacher calls the animal pound to take Winn-Dixie away, but Opal begs her father to keep her dog. Unable to see his daughter this upset, the preacher tells the pound to return Winn-Dixie, claiming that he is not the same dog he called about. 
Question: What type of dog is Winn-Dixie?
Output: Berger Picard.
Passage: Joy Division toured Continental Europe in January 1980. Although the schedule was demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer, with Hannett at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A-side and "Dead Souls" as the B-side, on the French independent label Sordide Sentimental.A lack of sleep and long hours destabilised Curtis's epilepsy, and his seizures became almost uncontrollable. He often had seizures during performances, which some audience members believed was part of the performance. The seizures left him feeling ashamed and depressed, and the band became increasingly worried about Curtis's condition. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication, phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Gretton's insistence the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs. When Topping came back towards the end of the set, some audience members threw bottles at the stage. Curtis's ill health led to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis.
Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again ... Martin had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off.". 
Question: What is the last name of the band members that were unhappy with the man who produced Closer?
Output: Hook.