niryuu/sni-each-converted huggingface dataset:
Passage: A remix album, titled Year Zero Remixed, was released in November 2007. Due to the expiration of his contract with Interscope Records, the album's release, marketing, and promotion were completely in Reznor's control. The album features remixes from artists including The Faint, Ladytron, Bill Laswell, Saul Williams, Olof Dreijer of The Knife, and Sam Fogarino of Interpol. Reznor himself strongly supports fan-made remixes of songs from the album, as evidenced by his decision to upload every song in multi-track form to the then-newly launched Nine Inch Nails remix website.  Instrumental versions of the songs on Year Zero are available at the site for download in multiple formats, including MP3, WAV, GarageBand, and Ableton Live formats.
A planned film adaption of Year Zero became a television project in 2007. Reznor met with various writers and pitched the idea to television networks. The 2007–08 Writers Guild of America strike affected the pre-production stage. Nevertheless, Reznor commented in 2008 that the project is "still churning along", and that he had begun working with American film producer Lawrence Bender. In 2010, Reznor started developing the Year Zero miniseries with HBO and BBC Worldwide Productions. Reznor and Bender collaborated with Carnivàle writer Daniel Knauf to create the science fiction epic. When asked about the miniseries during an "Ask Me Anything" session on Reddit on November 13, 2012, Reznor said it was "currently in a holding state" and explained, "We [Reznor and Sheridan] didn't find the right match with a writer, and really have been avoiding doing what we should have done from the beginning: write it ourselves. [...] This project means a lot to me and will see the light of day in one form or another." In 2017, during an interview promoting new Nine Inch Nails EP Add Violence, Reznor said that "They got so far as hiring a writer for it, but then it fell to shit because we never had the right writer. I should have just done it [myself].". 
Question: What is the last name of the person whose contract expired?
Output: Reznor.
Passage: While travelling, Nielsen discovered and then turned against Richard Wagner's music dramas, heard many of Europe's leading orchestras and soloists and sharpened his opinions on both music and the visual arts. Although he revered the music of Bach and Mozart, he remained ambivalent about much 19th-century music. In 1891 he met the composer and pianist Ferruccio Busoni in Leipzig; they were to maintain a correspondence for over thirty years. Shortly after arriving in Paris in early March 1891 Nielsen met the Danish sculptor Anne Marie Brodersen, who was also travelling on a scholarship. They toured Italy together and married in St Mark's English Church, Florence, on 10 May 1891 before returning to Denmark. According to Fanning, their relationship was not only a "love match", but also a "meeting of minds"; Anne Marie was a gifted artist and a "strong-willed and modern-minded woman, determined to forge her own career". This determination would strain the Nielsens' marriage, as Anne Marie would spend months away from home during the 1890s and 1900s, leaving Carl, who was susceptible to opportunities with other ladies, to raise their three young children in addition to composing and fulfilling his duties at the Royal Theatre.Nielsen sublimated his anger and frustration over his marriage in a number of musical works, most notably between 1897 and 1904, a period which he sometimes called his "psychological" period. Fanning writes, "At this time his interest in the driving forces behind human personality crystallized in the opera Saul and David and the Second Symphony (The Four Temperaments) and the cantatas Hymnus amoris and Søvnen". Carl suggested divorce in March 1905 and had considered moving to Germany for a fresh start, but despite several extended periods of separation the Nielsens remained married for the remainder of the composer's life.Nielsen had five children, two of them illegitimate. He had already fathered a son, Carl August Nielsen, in January 1888, before he met Anne Marie. In 1912, an illegitimate daughter was born – Rachel Siegmann, about whom Anne Marie never learned. With his wife Nielsen had two daughters and a son. Irmelin, the elder daughter, studied music theory with her father and in December 1919 married Eggert Møller (1893–1978), a medical doctor who became a professor at the University of Copenhagen and director of the polyclinic at the National Hospital. The younger daughter Anne Marie, who graduated from the Copenhagen Academy of Arts, married the Hungarian violinist Emil Telmányi (1892–1988) in 1918; he contributed to the promotion of Nielsen's music, both as a violinist and a conductor. Nielsen's son, Hans Børge, was handicapped as a result of meningitis and spent most of his life away from the family. He died near Kolding in 1956. 
Question: What is the last name of Irmelin's father, with whom she studied music theory?
Output: Nielsen.
Passage: The central square in Covent Garden is simply called "Covent Garden", often marketed as "Covent Garden Piazza" to distinguish it from the eponymous surrounding area. Designed and laid out in 1630, it was the first modern square in London—originally a flat, open space or piazza with low railings. From about 1635 onwards there were many private residents of note, including the nobility, living in the Great Piazza. A casual market started on the south side, and by 1830 the present market hall had been built. The space is popular with street performers, who audition with the site's owners for an allocated slot. The square was originally laid out when the 4th Earl of Bedford, Francis Russell, commissioned Inigo Jones to design and build a church and three terraces of fine houses around the site of a former walled garden belonging to Westminster Abbey. Jones's design was informed by his knowledge of modern town planning in Europe, particularly Piazza d'Arme, in Leghorn, Tuscany, Piazza San Marco in Venice, Piazza Santissima Annunziata in Florence, and the Place des Vosges in Paris. The centrepiece of the project was the large square, the concept of which was new to London, and this had a significant influence on modern town planning as the metropolis grew, acting as the prototype for the design of new estates, such as the Ladbroke Estate and the Grosvenor Estate. Isaac de Caus, the French Huguenot architect, designed the individual houses under Jones's overall design.The church of St Paul's was the first building, and was begun in July 1631 on the western side of the square. The last house was completed in 1637. Seventeen of the houses had arcaded portico walks organised in groups of four and six either side of James Street on the north side, and three and four either side of Russell Street. These arcades, rather than the square itself, took the name Piazza; the group from James Street to Russell Street became known as the "Great Piazza" and that to the south of Russell Street as the "Little Piazza". None of Inigo Jones's houses remain, though part of the north group was reconstructed in 1877–79 as Bedford Chambers by William Cubitt to a design by Henry Clutton. 
Question: In what year was the last house completed during the orginal building of Covent Garden?
Output: 1637.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Britain.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Sweden.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Denmark.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: US.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Canada.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Spain.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Austria.
Passage: Orenstein and Zank both comment that, although Ravel's post-war output was small, averaging only one composition a year, it included some of his finest works. In 1920 he completed La valse, in response to a commission from Diaghilev. He had worked on it intermittently for some years, planning a concert piece, "a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling". It was rejected by Diaghilev, who said, "It's a masterpiece, but it's not a ballet. It's the portrait of a ballet". Ravel heard Diaghilev's verdict without protest or argument, left, and had no further dealings with him. Nichols comments that Ravel had the satisfaction of seeing the ballet staged twice by other managements before Diaghilev died. A ballet danced to the orchestral version of Le tombeau de Couperin was given at the Théâtre des Champs-Elysées in November 1920, and the premiere of La valse followed in December. The following year Daphnis et Chloé and  L'heure espagnole were successfully revived at the Paris Opéra.In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss. Stravinsky, whose Rite of Spring was written for a huge orchestra, began to work on a much smaller scale. His 1923 ballet score Les noces is composed for voices and twenty-one instruments. Ravel did not like the work (his opinion caused a cooling in Stravinsky's friendship with him) but he was in sympathy with the fashion for "dépouillement" – the "stripping away" of pre-war extravagance to reveal the essentials. Many of his works from the 1920s are noticeably sparer in texture than earlier pieces. Other influences on him in this period were jazz and atonality. Jazz was popular in Parisian cafés, and French composers such as Darius Milhaud incorporated elements of it in their work. Ravel commented that he preferred jazz to grand opera, and its influence is heard in his later music. Arnold Schönberg's abandonment of conventional tonality also had echoes in some of Ravel's music such as the Chansons madécasses (1926), which Ravel doubted he could have written without the example of Pierrot Lunaire. His other major works from the 1920s include the orchestral arrangement of Mussorgsky's piano suite Pictures at an Exhibition (1922), the opera L'enfant et les sortilèges to a libretto by Colette (1926), Tzigane (1924) and the Violin Sonata (1927).Finding city life fatiguing, Ravel moved to the countryside. In May 1921 he took up residence at Le Belvédère, a small house on the fringe of Montfort-l'Amaury, 88 kilometres (55 mi) west of Paris, in the Yvelines département. Looked after by a devoted housekeeper, Mme Revelot, he lived there for the rest of his life. At Le Belvédère Ravel composed and gardened, when not performing in Paris or abroad. His touring schedule increased considerably in the 1920s, with concerts in Britain, Sweden, Denmark, the US, Canada, Spain, Austria and Italy. 
Question: What countries did the man who lived 88 kilometres west of Paris tour in the 1920s?
Output: Italy.
Passage: Frank and Martha Addison live in Los Alamos, where he does top-secret work as a physicist. They have a young son, Tommy, who goes with school mates to Santa Fe for a carnival, where teacher Ellen Haskell can't find him when Tommy's winning ticket in a raffle is announced.
The Addisons receive a telegram telling them Tommy has been kidnapped. The teacher also gets in touch about their boy being missing, but Frank, ordered to keep quiet, lies that he left work early and picked up his son.
Ellen's boyfriend is an FBI agent, Russ Farley, and she passes along her concerns. Farley and partner Harold Mann begin tailing the Addisons. When a kidnapper instructs Frank to steal a file from the atomic lab and mail it to a Los Angeles hotel, he wants to inform the authorities, but Martha fears for their boy.
A small-time thief, David Rogers, picks up the file and takes it to a baseball game, followed by the FBI's agents and cameras. His car explodes, killing him, but Rogers first passed the file to someone at the game. FBI film spots a hot-dog vendor who is actually Donald Clark, a man with Communist ties.
Tommy is moved by kidnappers to the site of an Indian ruin in New Mexico, where they briefly encounter the Fentons, a family of tourists. The mastermind turns out to be Dr. Rassett, a physicist. He studies the file Addison mailed and determines it to be a fake. Rassett orders the boy killed, but Tommy has escaped and is hiding in a cave.
The son of the Fentons has the raffle ticket, which he found by the ruins. FBI agents rush to the site, where Rassett is arrested after killing his accomplices, and Tommy is saved. 
Question: What is the last name of the person who fears for her boy when the kidnappers want her husband to steal a file?
Output: Addison.
Passage: Love has been candid about her diverse musical influences, the earliest being Patti Smith, The Runaways, and The Pretenders, artists she discovered while in juvenile hall at age fifteen. As a child, her first exposure to music was records that her parents retrieved each month through Columbia Record Club. The first record Love owned was Leonard Cohen's Songs of Leonard Cohen (1967), which she obtained from her mother: "He was so lyric-conscious and morbid, and I was a pretty morbid kid," she recalled. As a teenager, she named Flipper, Kate Bush, Soft Cell, Joni Mitchell, Laura Nyro, Lou Reed, and Dead Kennedys among her favorite artists. She has also spoken of her appreciation for new wave and post-punk bands she became acquainted with while living as a teenager in the United Kingdom, such as Echo and the Bunnymen, The Smiths, Siouxsie and the Banshees, Television, Bauhaus, and Joy Division.While in Dublin at age fifteen, Love attended a Virgin Prunes concert, an event she credited as being a pivotal influence: "I had never seen so much sex, snarl, poetry, evil, restraint, grace, filth, raw power and the very essence of rock and roll," she recalled. "[I had seen] U2 [who] gave me lashes of love and inspiration, and a few nights later the Virgin Prunes fucked–me–up." Decades later, in 2009, Love introduced the band's frontman Gavin Friday at a Carnegie Hall event, and performed a song with him.Love's diverse genre interests were illustrated in a 1991 interview with Flipside, in which she stated: "There's a part of me that wants to have a grindcore band and another that wants to have a Raspberries-type pop band." Discussing the abrasive sound of Hole's debut album, she said she felt she had to "catch up with all my hip peers who'd gone all indie on me, and who made fun of me for liking R.E.M. and The Smiths." She has also embraced the influence of experimental artists and punk rock groups, including Sonic Youth, Swans, Big Black, Diamanda Galás, the Germs, and The Stooges. While writing Celebrity Skin, she drew influence from Neil Young and My Bloody Valentine. She has also cited her contemporary PJ Harvey as an influence, saying: "The one rock star that makes me know I'm shit is Polly Harvey. I'm nothing next to the purity that she experiences." In 2014, she named "Bitter Sweet Symphony" by The Verve as one of her favorite songs.Literature and poetry have often been a major influence on her songwriting; Love said she had "always wanted to be a poet, but there was no money in it." She has named the works of T.S. Eliot and Charles Baudelaire as influential, and referenced works by Dante Rossetti, William Shakespeare, Rudyard Kipling, and Anne Sexton in her lyrics. 
Question: What is the full name of the person who reportedly experiences a purity which Love feels she is nothing next to?
Output: Polly Harvey.
Passage: Abaqa died in 1282 and was briefly replaced by his brother Tekuder, who had converted to Islam. Tekuder reversed Abaqa's policy of seeking an alliance with the Franks, offering instead an alliance to the Mamluk Sultan Qalawun, who continued his own advance, capturing the Hospitaller fortress of Margat in 1285, Lattakia in 1287, and the County of Tripoli in 1289. However, Tekuder's pro-Muslim stance was not popular, and in 1284, Abaqa's Buddhist son Arghun, with the support of the Great Khan Kublai, led a revolt and had Tekuder executed. Arghun then revived the idea of an alliance with the West, and sent multiple envoys to Europe.The first of Arghun's embassies was led by Isa Kelemechi, a Nestorian scientist who had been head of Kublai Khan's Office of Western Astronomy. Kelemechi met with Pope Honorius IV in 1285, offering to "remove" the Saracens (Muslims) and divide "the land of Sham, namely Egypt" with the Franks. The second embassy, and probably the most famous, was that of the elderly cleric Rabban Bar Sauma, who had been visiting the Ilkhanate during a remarkable pilgrimage from China to Jerusalem.Through Bar Sauma and other later envoys, such as Buscarello de Ghizolfi, Arghun promised the European leaders that if Jerusalem were conquered, he would have himself baptized and would return Jerusalem to the Christians. Bar Sauma was greeted warmly by the European monarchs, but Western Europe was no longer as interested in the Crusades, and the mission to form an alliance was ultimately fruitless. England did respond by sending a representative, Geoffrey of Langley, who had been a member of Edward I's Crusade 20 years earlier, and was sent to the Mongol court as an ambassador in 1291. 
Question: What is the name of the person who would have himself baptized and would return Jerusalem to the Christians?
Output: Arghun.
Passage: Since 2004, the municipal boundaries of Istanbul have been coincident with the boundaries of its province. The city, considered capital of Istanbul Province, is administered by the Istanbul Metropolitan Municipality (MMI), which oversees the 39 districts of the city-province.The current city structure can be traced back to the Tanzimat period of reform in the 19th century, before which Islamic judges and imams led the city under the auspices of the Grand Vizier. Following the model of French cities, this religious system was replaced by a mayor and a citywide council composed of representatives of the confessional groups (millet) across Istanbul. Beyoğlu was the first area of the city to have its own director and council, with members instead being longtime residents of the neighborhood. Laws enacted after the Ottoman constitution of 1876 aimed to expand this structure across the city, imitating the twenty arrondissements of Paris, but they were not fully implemented until 1908, when Istanbul was declared a province with nine constituent districts. This system continued beyond the founding of the Turkish Republic, with the province renamed a belediye (municipality), but the municipality was disbanded in 1957.
Small settlements adjacent to major population centers in Turkey, including Istanbul, were merged into their respective primary cities during the early 1980s, resulting in metropolitan municipalities. The main decision-making body of the Istanbul Metropolitan Municipality is the Municipal Council, with members drawn from district councils.
The Municipal Council is responsible for citywide issues, including managing the budget, maintaining civic infrastructure, and overseeing museums and major cultural centers. Since the government operates under a "powerful mayor, weak council" approach, the council's leader—the metropolitan mayor—has the authority to make swift decisions, often at the expense of transparency. The Municipal Council is advised by the Metropolitan Executive Committee, although the Committee also has limited power to make decisions of its own. All representatives on the Committee are appointed by the metropolitan mayor and the Council, with the mayor—or someone of his or her choosing—serving as head. 
Question: Who appoints the representatives of the Metropolitan Executive Committee?
Output: the metropolitan mayor.
Passage: R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist/backing vocalist Mike Mills, and lead vocalist Michael Stipe. One of the first alternative rock bands, R.E.M. was noted for Buck's ringing, arpeggiated guitar style, Stipe's distinctive vocal quality and obscure lyrics, Mills' melodic basslines and backing vocals, and Berry's tight, economical style of drumming. R.E.M. released its first single—"Radio Free Europe"—in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love". The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.
By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre. The band then released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band's established sound and catapulted it to international fame. R.E.M.'s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members.
In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than its predecessors. The following year, Bill Berry left the band, while Stipe, Buck, and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million albums worldwide and becoming one of the world's best-selling music artists of all time. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in their first year of eligibility. R.E.M. disbanded amicably in September 2011, announcing the split on its website. 
Question: What is the name of the 1992 album by the band that's debut album was Murmur?
Output: Automatic for the People.
Passage: An evil genius of unknown identity, calling himself "Dr. Vulcan" (heard only as a voice and seen as a mysterious shadow on a brightly lit wall), plots to conquer the world. He needs to first eliminate, one by one, the members of the Science Associates, an organization of America's greatest scientists. 
After narrowly escaping an attempt on his life by Vulcan, one member of Science Associates, Dr. Millard goes into hiding. He soon outfits another member, Jeff King with an advanced, atomic-powered rocket backpack, attached to leather jacket with a bullet-shaped, aerodynamic flight helmet, and a raygun that they had been developing together.
Using the flying jacket and helmet and other inventions provided by Dr. Millard, and aided by magazine reporter and photographer Glenda Thomas, Jeff King, as Rocket Man, battles Vulcan and his henchmen through a dozen action-packed Republic serial chapters. Eventually, Vulcan steals Millard's most dangerous invention, a Sonic Decimator, and uses it to flood, then destroy both New York City and the rest of Manhattan Island. The mysterious Dr. Vulcan is eventually unmasked and brought to justice by Jeff King while in his Rocket Man persona. 
Question: What is the name of the person that the man that wants to eliminate the Science Associates is caught by?
Output: Jeff King.
Passage: One foggy night in Devon, Gail, a working border collie Herding dog, gives birth to a litter of three puppies, cozy in a barn on Borough Farm. As she lies quietly with her newborn litter, her father, Sir Gregory, walks inside, not realizing she had her puppies until she summons his attention and he spots them curled up next to her. She has already named two of them Storm and Drift but she thinks Sir Gregory should name the third. He looks out of the window and names her Mist after the "misty" night she was born. All the other dogs, Swift, her son Ernie, and Jake, are delighted to meet the puppies at last but Fern doesn't seem to like puppies and is not happy to be their auntie.
When the puppies realize they can finally see things, Mist looks out of a nearby window and sees a flock of sheep pass by, but does not exactly know what they are. She points them out to Storm and Drift, but by the time they come to the window, the sheep are gone. They think Mist is making it up, and they playfully tease and wrestle each other around the barn. This soon tires them out, and they slowly fall asleep side by side.
Mist seems to like the idea of working the flock more than her brother and sister. Later that day, Sir Gregory talks with Gail about how well Mist is doing compared to Storm and Drift. Gail realises it is finally time to choose which of the puppies will stay on Borough Farm to be trained as a working sheepdog, and which have to leave. One day the puppies are playing in the yard when two different families come to take Storm and Drift away. They are placed in the cars and Gail sadly watches them drive away.
Winter arrives at Borough Farm, but Fern has still not warmed up to Mist. One day Mist gets giddy and runs off into the woods; a dark place where she soon gets lost and has to be rescued by the Boss and Sir Gregory. This amuses Fern. 
Question: Who does Sir Gregory spot the puppies curled up next to?
Output: Gail.
Passage: From a traveling carnival managed by Nick Coster, an aggressive lion named Caesar escapes, but is cornered in a grocery store by clerk Matt Varney.  Seeing that Matt has become an instant celebrity with the town's residents, Nick hires the farm boy to work with his current lion tamer, Hoffman the Great, who drinks alcohol before his shows.  When Hoffman is passed out after being inebriated and is unable to perform, Nick convinces Matt that he is ready to run the show. After a successful performance in the lion cage, Nick replaces Hoffman with Matt as his lion tamer.
At a bar in the city, Matt unsuccessfully tries to apologize to Hoffman for taking over his job. Hoffman follows Matt back to the circus and engages him into a fight next to the lion cages.  Hoffman is killed by Caesar after he is pushed up next to the lion's cage. Nick's girlfriend, Flo Lorraine, a fortune teller at the circus, spirits Matt away to Nick's farm so to prevent him from being accused by the police for Hoffman's death.  Unknowing to Flo, Nick's younger sister Mary had just returned from schooling at a convent.  Nick has purposely kept carnival people away from her, because he feels they are inferior. Matt and Flo end up falling in love. When Nick returns from a business trip, he learns that Matt is at his farm in the company of his sister.  He travels to the farm and orders Matt to leave with him and to never see Mary again. Matt reluctantly agrees to Nick's demand. 
Question: What is the full name of the person who is hired to work with the lion tamer?
Output: Matt Varney.