niryuu/sni-each-converted huggingface dataset:
Passage: Wormshill includes two farms: Yew Tree Farm (dairy farming) at the south end of the village, and Norwood Farm (fruit and other crops) at the north end. A third farm, Home Farm appeared on late 19th and early 20th centuries Ordnance Survey maps in the centre of the village. This farm is no longer in use, but some outbuildings remain. Wormshill at one time included a blacksmith's shop, which is recorded on Ordnance Survey maps until 1898.  According to the 1831 Census, 40 of the 48 adult males in the village were employed in the agricultural sector. Census records from the mid-to-late 19th century show a marked increase in the construction of new homes, representing the largest growth in the village for the next 100 years; however, the 1901 Census still described the majority of workers as "labourers and servants". The population spike between 1821 and 1901 is a trend typical to the general growth in the need for physical labour from parishes in the Kent downland agricultural region in the 19th century which was followed in the early 20th century by the increasing mechanisation of farming activity. Although the farms continue to employ from the village, as of 2008 Wormshill is largely a dormitory village, with residents employed in nearby towns or commuting to London. The socio-economic classification of Census 2001 indicated that the most common occupations were "lower managerial and professional occupations" (21.9 percent) and "small employers and own account workers" (15.2 percent). 
Question: What is the second most common occupation group for residents of the village that mostly commutes to London?
Output: small employers and own account workers.
Passage: Wood was born in Oxford Street, London, the only child of Henry Joseph Wood and his wife Martha, née Morris. Wood senior had started in his family's pawnbroking business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal tenor in the choir of St Sepulchre-without-Newgate, known as "the musicians' church".   His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a Broadwood piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola.
Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist, George Cooper, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at St Mary Aldermanbury, being paid half a crown.  In June 1883, visiting the Fisheries Exhibition at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he studied in his spare time at the Slade School of Fine Art. He remained a life-long amateur painter.After taking private lessons from the musicologist Ebenezer Prout, Wood entered the Royal Academy of Music at the age of seventeen, studying harmony and composition with Prout, organ with Charles Steggall, and piano with Walter Macfarren. It is not clear whether he was a member of Manuel Garcia's singing class, but it is certain that he became its accompanist and was greatly influenced by Garcia. Wood also accompanied the opera class, taught by Garcia's son Gustave. Wood's ambition at the time was to become a teacher of singing, and he gave singing lessons throughout his life. He attended the classes of as many singing teachers as he could, although by his own account, "I possess a terrible voice. Garcia said it would go through a brick wall. In fact, a real conductor's voice.". 
Question: At what school did Wood study art?
Output: Slade School of Fine Art.
Passage: Kate is a bike-maintenance instructor who realized she is no longer in love with her boyfriend of five years, Ollie. Kate and Ollie have been together since high school. Kate finds out she is pregnant, which complicates the whole situation because she is not sure if she truly does want to breakup with Ollie or not. However, Kate does not want to have a baby, but does not want to wait weeks for a clinical abortion, so her herbalist friend, Chloe tells her that being on a parsley diet can make you have a natural abortion. Kate then goes on to constantly eat parsley and at one point in the film, even bathe in parsley. Ollie is "the king of contraception", where he counsels people on contraception for his job. Kate's friends see Kate and Ollie's relationship as the greatest relationship there could ever be and they envy her for it, even her lesbian friend thinks she would be crazy to leave him. Kate decides it is for the best not to tell Ollie about the pregnancy, despite her friends telling her she should. The film suggests that Kate may have had an affair with her "slow student" and may be the real reason why she wants an abortion. However, we find out that Ollie purposely poked holes in the condom, attempting to save their relationship together by having a child.
Kate ultimately decides that breaking up with Ollie and moving on is for the best. Kate and Ollie both agree to meet at the lake in ten years, which is the spot the two of them first fell in love in the first place. 
Question: What is the job of Kate's boyfriend of five years?
Output: he counsels people on contraception.
Passage: Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass singer at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at Saint Petersburg University while taking private lessons in harmony and counterpoint. Stravinsky worked under the guidance of Rimsky-Korsakov, having impressed him with some of his early compositional efforts. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F♯ minor (1903–04), a Symphony in E♭ major (1907), which he catalogued as "Opus 1", and a short orchestral piece, Feu d'artifice ("Fireworks", composed in 1908).In 1909 Feu d'artifice was performed at a concert in St. Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th-century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season.Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand, Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. 
Question: What is the last name of the person who introduced Mussorgsky's opera Boris Godunov?
Output: Diaghilev.
Passage: Wilfred Glendon is a wealthy and world-renowned English botanist who journeys to Tibet in search of the elusive mariphasa plant. While there, he is attacked and bitten by a creature later revealed to be a werewolf, although he succeeds in acquiring a specimen of the mariphasa. Once back home in London he is approached by a fellow botanist, Dr. Yogami, who claims to have met him in Tibet while also seeking the mariphasa. Yogami warns Glendon that the bite of a werewolf would cause him to become a werewolf as well, adding that the mariphasa is a temporary antidote for the disease.
Glendon does not believe the mysterious Yogami. That is, not until he begins to experience the first pangs of lycanthropy, first when his hand grows fur beneath the rays of his moon lamp (which he is using in an effort to entice the mariphasa to bloom), and later that night during the first full moon. The first time, Glendon is able to use a blossom from the mariphasa to stop his transformation. His wife Lisa is away at her aunt Ettie's party with her friend, former childhood sweetheart Paul Ames, allowing the swiftly transforming Glendon to make his way unhindered to his at-home laboratory, in the hopes of acquiring the mariphasa's flowers to quell his lycanthropy a second time. Unfortunately Dr. Yogami, who is revealed to be a werewolf, sneaks into the lab ahead of his rival and steals the only two blossoms. As the third has not bloomed, Glendon is out of luck. 
Question: What are the first names of the two people who are away at aunt Ettie's party?
Output: Lisa.
Passage: Wilfred Glendon is a wealthy and world-renowned English botanist who journeys to Tibet in search of the elusive mariphasa plant. While there, he is attacked and bitten by a creature later revealed to be a werewolf, although he succeeds in acquiring a specimen of the mariphasa. Once back home in London he is approached by a fellow botanist, Dr. Yogami, who claims to have met him in Tibet while also seeking the mariphasa. Yogami warns Glendon that the bite of a werewolf would cause him to become a werewolf as well, adding that the mariphasa is a temporary antidote for the disease.
Glendon does not believe the mysterious Yogami. That is, not until he begins to experience the first pangs of lycanthropy, first when his hand grows fur beneath the rays of his moon lamp (which he is using in an effort to entice the mariphasa to bloom), and later that night during the first full moon. The first time, Glendon is able to use a blossom from the mariphasa to stop his transformation. His wife Lisa is away at her aunt Ettie's party with her friend, former childhood sweetheart Paul Ames, allowing the swiftly transforming Glendon to make his way unhindered to his at-home laboratory, in the hopes of acquiring the mariphasa's flowers to quell his lycanthropy a second time. Unfortunately Dr. Yogami, who is revealed to be a werewolf, sneaks into the lab ahead of his rival and steals the only two blossoms. As the third has not bloomed, Glendon is out of luck. 
Question: What are the first names of the two people who are away at aunt Ettie's party?
Output: Paul.
Passage: The MAUD Committee reports urged the co-operation with the United States should be continued in the research of nuclear fission. Charles C. Lauritsen, a Caltech physicist working at the National Defense Research Committee (NDRC), was in London during this time and was invited to sit in on a MAUD meeting. The committee pushed for rapid development of nuclear weapons using gaseous-diffusion as their isotope separation device. Once he returned to the United States, he was able to brief Vannevar Bush, the director of the Office of Scientific Research and Development (OSRD), concerning the details discussed during the meeting.In August 1941, Mark Oliphant, the director of the physics department at the University of Birmingham and an original member of the MAUD Committee, was sent to the US to assist the NDRC on radar. During his visit he met with William D. Coolidge. Coolidge was shocked when Oliphant informed him that the British had predicted that only ten kilograms of uranium-235 would be sufficient to supply a chain reaction effected by fast moving neutrons. While in America, Oliphant discovered that the chairman of the OSRD S-1 Section, Lyman Briggs, had locked away the MAUD reports transferred from Britain entailing the initial discoveries and had not informed the S-1 Committee members of all its findings.Oliphant took the initiative himself to enlighten the scientific community in the U.S. of the recent ground breaking discoveries the MAUD Committee had just exposed. Oliphant also travelled to Berkley to meet with Ernest Lawrence, inventor of the cyclotron. After Oliphant informed Lawrence of his report on uranium, Lawrence met with NDRC chairman James Bryant Conant, George B. Pegram, and Arthur Compton to relay the details which Oliphant had directed to Lawrence. Oliphant was not only able to get in touch with Lawrence, but he met with Conant and Bush to inform them of the significant data the MAUD had discovered. Oliphant’s ability to inform the Americans led to Oliphant convincing Lawrence, Lawrence convincing Compton, and then Kistiakowsky convincing Conant to move forward with nuclear weapons. These actions from Oliphant resulted in Bush taking this report directly to the president. 
Question: What is the first name of the person who convinced Lawrence to move forward with nuclear weapons?
Output: Mark.
Passage: In Osbert: A Portrait of Osbert Lancaster, Boston comments that after the dramatic events in Athens his subject's later life was uneventful and industrious with "a somewhat dismaying dearth of rows, intrigues, scandals or scrapes to report." The Lancasters had a Georgian house in Henley-on-Thames, and a flat in Chelsea, where they lived from Mondays to Fridays. He worked at home in the mornings, on illustrations, stage designs, book reviews and any other commissions, before joining his wife for a midday dry martini and finally dressing and going to one of his clubs for lunch. After that he would walk to the Express building in  Fleet Street at about four in the afternoon. There he would gossip with his colleagues before sitting at his desk smoking furiously, producing the next day's pocket cartoon. By about half-past six he would have presented the cartoon to the editor and be ready for a drink at El Vino's across the road, and then the evening's social events.Karen Lancaster died in 1964. They were markedly different in character, she quiet and home-loving, he extrovert and gregarious, but they were devoted to each other, and her death left him devastated. Three years later he married the journalist Anne Scott-James; they had known each other for many years, although at first she did not much like him, finding him "stagey" and "supercilious". By the 1960s they had become good friends, and after Karen died the widowed Lancaster and the divorced Scott-James spent increasing amounts of time together. Their wedding was at the Chelsea Register Office on 2 January 1967. After their marriage they kept his Chelsea flat,  and lived at weekends in her house in the Berkshire village of Aldworth, the house in Henley having been sold. 
Question: What is the last name of the person who would walk to the Express building in Fleet Street at about four in the afternoon?
Output: Lancaster.
Passage: Poulenc made his début as a composer in 1917 with his Rapsodie nègre, a ten-minute, five-movement piece for baritone and chamber group; it was dedicated to Satie and premiered at one of a series of concerts of new music run by the singer Jane Bathori. There was a fashion for African arts in Paris at the time, and Poulenc was delighted to run across some published verses purportedly Liberian, but full of Parisian boulevard slang. He used one of the poems in two sections of the rhapsody. The baritone engaged for the first performance lost his nerve on the platform, and the composer, though no singer, jumped in. This jeu d'esprit was the first of many examples of what Anglophone critics came to call "leg-Poulenc". Ravel was amused by the piece and commented on Poulenc's ability to invent his own folklore. Stravinsky was impressed enough to use his influence to secure Poulenc a contract with a publisher, a kindness that Poulenc never forgot.
In completely arbitrary fashion Collet chose the names of six composers, Auric, Durey, Honegger, Poulenc, Tailleferre and myself, for no other reason than that we knew each other, that we were friends and were represented in the same programmes, but without the slightest concern for our different attitudes and our different natures. Auric and Poulenc followed the ideas of Cocteau, Honegger was a product of German Romanticism and my leanings were towards a Mediterranean lyrical art ... Collet's article made such a wide impression that the Groupe des Six had come into being.
Cocteau, though similar in age to Les Six, was something of a father-figure to the group. His literary style, "paradoxical and lapidary" in Hell's phrase, was anti-romantic, concise and irreverent. It greatly appealed to Poulenc, who made his first setting of Cocteau's words in 1919 and his last in 1961. When members of Les Six collaborated with each other, they contributed their own individual sections to the joint work. Their 1920 piano suite L'Album des Six consists of six separate and unrelated pieces. Their 1921 ballet Les mariés de la tour Eiffel contains three sections by Milhaud, two apiece by Auric, Poulenc and Tailleferre, one by Honegger and none by Durey, who was already distancing himself from the group.In the early 1920s Poulenc remained concerned at his lack of formal musical training. Satie was suspicious of music colleges, but Ravel advised Poulenc to take composition lessons; Milhaud suggested the composer and teacher Charles Koechlin. Poulenc worked with him intermittently from 1921 to 1925. 
Question: What is the name of the person whose last setting of Cocteau's words was in 1961?
Output: Poulenc.
Passage: The two sides to Poulenc's musical nature caused misunderstanding during his life and have continued to do so. The composer Ned Rorem observed, "He was deeply devout and uncontrollably sensual"; this still leads some critics to underrate his seriousness. His uncompromising adherence to melody, both in his lighter and serious works, has similarly caused some to regard him as unprogressive. Although he was not much influenced by new developments in music, Poulenc was always keenly interested in the works of younger generations of composers. Lennox Berkeley recalled, "Unlike some artists, he was genuinely interested in other people's work, and surprisingly appreciative of music very far removed from his. I remember him playing me the records of Boulez's Le marteau sans maître with which he was already familiar when that work was much less well-known than it is today." Boulez did not take a reciprocal view, remarking in 2010, "There are always people who will take an easy intellectual path. Poulenc coming after Sacre [du Printemps]. It was not progress." Other composers have found more merit in Poulenc's work; Stravinsky wrote to him in 1931: "You are truly good, and that is what I find again and again in your music".In his last years Poulenc observed, "if people are still interested in my music in 50 years' time it will be for my Stabat Mater rather than the Mouvements perpétuels." In a centenary tribute in The Times Gerald Larner commented that Poulenc's prediction was wrong, and that in 1999 the composer was widely celebrated for both sides of his musical character: "both the fervent Catholic and the naughty boy, for both the Gloria and Les Biches, both Les Dialogues des Carmélites and Les Mamelles de Tirésias." At around the same time the writer Jessica Duchen described Poulenc as "a fizzing, bubbling mass of Gallic energy who can move you to both laughter and tears within seconds. His language speaks clearly, directly and humanely to every generation.". 
Question: What was the last name of the composer who was widely celebrated in 1999 for both sides of his musical character?
Output: Poulenc.
Passage: Wheeler was known as "Rik" among friends. He divided opinion among those who knew him, with some loving and others despising him, and during his lifetime, he was often criticised on both scholarly and moral grounds. The archaeologist Max Mallowan asserted that he "was a delightful, light-hearted and amusing companion, but those close to him knew that he could be a dangerous opponent if threatened with frustration".
His charm offensives were often condemned as being insincere. During excavations, he was known as an authoritarian leader but favoured those who he thought exhibited bravery by standing up to his authority. Hence, he has been termed "a benevolent dictator". He was meticulous in his writings, and would repeatedly revise and rewrite both pieces for publication and personal letters. Throughout his life, he was a heavy smoker.Wheeler expressed the view that he was "the least political of mortals". Despite not taking a strong interest in politics, Wheeler was described by his biographer as "a natural conservative"; for instance, during his youth he was strongly critical of the Suffragettes and their cause of greater legal rights for women. Nevertheless, he was "usually happy to advance young women professionally", something that may have been based largely on his sexual attraction toward them. He expressed little interest in his relatives; in later life, he saw no reason to have a social relationship with people purely on the basis of family ties.Wheeler was married three times. In May 1914, Wheeler married Tessa Verney. Tessa became an accomplished archaeologist, and they collaborated until she died in 1936. Their only child, Michael Mortimer Wheeler, was born in January 1915; he became a barrister. Following Tessa's death, in 1939, Wheeler married Mavis de Vere Cole, widow of the prankster Horace de Vere Cole. Their relationship was strained; Cole's diaries revealed that Wheeler physically hit her when she annoyed him. In 1945 Mortimer Wheeler married his third wife, Margaret "Kim" Collingridge. Although they became estranged in 1956, Collingridge's Catholicism prevented divorce. Meanwhile, Wheeler was well known for his conspicuous promiscuity, favouring young women for one-night stands, many of whom were his students. He was further known for having casual sex in public places. That behaviour led to much emotional suffering among his various wives and mistresses of which he was aware. As a result of his behaviour, later archaeologist Gabriel Moshenska informed a reporter from the Daily Mail that Wheeler had developed a reputation as "a bit of a groper and a sex pest and an incredible bully as well". 
Question: What is the nickname of the person who favored those who he thought exhibited bravery by standing up to authority?
Output: Rik.
Passage: When originally used in Olney, it is unknown what music, if any, accompanied the verses written by John Newton. Contemporary hymnbooks did not contain music and were simply small books of religious poetry. The first known instance of Newton's lines joined to music was in A Companion to the Countess of Huntingdon's Hymns (London, 1808), where it is set to the tune "Hephzibah" by English composer John Husband. Common meter hymns were interchangeable with a variety of tunes; more than twenty musical settings of "Amazing Grace" circulated with varying popularity until 1835 when William Walker assigned Newton's words to a traditional song named "New Britain", which was itself an amalgamation of two melodies ("Gallaher" and "St. Mary") first published in the Columbian Harmony by Charles H. Spilman and Benjamin Shaw (Cincinnati, 1829). Spilman and Shaw, both students at Kentucky's Centre College, compiled their tunebook both for public worship and revivals, to satisfy "the wants of the Church in her triumphal march". Most of the tunes had been previously published, but "Gallaher" and "St. Mary" had not. As neither tune is attributed and both show elements of oral transmission, scholars can only speculate that they are possibly of British origin. A manuscript from 1828 by Lucius Chapin, a famous hymn writer of that time, contains a tune very close to "St. Mary", but that does not mean that he wrote it."Amazing Grace", with the words written by Newton and joined with "New Britain", the melody most currently associated with it, appeared for the first time in Walker's shape note tunebook Southern Harmony in 1847. It was, according to author Steve Turner, a "marriage made in heaven ... The music behind 'amazing' had a sense of awe to it. The music behind 'grace' sounded graceful. There was a rise at the point of confession, as though the author was stepping out into the open and making a bold declaration, but a corresponding fall when admitting his blindness." Walker's collection was enormously popular, selling about 600,000 copies all over the U.S. when the total population was just over 20 million. Another shape note tunebook named The Sacred Harp (1844) by Georgia residents Benjamin Franklin White and Elisha J. King became widely influential and continues to be used.Another verse was first recorded in Harriet Beecher Stowe's immensely influential 1852 anti-slavery novel Uncle Tom's Cabin. Three verses were emblematically sung by Tom in his hour of deepest crisis. He sings the sixth and fifth verses in that order, and Stowe included another verse not written by Newton that had been passed down orally in African American communities for at least 50 years. It was originally one of between 50 and 70 verses of a song titled "Jerusalem, My Happy Home" that first appeared in a 1790 book called A Collection of Sacred Ballads:. 
Question: What is the first name of the person who wrote the word to Amazing Grace?
Output: John.
Passage: The museum's founder Sigurður Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavík's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurður gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurður was able to continue to collect whale penises by harvesting them from the 12–16 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurður was assisted by his family, though not without some occasional embarrassment. His daughter Þorgerður recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurður, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one."
The collection was at first housed in Sigurður's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavík and was awarded a grant from the city council of ISK 200,000 to support the opening of a museum in August 1997. By 2003, it was attracting 5,200 visitors a year, of which 4,200 were from abroad. He put the museum up for sale in 2003, but also offered it to the city of Reykjavík as a gift. However, he was unsuccessful in obtaining financial support from the state or city. When he retired in 2004, he could no longer afford the rent on the museum's premises. 
Question: What is the name of the person who had to say, "I'm collecting a frozen goat penis"?
Output: Þorgerður.
Passage: The band released Lost Dogs, a two-disc collection of rarities and B-sides, and Live at the Garden, a DVD featuring the band's July 8, 2003 concert at Madison Square Garden through Epic Records in November 2003. In 2004, Pearl Jam released the live album, Live at Benaroya Hall, through a one-album deal with BMG. 2004 marked the first time that Pearl Jam licensed a song for usage in a television show; a snippet of the song "Yellow Ledbetter" was used in the final episode of the television series Friends. Later that year, Epic released rearviewmirror (Greatest Hits 1991–2003), a Pearl Jam greatest hits collection spanning 1991 to 2003. This release marked the end of Pearl Jam's contractual agreement with Epic Records.Pearl Jam played a show at Easy Street Records in Seattle in April 2005; recordings from the show were compiled for the Live at Easy Street album and released exclusively to independent record stores in June 2006. The band embarked on a Canadian cross-country tour in September 2005, kicking off the tour with a fundraising concert in Missoula, Montana for Democratic politician Jon Tester, then playing the Gorge Amphitheater before crossing into Canada. After touring Canada, Pearl Jam proceeded to open a Rolling Stones concert in Pittsburgh, then played two shows at the Borgata casino in Atlantic City, New Jersey, before closing the tour with a concert in Philadelphia, Pennsylvania. The official bootlegs for the band's 2005 shows were distributed via Pearl Jam's official website in MP3 form. Pearl Jam also played a benefit concert to raise money for Hurricane Katrina relief on October 5, 2005, at the House of Blues in Chicago, Illinois. On November 22, 2005, Pearl Jam began its first Latin American tour. 
Question: What band released Live at the Garden?
Output: Pearl Jam.
Passage: The first recorded inhabitants of the Susquehanna River valley were the Susquehannocks, an Iroquoian speaking people. Their name meant "people of the muddy river" in the Algonquian, but their name for themselves is unknown. Decimated by diseases and warfare, they had largely died out, moved away, or been assimilated into other tribes by the early 18th century. The lands of the West Branch Susquehanna River valley were then chiefly occupied by the Munsee phratry of the Lenape (or Delaware), and were under the nominal control of the Five (later Six) Nations of the Iroquois. Two important paths of these native indigenous peoples ran along parts of White Deer Hole Creek.The Great Island Path was a major trail that ran north along the Susquehanna River from the Saponi village of Shamokin at modern Sunbury, fording the river there and following the west bank of the West Branch Susquehanna River north until White Deer Hole valley. The path turned west at Allenwood and followed White Deer Hole Creek until about the present location of Elimsport. There it headed northwest, crossed North White Deer Ridge and passed west through the Nippenose valley, then turned north and crossed Bald Eagle Mountain via McElhattan Creek and ran along the south bank of the river to the Great Island (near the present day city of Lock Haven). The stretch from the mouth of the creek to the Nippenose valley is approximately followed by Route 44. From the Great Island, the Great Shamokin Path continued further west to the modern boroughs of Clearfield and Kittanning, the last on the Allegheny River.
Culbertson's Path followed White Deer Hole Creek west from Allenwood, then followed Spring Creek north, crossed Bald Eagle Mountain and followed Mosquito Run to the river at the current borough of Duboistown. Here it crossed the river to "French Margaret's Town" (western modern day Williamsport) before joining the major Sheshequin Path, which led north up Lycoming Creek to the North Branch of the Susquehanna River, modern New York, and the Iroquois there. These trails were only wide enough for one person, but settlers in White Deer Hole valley broadened the path to DuBoistown to take grain to Culbertson's mill on Mosquito Run, hence the name. Culbertson's Path was used as a part of the Underground Railroad until the American Civil War began in 1861. Escaped slaves would often wade in creeks to hide their scent from pursuing bloodhounds. In 2009, there is still a "Culbertson's Trail", for hiking over Bald Eagle Mountain from Pennsylvania Route 554 to Duboistown. 
Question: What crossed the river to French Margaret's Town?
Output: Culbertson's Path.
Passage: Youssou N'Dour: I Bring What I Love is a music-driven film that explores one man's power to inspire global change. The film unfolds at a pivotal moment in the life of Youssou N'Dour—the best-selling African pop artist of all time. N'Dour has long been renowned for bringing people of diverse nations and backgrounds together through his collaborations with such musical superstars as Bono, Paul Simon, and Peter Gabriel. But when he releases his most personal and spiritual album yet, he instead alienates his Muslim fans in Africa. Although he garners accolades in the West, N'Dour must brave controversy and rejection at home as he sets out to win his audience back.
Director Elizabeth Chai Vasarhelyi tracks N'Dour's journey over two years – filming his life in Africa, Europe, and America. He initially releases his album Egypt in the hopes of promoting a more tolerant face of Islam. Yet, when his fellow Senegalese reject the album, and denounce it as blasphemous, he takes this as a challenge to go deeper, to reach out to those who would attack him, and to work even harder to use his songs to unite a divided world. The resulting portrait is not just of a musician, but also that of a world in which pop culture now has equal power to incite fury and invite new connections. 
Question: What do N'Dour's fellow Sengalese think is blasphemous?
Output: his album Egypt.
Passage: Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Façades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque style more evident than in Ragusa and Catania. 
Question: What were the names of the two people that promoted the use of the external staircase?
Output: Vaccarini.
Passage: Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Façades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque style more evident than in Ragusa and Catania. 
Question: What were the names of the two people that promoted the use of the external staircase?
Output: Napoli.
Passage: By the time Etty exhibited Musidora, the theme was becoming something of a cliche, such that by 1850 it was described by The Literary Gazette as "a favourite subject for a dip of the brush". As interest in studies of Musidora waned, its role as a pretext for nude paintings by English artists was replaced by Lady Godiva, who had become a topic of increased interest owing to Alfred, Lord Tennyson's poem Godiva. After the death of William Wordsworth in 1850, James Thomson ceased to be a major influence on writers. From the 1870s his popularity with readers waned, and by the end of the 20th century his works other than Rule, Britannia! were little known.When Etty died in 1849, despite having worked and exhibited until his death, he was still  regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death that "[Etty] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds". Interest in him declined as new movements came to characterise painting in Britain, and by the end of the 19th century the value of his paintings had fallen.
It is likely that the composition and style of John Everett Millais's controversial The Knight Errant was influenced by Musidora, but other than Millais, and Etty's admirer and imitator William Edward Frost, few other artists were directly influenced by Etty's work. In 1882 Vanity Fair commented on Musidora that "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." By the early 20th century Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Frederick Mentone's The Human Form in Art (1944) was one of the few 20th-century academic works to favourably view Musidora. 
Question: What was the name of the work that was likely influenced by Musidora?
Output: The Knight Errant.
Passage: The earthquake was preceded by a foreshock, which, although modest, was strong enough to cause chaos and force people to flee from their homes into the streets. The main shock originated southeast of Ambato. When the primary shock hit Ambato's main cathedral and military barracks collapsed, as did most of the city's buildings, scores of young girls preparing for their First Communion perished in the cathedral. The shaking ruptured water mains, disabled communication lines, opened cracks in the earth, reduced bridges to rubble, and derailed a train. The earthquake demolished buildings in rural hamlets; closer to the nearest mountains of the Andes, landslides destroyed roads and blocked rivers. The village of Libertad near Pelileo sank 460 m (1,509 ft) into a huge hole about 800 m (2,625 ft) in diameter with all of its 100 inhabitants. Shaking up to intensity IV extended as far away as Quito and Guayaquil.Initial reports (around August 7) estimated the death toll at 2,700 people.  The cities of Patate and Pelileo suffered the most with 1,000 and 1,300 dead respectively. In Ambato reports of the death toll ranged from 400 to 500, and the  Ecuadorean Embassy in Washington, D.C., estimated that 1,000 to more than 2,000 people were injured. The town of Pillaro, destroyed by the quake, had more than 20 dead, and in Latacunga, 11 were killed and 30 injured; 50 homes, two churches, and the local government building were also ruined. Fifteen other towns and cities were also badly affected, including Guano which was devastated.Later counts assumed around 3,200 casualties in Pelileo; the total death toll estimates were adjusted to around 4,000 people. Officials reported that many of the dead had been inside buildings as they buckled or were killed by flooding brought about by the blockage of a  drainage canal. Others were crushed by landslides from nearby mountains. No homes in the city of Pelileo were left standing, many buildings were flattened, and large cracks formed in the ground. In Ambato alone 75 percent of the homes still standing had to be demolished. On August 8, an aftershock with "considerable strength" struck near Ambato.The final death toll according to the United States Geological Survey was 5,050. The earthquake severely affected some 30 communities and left approximately 100,000 people homeless. 
Question: What city suffered with 1000 dead after the earthquake?
Output: Patate.
Passage: Sir Richard Starkey  (born 7 July 1940), known professionally as Ringo Starr, is an English musician, singer, songwriter and actor who gained worldwide fame as the drummer for the Beatles. He occasionally sang lead vocals with the group, usually for one song on each album, including "With a Little Help from My Friends", "Yellow Submarine", "Good Night", and their cover of "Act Naturally". He also wrote and sang the Beatles' songs "Don't Pass Me By" and "Octopus's Garden", and is credited as a co-writer of others, including "What Goes On" and "Flying".
Starr was afflicted by life-threatening illnesses during childhood, and he fell behind in school as a result of prolonged hospitalisations. He briefly held a position with British Rail before securing an apprenticeship at a Liverpool equipment manufacturer. Soon afterwards, he became interested in the UK skiffle craze and developed a fervent admiration for the genre. In 1957, he co-founded his first band, the Eddie Clayton Skiffle Group, which earned several prestigious local bookings before the fad succumbed to American rock and roll by early 1958. When the Beatles formed in 1960, Starr was a member of another Liverpool group, Rory Storm and the Hurricanes. After achieving moderate success in the UK and Hamburg, he quit the Hurricanes and joined the Beatles in August 1962, replacing Pete Best.
Starr played key roles in the Beatles' films and appeared in numerous others. After the band's break-up in 1970, he released several successful singles including the US number-four hit "It Don't Come Easy", and number ones "Photograph" and "You're Sixteen". In 1972, he released his most successful UK single, "Back Off Boogaloo", which peaked at number two. He achieved commercial and critical success with his 1973 album Ringo, which was a top-ten release in both the UK and the US. He has featured in a number of documentaries and hosted television shows.  He also narrated the first two series of the children's television programme Thomas & Friends and portrayed "Mr Conductor" during the first season of the PBS children's television series Shining Time Station. Since 1989, he has toured with thirteen variations of Ringo Starr & His All-Starr Band.
Starr's musicianship has received praise from other drummers, including Phil Collins and Journey's Steve Smith. He was inducted into the Modern Drummer Hall of Fame in 1998. In 2011, Rolling Stone readers named Starr the fifth-greatest drummer of all time. Starr, who was previously inducted into the Rock and Roll Hall of Fame as a Beatle in 1988, was inducted for his solo career in 2015, making him one of 21 performers inducted more than once. He is the richest drummer in the world with a net worth of US$350 million. He was appointed a Knight Bachelor in the 2018 New Year Honours for services to music. 
Question: What is the better-known name of the person who wrote and sang "Octopus's Garden"?
Output: Ringo Starr.