niryuu/sni-each-converted huggingface dataset:
Passage: Tchaikovsky remained abroad for a year after the disintegration of his marriage. During this time, he completed Eugene Onegin, orchestrated his Fourth Symphony, and composed the Violin Concerto. He returned briefly to the Moscow Conservatory in the autumn of 1879. For the next few years, assured of a regular income from von Meck, he traveled incessantly throughout Europe and rural Russia, mainly alone, and avoided social contact whenever possible. During this time, Tchaikovsky's foreign reputation grew and a positive reassessment of his music also took place in Russia, thanks in part to Russian novelist Fyodor Dostoyevsky's call for "universal unity" with the West at the unveiling of the Pushkin Monument in Moscow in 1880. Before Dostoyevsky's speech, Tchaikovsky's music had been considered "overly dependent on the West". As Dostoyevsky's message spread throughout Russia, this stigma toward Tchaikovsky's music evaporated. An unprecedented acclaim for him even drew a cult following among the young intelligentsia of Saint Petersburg, including Alexandre Benois, Léon Bakst and Sergei Diaghilev.Two musical works from this period stand out. With the Cathedral of Christ the Saviour nearing completion in Moscow in 1880, the 25th anniversary of the coronation of Alexander II in 1881, and the 1882 Moscow Arts and Industry Exhibition in the planning stage, Nikolai Rubinstein suggested that Tchaikovsky compose a grand commemorative piece. Tchaikovsky agreed and finished it within six weeks. He wrote to Nadezhda von Meck that this piece, the 1812 Overture, would be "very loud and noisy, but I wrote it with no warm feeling of love, and therefore there will probably be no artistic merits in it". He also warned conductor Eduard Nápravník that "I shan't be at all surprised and offended if you find that it is in a style unsuitable for symphony concerts". Nevertheless, the overture became, for many, "the piece by Tchaikovsky they know best"., particularly well-known for the use of cannon in the scores.On 23 March 1881, Nikolai Rubinstein died in Paris. That December, Tchaikovsky started work on his Piano Trio in A minor, "dedicated to the memory of a great artist". First performed privately at the Moscow Conservatory on the first anniversary of Rubinstein's death, the piece became extremely popular during the composer's lifetime; in November 1893, it would become Tchaikovsky's own elegy at memorial concerts in Moscow and St. Petersburg. 
Question: What is the full name of the person that Tchaikovsky was assured a regular income from for a few years?
Output: Nadezhda von Meck.
Passage: Cattle rustlers Robert Hightower, Pedro "Pete" Rocafuerte, and William Kearney rob a bank in the town of Welcome, Arizona, but William is shot in the shoulder and they have to flee into the desert, pursued by a posse led by Sheriff Buck Sweet, who shoots a hole in their water bag (that they do not notice until after all the water has leaked out). They eventually lose their horses in a desert sandstorm and end up walking. Desperate for water, they head for a water hole, which has, however, been destroyed by the misguided efforts of a bumbling tenderfoot, who then chased after his livestock and did not return. 
In a covered wagon left nearby lies the man's wife (Sheriff Sweet's niece), who is about to give birth. With the help of the trio, she has a boy, whom she names Robert William Pedro after her benefactors. Before dying, she extracts a promise from them that they will take care of him. Moved, the three desperadoes try to keep their promise despite the acute lack of water.
William is certain a higher power guided them there and likens their situation to the Three Magi finding the baby Jesus in a manger. He convinces the others to head for the town of New Jerusalem, which lies across a wide expanse of desert. While crossing a salt flat, William dies; later, Pete falls and breaks his leg. He asks Robert to leave him his pistol, for "protection from coyotes." As Robert walks away, he hears a single gunshot. 
Question: What is the last name of the person who is shot?
Output: Kearney.
Passage: Title TK begins with "Little Fury", named after a kind of pocketknife sold at truck stops with the word "fury" written along the side of the blade. On the call and response track, the Deal sisters sing over a heavy bassline, a funky drumbeat, and guitar sounds influenced by surf music and grunge. J.R. Moores wrote for Drowned in Sound that "Somebody considers unleashing a guitar solo, yet its notes are few and the vocals kick back in before it has the chance to go anywhere. Is it a solo or a riff? Whatever it is, it flicks its middle finger at other solos and riffs, exposing them as absurd, flamboyant, shallow fripperies. I'm not part of that club, it says." For PopMatters's Matt Cibula, the repeated line "Hold what you've got" is the Deals' reminder to themselves to keep the Breeders intact henceforth.On "London Song", Jim Abbott at The Orlando Sentinel said the syncopated guitar performance complements Title TK's "world-weary attitude," just as the sisters' "tough lost years ... [are] obvious from Kim's disconnected delivery on songs about hard times". By contrast, NY Rock's Jeanne Fury noted the track's upbeat, quirky energy. In the Japanese release's liner notes, critic Mia Clarke described the slow ballad "Off You" as having a lackadaisical feel; Pitchfork Media's Will Bryant was struck by the song's creepy quality, and compared it to the mood of the Pink Floyd album The Wall. Rolling Stone's Arion Berger said "Off You" is "as direct and heartbreaking as an eighty-five-year-old blues recording, and Kim, her voice clear and full of hope, can't help sounding like a young woman who's lived ten awful lifetimes.""The She", named after a nightclub that the Deals' brother used to visit, has been described as having a funky feel, with a start-and-stop rhythm of bass and drums. Bryant found the track's keyboard part reminiscent of Stereolab's music, while AllMusic's Heather Phares likened the entire song to Jefferson Airplane's "White Rabbit". Cibula mentioned that the "creepy/cool ... sound [fits] the characteristic Kim Deal familiar/strange lyrics: 'Sorrow blowin' through the vents / I'm over Houston / You're over the night we met.'" Kim Deal plays every instrument on "Too Alive" and both sisters sing. Moores noted the track's buoyant feel and the steady strumming style of Deal's guitar. To Phares, the song possesses an immediacy as though the listener were there watching the performance in person. 
Question: What is the title of the song by whose creepy quality Will Bryant was struck?
Output: Off You.
Passage: The Rokeby Venus is the only surviving nude by Velázquez, but three others by the artist are recorded in 17th-century Spanish inventories. Two were mentioned in the Royal collection, but may have been lost in the 1734 fire that destroyed the main Royal Palace of Madrid. A further one was recorded in the collection of Domingo Guerra Coronel. These records mention "a reclining Venus", Venus and Adonis, and a Psyche and Cupid.Although the work is widely thought to have been painted from life, the identity of the model is subject to much speculation. In contemporary Spain it was acceptable for artists to employ male nude models for studies; however, the use of female nude models was frowned upon. The painting is believed to have been executed during one of Velázquez's visits to Rome, and Prater has observed that in Rome the artist "did indeed lead a life of considerable personal liberty that would have been consistent with the notion of using a live nude female model". It has been claimed that the painting depicts a mistress Velázquez is known to have had while in Italy, who is supposed to have borne his child. Others have claimed that the model is the same as in Coronation of the Virgin and Las Hilanderas, both in the Museo del Prado, and other works.The figures of both Venus and Cupid were significantly altered during the painting process, the result of the artist's corrections to the contours as initially painted. Pentimenti can be seen in Venus's upraised arm, in the position of her left shoulder, and on her head. Infra-red reveals that she was originally shown more upright with her head turned to the left. An area on the left of the painting, extending from Venus's left foot to the left leg and foot of Cupid, is apparently unfinished, but this feature is seen in many other works by Velázquez and was probably deliberate. The painting was given a major cleaning and restoration in 1965–66, which showed it to be in good condition, and with very little paint added later by other artists, contrary to what some earlier writers had asserted. 
Question: Whose inventories were the three other nudes by Velázquez recorded in?
Output: Royal collection.
Passage: The Rokeby Venus is the only surviving nude by Velázquez, but three others by the artist are recorded in 17th-century Spanish inventories. Two were mentioned in the Royal collection, but may have been lost in the 1734 fire that destroyed the main Royal Palace of Madrid. A further one was recorded in the collection of Domingo Guerra Coronel. These records mention "a reclining Venus", Venus and Adonis, and a Psyche and Cupid.Although the work is widely thought to have been painted from life, the identity of the model is subject to much speculation. In contemporary Spain it was acceptable for artists to employ male nude models for studies; however, the use of female nude models was frowned upon. The painting is believed to have been executed during one of Velázquez's visits to Rome, and Prater has observed that in Rome the artist "did indeed lead a life of considerable personal liberty that would have been consistent with the notion of using a live nude female model". It has been claimed that the painting depicts a mistress Velázquez is known to have had while in Italy, who is supposed to have borne his child. Others have claimed that the model is the same as in Coronation of the Virgin and Las Hilanderas, both in the Museo del Prado, and other works.The figures of both Venus and Cupid were significantly altered during the painting process, the result of the artist's corrections to the contours as initially painted. Pentimenti can be seen in Venus's upraised arm, in the position of her left shoulder, and on her head. Infra-red reveals that she was originally shown more upright with her head turned to the left. An area on the left of the painting, extending from Venus's left foot to the left leg and foot of Cupid, is apparently unfinished, but this feature is seen in many other works by Velázquez and was probably deliberate. The painting was given a major cleaning and restoration in 1965–66, which showed it to be in good condition, and with very little paint added later by other artists, contrary to what some earlier writers had asserted. 
Question: Whose inventories were the three other nudes by Velázquez recorded in?
Output: Domingo Guerra Coronel.
Passage: Sir William Turner Walton, OM (29 March 1902 – 8 March 1983) was an English composer. During a sixty-year career, he wrote music in several classical genres and styles, from film scores to opera. His best-known works include Façade, the cantata Belshazzar's Feast, the Viola Concerto, the First Symphony, and the British coronation anthems Crown Imperial and Orb and Sceptre.
Born in Oldham, Lancashire, the son of a musician, Walton was a chorister and then an undergraduate at Christ Church, Oxford. On leaving the university, he was taken up by the literary Sitwell siblings, who provided him with a home and a cultural education. His earliest work of note was a collaboration with Edith Sitwell, Façade, which at first brought him notoriety as a modernist, but later became a popular ballet score.
In middle age, Walton left Britain and set up home with his young wife Susana on the Italian island of Ischia. By this time, he had ceased to be regarded as a modernist, and some of his compositions of the 1950s were criticised as old-fashioned. His only full-length opera, Troilus and Cressida, was among the works to be so labelled and has made little impact in opera houses. In his last years, his works came back into critical fashion; his later compositions, dismissed by critics at the time of their premieres, were revalued and regarded alongside his earlier works.
Walton was a slow worker, painstakingly perfectionist, and his complete body of work across his long career is not large. His most popular compositions continue to be frequently performed in the 21st century, and by 2010 almost all his works had been released on CD. 
Question: What is the last name of the person whose earliest work of note was a collaboration with Edith?
Output: Walton.
Passage: By September 1963, Waters and Mason had lost interest in their studies and moved into the lower flat of Stanhope Gardens, owned by Mike Leonard, a part-time tutor at the Regent Street Polytechnic. Waters, Mason and Wright first played music together in late 1963, in a band formed by vocalist Keith Noble and bassist Clive Metcalfe. They usually called themselves Sigma 6, but also used the name the Meggadeaths. Waters played rhythm guitar and Mason played drums, Wright played any keyboard he could arrange to use, and Noble's sister Sheilagh provided occasional vocals. In the early years the band performed during private functions and rehearsed in a tearoom in the basement of Regent Street Polytechnic.When Metcalfe and Noble left to form their own group in September 1963, the remaining members asked Barrett and guitarist Bob Klose to join. Waters switched to the bass and by January 1964, the group became known as the Abdabs, or the Screaming Abdabs. During late 1964, the band used the names Leonard's Lodgers, Spectrum Five, and eventually, the Tea Set. Sometime during late 1965, the Tea Set began calling itself the Pink Floyd Sound, later the Pink Floyd Blues Band and by early 1966, Pink Floyd.By early 1966, Barrett was Pink Floyd's frontman, guitarist, and songwriter. He wrote or co-wrote all but one track of their debut LP The Piper at the Gates of Dawn, released in August 1967. Waters contributed the song "Take Up Thy Stethoscope and Walk" (his first sole writing credit) to the album. By late 1967, Barrett's deteriorating mental health and increasingly erratic behaviour, rendered him "unable or unwilling" to continue in his capacity as Pink Floyd's singer-songwriter and lead guitarist. In early March 1968 Pink Floyd met with managers Peter Jenner and Andrew King of Blackhill Enterprises to discuss the band's future. Barrett agreed to leave Pink Floyd, and the band "agreed to Blackhill's entitlement in perpetuity" regarding "past activities". The band's new manager Steve O'Rourke made a formal announcement about the departure of Barrett and the arrival of David Gilmour in April 1968. 
Question: What is the name of the album to which Waters contributed the song "Take Up Thy Stethoscope and Walk"?
Output: The Piper at the Gates of Dawn.
Passage: Jules Émile Frédéric Massenet (French: [ʒyl emil fʁedeʁik masnɛ]; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music.
While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opéra-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries.
Like many prominent French composers of the period, Massenet became a professor at the Conservatoire. He taught composition there from 1878 until 1896, when he resigned after the death of the director, Ambroise Thomas. Among his students were Gustave Charpentier, Ernest Chausson, Reynaldo Hahn and Gabriel Pierné.
By the time of his death, Massenet was regarded by many critics as old-fashioned and unadventurous although his two best-known operas remained popular in France and abroad. After a few decades of neglect, his works began to be favourably reassessed during the mid-20th century, and many of them have since been staged and recorded. Although critics do not rank him among the handful of outstanding operatic geniuses such as Mozart, Verdi and Wagner, his operas are now widely accepted as well-crafted and intelligent products of the Belle Époque. 
Question: What is the last name of the person who composed prolifically in many genres?
Output: Massenet.
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances. 
Question: What are the full names of the two men would agreed that the opera would be heroic in nature?
Output: Peter Sellars.
Passage: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history.  Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao.  Sellars invited Alice Goodman to join the project as librettist,  and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public.  Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor".  Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness.  Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations:
A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances. 
Question: What are the full names of the two men would agreed that the opera would be heroic in nature?
Output: John Adams.
Passage: During and after the composition of The Planets, Holst wrote or arranged numerous vocal and choral works, many of them for the wartime Thaxted Whitsun Festivals, 1916–18. They include the Six Choral Folksongs of 1916, based on West Country tunes, of which "Swansea Town", with its "sophisticated tone", is deemed by Dickinson to be the most memorable. Holst downplayed such music as "a limited form of art" in which "mannerisms are almost inevitable"; the composer Alan Gibbs, however, believes Holst's set at least equal to Vaughan Williams's Five English Folk Songs of 1913.Holst's first major work after The Planets was the Hymn of Jesus, completed in 1917. The words are from a Gnostic text, the apocryphal Acts of St John, using a translation from the Greek which Holst prepared with assistance from Clifford Bax and Jane Joseph. Head comments on the innovative character of the Hymn: "At a stroke Holst had cast aside the Victorian and Edwardian sentimental oratorio, and created the precursor of the kind of works that John Tavener, for example, was to write in the 1970s". Matthews has written that the Hymn's "ecstatic" quality is matched in English music "perhaps only by Tippett's The Vision of Saint Augustine"; the musical elements include plainsong, two choirs distanced from each other to emphasise dialogue, dance episodes and "explosive chordal dislocations".In the Ode to Death (1918–19), the quiet, resigned mood is seen by Matthews as an "abrupt volte-face" after the life-enhancing spirituality of the Hymn. Warrack refers to its aloof tranquillity; Imogen Holst believed the Ode expressed Holst's private attitude to death. The piece has rarely been performed since its premiere in 1922, although the composer Ernest Walker thought it was Holst's finest work to that date.The influential critic Ernest Newman considered The Perfect Fool "the best of modern British operas", but its unusually short length (about an hour) and parodic, whimsical nature—described by The Times as "a brilliant puzzle"—put it outside the operatic mainstream. Only the ballet music from the opera, which The Times called "the most brilliant thing in a work glittering with brilliant moments", has been regularly performed since 1923. Holst's libretto attracted much criticism, although Edwin Evans remarked on the rare treat in opera of being able to hear the words being sung. 
Question: What is the name of the set of songs that Alan Gibbs believes is at least equal to Vaughan William's Five English Folk songs of 1913?
Output: the Six Choral Folksongs of 1916.
Passage: At the beginning of December 1910 Smoller, using the name Joe Levi, visited Exchange Buildings, a small cul-de-sac that backed onto the properties of Houndsditch. He rented No. 11 Exchange Buildings; a week later Svaars rented number 9 for a month, saying he needed it for storage. The gang were unable to rent number 10, which was directly behind their target, 119 Houndsditch, the jeweller's shop owned by Henry Samuel Harris. The safe in the jeweller's was reputed to contain between £20,000 and £30,000 worth of jewellery; Harris's son later stated the total was only around £7,000. Over the next two weeks the gang brought in various pieces of necessary equipment, including a 60-foot (18.25 m) length of India rubber gas hose, a cylinder of compressed gas and a selection of tools, including diamond-tipped drills.With the exception of Gardstein, the identities of the gang members present in Houndsditch on the night of 16 December 1910 have never been confirmed. Bernard Porter, writing in the Dictionary of National Biography, considers that Sokoloff and Peters were present and, in all likelihood, were two of those who shot the policemen who interrupted their burglary. Porter opines that Peter the Painter was probably not at the property that night, while the journalist J P Eddy suggests that Svaars was among those present. Donald Rumbelow, a former policeman who wrote a history of the events, considers that those present consisted of Gardstein, Smoller, Peters and Dubof, with a second group in case the work needed to continue into the following day, which included among their number Sokolow and Svaars. Rumbelow considers a third group on standby, staying at Hoffman's lodgings, to have comprised Hoffman, Rosen and Osip Federoff, an unemployed locksmith. Rumbelow also considers that present at the events—either as lookouts or in unknown capacities—were Peter the Painter and Nina Vassilleva.On 16 December, working from the small yard behind 11 Exchange Buildings, the gang began to break through the back wall of the shop; number 10 had been unoccupied since 12 December. At around 10:00 that evening, returning to his home at 120 Houndsditch, Max Weil heard curious noises coming from his neighbour's property. Outside his house Weil found Police Constable Piper on his beat and informed him of the noises. Piper checked at 118 and 121 Houndsditch, where he could hear the noise, which he thought was unusual enough to investigate further. At 11:00 he knocked at the door of 11 Exchange Buildings—the only property with a light on in the back. The door was opened in a furtive manner and Piper became suspicious immediately. So as not to rouse the man's concerns, Piper asked him "is the missus in?" The man answered in broken English that she was out, and the policeman said he would return later. 
Question: What did Piper think was unusual enough to investigate further?
Output: the noise.
Passage: In the 1980s, a young guitarist called Euronymous forms a black metal band called Mayhem, the first of the genre in their country of Norway, with Necrobutcher on bass, and  Manheim on drums. Manhein leaves and is soon replaced by new drummer Hellhammer and they recruit a new vocalist from Sweden called Dead, who exhibits self-destructive behavior, which he portrays during their live shows by cutting himself and bleeding on the audience, and throwing pig heads at the "posers". At a show filmed by their friend Metalion, the band meets a fan named Kristian, whom Euronymous initially looks down on.
While home alone, Dead uses his personal knife to cut his arms and throat, and then uses Euronymous' shotgun to shoot himself in the forehead, leaving behind a suicide note. Euronymous returns home and finds the body but instead of calling the police, he takes photos of the body and moves the knife and shotgun around. After Dead's body is taken away, Euronymous gives necklaces to the other band members which he claims are pieces of Dead's skull; this disgusts Necrobutcher, prompting him to leave the band.
Soon after, Euronymous starts his own black metal record label and opens a record shop called Helvete, which becomes a social hub for black-metallers like Metalion, Fenriz of Darkthrone, Faust of Emperor, and Kristian (who is now calling himself Varg Vikernes) of Burzum. They become known as the "Black Circle". After being mocked by an ego-driven Euronymous, Varg uses his anti-Christian beliefs as motivation to burn down a local church. When approached by Varg concerning his status as the leader of the Black Circle, Euronymous burns down a church with Faust and Varg accompanying.
Euronymous recruits Varg as bassist, a guitarist called Blackthorn and a Hungarian vocalist, Attila Csihar, to record Mayhem's first album, De Mysteriis Dom Sathanas. A power dispute between Varg and Euronymous arises. 
Question: Who quits Mayehm after the vocalist's suicide?
Output: Necrobutcher.
Passage: In modern-day San Francisco, reporter Daniel Molloy interviews Louis de Pointe du Lac, who claims to be a vampire. Louis describes his human life as a wealthy plantation owner in 1791 Spanish Louisiana. Despondent following the death of his wife and infant child, one night he is attacked by the vampire Lestat de Lioncourt while drunkenly wandering the waterfront of New Orleans. Lestat senses Louis' dissatisfaction with life and offers to turn him into a vampire, which Louis accepts. However, he quickly comes to regret it. While Lestat revels in the hunt and killing of humans, Louis resists killing them, drinking animal blood to sustain himself. He is disgusted by Lestat's pleasure in killing and comes to suffer tremendously as a vampire.
Wandering the streets of New Orleans, amid an outbreak of plague, Louis can resist his hunger no more and feeds on a little girl whose mother has died in the plague. To entice Louis to stay with him, Lestat turns the dying girl, Claudia, into a vampire. Together they raise her as a daughter—Louis has a pure love for Claudia, while Lestat treats her more as a student, training her to become a merciless killer.  As thirty years pass, Claudia matures psychologically but still remains a little girl in appearance, and she is treated as such by Lestat. When she finally realizes that she will never grow old, she is furious with Lestat and tells Louis that they should leave him. She tricks Lestat into drinking the "dead blood" of twin boys that she killed by overdosing them with laudanum and she slits his throat. With Louis's help, she dumps Lestat's body in a swamp and the two plan a voyage to Europe. However, Lestat returns on the night of their departure, having drunk the blood of swamp creatures to survive. Lestat attacks them, but Louis sets him on fire and, in the ensuing blaze, they are able to escape to their ship and depart. 
Question: Who realizes she will never grow old?
Output: Claudia.
Passage: At 3:06 pm, on November 13, 1985, Nevado del Ruiz began to erupt, ejecting dacitic tephra more than 30 kilometres (19 mi) into the atmosphere. The total mass of the erupted material (including magma) was 35 million tonnes—only 3% of the amount that erupted from Mount St. Helens in 1980.  The eruption reached a value of 3 on the Volcanic Explosivity Index. The mass of the ejected sulfur dioxide was about 700,000 tonnes, or about 2% of the mass of the erupted solid material, making the eruption atypically sulfur-rich.The eruption produced pyroclastic flows that melted summit glaciers and snow, generating four thick lahars that raced down river valleys on the volcano's flanks. It also destroyed a small lake that was observed in Arenas crater several months before the eruption. Water in such volcanic lakes tends to be extremely salty and contain dissolved volcanic gases. The lake's hot, acidic water significantly accelerated the melting of the ice; this effect was confirmed by the large amounts of sulfates and chlorides found in the lahar flow.
The lahars, formed of water, ice, pumice, and other rocks, mixed with clay as they travelled down the volcano's flanks. They ran down the volcano's sides at an average speed of 60 km per hour, eroding soil, dislodging rock, and destroying vegetation. After descending thousands of meters down the side of the volcano, the lahars were directed into all of the six river valleys leading from the volcano. While in the river valleys, the lahars grew to almost 4 times their original volume. In the Gualí River, a lahar reached a maximum width of 50 meters (200 ft).One of the lahars virtually erased the town of Armero in Tolima, which lay in the Lagunilla River valley. Only one quarter of its 28,700 inhabitants survived. The second lahar, which descended through the valley of Chinchiná River, killed about 1,800 people and destroyed about 400 homes in the town of Chinchiná, in the department of Caldas. In total, over 23,000 people were killed and approximately 5,000 were injured. More than 5,000 homes were destroyed. The Armero tragedy, as the event came to be known, was the second-deadliest volcanic disaster in the 20th century, being surpassed only by the 1902 eruption of Mount Pelée, and is the fourth-deadliest volcanic eruption in recorded history. It is also the deadliest known lahar, and Colombia's worst natural disaster. A young girl named Omayra Sánchez became a worldwide symbol of the disaster after images of her trapped under the debris of her former home, after the eruption made the news worldwide. 
Question: What eruption reached a value of 3 on the Volcanic Explosivity Index?
Output: Nevado del Ruiz.
Passage: The earliest archaeological evidence of human habitation of the territory of the city of San Francisco dates to 3000 BC. The Yelamu group of the Ohlone people resided in a few small villages when an overland Spanish exploration party, led by Don Gaspar de Portolà, arrived on November 2, 1769, the first documented European visit to San Francisco Bay. Seven years later, on March 28, 1776, the Spanish established the Presidio of San Francisco, followed by a mission, Mission San Francisco de Asís (Mission Dolores), established by the Spanish explorer Juan Bautista de Anza.
Upon independence from Spain in 1821, the area became part of Mexico. Under Mexican rule, the mission system gradually ended, and its lands became privatized. In 1835, Englishman William Richardson erected the first independent homestead, near a boat anchorage around what is today Portsmouth Square. Together with Alcalde Francisco de Haro, he laid out a street plan for the expanded settlement, and the town, named Yerba Buena, began to attract American settlers. Commodore John D. Sloat claimed California for the United States on July 7, 1846, during the Mexican–American War, and Captain John B. Montgomery arrived to claim Yerba Buena two days later. Yerba Buena was renamed San Francisco on January 30 of the next year, and Mexico officially ceded the territory to the United States at the end of the war. Despite its attractive location as a port and naval base, San Francisco was still a small settlement with inhospitable geography.
The California Gold Rush brought a flood of treasure seekers (known as "forty-niners", as in "1849"). With their sourdough bread in tow, prospectors accumulated in San Francisco over rival Benicia, raising the population from 1,000 in 1848 to 25,000 by December 1849. The promise of great wealth was so strong that crews on arriving vessels deserted and rushed off to the gold fields, leaving behind a forest of masts in San Francisco harbor. 
Question: What area became part of Mexico in 1821?
Output: San Francisco.
Passage: With high school behind him, Andy Hardy decides that as an adult, it's time to start living his life. Judge Hardy had hoped that his son would go to college and study law, but Andy isn't sure that's what he wants to do so he heads off to New York City to find a job. Too proud to accept financial help from his longtime friend Betsy Booth, he at least lets her drive him to the city.
Andy soon meets there another young man who has just been fired as "office boy" at a midtown firm.  When Andy rushes there unannounced to apply for the vacancy, Betsy runs out of gasoline after patiently circling the congested streets for hours waiting for him to come out afterwards.  Andy lands the job, and even gets to repeatedly date the office receptionist, a more worldly woman who with the office staff are amused at his naivete and sometimes clumsiness.  He learns that daily expenses, including gifts and dates for his new girlfriend, quickly add up as well as mourning over the death of his new friend who dies.
Andy is nearly fired after, due to drowsiness, he mixes up two outgoing letters in the office mail.  Although ashamed to let his parents know of his difficulties, they hear of his circumstances from Betsy, and his father goes to bring him home.  After facing these several lessons of life, Andy concludes that he may still have some growing up to do. 
Question: What is the first name of the person who lets Betsy drive them to the city?
Output: Andy.
Passage: It was while Harris was remonstrating with Gregory that "larrikins" in the crowd surged onto the pitch. A young Banjo Paterson, who later went on to write the iconic Australian bush ballad "Waltzing Matilda", was among the pitch invaders. Of the 10,000 spectators, up to 2,000 "participated in the disorder". Coulthard was jostled and Lord Harris, who had returned to the field to support Coulthard, was struck by a whip or stick but was not hurt. Hornby, a keen amateur boxer who had been offered the English captaincy before stepping aside for Harris, grabbed his captain's assailant and "conveyed his prisoner to the pavilion in triumph"; it was later said that he had caught the wrong man. Hornby was also attacked and almost lost the shirt off his back. Emmett and Ulyett each took a stump for protection and escorted Lord Harris off, assisted by some members. In the meantime, the crowd anger grew and there was mounting fear that the riot would intensify, due to speculation that the crowd would try to free Hornby's captive. However, there was only jostling as the players were evacuated into the pavilion, and the injuries were limited to minor cuts and bruises. An English naval captain who was at the ground had his top hat pulled over his eyes and was verbally abused by some spectators. After 30 minutes, the field was cleared.When the ground was finally cleared Gregory insisted, according to Harris, that Coulthard be replaced. When Harris would not agree, Gregory said, "Then the game is at an end". Harris asked Barton whether he could claim the match on a forfeit. Barton replied "I will give it to you in two minutes if the batsmen don't return". Harris then asked Barton to speak with Gregory to ascertain his intentions. When Barton came out he announced that Alick Bannerman and Nat Thomson would resume the New South Wales innings. They walked onto the arena and reached the stumps, but before they could receive a ball, the crowd again invaded the pitch, and remained there until the scheduled end of play. According to The Sydney Mail approximately 90 minutes' play had been lost. Lord Harris maintained his position on the ground, standing "erect" with "moustache bristling" among the spectators, fearful that his leaving the arena would lead to a forfeit.Sunday was a rest day, so the match resumed on Monday, 10 February. As it was a working day, the crowd was much smaller. Rain had fallen and the sun had baked the playing surface into a sticky wicket, which caused erratic behaviour. Nat Thomson was out for a duck without addition to the overnight total, and a collapse ensued. New South Wales made only 49 in their second innings; Bannerman top-scored with 20 while six of his colleagues failed to score, while Emmett and Ulyett took four and five wickets respectively, including four wickets in four balls for the latter. England thus won by an innings and 41 runs. 
Question: What day was a working day?
Output: Monday.
Passage: When Muggs refuses to train for the Golden Gloves match unless he has his own private camp in the country, Danny placates his pal by enlisting members of the Vassey Street Boys' Club in the Civilian Conservation Corps. Arriving at the camp, Muggs refuses to accept the authority of Allen, the leader of the boys, and treats the facility as if it was his own private property. Later, Muggs has a chance to demonstrate his true nature when he risks his own life to save Al from being crushed by a falling tree. The camp captain praises Muggs for his courage, and as a reward, Muggs requests a boxing match with Al. Norton, a small-time boxing promoter, comes to watch the fight, which ends in a draw. Furious at the outcome, Muggs refuses to shake his opponent's hand, an act which earns the enmity of the other boys. When the captain fails to remove the chip from Muggs' shoulder, his daughter, Elaine, tries to reform him through kindness. Meanwhile, Willie, one of the boys, steals one hundred dollars from the camp cash box and confides to Muggs that he needed the money for his poor aunt. To get the money back for Willie, Muggs has Norton arrange a fight, and although he takes a beating in the ring, Muggs earns the one hundred dollars. While returning the money to the cash box, Muggs is caught and accused of theft. He refuses to inform on Willie, though and instead runs away. Danny then forces the truth from Willie, thus proving Muggs' true sportsmanship. 
Question: Who arranges a private camp for Muggs?
Output: Danny.
Passage: In September 2010, Mikael Åkerfeldt stated that he was writing for a new Opeth album. The band announced on their website that they would start recording their tenth album on January 31, 2011, at the Atlantis/Metronome studios in Stockholm, once again with Jens Bogren (engineering) and Steven Wilson from Porcupine Tree as co-producer.Shortly after mixing was complete on the new album in April 2011, Opeth announced that Per Wiberg was relieved of his duties in the band.
In the press statement, Mikael Åkerfeldt explained the decision, saying, "Mendez, Axe and Fredrik and I came to the decision that we should find a replacement for Per right after the recordings of the new album, and this came as no surprise to Per. He had, in turn, been thinking about leaving, so you could say it was a mutual decision. There's no bad blood, just a relationship that came to an end, and that's that."Opeth's tenth album, Heritage, was released on September 14, 2011, to generally favorable reviews. The album sold 19,000 copies in the United States in its first week of release and debuted at number 19 on the Billboard 200 chart. Heritage debuted at number four in the band's native country of Sweden.Heritage became the second Opeth album to not feature any death growls and had a much more progressive style than previous albums from the band, something that Åkerfeldt had been wanting to do for some time.The first two songs Åkerfeldt wrote for Heritage were in the style of Watershed. After hearing the songs for the first time, Martín Méndez told Åkerfeldt that he would be disappointed if the album continued in that direction. Relieved that Méndez was not interested in doing another conventional Opeth album, Åkerfeldt scrapped the two songs and started the writing process over in a different style. In the press release for Heritage, Mikael Åkerfeldt revealed that he felt as though he had been building to write the album since he was 19 years old. In a review for Allmusic, Thom Jurek called Heritage the band's most adventurous album, describing the songs as "drenched in instrumental interludes, knotty key and chord changes, shifting time signatures, clean vocals, and a keyboard-heavy instrumentation that includes Mellotrons, Rhodes pianos, and Hammond organs".Opeth supported Heritage with a tour that would last for over 200 tour dates. The tour was the band's first with new keyboardist, Joakim Svalberg, who played on the opening track of the album. During the tour, Opeth played with bands such as Katatonia, Pain of Salvation, Mastodon, Ghost and Anathema all over the world in countries such as the United States, Europe, Turkey, India, Japan, Greece, Israel, Latin America and Sweden. The tour concluded with "Melloboat 2013". 
Question: What is the last name of the person who was not surprised that the band was looking for a replacement for him?
Output: Wiberg.
Passage: Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament.". 
Question: What is the last name of the person who sang with Roy in Mendelssohn's Elijah?
Output: Ferrier.