niryuu/sni-each-converted huggingface dataset:
Passage: In 1996, Aaliyah left Jive Records and signed with Atlantic Records. She worked with record producers Timbaland and Missy Elliott, who contributed to her second studio album, One in a Million. Missy Elliott recalled Timbaland and herself being nervous to work with Aaliyah, since Aaliyah had already released her successful début album while Missy Elliott and Timbaland were just starting out. Missy Elliott also feared she would be a diva, but reflected that Aaliyah "came in and was so warming; she made us immediately feel like family."
The album yielded the single "If Your Girl Only Knew", which topped the Billboard Hot R&B/Hip-Hop Songs for two weeks. It also generated the singles "Hot Like Fire" and "4 Page Letter". The following year, Aaliyah was featured on Timbaland & Magoo's debut single, "Up Jumps da Boogie". One in a Million peaked at number 18 on the Billboard 200, selling 3 million copies in the United States and over eight million copies worldwide.
The album was certified double platinum by the RIAA on June 16, 1997, denoting shipments of two million copies. The month prior to One in a Millions release, on May 5, 1997, music publisher Windswept Pacific filed a lawsuit in U.S. District Court against Aaliyah claiming she had illegally copied Bobby Caldwell's "What You Won't Do for Love" for the single "Age Ain't Nothing but a Number".Aaliyah attended the Detroit High School for the Fine and Performing Arts, where she majored in drama and graduated in 1997 with a 4.0 GPA. Aaliyah began her acting career that same year; she played herself in the police drama television series New York Undercover. During this time, Aaliyah participated in the Children's Benefit Concert, a charity concert that took place at the Beacon Theatre in New York. Aaliyah also became the spokesperson for Tommy Hilfiger Corporation. During Aaliyah's campaign for Tommy Hilfiger the company had sold all 2,400 of the red, white and blue baggy jeans emblazoned with the Hilfiger name that Aaliyah wore in their 1997 advertisements and they were constantly restocking those jeans.
In 1997 Aaliyah performed the Christmas carol What Child Is This at the annual holiday special Christmas in Washington. She contributed on the soundtrack album for the Fox Animation Studios animated feature Anastasia, performing a cover version of "Journey to the Past" which earned songwriters Lynn Ahrens and Stephen Flaherty a nomination for the Academy Award for Best Original Song. Aaliyah performed the song at the 1998 Academy Awards ceremony and became the youngest singer to perform at the event. The song "Are You That Somebody?" was featured on the Dr. Dolittle soundtrack, which earned Aaliyah her first Grammy Award nomination. The song peaked at number 21 on the Hot 100. 
Question: What is the name of the song Aaliyah performed at the 1998 Academy Awards?
Output: Journey to the Past.
Passage: Yorke said that the starting point for the record was the "incredibly dense and terrifying sound" of Bitches Brew, the 1970 avant-garde jazz fusion album by Miles Davis. He described the sound of Bitches Brew to Q: "It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with OK Computer." Yorke identified "I'll Wear It Proudly" by Elvis Costello, "Fall on Me" by R.E.M., "Dress" by PJ Harvey and "A Day in the Life" by the Beatles as particularly influential on his songwriting. Radiohead drew further inspiration from the recording style of film soundtrack composer Ennio Morricone and the krautrock band Can, musicians Yorke described as "abusing the recording process". Jonny Greenwood described OK Computer as a product of being "in love with all these brilliant records ... trying to recreate them, and missing."According to Yorke, Radiohead hoped to achieve an "atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on the Beach Boys' Pet Sounds." They expanded their instrumentation to include electric piano, Mellotron, cello and other strings, glockenspiel and electronic effects. Jonny Greenwood summarised the exploratory approach as "when we've got what we suspect to be an amazing song, but nobody knows what they're gonna play on it." Spin characterised OK Computer as sounding like "a DIY electronica album made with guitars".Critics suggested a stylistic debt to 1970s progressive rock, an influence that Radiohead have disavowed. According to Andy Greene in Rolling Stone, Radiohead "were collectively hostile to seventies progressive rock ... but that didn't stop them from reinventing prog from scratch on OK Computer, particularly on the six-and-a-half-minute 'Paranoid Android'." Writing in 2017, The New Yorker's Kelefa Sanneh said OK Computer "was profoundly prog: grand and dystopian, with a lead single that was more than six minutes long.". 
Question: What is the name of the person on whose songwriting the Beatles were particularly influential?
Output: Yorke.
Passage: Tonight (1984), another dance-oriented album, found Bowie collaborating with Tina Turner and, once again, Iggy Pop. It included a number of cover songs, among them the 1966 Beach Boys hit "God Only Knows". The album bore the transatlantic Top 10 hit "Blue Jean", itself the inspiration for a short film that won Bowie a Grammy Award for Best Short Form Music Video, Jazzin' for Blue Jean. Bowie performed at Wembley Stadium in 1985 for Live Aid, a multi-venue benefit concert for Ethiopian famine relief. During the event, the video for a fundraising single was premiered, Bowie's duet with Mick Jagger. "Dancing in the Street" quickly went to number one on release. The same year, Bowie worked with the Pat Metheny Group to record "This Is Not America" for the soundtrack of The Falcon and the Snowman. Released as a single, the song became a Top 40 hit in the UK and US.Bowie was given a role in the 1986 film Absolute Beginners. It was poorly received by critics, but Bowie's theme song, also named "Absolute Beginners", rose to No. 2 in the UK charts. He also appeared as Jareth, the Goblin King, in the 1986 Jim Henson film Labyrinth, for which he wrote five songs. His final solo album of the decade was 1987's Never Let Me Down, where he ditched the light sound of his previous two albums, instead offering harder rock with an industrial/techno dance edge. Peaking at No. 6 in the UK, the album yielded the hits "Day-In, Day-Out" (his 60th single), "Time Will Crawl", and "Never Let Me Down". Bowie later described it as his "nadir", calling it "an awful album". Supporting Never Let Me Down, and preceded by nine promotional press shows, the 86-concert Glass Spider Tour commenced on 30 May. Bowie's backing band included Peter Frampton on lead guitar. Contemporary critics maligned the tour as overproduced, saying it pandered to the current stadium rock trends in its special effects and dancing, although years after the tour's conclusion, critics acknowledged that the tour influenced how other artists performed concerts, including Britney Spears, Madonna, and U2. 
Question: Who wrote five songs for the film Labyrinth?
Output: Bowie.
Passage: Critical reception to Vol. 3: The Subliminal Verses was generally positive. It received a score of 70% on review aggregator Metacritic based on 12 reviews. Johnny Loftus of AllMusic called the album "not just another flashy alt-metal billboard", praising the band's "dedication to making it a Slipknot album". Todd Burns of Stylus wrote that people who accuse the band of having "softened" are "mistaking softness for maturation". Burns went on to call the album "the best pop inflected metal album since System of a Down's Toxicity". Sean Richardson of Entertainment Weekly gave the album an A− and wrote that it is a "deranged hippie update" of Slayer's "masterpiece" Reign in Blood, which was also produced by Rubin. Q hailed Vol. 3: The Subliminal Verses as "a triumph". John Robb of PlayLouder complimented Slipknot's unexpected rise to become "one of the biggest groups in the world", dubbing "Before I Forget" a "classic [Slipknot] anthem". Robb added that the album is better than Iowa, citing its "differing textures". Rolling Stone gave the album a rating of 3 out of 5, stating the album presented "newer extremes" for the band, "which in Slipknot's case means tunefulness and traditional song structures".A review from the BBC praised the album, declaring that there "is no finer metal band on the planet". It cited the group's integration of "hyperactive bass drums, complex, compelling riffs and ridiculously fast fretwork" with more melodic styles and described Vermilion as "the key track ... an emotional, melodramatic, utterly convincing rollercoaster ride".Alternative Press criticized the album, writing that it "plays out like a tepid, second-rate version of Iowa, which pretty much makes it a third-rate anything else." Yahoo!'s Chris Heath also reviewed the album negatively, writing that "The Nameless" combines "the ludicrously vicious and ridiculously placid" and that by doing so makes the track feel "awkward". Heath added, "the themes are predictably absurd ... yet mildly comical given the inclusion of such disparate styles stationed side by side."Vol. 3: The Subliminal Verses peaked at position number two on the US Billboard 200, online, Australian Recording Industry Association, and Canadian sales charts. The album was certified Platinum in the United States on February 21, 2005. In 2006, the band won their first Grammy for Best Metal Performance with "Before I Forget". In 2009, Metal Hammer called it one of the "Albums of the Decade". It was also rated 31st in UK magazine Kerrang!'s "The 50 Best Albums of the 21st Century" reader poll.
In 2005, the album was ranked number 396 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time. 
Question: What number did the album that the Playlouder critic believed was better than Iowa peak at on the Canadian sales charts?
Output: two.
Passage: Lucie Manette and her servant and companion Miss Pross (Edna May Oliver) are informed by banker Mr. Jarvis Lorry that her father, Dr. Alexandre Mannette is not dead, but has been a prisoner in the Bastille for eighteen years before finally being rescued. She travels with Mr. Lorry to Paris to take her father to her home in England. Dr. Manette has been cared for by a former servant, Ernest Defarge, and his wife. The old man's mind has given way during his long ordeal, but Lucie's tender care begins to restore his sanity.
On the return trip across the English Channel, Lucie meets Charles Darnay, a French aristocrat who, unlike his tyrannical uncle, the Marquis de St. Evremonde, is sympathetic to the plight of the oppressed and impoverished French masses. He has denounced his uncle, relinquished his title and going to England to begin a new life. The vindictive Marquis has Darnay framed for treason, but he is saved by the highly proficient but cynical lawyer Sydney Carton. Carton goes drinking with Barsad, the main prosecution witness, and tricks him into admitting that he lied. When Barsad is called to testify, he is horrified to discover that Carton is one of the defense attorneys, and suddenly realizes that his testimony was wrong. Darnay is acquitted.
Carton is thanked by Lucie, who had been a witness at the trial. He quickly falls in love with her, but comes to realize that it is hopeless. Carton is jealous of Darnay and the obvious attraction Darnay and lucie have for each other. Nevertheless, Carton and Lucie become close friends. Lucie and Darnay are eventually married and they have a daughter, also named Lucie. 
Question: What are the full names of the two people who are notified that Dr. Alexandre Mannette is not dead?
Output: Lucie Manette.
Passage: Lucie Manette and her servant and companion Miss Pross (Edna May Oliver) are informed by banker Mr. Jarvis Lorry that her father, Dr. Alexandre Mannette is not dead, but has been a prisoner in the Bastille for eighteen years before finally being rescued. She travels with Mr. Lorry to Paris to take her father to her home in England. Dr. Manette has been cared for by a former servant, Ernest Defarge, and his wife. The old man's mind has given way during his long ordeal, but Lucie's tender care begins to restore his sanity.
On the return trip across the English Channel, Lucie meets Charles Darnay, a French aristocrat who, unlike his tyrannical uncle, the Marquis de St. Evremonde, is sympathetic to the plight of the oppressed and impoverished French masses. He has denounced his uncle, relinquished his title and going to England to begin a new life. The vindictive Marquis has Darnay framed for treason, but he is saved by the highly proficient but cynical lawyer Sydney Carton. Carton goes drinking with Barsad, the main prosecution witness, and tricks him into admitting that he lied. When Barsad is called to testify, he is horrified to discover that Carton is one of the defense attorneys, and suddenly realizes that his testimony was wrong. Darnay is acquitted.
Carton is thanked by Lucie, who had been a witness at the trial. He quickly falls in love with her, but comes to realize that it is hopeless. Carton is jealous of Darnay and the obvious attraction Darnay and lucie have for each other. Nevertheless, Carton and Lucie become close friends. Lucie and Darnay are eventually married and they have a daughter, also named Lucie. 
Question: What are the full names of the two people who are notified that Dr. Alexandre Mannette is not dead?
Output: Miss Pross.
Passage: During the 1880s Sydney became a prosperous city, commerce and industry flourished, and the suburbs expanded. As more churches were built and fewer people lived in the heart of the city, the congregation of St James' Church shrank. The challenge that it faced was to minister effectively to city workers, rather than dwellers, to serve the poor of the city, and to attract those whose preference was for the style of worship and intellectual, topical preaching that distinguished St James' from many of the newly created parish churches. The young Henry Latimer Jackson, from Cambridge, was appointed in 1885. He introduced weekday services and a magazine called The Kalendar, one of Australia's first parish papers. He also lectured at Sydney University, addressed conferences, spoke at synod and acted as secretary to the newly established Sydney Church of England Boys' Grammar School. However, his sermons were described as "not so much opposed, as simply not understood". He resigned in 1895 after accepting a position in the Diocese of Ely.
Although Sydney was prospering, St James' had an acute shortage of money and "the government considered resuming the site for a city railway". The trustees at this time leased the parsonage and, in 1894, used the money for urgent restoration to the exterior of the building. The architect Varney Parkes replaced the old spire, using copper that was pre-weathered so that there was no radical change in its appearance. He removed infilling from the north portico and designed a new portico and entrance to the tower to match that of the eastern vestry. The result was to make the north face of the building its most significant aspect.Jackson's successor was William Carr Smith, a man with socialist ideals and a commitment to social reform and spiritual outreach. He preached long and engaging sermons inside the church and for a time in the open air in The Domain as well. Carr Smith had brought with him from England the "most recent developments" in the restoration of ancient liturgy, so he was able to help St James' play a "notable part" in Sydney's revival of Anglo-Catholicism, setting "new standards of ceremonial". To serve these purposes the architect John H. Buckeridge was employed to transform the building's interior, completing the work in 1901. 
Question: What is the full name of the person who preached long and engaging sermons inside St James' and for a time in the open air in The Domain as well?
Output: William Carr Smith.
Passage: Santiago was born in Manila, Philippines, on June 10, 1965, the third of six sons of an anesthesiologist. In 1972, when President Marcos declared martial law, the family immigrated to the United States. After two years in Yonkers, New York, the family moved to Longmeadow, Massachusetts, where Santiago attended Longmeadow High School and graduated from Wilbraham & Monson Academy in 1983. His first experience with a musical instrument was playing a Hammond organ at the age of eight, but he never took on the instrument seriously because he had to share it with five brothers. Santiago first played a guitar at the age of nine after he noticed a classical guitar hanging on his oldest brother's wall for decoration. The first song he learned to play was The Velvet Underground's "Rock and Roll".As a teenager, Santiago became interested in computer programming, naming his first program "Iggy" and his second "Pop" after punk rocker Iggy Pop. He participated in a cycle ride across the United States in aid of charity, but on completing it did not bother to collect the sponsor's money.After graduating from high school in 1983, Santiago studied at the University of Massachusetts Amherst. He remained without a major as long as the university would permit him to, but eventually chose economics. He met Charles Thompson, an anthropology student and the future Pixies frontman, after he heard Thompson and his roommate playing their guitars.  Santiago rushed home to collect his guitar, and was soon playing "non-blues-scale, non-cover-song rock" with Thompson.Santiago and Thompson shared a room at the start of the second semester. Santiago soon introduced his new roommate to 1970s punk and the music of David Bowie. He later recalled their time together in college: "Charles and I had a suite at the college dorm. We'd go to shows, I remember seeing Black Flag and Angst. Initially, I think we just liked each other. I did notice right away that he was playing music ... He'd write 'em [the songs], and I'd throw my ideas on the guitar." In their second year of college, Thompson traveled to Puerto Rico as an exchange student. After six months there living with a "weird, psycho roommate," Thompson sent Santiago a letter with the words "We gotta do it, now is the time, Joe, we gotta chase our dreams"; Santiago replied, saying "Yes, now's the time." Upon receiving this reply, Thompson decided to return to Amherst to start a rock band with Santiago. 
Question: What is the last name of the person with whom Charles had a suite at the college dorm?
Output: Santiago.
Passage: In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No. 4 (1977), the String Quartet No. 4 (1978), and the Triple Concerto for violin, viola and cello (1979).  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing. This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello".   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt. In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments  perform individually rather than as a formal grouping. The work acknowledges Tippett's past with quotations from The Midsummer Marriage.
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts  with an ultimately lofty message". Mellers called the work "a mind-boggling cosmic history of the universe".   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask  revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions.Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year.  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life. Donal Henahan was dismissive of the music: "... the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works." In Byzantium (1990), Tippett set the five stanzas of W. B. Yeats's poem, with added orchestral interludes. By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him. In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it". After the String Quartet No. 5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty ... a worthy ending to a remarkable career". 
Question: What is the name of the work that was seen as the summary of ideas throughout the working life of the musician who made The Mask of Time?
Output: New Year.
Passage: Returning to Danes Island in the summer of 1897, the expedition found that the balloon hangar built the year before had weathered the winter storms well. The winds were more favorable, too. Andrée had strengthened his leadership by replacing the older and critical Ekholm, an authority in his field, with the 27-year-old enthusiast Knut Frænkel.On 11 July, in a steady wind from the south-west, the top of the plank hangar was dismantled, the three explorers climbed into the already heavy basket, and Andrée dictated one last-minute telegram to King Oscar and another to the paper Aftonbladet, holder of press rights to the expedition. The large support team cut away the last ropes holding the balloon and it rose slowly. Moving out low over the water, it was pulled so far down by the friction of the several-hundred-meter-long drag ropes against the ground as to dip the basket into the water. The friction also twisted the ropes around, detaching them from their screw holds. These holds were a new safety feature that Andrée had reluctantly been persuaded to add, whereby ropes that got caught on the ground could be more easily dropped.
Most of them unscrewed at once and 530 kilograms (1,170 lb) of rope were lost, while the three explorers could simultaneously be seen to dump 210 kilograms (460 lb) of sand overboard to get the basket clear of the water. Seven hundred and forty kilograms (1,630 lb) of essential weight was thus lost in the first few minutes. Before it was well clear of the launch site, the Eagle had turned from a supposedly steerable craft into an ordinary hydrogen balloon with a few ropes hanging from it, at the mercy of the wind; its crew had no means to direct it to any particular goal and had too little ballast for stability. Lightened, the balloon rose to 700 metres (2,300 ft), an unimagined height, where the lower air pressure made the hydrogen escape all the faster through the eight million little holes.
The balloon had two means of communication with the outside world, buoys and homing pigeons. The buoys, steel cylinders encased in cork, were intended to be dropped from the balloon into the water or onto the ice, to be carried to civilization by the currents. Only two buoy messages have ever been found. One was dispatched by Andrée on 11 July, a few hours after takeoff, and reads "Our journey goes well so far. We sail at an altitude of about 250 m (820 ft), at first N 10° east, but later N 45° east [...] Weather delightful. Spirits high." The second was dropped an hour later and gave the height as 600 metres (2,000 ft). 
Question: What is the name of the balloon that  was pulled so far down by the friction of the several-hundred-meter-long drag ropes against the ground as to dip the basket into the water?
Output: the Eagle.
Passage: In the years following his recuperation from the heart attack, Bowie reduced his musical output, making only one-off appearances on stage and in the studio. He sang in a duet of his 1971 song "Changes" with Butterfly Boucher for the 2004 animated film Shrek 2.During a relatively quiet 2005, he recorded the vocals for the song "(She Can) Do That", co-written with Brian Transeau, for the film Stealth. He returned to the stage on 8 September 2005, appearing with Arcade Fire for the US nationally televised event Fashion Rocks, and performed with the Canadian band for the second time a week later during the CMJ Music Marathon. He contributed backing vocals on TV on the Radio's song "Province" for their album Return to Cookie Mountain, made a commercial with Snoop Dogg for XM Satellite Radio and joined with Lou Reed on Danish alt-rockers Kashmir's 2005 album No Balance Palace.Bowie was awarded the Grammy Lifetime Achievement Award on 8 February 2006. In April, he announced, "I'm taking a year off—no touring, no albums." He made a surprise guest appearance at David Gilmour's 29 May concert at the Royal Albert Hall in London. The event was recorded, and a selection of songs on which he had contributed joint vocals were subsequently released. He performed again in November, alongside Alicia Keys, at the Black Ball, a benefit event for Keep a Child Alive at the Hammerstein Ballroom in New York. The performance marked the last time Bowie performed his music on stage.Bowie was chosen to curate the 2007 High Line Festival, selecting musicians and artists for the Manhattan event, including electronic pop duo AIR, surrealist photographer Claude Cahun, and English comedian Ricky Gervais. Bowie performed on Scarlett Johansson's 2008 album of Tom Waits covers, Anywhere I Lay My Head. On the 40th anniversary of the July 1969 moon landing—and Bowie's accompanying commercial breakthrough with "Space Oddity"—EMI released the individual tracks from the original eight-track studio recording of the song, in a 2009 contest inviting members of the public to create a remix. A Reality Tour, a double album of live material from the 2003 concert tour, was released in January 2010.In late March 2011, Toy, Bowie's previously unreleased album from 2001, was leaked onto the internet, containing material used for Heathen and most of its single B-sides, as well as unheard new versions of his early back catalogue. 
Question: What was the name of the benefit that marked the last time Bowie performed his music on stage?
Output: the Black Ball,.
Passage: In late July 1983, Metallica embarked on the two-month Kill 'Em All for One tour with British co-headliners Raven. The tour name melded the titles of the albums the two bands were promoting: Metallica's Kill 'Em All and Raven's All for One, both released on Megaforce. The two groups met in Zazula's home two days before the tour began, and traveled in the same vehicle throughout the tour with five roadies and sound engineer Whitaker. The tour was set to conclude with three shows in San Francisco, thus Hetfield painted "No Life 'til Frisco" on the Winnebago tour bus. The tour had a few poorly attended gigs, such as a performance at the Cheers club in Babylon, New York, attended by some 50 people. After the conclusion of Kill 'Em All for One in early September, Metallica returned to El Cerrito to work on new material. Seven weeks after the tour ended, Metallica booked a number of performances at Bay Area clubs, the first a Halloween gig at the Keystone in Palo Alto. At the Country Club in Reseda, the group debuted "Fight Fire with Fire" and "Creeping Death", along with an early version of "The Call of Ktulu", then titled "When Hell Freezes Over". Three days later, at a gig at The Stone in San Francisco, Metallica premiered "Ride the Lightning", the title track from the upcoming album. In December, Metallica went on a short tour in the Midwest and eastern United States with a three-man road crew: Whitaker, guitar technician John Marshall, and drum technician Dave Marrs. The concert of January 14, 1984 in Boston was canceled because the band's equipment was stolen the night before.In February, Metallica embarked on its first European trek with Twisted Sister, supporting Venom's Seven Dates of Hell tour. The tour was sponsored by Metallica's UK distributor, Music for Nations, who released the "Jump in the Fire" EP for that occasion. The first show was at the Volkshaus in Zurich on February 3. At the Aardschok Festival in Zwolle on February 11, Metallica played in front of 7,000 people, its largest audience at the time. The tour stretched through countries such as Italy, Germany, France, and Belgium, culminating in two sold-out shows at the Marquee Club in London. After concluding the Seven Dates Of Hell tour, Metallica headed to Sweet Silence Studios in Copenhagen to record its sophomore album Ride the Lightning. By the end of the tour, Kill 'Em All had sold 60,000 copies worldwide and Metallica began to gain international recognition.
On June 8, 2013, at the Orion Festival, billed as the fictional band Dehaan, Metallica played the album in its entirety for the first time ever to mark the 30 year anniversary of the album. 
Question: What was the name of the group whose equipment was stolen the night before a show?
Output: Metallica.
Passage: In October, MacDonald introduced Thomson to Dr. James MacCallum. A frequent visitor to the Ontario Society of Artists' (OSA) exhibitions, MacCallum was admitted to the Arts and Letters Club in January 1912. There, he met artists such as John William Beatty, Arthur Heming, MacDonald and Harris. MacCallum eventually persuaded Thomson to leave Rous and Mann and start a painting career. In October 1913, MacCallum introduced Thomson to A. Y. Jackson, later a founder of the Group of Seven. MacCallum recognized Thomson's and Jackson's talents and offered to cover their expenses for one year if they committed themselves to painting full time. MacCallum and Jackson both encouraged Thomson to "take up painting seriously, [but] he showed no enthusiasm. The chances of earning a livelihood by it did not appear to him promising. He was sensitive and independent, and feared he might become an object of patronage." MacCallum wrote that when he first saw Thomson's sketches, he recognized their "truthfulness, their feeling and their sympathy with the grim fascinating northland ... they made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places." He described Thomson's paintings as "dark, muddy in colour, tight and not wanting in technical defects". After Thomson's death, MacCallum helped preserve and advocate for his work.Thomson accepted MacCallum's offer under the same terms offered to Jackson. He travelled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to become a major source of inspiration. Regarding Algonquin Park, he wrote in a letter to MacCallum: "The best I can do does not do the place much justice in the way of beauty." He ventured to rural areas near Toronto and tried to capture the surrounding nature. He may have worked as a fire ranger on the Mattagami reserve. Addison and Little suggest that he guided fishing tours, although Hill finds this unlikely since Thomson had only spent a few weeks in the Park the previous year. Thomson became as familiar with logging scenes as with nature in the Park and painted them both.While returning to Toronto in November 1912, Thomson stopped in Huntsville. The visit was possibly to meet with Winfred Trainor, a woman whose family owned a cottage on Canoe Lake in Algonquin Park. Trainor was later rumoured to have been engaged to Thomson with a wedding planned for the late 1917, although little is known about their relationship.Thomson first exhibited with the OSA in March 1913, selling his painting Northern Lake (1912–13) to the Ontario Government for $250 (equivalent to CAD$5,600 in 2018). The sale afforded him time to paint and sketch through the summer and fall of 1913. 
Question: What is the name of the person that may have worked as a fire ranger on the Mattagami reserve?
Output: Thomson.
Passage: Bitter war widow Janet Ames seeks out the five soldiers for whom her husband gave his life by falling on a hand grenade during the Battle of the Bulge. While crossing a city street to find the first, she is struck and knocked unconscious by an automobile. The police find no identification on her, only a list of names. One recognizes the last name on her list, Smithfield "Smitty" Cobb, a reporter recently fired for alcoholism, and contacts Smitty. When Smitty sees the list, he realizes who she must be.
He goes to see her at the hospital, and finds her in a wheelchair, unable to walk. As the doctor can find no physical reason for the paralysis, he schedules an appointment with a psychiatrist. Smitty decides to treat her himself. He introduces himself as a friend of her husband David (though not as one of the men he saved), and wheels her into a private room. She explains her mission: to see if any of the men were worth David's sacrifice, making it perfectly clear that she has already made up her mind. After a nurse gives her a sedative, Smitty accuses her of wallowing in self-pity, then tries to get Janet to change her mind by describing each of the men. He is so vivid that Janet can see and talk to them.
The first man she interacts with is nightclub bouncer Joe Burton. He and his singer girlfriend Katie dream of building a house. Joe constructs a model of it from a deck of cards. Exasperated by their unrealistic aspirations, Janet blows the cards down. 
Question: What was the occupation of the person who describes the men David saved?
Output: reporter.
Passage: Before the creation of the Oregon Territory in 1848, the Oregon Country provisional government, through legislation on June 27, 1844, and December 19, 1845, selected Oregon City as Oregon's first capital. J. Quinn Thornton described an early capitol building as 20 by 40 feet with a platform at one end for the president. One of the private buildings this government used was constructed by John L. Morrison in 1850; it served as a capitol until the government moved to Salem. Governor Joseph Lane affirmed Oregon City's status as capital by proclamation. In 1850, the legislature passed an act designating Salem the capital. However, Governor John P. Gaines refused to relocate and remained in Oregon City along with the Oregon Supreme Court (except Justice Orville C. Pratt) until an act of Congress on May 14, 1852, settled the matter in Salem's favor.
On January 13, 1855, the Oregon Territorial Legislature passed a bill moving the seat of government from Salem to Corvallis. Governor George Law Curry and many others objected to the move, since public buildings in Salem were already under construction. Curry sent the matter to the Secretary of the Treasury in Washington, D.C., where Secretary James Guthrie declared the move invalid unless acted on by the United States Congress. Thereafter, Curry and Oregon Secretary of State Benjamin Harding moved back to Salem.
On December 3, 1855, the legislature convened in Corvallis and quickly introduced legislation to move the capital back to Salem. This bill passed on December 15, 1855. Three days later, the legislature re-convened in Salem. However, the statehouse burned down on the 29th, and the legislature re-opened debate about where to seat the capital. They decided to ask the people of the territory to vote on the question. A vote was to be held in June 1856, after which the two cities receiving the most votes would have a runoff. The initial vote set up a runoff between Eugene and Corvallis, but after some ballots were invalidated due to not being cast in accordance with the law, the two winners were Eugene and Salem. An October runoff gave Eugene the most votes, but the earlier vote-tossing led to a low turnout. With such low public participation, the election was ignored, and the capital remained in Salem.A permanent resolution of the capital location issue came in 1864. In 1860, the legislature put the question once again to a popular vote. On a vote in 1862, no city received the 50 percent minimum required by law. In an 1864 election, Salem received 79 percent and was declared the state capital. The Oregon Constitution lists the seat of state government in Article XIV as Marion County, of which Salem is the seat. 
Question: In what year was there a runoff election between Salem and Eugene to decide which would be capital in the state that selected Oregon city as its first capital?
Output: 1856.
Passage: In his first leading role Ben Mendelsohn plays Danny Clark, a bumbling eighteen-year-old guy. He knows what it takes to be cool and have some style, it is just that he seems to struggle to get there. Danny has enthusiasm and passion and only wants two things more than anything in the world. A Jaguar XJ6 and a date with the gorgeous Joanna Johnson (an early role for then 17-year-old Claudia Karvan). Get these and his life will be complete.
Unfortunately for Danny, when he finally gets the courage up to ask Joanna out, he somehow manages to promise her a ride in his new Jaguar. She is not particularly impressed by cars, but still agrees to his invitation. The problem is, Danny does not own a Jaguar. His form of transport is his recently received birthday present - and it most certainly is not a Jaguar. His eccentric parents have decided to pass on their pride and joy to Danny for his use. Their 1963 Nissan Cedric has been in the family for years and is immaculate  but extremely uncool. Danny is aghast at the thought of driving around in a car as dorky as a Cedric and, with the promise of a date with Joanna and the need for a Jaguar in a hurry, decides to trade in the old Nissan. He heads out to search the car yards to find his dream machine. 
Question: What is the first name of the person who struggles to be cool and have some style?
Output: Danny.
Passage: By 2008, Gaga had relocated to Los Angeles to work extensively with her record label to complete her debut album, The Fame, and to set up her own creative team called the Haus of Gaga, modeled on Andy Warhol's Factory. The Fame was released on August 19, 2008, reached number one in Austria, Canada, Germany, Ireland, Switzerland and the UK, and the top five in Australia and the US. Its first two singles, "Just Dance" and "Poker Face", reached number one in the United States, Australia, Canada and the UK. The latter was also the world's best-selling single of 2009, with 9.8 million copies sold that year, and spent a record 83 weeks on Billboard magazine's Digital Songs chart. Three other singles, "Eh, Eh (Nothing Else I Can Say)", "LoveGame" and "Paparazzi", were released from the album; the last one reached number one in Germany. Remixed versions of the singles from The Fame, except "Eh, Eh (Nothing Else I Can Say)", were included on Hitmixes in August 2009. At the 52nd Annual Grammy Awards, The Fame and "Poker Face" won Best Dance/Electronica Album and Best Dance Recording, respectively.Following her opening act on The Pussycat Dolls' 2009 Doll Domination Tour in Europe and Oceania, Gaga headlined her worldwide The Fame Ball Tour, which ran from March to September 2009. While traveling the globe, she wrote eight songs for The Fame Monster, a reissue of The Fame. Those new songs were also released as a standalone EP on November 18, 2009. Its first single, "Bad Romance", was released one month earlier and went number one in Canada and the UK, and number two in the US, Australia and New Zealand. "Telephone", with Beyoncé, followed as the second single from the EP and became Gaga's fourth UK number one. Its third single was "Alejandro", which reached number one in Finland and attracted controversy when its music video was deemed blasphemous by the Catholic League. Both tracks reached the top five in the US. The video for "Bad Romance" became the most watched on YouTube in April 2010, and that October, Gaga became the first person with more than one billion combined views. At the 2010 MTV Video Music Awards, she won eight awards from 13 nominations, including Video of the Year for "Bad Romance". She was the most nominated artist for a single year, and the first female to receive two nominations for Video of the Year at the same ceremony. The Fame Monster won the Grammy Award for Best Pop Vocal Album, and "Bad Romance" won Best Female Pop Vocal Performance and Best Short Form Music Video at the 53rd Annual Grammy Awards. 
Question: What was the first release from The Fame Monster?
Output: Bad Romance.
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary. 
Question: Who lacked ideas for their other two works?
Output: Puccini.
Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven. 
Question: Who conducted the first performance of the Shéhérazade overture in 1897?
Output: Ravel.