niryuu/sni-each-converted huggingface dataset:
Passage: Wood was born in Oxford Street, London, the only child of Henry Joseph Wood and his wife Martha, née Morris. Wood senior had started in his family's pawnbroking business, but by the time of his son's birth he was trading as a jeweller, optician and engineering modeller, much sought-after for his model engines. It was a musical household: Wood senior was an amateur cellist and sang as principal tenor in the choir of St Sepulchre-without-Newgate, known as "the musicians' church".   His wife played the piano and sang songs from her native Wales. They encouraged their son's interest in music, buying him a Broadwood piano, on which his mother gave him lessons. The young Wood also learned to play the violin and viola.
Wood received little religious inspiration at St Sepulchre, but was deeply stirred by the playing of the resident organist, George Cooper, who allowed him into the organ loft and gave him his first lessons on the instrument. Cooper died when Wood was seven, and the boy took further lessons from Cooper's successor, Edwin M. Lott, for whom Wood had much less regard. At the age of ten, through the influence of one of his uncles, Wood made his first paid appearance as an organist at St Mary Aldermanbury, being paid half a crown.  In June 1883, visiting the Fisheries Exhibition at South Kensington with his father, Wood was invited to play the organ in one of the galleries, making a good enough impression to be engaged to give recitals at the exhibition building over the next three months. At this time in his life, painting was nearly as strong an interest as music, and he studied in his spare time at the Slade School of Fine Art. He remained a life-long amateur painter.After taking private lessons from the musicologist Ebenezer Prout, Wood entered the Royal Academy of Music at the age of seventeen, studying harmony and composition with Prout, organ with Charles Steggall, and piano with Walter Macfarren. It is not clear whether he was a member of Manuel Garcia's singing class, but it is certain that he became its accompanist and was greatly influenced by Garcia. Wood also accompanied the opera class, taught by Garcia's son Gustave. Wood's ambition at the time was to become a teacher of singing, and he gave singing lessons throughout his life. He attended the classes of as many singing teachers as he could, although by his own account, "I possess a terrible voice. Garcia said it would go through a brick wall. In fact, a real conductor's voice.". 
Question: What is the last name of the person whose mother gave him piano lessons?
Output: Wood.
Passage: Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle époque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state are usually entertained by the Queen at Buckingham Palace. They are allocated a large suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the north-facing Garden Wing. The rooms of the suite are linked by narrow corridors, one of them is given extra height and perspective by saucer domes designed by Nash in the style of Soane. A second corridor in the suite has Gothic-influenced cross-over vaulting. The Belgian Rooms themselves were decorated in their present style and named after Prince Albert's uncle Léopold I, first King of the Belgians. In 1936, the suite briefly became the private apartments of the palace when they were occupied by King Edward VIII. 
Question: What was formerly in the Music Room at the Brighton Pavilion?
Output: a large oriental chimney piece.
Passage: After the demise of the migratory Turkish colony, the northern bald ibis was known to survive in the wild only at the Moroccan sites, although occasional sightings of birds in Yemen, Eritrea, Saudi Arabia, and Israel during the 1980s and 1990s suggested that there was still a colony somewhere in the Middle East. Intensive field surveys in spring 2002, based on the knowledge of Bedouin nomads and local hunters, revealed that the species had never become completely extinct on the Syrian desert steppes. Following systematic searches, 15 old nesting sites were found, one, near Palmyra, was still hosting an active breeding colony of seven individuals. Although the ibis had been declared extinct in Syria more than 70 years earlier, the bird appears to have been relatively common in the desert areas until 20 years ago, when a combination of overexploitation of its range lands and increasing hunting pressures initiated a dramatic decline.The Moroccan breeding birds are resident, dispersing along the coast after the nesting season. It has been suggested that coastal fog provides extra moisture for this population, and enables the ibises to remain year-round. In the rest of its former range, away from the Moroccan coastal locations, the northern bald ibis migrated south for the winter, and formerly occurred as a vagrant to Spain, Iraq, Egypt, the Azores, and Cape Verde.Satellite tagging of 13 Syrian birds in 2006 showed that the three adults in the group, plus a fourth untagged adult, wintered together from February to July in the highlands of Ethiopia, where the species had not been recorded for nearly 30 years. They travelled south on the eastern side of the Red Sea via Saudi Arabia and Yemen, and returned north through Sudan and Eritrea. 
Question: What is the full name of the birds that returned through Sudan?
Output: northern bald ibis.
Passage: Rossier first arrived in Japan in 1859, at a time when early experiments in photography were being conducted in Kyūshū, particularly in Nagasaki. The city was the centre of rangaku, the study of Western science, and it was here that physicians Jan Karel van den Broek and J. L. C. Pompe van Meerdervoort were instrumental in teaching their Japanese students not only medicine but also chemistry and photography. Neither Van den Broek nor Pompe van Meerdervoort was an experienced photographer, and their attempts to produce photographs were largely failures. Nevertheless, in turn they taught wet-collodion process photography to Keisai Yoshio, Furukawa Shumpei, Kawano Teizō, Maeda Genzō, Ueno Hikoma, and Horie Kuwajirō, among others.On his arrival in Japan, Rossier presumably introduced himself as a photographer despatched to Japan by Negretti and Zambra, perhaps thereby inspiring a misconception, for while he remained in the country he was often referred to as an "English" photographer. In Nagasaki, Rossier was assisted in his work by Maeda Genzō, who had been instructed to accompany the "Englishman" and to further learn photography. With Maeda and other students escorting him around the city, Rossier took photographs of priests, beggars, the audience of a sumo match, the foreign settlement, and the group portrait of Alexander von Siebold and samurai. Rossier believed that Pompe van Meerdervoort's failures in photography were due to a lack of the necessary chemicals and so he provided Maeda with a letter of recommendation to procure photographic apparatus and chemicals from a source in Shanghai. Both Maeda and Furukawa bought lenses, chemicals and albumen paper through Rossier.At this time, Ueno Hikoma and Horie Kuwajirō also received photographic instruction from Rossier. Apparently Ueno had originally intended to learn not only the practice of photography but also the manufacture of cameras. The encounter with Rossier seems to have convinced Ueno to pursue photography as a career, but he was so overwhelmed by the technology of the camera that he quickly dropped the notion of making one himself. Within a few months, he and Horie had purchased a French camera and chemicals, thereafter launching their independent photographic careers.Although Rossier's time in Japan was brief and the surviving photographic legacy of his sojourn is scant, he nevertheless had a lasting impact on photography in the country. 
Question: What is the name of the "Englishman" Genzō was instructed to accompany?
Output: Rossier.
Passage: Following the release of The Final Cut, Waters embarked on a solo career. In 1984, he released his first solo album, The Pros and Cons of Hitch Hiking, a project about a man's dreams across one night that dealt with Waters' feelings about monogamy and family life versus "the call of the wild". In the end the character, Reg, chooses love and matrimony over promiscuity. The album featured guitarist Eric Clapton, jazz saxophonist David Sanborn, and artwork by Gerald Scarfe. Kurt Loder described The Pros And Cons of Hitch Hiking as a "strangely static, faintly hideous record". Rolling Stone rated the album a "rock bottom one star". Years later, Mike DeGagne of AllMusic praised the album for its "ingenious symbolism" and "brilliant use of stream of consciousness within a subconscious realm", rating it four out of five stars.Waters began touring in support of the album, aided by Clapton, a new band, new material, and a selection of Pink Floyd favourites. Waters débuted his tour in Stockholm on 16 June 1984. The tour suffered from poor ticket sales and some performances at larger venues were cancelled; Waters estimated that he lost £400,000 on the tour. In March 1985, Waters went to North America to play smaller venues with the Pros and Cons Plus Some Old Pink Floyd Stuff—North America Tour 1985. The Pros and Cons of Hitch Hiking has been certified Gold by the RIAA.In 1986, Waters contributed songs and a score to the soundtrack of the animated movie When the Wind Blows, based on the Raymond Briggs book of the same name. His backing band featuring Paul Carrack was credited as The Bleeding Heart Band. In 1987, Waters released Radio K.A.O.S., a concept album based on a mute man named Billy from an impoverished Welsh mining town who has the ability to physically tune into radio waves in his head. Billy first learns to communicate with a radio DJ, and eventually to control the world's computers. Angry at the state of the world in which he lives, he simulates a nuclear attack. Waters followed the release with a supporting tour also in 1987. 
Question: What album was the 1987 tour by the man who lost £400,000 in support of?
Output: Radio K.A.O.S.
Passage: Love. Angel. Music. Baby. takes influence from a variety of 1980s genres to the extent that one reviewer commented, "The only significant '80s radio style skipped is the ska punk revival that No Doubt rode to success". The album combines music genres such as electropop, new wave, dance-rock, soul, hip hop, R&B, and disco. Several songs employ synthesizer sounds characteristic of music from the 1980s, drawing comparisons to The Go-Go's and Cyndi Lauper. Stefani cited Club Nouveau, Depeche Mode, Lisa Lisa, Prince, New Order, The Cure, and early Madonna as major influences for the album.Like pop albums of the 1980s, Love. Angel. Music. Baby. focuses primarily on money, with songs such as "Rich Girl" and "Luxurious" that feature descriptions of riches and wealth. The album contains several references to Stefani's clothing line, L.A.M.B., and alludes to contemporary fashion designers such as John Galliano, Rei Kawakubo, and Vivienne Westwood. Stefani also released a series of dolls named the "Love. Angel. Music. Baby. Fashion Dolls", designed after the costumes from her tour. Although Stefani intended for the album to be a light dance record, she stated that "no matter what you do, things just come out." The album's opening track "What You Waiting For?" discusses her desire to be a mother and in 2006, she and her then husband, Bush singer Gavin Rossdale, had a son named Kingston Rossdale. The fourth track "Cool" discusses Stefani's friendship with Kanal after he ended a romantic relationship with her in 1995.Love. Angel. Music. Baby. introduced the Harajuku Girls, an entourage of four Japanese women whom Stefani referred to as a figment of her imagination. The Harajuku Girls are discussed in several of the songs, including one named after and entirely dedicated to them. They appear in most of the music videos produced for the album and those for Stefani's second album The Sweet Escape (2006). Love. Angel. Music. Baby. includes various styles of music. Many songs are influenced by electro beats designed for club play. Producers Austin and Kanal incorporated R&B into the song "Luxurious" which contains a sample of The Isley Brothers' 1983 single "Between the Sheets". Jimmy Jam and Terry Lewis incorporate new jack swing, a fusion genre of R&B that the pair had developed and popularized during the mid-1980s. 
Question: What is the first name of the child of the woman who made the song "What you Waitng For?"?
Output: Kingston.
Passage: Elgar was knighted at Buckingham Palace on 5 July 1904. The following month, he and his family moved to Plâs Gwyn, a large house on the outskirts of Hereford, overlooking the River Wye, where they lived until 1911. Between 1902 and 1914, Elgar was, in Kennedy's words, at the zenith of popularity. He made four visits to the US, including one conducting tour, and earned considerable fees from the performance of his music. Between 1905 and 1908, he held the post of Peyton Professor of Music at the University of Birmingham. He had accepted the post reluctantly, feeling that a composer should not head a school of music. He was not at ease in the role, and his lectures caused controversy, with his attacks on the critics and on English music in general: "Vulgarity in the course of time may be refined. Vulgarity often goes with inventiveness ... but the commonplace mind can never be anything but commonplace. An Englishman will take you into a large room, beautifully proportioned, and will point out to you that it is white – all over white – and somebody will say, 'What exquisite taste'. You know in your own mind, in your own soul, that it is not taste at all, that it is the want of taste, that is mere evasion. English music is white, and evades everything." He regretted the controversy and was glad to hand on the post to his friend Granville Bantock in 1908. His new life as a celebrity was a mixed blessing to the highly strung Elgar, as it interrupted his privacy, and he often was in ill-health. He complained to Jaeger in 1903, "My life is one continual giving up of little things which I love." Both W. S. Gilbert and Thomas Hardy sought to collaborate with Elgar in this decade. Elgar refused, but would have collaborated with George Bernard Shaw had Shaw been willing.Elgar's principal composition in 1905 was the Introduction and Allegro for Strings, dedicated to Samuel Sanford, professor at Yale University. Elgar visited America in that year to conduct his music and to accept a doctorate from Yale. His next large-scale work was the sequel to The Apostles – the oratorio The Kingdom (1906). It was well received but did not catch the public imagination as The Dream of Gerontius had done and continued to do. Among keen Elgarians, however, The Kingdom was sometimes preferred to the earlier work: Elgar's friend Frank Schuster told the young Adrian Boult: "compared with The Kingdom, Gerontius is the work of a raw amateur." As Elgar approached his fiftieth birthday, he began work on his first symphony, a project that had been in his mind in various forms for nearly ten years. His First Symphony (1908) was a national and international triumph. Within weeks of the premiere it was performed in New York under Walter Damrosch, Vienna under Ferdinand Löwe, St. Petersburg under Alexander Siloti, and Leipzig under Arthur Nikisch. There were performances in Rome, Chicago, Boston, Toronto and fifteen British towns and cities. In just over a year, it received a hundred performances in Britain, America and continental Europe. 
Question: In what specific year did Elgar visit America to conduct his music and accept a doctorate from Yale?
Output: 1905.
Passage: St Denys' Church, Sleaford, is a medieval Anglican parish church in Sleaford, Lincolnshire, England. While a church and a priest have probably been present in the settlement since approximately 1086, the oldest parts of the present building are the tower and spire, which date to the late 12th and early 13th centuries; the stone broach spire is one of the earliest examples of its kind in England. The Decorated Gothic nave, aisles and north transept were built in the 14th century. The church was altered in the 19th century: the north aisle was rebuilt by the local builders Kirk and Parry in 1853 and the tower and spire were largely rebuilt in 1884 after being struck by lightning. St Denys' remains in use for worship by the Church of England.
The church is a Grade I listed building, a national designation given to "buildings of exceptional interest". It is a prime example of Decorated Gothic church architecture in England, with the architectural historians Sir Nikolaus Pevsner and John Harris noting that "it is a prolonged delight to follow the mason's inventiveness". The church's tracery has attracted special praise, with Simon Jenkins arguing that its Decorated windows are "works of infinite complexity". Built out of Ancaster stone with a lead roof, St Denys' is furnished with a medieval rood screen and a communion rail, possibly by Sir Christopher Wren, and has a peal of eight bells, dating to 1796. The church also houses several memorials, including two altar tombs commemorating members of the Carre family, Sleaford's lords of the manor in the 17th century. 
Question: What is the full name of the building that remains in use by the Church of England?
Output: St Denys' Church.
Passage: In 2007, there were about 4,350 schools, about half of which were primary schools; on average, each school had 688 students. In recent years, Istanbul's educational system has expanded substantially; from 2000 to 2007, the number of classrooms and teachers nearly doubled and the number of students increased by more than 60 percent. Galatasaray High School, established in 1481 as the Galata Palace Imperial School, is the oldest high school in Istanbul and the second-oldest educational institution in the city. It was built at the behest of Sultan Bayezid II, who sought to bring students with diverse backgrounds together as a means of strengthening his growing empire. It is one of Turkey's Anatolian High Schools, elite public high schools that place a stronger emphasis on instruction in foreign languages. Galatasaray, for example, offers instruction in French; other Anatolian High Schools primarily teach in English or German alongside Turkish. The city also has foreign high schools, such as Liceo Italiano, that were established in the 19th century to educate foreigners.Kuleli Military High School, along the shores of the Bosphorus in Çengelköy, and Turkish Naval High School, on one of the Princes' Islands, were military high schools, complemented by three military academies—the Turkish Air Force, Turkish Military, and Turkish Naval Academies. Both schools were shut Darüşşafaka High School provides free education to children across the country missing at least one parent. Darüşşafaka begins instruction with the fourth grade, providing instruction in English and, starting in sixth grade, a second foreign language—German or French. Other prominent high schools in the city include Istanbul Lisesi (founded in 1884), Kabataş Erkek Lisesi (founded in 1908) and Kadıköy Anadolu Lisesi (founded in 1955). 
Question: What are the names of the two military high schools?
Output: Kuleli Military High School.
Passage: In 2007, there were about 4,350 schools, about half of which were primary schools; on average, each school had 688 students. In recent years, Istanbul's educational system has expanded substantially; from 2000 to 2007, the number of classrooms and teachers nearly doubled and the number of students increased by more than 60 percent. Galatasaray High School, established in 1481 as the Galata Palace Imperial School, is the oldest high school in Istanbul and the second-oldest educational institution in the city. It was built at the behest of Sultan Bayezid II, who sought to bring students with diverse backgrounds together as a means of strengthening his growing empire. It is one of Turkey's Anatolian High Schools, elite public high schools that place a stronger emphasis on instruction in foreign languages. Galatasaray, for example, offers instruction in French; other Anatolian High Schools primarily teach in English or German alongside Turkish. The city also has foreign high schools, such as Liceo Italiano, that were established in the 19th century to educate foreigners.Kuleli Military High School, along the shores of the Bosphorus in Çengelköy, and Turkish Naval High School, on one of the Princes' Islands, were military high schools, complemented by three military academies—the Turkish Air Force, Turkish Military, and Turkish Naval Academies. Both schools were shut Darüşşafaka High School provides free education to children across the country missing at least one parent. Darüşşafaka begins instruction with the fourth grade, providing instruction in English and, starting in sixth grade, a second foreign language—German or French. Other prominent high schools in the city include Istanbul Lisesi (founded in 1884), Kabataş Erkek Lisesi (founded in 1908) and Kadıköy Anadolu Lisesi (founded in 1955). 
Question: What are the names of the two military high schools?
Output: Turkish Naval High School.
Passage: Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales. 
Question: What is the last name of the person whose work is held internationally by the Newport Museum and Art Gallery in South Wales?
Output: Fuller.
Passage: Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.
The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.
In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.
Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers. 
Question: What is the last name of the person who won a prestigious singing competition at the Carlisle Festival?
Output: Ferrier.
Passage: Oliver was not one to intellectualise her creativity: she preferred to talk about the process of creating her artworks rather than their meanings. Asked about how she approached her art, she stated:
My work is about structure and order. It is a pursuit of a kind of logic: a formal, sculptural logic and poetic logic. It is a conceptual and physical process of building and taking away at the same time. I set out to strip the ideas and associations down to (physically and metaphorically) just the bones, exposing the life still held inside.
While Oliver was reluctant to discuss meaning in her works, critics have identified recurring themes. Hannah Fink, like art critic John McDonald, noted that there is a pattern to the shapes and structures in Oliver's work. Fink described this as "a consistent vocabulary of elemental forms – the spiral, meander, loop and sphere – in a repertoire of signature archetypes". McDonald said that Nature is "omnipresent" and referred to them as organisms or their remains.Despite their organic appearance, Oliver's own view was that her work was not grounded in nature's structures.  Nevertheless, critics have identified the lifelike qualities of early pieces that resembled shells, claws or tails, or noted the apparent similarities to biological forms. McDonald commented that "For Oliver to deny nature is akin to Balthus saying there is nothing erotic about his paintings or Rothko claiming his works aren't abstract." Both major reviews of Oliver's work (Fenner's 1995 essay and Fink's 2002 journal article) draw attention to dualism and contradiction in the sculptures: Fenner describes them as "delicate and ephemeral, [yet] structurally robust and durable"; Fink sees them as "ethereal but solid, fluid yet rigid, open but closed".Oliver's sculptures are admired for their tactile nature, their aesthetics, and the technical skills demonstrated in their production.
Particular works have been singled out for praise. A writer reviewing Vine in the Sydney Hilton admired how it "curls like a fairy tale beanstalk up towards the ceiling as though empowered by the sunlight streaming in from a large open space adjacent". Journalist Catherine Keenan's 2005 description of how the towering sculpture demonstrated both aesthetic and production values are typical of comments about Oliver's work:
It has the delicate, adamantine beauty that characterises many of her pieces, but is also an engineering marvel: 380 kilograms of metal that was delivered on the back of an oversized truck and now hangs from a single specially manufactured rod fixed to the ceiling.
The Sydney Morning Herald's art writer, John McDonald, said of her work "It often seems to me she's only got one tune, but it's a pretty good tune". He later elaborated:. 
Question: What is the name of the person of whose work The Sydney Morning Herald's art writer said, "It often seems to me she's only got one tune, but it's a pretty good tune"?
Output: Oliver.
Passage: On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a  concert on 21 October 1944—the first modern use of a countertenor  in Purcell's music. Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano. Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944. Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir. Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera. The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas. Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944. He also began to give regular radio talks on music.In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion. Tippett's compositions in the immediate postwar years included his  First Symphony, performed under Sargent in November 1945, and the String Quartet No. 3, premiered in October 1946 by the Zorian Quartet. His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage. During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948). 
Question: What is the name of the person whose first broadcast work was aired on 24 December 1944?
Output: Tippett.
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them. 
Question: Who are the people who think the authorities are responsible for the elevator stopping, leading them to take hostages?
Output: Richie.
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them. 
Question: Who are the people who think the authorities are responsible for the elevator stopping, leading them to take hostages?
Output: Peter.
Passage: Richie Donovan works as a professional thief for Groznyi, a wealthy businessman, to pay off his debt for being smuggled into the U.S. as a child. He pulls off an initially successful diamond heist, but it is botched when he is involved in two separate car accidents. He is given one last chance to pay off his debt by going to Russia to steal a priceless antique cross, locked in a safe in a Moscow penthouse apartment. Richie and his Russian accomplices, brothers Peter and Yuri, recover the cross; but their elevator becomes stuck on the uncompleted 13th floor. Believing the police have stopped the elevator, the thieves take their fellow passengers hostage to negotiate an escape. They agree to send one hostage down; but, when the elevator doors open on the ground floor, the hostage has mysteriously been beheaded. 
The remaining hostages quickly divide into two groups: a Christian group consisting of Sonya, Helena and Katerina, who are later joined by Yuri, and another group consisting of nerdy Dmitry, beautiful Anna, and incompetent security guard Boris.
In the confusion, the Christian group seizes firearms and takes control, shooting Peter. Katerina is sent to stand guard over Richie and the remainder of the hostages, while Sonya takes Yuri to a chamber where he is to sacrificed by a wild man in armor named Alex. Yuri escapes, but he is impaled by one of Alex's traps, complete with disco music and lighting. In his rage, Alex kills Katerina, allowing Richie and the hostages to escape. They discover Alex's lair, where he has been watching everyone using security cameras. A photo reveals that Alex is the twin brother of Sonya, and they both believe themselves to be descendants of Ivan the Terrible. The group splits when Richie and Anna decide to chase after Alex, while Boris and Dmitry prefer to rig the room with various traps they have constructed and wait for Alex to come to them. 
Question: Who are the people who think the authorities are responsible for the elevator stopping, leading them to take hostages?
Output: Yuri.
Passage: Josh and Dinah Barkley (Fred Astaire and Ginger Rogers) are a husband-and-wife musical comedy team at the peak of their careers. After finishing a new show, Dinah meets serious French playwright Jacques Pierre Barredout, who suggests that Dinah should take up dramatic acting. Dinah tries to keep the suggestion a secret from Josh, but when he finally discovers Dinah hiding a script for Jacques' new show from him, the couple splits up.  
Their good friend, acerbic composer Ezra Miller tries to trick them back together again, but fails.  When Josh secretly watches Dinah's rehearsals for Barredout's new play and sees how she is struggling, he calls her up and pretends to be the Frenchman, giving her notes that help her to understand her part, the young Sarah Bernhardt. As the result, Dinah gives a brilliant performance. After the show, she accidentally learns that her late-night mentor was Josh and not Barredout, so she rushes to Josh's apartment and the two reconcile. 
Question: What is the last name of the late-night mentor?
Output: Barkley.
Passage: Harper is a bank robber posing as a traveling salesman. He arrives in town, soon to be joined by sadistic benzedrine addict Dill and bookish Chapman.
Boyd Fairchild is manager of the local copper mine, troubled by his philandering wife. He considers an affair with nurse Linda Sherman, though he truly loves his wife. His associate, Shelley Martin, has a happy home life, but is embarrassed that his son believes he is a coward because he did not serve in World War II.
Subplots involves a peeping-tom bank manager, Harry Reeves, and a larcenous librarian, Elsie Braden. As the bank robbers carry out their plot, the separate character threads are drawn together. Violence erupts during the robbery. Fairchild's wife is slain and bank manager Reeves is wounded. Martin is held hostage on a farm with an Amish family. With the help of the father, he defeats the crooks in a savage gunfight. In the aftermath, Martin becomes a hero to his son, and Linda comforts Fairchild as he grieves for his wife. 
Question: What is the first name of the person who works with the copper mine manager?
Output: Shelley.
Passage: The storyline revolves around Lou Gehrig playing himself, who decides to give up baseball in New York for the life of a western cattle rancher. Once at the ranch, Gehrig encounters a protection racket preying on the ranchers by extortion and violence. He teams up with a crusading local attorney to fight the crooks and ultimately put them in jail.
In the opening scene, Lou Gehrig is surrounded by a group of reporters at Grand Central Terminal in New York City, where he is about to take a train to his sister's ranch out west in Rawhide. Proclaiming that he is "through with baseball", he tells the sceptical newsmen that he wants the "peace and quiet" of the cowboy life.Gehrig plays an easygoing dude rancher, whose self-deprecating humor is displayed the first time he attempts to ride a horse. As he timidly approaches his steed, a ranch hand urges, "Jus' walk right up to him like ya' wasn't afraid", to which Gehrig deadpans, "I couldn't be that deceitful".An unscrupulous interloper, Ed Saunders, and his henchmen have seized control of the local "Ranchers Protective Association" by subterfuge and are using it as a front to extort outrageous "association fees" from the local ranchers, resorting to violence and bribery. After Gehrig refuses to pay, one of his ranch hands is shot by one of the crooks. Gehrig storms into the local saloon to confront Saunders and his gang. When a barroom brawl ensues, the attorney (played by co-star Smith Ballew) joins in the fight as Gehrig hurls billiard balls at the criminals. The movie eventually reaches a climax in the obligatory western film chase scene when Gehrig and the other ranchers form a posse to chase the fleeing Saunders gang and put them in jail. 
Question: Where is Lou going when he is surrounded by reporters?
Output: Rawhide.
Passage: The storyline revolves around Lou Gehrig playing himself, who decides to give up baseball in New York for the life of a western cattle rancher. Once at the ranch, Gehrig encounters a protection racket preying on the ranchers by extortion and violence. He teams up with a crusading local attorney to fight the crooks and ultimately put them in jail.
In the opening scene, Lou Gehrig is surrounded by a group of reporters at Grand Central Terminal in New York City, where he is about to take a train to his sister's ranch out west in Rawhide. Proclaiming that he is "through with baseball", he tells the sceptical newsmen that he wants the "peace and quiet" of the cowboy life.Gehrig plays an easygoing dude rancher, whose self-deprecating humor is displayed the first time he attempts to ride a horse. As he timidly approaches his steed, a ranch hand urges, "Jus' walk right up to him like ya' wasn't afraid", to which Gehrig deadpans, "I couldn't be that deceitful".An unscrupulous interloper, Ed Saunders, and his henchmen have seized control of the local "Ranchers Protective Association" by subterfuge and are using it as a front to extort outrageous "association fees" from the local ranchers, resorting to violence and bribery. After Gehrig refuses to pay, one of his ranch hands is shot by one of the crooks. Gehrig storms into the local saloon to confront Saunders and his gang. When a barroom brawl ensues, the attorney (played by co-star Smith Ballew) joins in the fight as Gehrig hurls billiard balls at the criminals. The movie eventually reaches a climax in the obligatory western film chase scene when Gehrig and the other ranchers form a posse to chase the fleeing Saunders gang and put them in jail. 
Question: Where is Lou going when he is surrounded by reporters?
Output: his sister's ranch.
Passage: In 1933, during the Great Depression, New York City vaudeville actress Ann Darrow is hired by financially troubled filmmaker Carl Denham to star in a film with Herb, Carl's cameraman, Mike, Carl's soundman, Preston, Carl's assistant, and actor Bruce Baxter. Ann learns her favorite playwright, Jack Driscoll, is the screenwriter. As their tramp steamer, the SS Venture, journeys to the mysterious Skull Island, Ann and Jack fall in love. The people on the ship consist of Englehorn the captain and his crew, including Hayes, a World War One veteran, Lumpy the cook, Choy the janitor, and the Venture's lookout Jimmy. Captain Englehorn has second thoughts about the voyage, prompted by Lumpy and Hayes' speculation of trouble ahead.
Deep in the southern waters, the Venture receives a radio message informing Englehorn there is a warrant for Carl's arrest due to his defiance of the studio's orders to cease production. The message instructs Englehorn to divert to Rangoon, but the ship becomes lost in fog and runs aground on the rocky shore of Skull Island. Carl and his crew explore the island and are attacked by natives, who kill Mike as well as one of the sailors. Ann screams as she is captured, and a loud roar is heard beyond a wall. After this, the matriarch of the tribe targets Ann, muttering the word "Kong". Englehorn kills one of the natives and his crew break up the attack. Back on the ship, they lighten their load to float off the rocks and carry out repairs, but Jack discovers Ann has been kidnapped and another sailor has been killed. The natives offer Ann as a sacrifice to Kong, a 25 feet (7.6 m) tall gorilla. The crew returns fully armed, but is too late as Kong takes Ann and flees into the jungle. Though initially terrified, Ann wins Kong over with juggling and dancing, and begins to grasp Kong's intelligence and capacity for emotion. 
Question: What is the full name of the person who ignores an order to stop production?
Output: Carl Denham.