niryuu/sni-each-converted huggingface dataset:
Passage: Cole Trickle is a young racer from Eagle Rock, California, with years of experience in open-wheel racing, winning championships in the United States Auto Club. Originally setting his sights on the Indianapolis 500, Cole realizes that "To win in Indy I'd need a great car, but stock cars are all the same". He is recruited by Chevrolet dealership tycoon Tim Daland to race for his team in the NASCAR Winston Cup Series. Daland brings former crew chief and car builder Harry Hogge out of retirement to lead Cole's pit crew. After Cole sets a fast time in a private test at Charlotte Motor Speedway, Hogge builds him a new Chevrolet Lumina.
In his first few races, Cole has difficulty adjusting to the larger NASCAR stock cars and communicating with his crew, while being intimidated on the track by Winston Cup Champion and dirty driver Rowdy Burns; these obstacles, combined with crashes and blown engines, prevent Cole from finishing the races. Discovering that Cole does not understand common NASCAR terminology, Harry puts him through rigorous training. This pays off at the Darlington race, when Cole uses a slingshot maneuver from the outside line to overtake Rowdy and win his first race.
The rivalry between Cole and Rowdy intensifies throughout the season until the Firecracker 400 in Daytona, where both drivers are seriously injured after being caught in "The Big One". Recovering in Daytona Beach, Cole develops a romantic relationship with Dr. Claire Lewicki, a neurosurgeon at Halifax Hospital. NASCAR President Big John brings Rowdy and Cole together in a meeting and warns them that he and his sport will no longer tolerate any hanky-panky from the two rivals. Persuaded by Big John, Cole and Rowdy have lunch and settle their differences by banging rental cars on the beach. The bitter rivals soon become close friends. 
Question: What is the first name of the person who is recruited by a Chevrolet dealership tycoon?
Output: Cole.
Passage: EMI reissued OK Computer again on 24 March 2009, alongside Pablo Honey and The Bends, without Radiohead's involvement. The reissue came in two editions: a 2-CD "Collector's Edition" and a 2-CD 1-DVD "Special Collector's Edition". The first disc contains the original studio album, the second disc contains B-sides collected from OK Computer singles and live recording sessions, and the DVD contains a collection of music videos and a live television performance. All the material on the reissue had been previously released.
Press reaction to the reissue expressed concern that EMI was exploiting Radiohead's back catalogue. Larry Fitzmaurice of Spin accused EMI of planning to "issue and reissue [Radiohead's] discography until the cash stops rolling in". Pitchfork's Ryan Dombal said it was "hard to look at these reissues as anything other than a cash-grab for EMI/Capitol—an old media company that got dumped by their most forward-thinking band." Daniel Kreps of Rolling Stone defended the release, saying: "While it's easy to accuse Capitol of milking the cash cow once again, these sets are pretty comprehensive."The reissue was critically well received, although reception was mixed about the supplemental material. Reviews in AllMusic, Uncut, Q, Rolling Stone, Paste and PopMatters praised the supplemental material, but with reservations. A review written by Scott Plagenhoef for Pitchfork awarded the reissue a perfect score, arguing that it was worth buying for fans who did not already own the rare material. Plagenhoef said, "That the band had nothing to do with these is beside the point: this is the final word on these records, if for no other reason that the Beatles' September 9 remaster campaign is, arguably, the end of the CD era." The A.V. Club writer Josh Modell praised both the bonus disc and the DVD, and said of the album, "It really is the perfect synthesis of Radiohead's seemingly conflicted impulses.". 
Question: What was the last name of the person who said the sets were pretty comprehensive?
Output: Kreps.
Passage: Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline. 
Question: What is the name of the band whose members have resisted attempts to link the group and its music to Marxism?
Output: Stereolab.
Passage: The paddle steamer SS Arctic, owned by the Collins Line of New York, sank on September 27, 1854 after a collision with SS Vesta, a much smaller vessel, 50 miles (80 km) off the coast of Newfoundland.  Passenger and crew lists indicate that there were probably more than 400 on board; of these, only 88 survived, most of whom were members of the crew.  All the women and children on board perished.
Arctic was the largest and most celebrated of the four Collins steamers that had operated a regular transatlantic passenger and mail carrying service since 1850. After the collision, Arctic's captain, James Luce, first attempted to assist the stricken Vesta, which he believed was in imminent danger of sinking. When he discovered that his own ship had been seriously holed below the waterline, he decided to run her towards the nearest land, in the hopes of reaching safety. His plan failed; the engines stopped when the ship was still a considerable distance from land. Arctic's lifeboat capacity was sufficient for less than half of those on board; when Luce ordered these launched, a breakdown in order and discipline meant that most places in the boats were taken by members of the crew or the more able-bodied male passengers. The rest struggled to build makeshift rafts, but most were unable to leave the ship, and went down with her when she sank, four hours after the collision.  Vesta, which initially appeared to have sustained mortal damage, was kept afloat by her watertight bulkheads, and managed to limp into harbor at St. John's, Newfoundland.
Two of the six lifeboats that left Arctic reached the Newfoundland shore safely, and another was picked up by a passing steamer, which also rescued a few survivors from improvised rafts.  Among those saved was Captain Luce, who had regained the surface after initially going down with the ship. The other three lifeboats disappeared without a trace. The limited telegraph facilities of the time meant that news of Arctic's loss did not reach New York until two weeks after the sinking. Initial public sorrow at the ship's loss quickly turned to anger at the perceived cowardice of the crew. Despite press calls for a full investigation into the disaster, none took place, and nobody was held legally responsible. Demands for the introduction of further safety measures on passenger-carrying vessels were likewise sidestepped.  Luce, who was generally exonerated from blame by the public, retired from the sea; some of the surviving crew chose not to return to the U.S. The Collins Line continued its transatlantic service, until further maritime losses and insolvency led to its closure in 1858. 
Question: What is the full name of the ship that sank four hours after the collision?
Output: SS Arctic.
Passage: Gaga grew up listening to artists such as Michael Jackson, the Beatles, Stevie Wonder, Queen, Bruce Springsteen, Pink Floyd, Mariah Carey, the Grateful Dead, Led Zeppelin, Whitney Houston, Elton John, Blondie and Garbage, who have all influenced her music. Gaga's musical inspiration varies from dance-pop singers such as Madonna and Michael Jackson to glam rock artists such as David Bowie and Freddie Mercury, as well as the theatrics of the pop artist Andy Warhol and her own performance roots in musical theater. She has been compared to Madonna, who has said that she sees herself reflected in Gaga. Gaga says that she wants to revolutionize pop music as Madonna has. Gaga has also cited heavy metal bands as an influence, including Iron Maiden and Black Sabbath. She credits Beyoncé as a key inspiration to pursue a musical career.Gaga was inspired by her mother to be interested in fashion, which she now says is a major influence and integrated with her music. Stylistically, Gaga has been compared to Leigh Bowery, Isabella Blow, and Cher; she once commented that as a child, she absorbed Cher's fashion sense and made it her own. She considers Donatella Versace her muse and the English fashion designer Alexander McQueen as an inspiration. In turn, Versace calls Lady Gaga "the fresh Donatella". Gaga has also been influenced by Princess Diana, whom she has admired since her childhood.Gaga has called the Indian alternative medicine advocate Deepak Chopra a "true inspiration", and has also quoted Indian leader Osho's book Creativity on Twitter. Gaga says she was influenced by Osho's work in valuing rebellion through creativity and equality. 
Question: Who credits Beyoncé as a key inspiration to pursue a musical career?
Output: Gaga.
Passage: Patel and Menon backed up their diplomatic efforts by producing treaties that were designed to be attractive to rulers of princely states. Two key documents were produced. The first was the Standstill Agreement, which confirmed the continuance of the pre-existing agreements and administrative practices. The second was the Instrument of Accession, by which the ruler of the princely state in question agreed to the accession of his kingdom to independent India, granting the latter control over specified subject matters. The nature of the subject matters varied depending on the acceding state. The states which had internal autonomy under the British signed an Instrument of Accession which only ceded three subjects to the government of India—defence, external affairs, and communications, each defined in accordance with List 1 to Schedule VII of the Government of India Act 1935. Rulers of states which were in effect estates or talukas, where substantial administrative powers were exercised by the Crown, signed a different Instrument of Accession, which vested all residuary powers and jurisdiction in the Government of India. Rulers of states which had an intermediate status signed a third type of Instrument, which preserved the degree of power they had under the British.The Instruments of Accession implemented a number of other safeguards. Clause 7 provided that the princes would not be bound to the Indian constitution as and when it was drafted. Clause 8 guaranteed their autonomy in all areas that were not ceded to the Government of India. This was supplemented by a number of promises. Rulers who agreed to accede would receive guarantees that their extra-territorial rights, such as immunity from prosecution in Indian courts and exemption from customs duty, would be protected, that they would be allowed to democratise slowly, that none of the eighteen major states would be forced to merge, and that they would remain eligible for British honours and decorations. In discussions, Lord Mountbatten reinforced the statements of Patel and Menon by emphasising that the documents gave the princes all the "practical independence" they needed. Mountbatten, Patel and Menon also sought to give princes the impression that if they did not accept the terms put to them then, they might subsequently need to accede on substantially less favourable terms. The Standstill Agreement was also used as a negotiating tool, as the States Department categorically ruled out signing a Standstill Agreement with princely states that did not sign an Instrument of Accession. 
Question: What are the full names of the two key documents that were produced by Patel and Menon in their diplomatic appeals?
Output: Instrument of Accession.
Passage: Patel and Menon backed up their diplomatic efforts by producing treaties that were designed to be attractive to rulers of princely states. Two key documents were produced. The first was the Standstill Agreement, which confirmed the continuance of the pre-existing agreements and administrative practices. The second was the Instrument of Accession, by which the ruler of the princely state in question agreed to the accession of his kingdom to independent India, granting the latter control over specified subject matters. The nature of the subject matters varied depending on the acceding state. The states which had internal autonomy under the British signed an Instrument of Accession which only ceded three subjects to the government of India—defence, external affairs, and communications, each defined in accordance with List 1 to Schedule VII of the Government of India Act 1935. Rulers of states which were in effect estates or talukas, where substantial administrative powers were exercised by the Crown, signed a different Instrument of Accession, which vested all residuary powers and jurisdiction in the Government of India. Rulers of states which had an intermediate status signed a third type of Instrument, which preserved the degree of power they had under the British.The Instruments of Accession implemented a number of other safeguards. Clause 7 provided that the princes would not be bound to the Indian constitution as and when it was drafted. Clause 8 guaranteed their autonomy in all areas that were not ceded to the Government of India. This was supplemented by a number of promises. Rulers who agreed to accede would receive guarantees that their extra-territorial rights, such as immunity from prosecution in Indian courts and exemption from customs duty, would be protected, that they would be allowed to democratise slowly, that none of the eighteen major states would be forced to merge, and that they would remain eligible for British honours and decorations. In discussions, Lord Mountbatten reinforced the statements of Patel and Menon by emphasising that the documents gave the princes all the "practical independence" they needed. Mountbatten, Patel and Menon also sought to give princes the impression that if they did not accept the terms put to them then, they might subsequently need to accede on substantially less favourable terms. The Standstill Agreement was also used as a negotiating tool, as the States Department categorically ruled out signing a Standstill Agreement with princely states that did not sign an Instrument of Accession. 
Question: What are the full names of the two key documents that were produced by Patel and Menon in their diplomatic appeals?
Output: Standstill Agreement.
Passage: The film is a semi-biographical story based upon the early life and rise to prominence of Native American dog musher George Attla, Jr. (1933–2015).  Attla, known as "the Huslia Hustler," took his nickname from one of his mentors, Jimmy Huntington, who first began winning races during Attla's childhood.  In recent generations, this nickname has become associated with Attla far more than with Huntington.  Attla was a leading star of the 1960s and 1970s in the sport of sprint dog sled racing.  He won the Fur Rendezvous World Championship race, held in Anchorage, Alaska, 10 times between 1958 and 1982.  He also won 8 championships in the Open North American Championship race, held in Fairbanks, Alaska.  In addition, despite his mushing experience being geared more towards sprint than distance racing, Attla competed in the inaugural Iditarod Trail Sled Dog Race in 1973, placing fifth.  In a 2011 interview, Attla spoke of the popularity of the Iditarod, and how sprint racing "is now a second-class sport" as a result.
The general theme of the story centered around Attla's rivalry with the other leading sprint competitors of the day, fellow Alaska Native Gareth Wright (the brother of political gadfly Don Wright and grandfather of modern-day dog musher Ramy Brooks) and Massachusetts musher Roland "Doc" Lombard, the preparations for an upcoming big race, and his first major race victory.
The movie was shot on location in Fairbanks, Alaska.  A number of local actors, including local Alaska Natives, University of Alaska Fairbanks professor Lee Salisbury, and KFAR disc jockey/newscaster Bill Walley, appear in minor roles. 
Question: What is the real name of the character known as "the Huslia Hustler"?
Output: George Attla, Jr.
Passage: Hearst died in August 1951. The castle remained on the market for the following decade until bought in 1960 by Antonin Besse II, son of the late Sir Antonin Besse, and donated to the founding council of Atlantic College. Besse was a patron and honorary vice-president of the United World Colleges. The idea for an international school arose from a meeting between the educationalist Kurt Hahn, who founded Gordonstoun, and Air Marshal Sir Lawrence Darvall, the commandant of the NATO Defense College. They conceived of a college for 16–19-year-old students drawn from a wide range of nationalities, with the aim of fostering international understanding. With Rear-Admiral Desmond Hoare, the first headmaster, they persuaded Besse that the castle would make a suitable location for the first United World College, which opened in 1962 with fifty-six students.The first rigid-hulled inflatable boat was patented by Hoare at St Donat's in the 1960s. In an act of generosity, Hoare sold the patent for the boat to the Royal National Lifeboat Institution in 1973 for a notional £1; the RNLI's cheque was not cashed and remains at the castle. From 1963 until 2013 the castle hosted an RNLI lifeboat station which was credited with saving ninety-eight lives along the South Wales coast during its period of operation. The college's early years were financially precarious, but major fund-raising efforts led by Sir George Schuster strengthened the financial position in the mid-1960s.The fiftieth anniversary of the college in 2012 was celebrated with a  visit to the site by Queen Noor of Jordan, President of the United World Colleges Foundation. As at 2017, the college was home to 350 students from more than 90 countries. The Hearst Corporation maintains a connection with St Donat's through a sponsorship programme for students at the college. With a history of occupation from its construction in the late 13th century, St Donat's has been described as the oldest continuously inhabited castle in Wales. 
Question: What is the last name of the person who didn't cash the RNLI's cheque?
Output: Hoare.
Passage: Cattle, timber and mining baron George Washington "G.W." McLintock is living the single life on his ranch. He is estranged from wife Katherine, who left him two years before, suspecting him of adultery. She has been living the society life back East while their daughter Rebeeca (whom G.W. calls "Becky") (Stefanie Powers) is completing her college degree.

Following a meeting with a group of homesteaders whom he cautions against trying to farm on the Mesa Verde: "God made that land for the buffalo. It serves pretty well for cattle. But it hates the plow! And even the government should know you can't farm six thousand feet above sea level!"
He hires one of them, attractive widow Louise Warren, as his cook and housekeeper. G.W. welcomes both her and her two children into his home, including grown son Dev, who is handy with his fists, good with cattle, and is an excellent chess player, who had to leave Purdue University on account of his father's death.

Katherine (a.k.a. Katie), returns to the town of McLintock, seeking a divorce from G.W.  He declines to give her one, having no idea why she has been so angry with him and why she moved out two years ago.
Following a misunderstanding which leads to a Comanche subchief nearly being lynched by a hotheaded settler father who believes his daughter has been kidnapped, there is a gigantic brawl at the mud slide by one of McLintock's mines. Significantly, Katherine is in there swinging on her estranged husband's side as the local Indians watch the white folks make fools of themselves. 
Question: What is the full name of the person whose spouse died?
Output: Louise Warren.
Passage: The earliest version of "This Charming Man" was recorded on 14 September 1983, in Maida Vale Studio 4, for John Peel's radio programme (first broadcast: 21 September 1983). Produced by Roger Pusey, and assisted by Ted De Bono, this version of the song was first included on the 1984 compilation Hatful of Hollow. On 28 October 1983, the "Manchester" version was released in the UK in 7" and 12" formats, reaching number 25 in the UK charts. The record sleeve uses a still frame from Jean Cocteau's 1949 film Orphée, featuring French actor Jean Marais. The song was later included as a bonus track on the cassette version of the band's debut album The Smiths in the UK, and subsequently on all American versions.
Following the 1989 bankruptcy of Rough Trade, WEA Records purchased the Smiths' back catalogue. In 1992 WEA re-issued the band's catalogue, and all subsequent pressings of The Smiths have incorporated "This Charming Man". WEA re-released the single itself in 1992 to support the Best... I compilation album. The reissued single reached number 8 on the British singles chart, the band's highest chart placing.In December 1983, DJ François Kevorkian released a "New York" mix of the single on Megadisc records. Kevorkian geared the song for nightclub dancefloors. The track was intended to be pressed in limited numbers for New York club DJs. However, Rough Trade boss Geoff Travis liked the mix and gave the release wide distribution in the UK. Morrissey publicly disowned the mix, and urged fans not to purchase copies. Travis later claimed, "it was my idea, but they agreed. They said 'Go ahead', then didn't like it so it was withdrawn." He also said, "Nothing that ever happened in the Smiths occurred without Morrissey's guidance; there's not one Smiths record that went out that Morrissey didn't ask to do, so there's nothing on my conscience.". 
Question: What version of the song was first included on the 1984 compilation Hatful of Hollow?
Output: The earliest version.
Passage: Mrs Baring, a businesswoman and patron of classical music, has arranged for a celebrated Eastern Bloc musician, Spolenski, to play in a series of concerts in Britain. However, she is aware that she is on the brink of bankruptcy and the Spolenski tour offers a final chance to save her finances.
Johnny Burns, an aspiring singer is hanging around a music shop he frequents when he spot Mrs Baring's daughter, Joanna. Enraptured he pretends to be a piano-tuner and goes round to her house to help prepare the piano for a party held in Spolenksi's honour. Later, when Mrs Baring is short of a butler he offers his services and is so successful at his duties that he is taken on in a more permanent basis. He slowly begins to bond and court Joanna while doing his best to conceal his love of popular, modern music from Mrs Baring who is resolutely opposed to it and has forbidden her daughter to listen to it. Her financial problems continue to mount up and her phone is cut due to unpaid bills.
Burns' friend and agent, Freddy, meanwhile has secured him an audition with Greenslade, a major popular record label, who are impressed with his performance. Convinced he is going to be a major star, they make plans to sign him up on a long-term contract. Burn's first demand of Greenslade is for money to pay for Mrs Baring's telephone to be restored. Mrs Baring is relieved by this gesture, but  believes the money came from one of her other friends rather than Burns. 
Question: Who is the butler's friend?
Output: Freddy.
Passage: The management of Rockefeller Center shifted around this time. In November 1936, John Todd was featured in two New Yorker articles that emphasized his role in the complex's construction. At the same time, Nelson was gaining clout within Rockefeller Center Inc., and he disagreed with nearly all of Todd's suggestions. Nelson's father, John, was relinquishing his responsibilities, since the Rockefeller family's youngest son David had moved out of the family home at 10 West 54th Street, and John was now focusing on his own personal life. By April 1937, Todd regretted his decision to be featured in The New Yorker. In March 1938, Nelson became the president of Rockefeller Center Inc. He then fired Todd as the complex's manager and appointed Hugh Robertson in his place. Nelson and Robertson wanted to avoid workers' strikes, which would delay the completion of construction. Nelson, Robertson, and the workers' unions agreed to a contract in which the unions would not strike, Robertson would not lock out union workers, and both would agree to arbitration if a labor dispute arose. Rockefeller Center was one of Nelson's primary business ventures until 1958, when he was elected Governor of New York.Public relations officials were hired to advertise the different parts of the complex, such as the gardens and the plaza. Merle Crowell set up a viewing platform on the east side of Rockefeller Center and founded the facetious "Sidewalk Superintendents' Club" so the public could view construction. 
Question: What is the first name of the person Robertson replaced?
Output: John.
Passage: For many years, Harrison was restricted in his songwriting contributions to the Beatles' albums, but he released All Things Must Pass, a triple album with two discs of his songs and the third of recordings of Harrison jamming with friends. The album was regarded by many as his best work, and it topped the charts on both sides of the Atlantic. The LP produced the number-one hit single "My Sweet Lord" and the top-ten single "What Is Life". The album was co-produced by Phil Spector using his "Wall of Sound" approach, and the musicians included Starr, Clapton, Gary Wright, Preston, Klaus Voormann, the whole of Delaney and Bonnie's Friends band and the Apple group Badfinger. On release, All Things Must Pass was received with critical acclaim; Ben Gerson of Rolling Stone described it as being "of classic Spectorian proportions, Wagnerian, Brucknerian, the music of mountain tops and vast horizons". Author and musicologist Ian Inglis considers the lyrics of the album's title track "a recognition of the impermanence of human existence ... a simple and poignant conclusion" to Harrison's former band. In 1971, Bright Tunes sued Harrison for copyright infringement over "My Sweet Lord", owing to its similarity to the 1963 Chiffons hit "He's So Fine". When the case was heard in the United States district court in 1976, he denied deliberately plagiarising the song, but lost the case, as the judge ruled that he had done so subconsciously.In 2000, Apple Records released a thirtieth anniversary edition of the album, and Harrison actively participated in its promotion. In an interview, he reflected on the work: "It's just something that was like my continuation from the Beatles, really. It was me sort of getting out of the Beatles and just going my own way ... it was a very happy occasion." He commented on the production: "Well, in those days it was like the reverb was kind of used a bit more than what I would do now. In fact, I don't use reverb at all. I can't stand it ... You know, it's hard to go back to anything thirty years later and expect it to be how you would want it now.". 
Question: What is the name of the song from another band that Harrison denied deliberately plagiarizing when the case was heard in the United States district court in 1976?
Output: He's So Fine.
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012. 
Question: What is the full name of the person that their version of L'incoronazione was critisized for the use of oboe and trumpet flourishes?
Output: Nikolaus Harnoncourt.
Passage: The Brownlow family, a dynasty of lawyers, began accumulating land in the Belton area from approximately 1598. In 1609 they acquired the reversion of the manor of Belton itself from the Pakenham family, who finally sold the manor house to Sir John Brownlow I in 1619. The old house was situated near the church in the garden of the present house and remained largely unoccupied, since the family preferred their other houses elsewhere. John Brownlow had married an heiress but was childless. He became attached to two of his more distant blood relations: a great-nephew, also called John Brownlow, and a great-niece, Alice Sherard. The two cousins married each other in 1676 when both were aged 16; three years later, the couple inherited the Brownlow estates from their great-uncle together with an income of £9,000 per annum (about £1.35 million in present-day terms) and £20,000 in cash (equivalent to about £3.01 million now). They immediately bought a town house in the newly fashionable Southampton Square in Bloomsbury, and decided to build a new country house at Belton.Work on the new house began in 1685. The architect thought to have been responsible for the initial design is William Winde, although the house has also been attributed to Sir Christopher Wren, while others believe the design to be so similar to Roger Pratt's Clarendon House, London, that it could have been the work of any talented draughtsman. The assumption popular today, that Winde was the architect, is based on the stylistic similarity between Belton and Coombe Abbey, which was remodelled by Winde between 1682 and 1685. Further evidence is a letter dated 1690, in which Winde recommends a plasterer who worked at Belton to another of his patrons. 
Question: What is the last name of the person who became attached to two of his more distant blood relations?
Output: Brownlow I.
Passage: Biographer Hannah Fink estimated that Oliver produced 290 works over a career of 22 years. Of these, public art works are Oliver's best known sculptures. These include Eyrie, created for Adelaide's Hyatt Hotel in 1993, and Magnolia and Palm, commissioned in 1999 by the Sydney Botanical Gardens, as part of the Sydney Sculpture Walk. That same year, Big Feathers was commissioned for the Queen Street Mall in Brisbane. It comprises two large feather-shaped forms suspended above the pedestrian precinct, representing "Queen Street's history of parades as well as the mall's connection between earth and sky".In 2000, Oliver's piece Entwine was a finalist in the inaugural Helen Lempriere National Sculpture Award, while in the following year, Oliver won the University of New South Wales inaugural sculpture commission competition, with her three-metre-high Globe. Other success followed, when Trace was selected for the National Gallery of Australia's 2002 National Sculpture Prize exhibition.In August 2002 she was one of five artists shortlisted by the Australian Government for a project to produce a public artwork celebrating the centenary of women's suffrage in Australia.By the 2000s most of Oliver's output constituted commissioned pieces, whether public or private. The most substantial of these is Vine, a 16.5 metre high sculpture installed as part of the $400 million refurbishment of the Sydney Hilton. Taking twelve months to create and requiring a budget of up to half million dollars, the work was completed in 2005. The sculpture was fabricated from 380 kilograms of aluminium, and assembled by a team of eight Croatian welders.By 2006, Oliver had held 18 solo exhibitions of her work, half of them at Roslyn Oxley9 Gallery, which represented her throughout her career as a sculptor. Only one of those solo exhibitions was held outside Australia: a 1992 exhibition at Auckland City Gallery. However, Oliver was represented in numerous international group shows, including five during the period 1983 to 1984, around the time she completed her master's degree in London. Four of the group shows at that time were in the United Kingdom; the fifth was at the Museum of Traditional Industries in Kyoto. Subsequent international group shows included 'Five Australian Artists' at Brest's Centre Culturale in 1988, the year she undertook an artist's residency in that city. Later group shows of which Oliver was part included 'Prospect '93' at the Frankfurter Kunstverein, 'Systems End: Contemporary Art in Australia', which exhibited in several east Asian galleries in 1996, and the Beijing International Biennale in 2003. 
Question: What is the name of the work that was completed in 2005 and required a budget of up to half million dollars?
Output: Vine.
Passage: Medina gets up after hearing a voice in her dreams. She prepares to go out, has a coffee, and does a quick breath relaxation exercise. Her friend, Sidonia, arrives and finds Medina, who is looking at herself in the mirror with a sad expression. Sidonia tries to lighten the moment, and reminds Medina that her friends and family are waiting for her. Medina gets herself together and they head off to the funeral service for Medina's fiancé.
Medina is with her friend Tesla, who tells her she is love with Medina's brother, Enzo, and is thinking of getting engaged. Medina is a bit surprised, but congratulates her. They try to visit an art exhibit, but the female security guard kicks them out, as she remembers the duo's wild reputation. Medine is upset, but Tesla invites her and Enzo for drinks. Tesla and Enzo cheer Medina up with their light conversation.

Quinn looks depressed as he meets up with his friend Fera at the street. He tells her that Nilda left him and took everything, including his possessions. He shows her the "Dear John letter" composed on bath tissue. Fera's husband, Camden, arrives and they explain the situation. Fera and Camden console Quinn but he leaves to clear his mind. They follow Quinn to make sure he does not do something regretful.
Tesla reminds Medina of an upcoming martial arts promotion test. Medina prepares by doing some stretching, practicing footwork, and twirling weapons including swords, staffs and spears. Meanwhile, Fera is increasingly concerned about Quinn. Camden notes that Fera and Quinn act like siblings, but for now, all they can do is continue to look after Quinn. They head to a show at the Lincoln Center. 
Question: What is the name of the person that Medina congratulates?
Output: Tesla.
Passage: On 18 February 1914 The Rite received its first concert performance (the music without the ballet), in St Petersburg under Serge Koussevitzky. On 5 April that year, Stravinsky experienced for himself the popular success of The Rite as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers. The Rite had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when  Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing The Rite to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra.Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam; two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century".In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera The Marriage of Figaro, at Covent Garden. Under pressure from his friends, Stravinsky was persuaded to leave the opera after the first act. He arrived at the Albert Hall just as the performance of The Rite was ending; composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience. Monteux's biographer John Canarina provides a different slant on this occasion, recording that by the end of the evening Stravinsky had asserted that "Monteux, almost alone among conductors, never cheapened Rite or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity". 
Question: What is the last name of the ballet that the composer performed which led to him being carried on the shoulders of his admirers?
Output: The Rite.
Passage: Kate is traveling around Ireland in an R.V. with her ex-boyfriend Ryan, brother Joel and friends Hailey, Chuck, Tommy and Anita. After driving into the countryside, the group stop off at a small shop, where they encounter Luca who attempts to scam them from buying a medallion, and warns them it is dangerous before Chuck steals the medallion and the group attempt to make a quick get-away. However, as they drive away in their R.V. they hit an old woman, who puts a curse on the group, telling them the mythical bird the roc will take vengeance on them, before dying. The group quickly drive away in their R.V. but hit a patch of thick fog and become lost, as fears of the curse heighten. Stopping the R.V. they encounter a young boy in the road. Anita leaves the R.V. to talk to the boy, but he runs away before the roc grabs Anita and drags her into the air. Her body is dropped in front of the R.V., with half of her face mauled off before the roc returns and flies away with her. 
Question: Which person had their body dropped in front of the RV?
Output: Anita.
Passage: The next day, 2 December 1942, everybody assembled for the experiment. There were 49 scientists present. Although most of the S-1 Executive Committee was in Chicago, only Crawford Greenewalt was present, at Compton's invitation. Other dignitaries present included Szilard, Wigner and Spedding. Fermi, Compton, Anderson and Zinn gathered around the controls on the balcony, which was originally intended as a viewing platform. Samuel Allison stood ready with a bucket of concentrated cadmium nitride, which he was to throw over the pile in the event of an emergency. The startup began at 09:54. Walter Zinn removed the zip, the emergency control rod, and secured it. Norman Hilberry stood ready with an axe to cut the scram line, which would allow the zip to fall under the influence of gravity. While Leona Woods called out the count from the boron trifluoride detector in a loud voice, George Weil, the only one on the floor, withdrew all but one of the control rods. At 10:37 Fermi ordered Weil to remove all but 13 feet (4.0 m) of the last control rod. Weil withdrew it 6 inches (15 cm) at a time, with measurements being taken at each step.The process was abruptly halted by the automatic control rod reinserting itself, due to its trip level being set too low. At 11:25, Fermi ordered the control rods reinserted. He then announced that it was lunch time.The experiment resumed at 14:00. Weil worked the final control rod while Fermi carefully monitored the neutron activity. Fermi announced that the pile had gone critical (reached a self-sustaining reaction) at 15:25. Fermi switched the scale on the recorder to accommodate the rapidly increasing electrical current from the boron trifluoride detector. He wanted to test the control circuits, but after 28 minutes, the alarm bells went off to notify everyone that the neutron flux had passed the preset safety level, and he ordered Zinn to release the zip. The reaction rapidly halted. The pile had run for about 4.5 minutes at about 0.5 watts. Wigner opened a bottle of Chianti, which they drank from paper cups.Compton notified Conant by telephone. The conversation was in an impromptu code:
Compton: The Italian navigator has landed in the New World.Conant: How were the natives?
Compton: Very friendly. 
Question: What is the first name of the person who worked the final control rod while Fermi carefully monitored the neutron activity?
Output: George.
Passage: World War II has ended and Major Larry Briggs finds out that his friend Captain Mike Perry has only two months to live due to a head injury. Larry and Sergeant Pete Rocco are determined to show Mike a good time before he dies. For a $10,000 fee, Larry takes a flying job working for Alex Maris, a profiteer. Everything is set until Maris' secretary, Susan Cleaver, shows up to board the aircraft. Mike falls for Susan and Larry convinces her to play along but she has fallen in love with Larry.
The first flight is disrupted by Maris arriving a half-hour late with the police right behind. Larry takes off but is forced to make an emergency landing after both engines fail. After checking into a small hotel, the Americans find Police Lieutenant Keon, who is shadowing them, believing that they are smugglers.
When Larry sees Mike falling for Susan, he wants the romance to end and despite her carrying $500,000 for Maris, Larry tells her to leave immediately. When Mike longs for Susan, Larry relents and blackmails her into seeing him or he will turn her into Keon. Sailing to Saigon on a boat, Larry tricks Keon by stowing the money away into an envelope he mails to himself, and throws all suspicion off Susan.
In reaching Saigon, Larry knows he has fallen in love with Susan even though Mike has proposed to her. At Susan's hotel, an enraged Maris and his valet Simon, hold Larry hostage, demanding the money that has been posted. Bursting in, Pete realizes what is happening, and fights with Simon, but both men fall off a balcony to their deaths. Susan has secretly arranged to retrieve the money from the post office, returning it to Maris. Mike and Larry confront him but in an exchange of gunfire, Mike and Maris are killed. After Mike's funeral, Larry and Susan start a new life together. 
Question: What rank was the man who fell off the balcony in Susan's hotel?
Output: Sergeant.