niryuu/sni-each-converted huggingface dataset:
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What is the title of the symphony that draws little on the folk-songs beloved by the composer?
Output: A Pastoral Symphony.
Passage: By 1978, the Steamtown Foundation had begun scouting for a new location for Steamtown, U.S.A.  Orlando and perhaps other locations in Florida were under consideration. In 1980, Ray Holland, the Chairman of the Board of Steamtown Foundation, resigned after accusing the board of incompetence.  His resignation was followed by that of Robert Barbera, a long-time director of the board.  In the year that followed, Steamtown did not run excursions.  Don Ball, Jr., had taken over direction of Steamtown by this time and discovered that the excursion train did not meet federal safety guidelines.  In 1981, despite its vast holdings of vintage railroad stock, Steamtown, U.S.A. had only 17,000 visitors, while Connecticut's Essex Valley Railroad, which ran two small engines, had 139,000 visitors. Even in its best year, 1973, the Vermont location had attracted only 65,000 visitors.Self-syndicated newspaper columnist Michael McManus once said that his goal in writing his weekly column was "to suggest answers to problems of the old industrial states." In March 1982 a substantial article by McManus appeared in the Bangor Daily News.  In the article, McManus proposed several reasons why a city, like Chicago, Pittsburgh, or Scranton might find the addition of a tourist attraction like Steamtown beneficial.  McManus went on to explain why the business was failing in Vermont.  Among the reasons the article gave for poor attendance at the Vermont site were: past failed management, an isolated location and the lack of signs on Interstate 91, which the state opposed. In addition to these problems, the roof of the largest storage shed on the site collapsed under heavy snow the previous winter, damaging several pieces of equipment. Among the injured were the Canadian Pacific Railway No. 1293 and the Meadow River Lumber Company No. 1 Shay (shown in the infobox). 
Question: In what state did Steamtown U.S.A opperate in 1978?
Output: Vermont.
Passage: Okereke has discussed a natural progression in Bloc Party's compositional style to a more explorative, electronic direction. For the opening track on Intimacy, "Ares", Okereke was inspired to rap his lyrics after listening to the old-school hip hop of Afrika Bambaataa. According to Heather Phares of AllMusic, the song includes siren-like guitar chords and loud, complex drumming in the vein of dance acts The Prodigy and The Chemical Brothers. "Mercury" continues the complex drumming theme by incorporating layered percussion and contains a vocally manipulated chorus. The track is an attempt at drum and bass and features brass dissonance, effects Okereke has called "harsh, glacial, layered and energetic". "Zephyrus" begins with a solitary vocal line accompanied only by a drum machine pattern, while the Exmoor Singers provide background vocals in the rest of the composition. "Signs" is the only song that does not include guitars; instead, it is made up of a synthesiser pulse and multitracked samples of glockenspiel and mbira resembling the work of minimalist composer Steve Reich.Okereke has conceded that Intimacy covers Bloc Party's typical indie rock elements, but noted that the guitars have an artificial and manipulated sound, "almost like all the humanity has been bleached out". "Halo" has a fast tempo coupled with a guitar melody that uses only four chords, while "Trojan Horse" features syncopated guitars and distortion. "Talons" also incorporates distortion from both lead and rhythm guitars, while the final single "One Month Off" consists of tribal rhythms and sixteenth note guitar riffs. "Biko" has a slower tempo and includes guitar arpeggi throughout, while "Ion Square" incorporates guitar overdubbing and the use of hi-hat patterns throughout. According to Nick Southall of Drowned in Sound, "Better Than Heaven" encapsulates what Bloc Party had been trying to achieve in their previous works, "namely aligning all their different directional desires: to swoon, to rock, and to experiment all at once". The track features broken beats and layered vocals. 
Question: What is the name of the track that features broken beats and layered vocals?
Output: Better Than Heaven.
Passage: The film begins with a mock newsreel sequence showing the chaos around the death of 31-year-old film star Rudolph Valentino. Thousands of fans mob the funeral home until order is restored, at which point the important women in Valentino's life come to mourn. Each remembers him via flashbacks.
The first of these women Bianca de Saulles who knew Valentino when he was a  taxi dancer, and gigolo in New York City. He shares with her his dream of owning an orange grove in California.  After mobsters rob him, he decides he must make the move west.  
Next is a young movie executive and screenwriter named June Mathis, who has an unrequited love for Valentino. She first meets Valentino in California, where he upsets Mr. Fatty by grabbing the starlet next to Arbuckle and romancing her into becoming his first wife, Jean Acker. Acker's glamorous and luxurious life, made possible by acting in movies, motivates Valentino to try acting himself. Mathis recalls seeing him in a bit part in a movie and, based on that alone, recommending him for a larger role in her next project, The Four Horsemen of the Apocalypse. The hugely successful 1921 film launches Valentino to superstardom, and she is proud to have discovered him.
Back at the funeral, Alla Nazimova makes a flamboyant entrance.  She proceeds to make a scene and, when the photographers ask her to repeat it for the cameras, she obliges.  Nazimova claims a relationship with Valentino and recalls working on Camille with him. 
Question: What was the full name of the person who was a gigolo in New York?
Output: Rudolph Valentino.
Passage: Rolling Stone described "Imagine" as Lennon's "greatest musical gift to the world", praising "the serene melody; the pillowy chord progression; [and] that beckoning, four-note [piano] figure". Robert Christgau called it "both a hymn for the Movement and a love song for his wife, celebrating a Yokoism and a Marcusianism simultaneously". Included in several song polls, in 1999, BMI named it one of the top 100 most-performed songs of the 20th century. Also that year, it received the Grammy Hall of Fame Award and an induction into the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. "Imagine" ranked number 23 in the list of best-selling singles of all time in the UK, in 2000. In 2002, a UK survey conducted by the Guinness World Records British Hit Singles Book ranked it the second best single of all time behind Queen's "Bohemian Rhapsody". Gold Radio ranked the song number three on its "Gold's greatest 1000 hits" list.Rolling Stone ranked "Imagine" number three on its list of "The 500 Greatest Songs of All Time", describing it as "an enduring hymn of solace and promise that has carried us through extreme grief, from the shock of Lennon's own death in 1980 to the unspeakable horror of September 11th. It is now impossible to imagine a world without 'Imagine', and we need it more than he ever dreamed." Despite that sentiment, Clear Channel Communications (now known today as iHeartMedia) included the song on its post-9/11 "do not play" list.On 1 January 2005, the Canadian Broadcasting Corporation named "Imagine" the greatest song in the past 100 years as voted by listeners on the show 50 Tracks. The song ranked number 30 on the Recording Industry Association of America's list of the 365 Songs of the Century bearing the most historical significance. Virgin Radio conducted a UK favourite song survey in December 2005, and listeners voted "Imagine" number one. Australians selected it the greatest song of all time on the Nine Network's 20 to 1 countdown show on 12 September 2006. They voted it eleventh in the youth radio network Triple J's Hottest 100 Of All Time on 11 July 2009. 
Question: What was the last name of the person who wrote Imagine as a love song for his wife?
Output: Lennon.
Passage: In Edwardian Britain, Helen Schlegel becomes engaged to Paul Wilcox during a moment of passion, while she is staying at the country home of the Wilcox family, Howards End. The Schlegels are an intellectual family of Anglo-German bourgeoisie, while the Wilcoxes are conservative and wealthy, led by hard-headed businessman Henry. Helen and Paul quickly decide against the engagement, but Helen has already sent a telegram informing her sister Margaret, which causes an uproar when the sisters' Aunt Juley arrives and causes a scene.
Months later, when the Wilcox family takes a flat across the street from the Schlegels in London, Margaret resumes her acquaintance with Ruth Wilcox, whom she had briefly met before. Ruth is descended from English yeoman stock, and it is through her family that the Wilcoxes have come to own Howards End, a house she loves dearly.
Over the course of the next few months, the two women become very good friends, even as Mrs. Wilcox's health declines. Hearing that the lease on the Schlegels' house is due to expire, Ruth on her death bed bequeaths Howards End to Margaret. This causes great consternation to the Wilcoxes, who refuse to believe that Ruth was in her "right mind" or could possibly have intended her home to go to a relative stranger. The Wilcoxes burn the piece of paper on which Ruth's bequest is written, deciding to ignore it completely.
Henry Wilcox, Ruth's widower, begins to develop an attraction to Margaret, and agrees to assist her in finding a new home. Eventually he proposes marriage, which Margaret accepts. 
Question: Who was the man that ends up proposing to Margaret married to?
Output: Ruth.
Passage: Marcel Marnat's catalogue of Ravel's complete works lists eighty-five works, including many incomplete or abandoned. Though that total is small in comparison with the output of his major contemporaries, it is nevertheless inflated by Ravel's frequent practice of writing works for piano and later rewriting them as independent pieces for orchestra. The performable body of works numbers about sixty; slightly more than half are instrumental. Ravel's music includes pieces for piano, chamber music, two piano concerti, ballet music, opera, and song cycles. He wrote no symphonies or church works.Ravel drew on many generations of French composers from Couperin and Rameau to Fauré and the more recent innovations of Satie and Debussy. Foreign influences include Mozart, Schubert, Liszt and Chopin. He considered himself in many ways a classicist, often using traditional structures and forms, such as the ternary, to present his new melodic and rhythmic content and innovative harmonies. The influence of jazz on his later music is heard within conventional classical structures in the Piano Concerto and the Violin Sonata.
Ravel placed high importance on melody, telling Vaughan Williams that there is "an implied melodic outline in all vital music". His themes are frequently modal instead of using the familiar major or minor scales. As a result, there are few leading notes in his output. Chords of the ninth and eleventh and unresolved appoggiaturas, such as those in the Valses nobles et sentimentales, are characteristic of Ravel's harmonic language.Dance forms appealed to Ravel, most famously the bolero and pavane, but also the minuet, forlane, rigaudon, waltz, czardas, habanera and passacaglia. National and regional consciousness was important to him, and although a planned concerto on Basque themes never materialised, his works include allusions to Hebraic, Greek, Hungarian and gypsy themes. He wrote several short pieces paying tribute to composers he admired – Borodin, Chabrier, Fauré and Haydn, interpreting their characteristics in a Ravellian style. Another important influence was literary rather than musical: Ravel said that he learnt from Poe that "true art is a perfect balance between pure intellect and emotion", with the corollary that a piece of music should be a perfectly balanced entity with no irrelevant material allowed to intrude. 
Question: What is the name of the person whose themes are frequently modal instead of using the familiar major or minor scales?
Output: Ravel.
Passage: Although the publicity generated by Five Leaves Left was minor, Boyd was keen to build on what momentum there was. Drake's second album, 1971's Bryter Layter, again produced by Boyd and engineered by John Wood, introduced a more upbeat, jazzier sound.Disappointed by his debut's poor commercial performance, Drake sought to move away from his pastoral sound, and agreed to Boyd's suggestions to include bass and drum tracks. "It was more of a pop sound, I suppose," Boyd later said. "I imagined it as more commercial." Like its predecessor, the album featured musicians from Fairport Convention, as well as contributions from John Cale on two songs: "Northern Sky" and "Fly". Trevor Dann noted that while sections of "Northern Sky" sound more characteristic of Cale, the song was the closest Drake came to a release with chart potential. Cale used heroin during this period, and his older friend Brian Wells suspected that Drake was also using.Boyd and Wood were confident that Bryter Layter would be a success, but it sold fewer than 3,000 copies. Reviews were again mixed: while Record Mirror praised Drake as a "beautiful guitarist—clean and with perfect timing, [and] accompanied by soft, beautiful arrangements", Melody Maker described the album as "an awkward mix of folk and cocktail jazz".Soon after its release, Boyd sold Witchseason to Island Records, and moved to Los Angeles to work with Warner Brothers to develop film soundtracks. The loss of his mentor, coupled with the album's poor sales, led Drake into further depression. His attitude to London had changed: he was unhappy living alone, and visibly nervous and uncomfortable performing at a series of concerts in early 1970. In June, Drake gave one of his final live appearances at Ewell Technical College, Surrey. Ralph McTell, who also performed that night, remembered: "Nick was monosyllabic. At that particular gig he was very shy. He did the first set and something awful must have happened. He was doing his song 'Fruit Tree' and walked off halfway through it."In 1971, Drake's family persuaded him to visit a psychiatrist at St Thomas's Hospital, London. He was prescribed antidepressants, but felt uncomfortable and embarrassed about taking them, and tried to hide the fact from his friends. He worried about their side effects and was concerned about how they would react with his regular cannabis use.Island Records urged Drake to promote Bryter Layter through interviews, radio sessions and live appearances. Drake, who by this time was smoking what Kirby described as "unbelievable amounts" of cannabis and exhibiting "the first signs of psychosis", refused. Disappointed by the reaction to Bryter Layter, he turned his thoughts inwards, and withdrew from family and friends. He rarely left his flat, and then only to play an occasional concert or to buy drugs. His sister recalled: "This was a very bad time. He once said to me that everything started to go wrong from [this] time on, and I think that was when things started to go wrong.". 
Question: What is the first name of the person parts of "Northern Sky" sounded more characteristic of?
Output: John.
Passage: As the national media descended on Beach Haven, Spring Lake, and Matawan, the Jersey Shore attacks started a shark panic. According to Capuzzo, this panic was "unrivaled in American history," "sweeping along the coasts of New York and New Jersey and spreading by telephone and wireless, letter and postcard." At first, after the Beach Haven incident, scientists and the press reluctantly blamed the death of Charles Vansant on a shark. The New York Times reported that Vansant "was badly bitten in the surf ... by a fish, presumably a shark." Still, State Fish Commissioner of Pennsylvania and former director of the Philadelphia Aquarium James M. Meehan asserted in the Philadelphia Public Ledger that the shark was preying on the dog, but bit Vansant by mistake. He specifically de-emphasized the threat sharks posed to humans:
Despite the death of Charles Vansant and the report that two sharks having been caught in that vicinity recently, I do not believe there is any reason why people should hesitate to go in swimming at the beaches for fear of man-eaters. The information in regard to the sharks is indefinite and I hardly believe that Vansant was bitten by a man-eater. Vansant was in the surf playing with a dog and it may be that a small shark had drifted in at high water, and was marooned by the tide. Being unable to move quickly and without food, he had come in to bite the dog and snapped at the man in passing.
The media's response to the second attack was more sensational. Major American newspapers such as the Boston Herald, Chicago Sun-Times, The Philadelphia Inquirer, The Washington Post and San Francisco Chronicle placed the story on the front page. The New York Times' headline read, "Shark Kills Bather Off Jersey Beach". The growing panic had cost New Jersey resort owners an estimated $250,000 ($5,800,000 in 2018) in lost tourism, and sun bathing had declined by 75 percent in some areas. A press conference was convened on July 8, 1916, at the American Museum of Natural History with scientists Frederic Augustus Lucas, John Treadwell Nichols, and Robert Cushman Murphy as panelists. To calm the growing panic, the three men stressed that a third run in with a shark was unlikely, although they were admittedly surprised that sharks bit anyone at all. Nevertheless, Nichols—the only ichthyologist in the trio—warned swimmers to stay close to shore and to take advantage of the netted bathing areas installed at public beaches after the first attack. 
Question: What are the full names of the people who stressed that a third run in with a shark was unlikely?
Output: Frederic Augustus Lucas.
Passage: As the national media descended on Beach Haven, Spring Lake, and Matawan, the Jersey Shore attacks started a shark panic. According to Capuzzo, this panic was "unrivaled in American history," "sweeping along the coasts of New York and New Jersey and spreading by telephone and wireless, letter and postcard." At first, after the Beach Haven incident, scientists and the press reluctantly blamed the death of Charles Vansant on a shark. The New York Times reported that Vansant "was badly bitten in the surf ... by a fish, presumably a shark." Still, State Fish Commissioner of Pennsylvania and former director of the Philadelphia Aquarium James M. Meehan asserted in the Philadelphia Public Ledger that the shark was preying on the dog, but bit Vansant by mistake. He specifically de-emphasized the threat sharks posed to humans:
Despite the death of Charles Vansant and the report that two sharks having been caught in that vicinity recently, I do not believe there is any reason why people should hesitate to go in swimming at the beaches for fear of man-eaters. The information in regard to the sharks is indefinite and I hardly believe that Vansant was bitten by a man-eater. Vansant was in the surf playing with a dog and it may be that a small shark had drifted in at high water, and was marooned by the tide. Being unable to move quickly and without food, he had come in to bite the dog and snapped at the man in passing.
The media's response to the second attack was more sensational. Major American newspapers such as the Boston Herald, Chicago Sun-Times, The Philadelphia Inquirer, The Washington Post and San Francisco Chronicle placed the story on the front page. The New York Times' headline read, "Shark Kills Bather Off Jersey Beach". The growing panic had cost New Jersey resort owners an estimated $250,000 ($5,800,000 in 2018) in lost tourism, and sun bathing had declined by 75 percent in some areas. A press conference was convened on July 8, 1916, at the American Museum of Natural History with scientists Frederic Augustus Lucas, John Treadwell Nichols, and Robert Cushman Murphy as panelists. To calm the growing panic, the three men stressed that a third run in with a shark was unlikely, although they were admittedly surprised that sharks bit anyone at all. Nevertheless, Nichols—the only ichthyologist in the trio—warned swimmers to stay close to shore and to take advantage of the netted bathing areas installed at public beaches after the first attack. 
Question: What are the full names of the people who stressed that a third run in with a shark was unlikely?
Output: John Treadwell Nichols.
Passage: As the national media descended on Beach Haven, Spring Lake, and Matawan, the Jersey Shore attacks started a shark panic. According to Capuzzo, this panic was "unrivaled in American history," "sweeping along the coasts of New York and New Jersey and spreading by telephone and wireless, letter and postcard." At first, after the Beach Haven incident, scientists and the press reluctantly blamed the death of Charles Vansant on a shark. The New York Times reported that Vansant "was badly bitten in the surf ... by a fish, presumably a shark." Still, State Fish Commissioner of Pennsylvania and former director of the Philadelphia Aquarium James M. Meehan asserted in the Philadelphia Public Ledger that the shark was preying on the dog, but bit Vansant by mistake. He specifically de-emphasized the threat sharks posed to humans:
Despite the death of Charles Vansant and the report that two sharks having been caught in that vicinity recently, I do not believe there is any reason why people should hesitate to go in swimming at the beaches for fear of man-eaters. The information in regard to the sharks is indefinite and I hardly believe that Vansant was bitten by a man-eater. Vansant was in the surf playing with a dog and it may be that a small shark had drifted in at high water, and was marooned by the tide. Being unable to move quickly and without food, he had come in to bite the dog and snapped at the man in passing.
The media's response to the second attack was more sensational. Major American newspapers such as the Boston Herald, Chicago Sun-Times, The Philadelphia Inquirer, The Washington Post and San Francisco Chronicle placed the story on the front page. The New York Times' headline read, "Shark Kills Bather Off Jersey Beach". The growing panic had cost New Jersey resort owners an estimated $250,000 ($5,800,000 in 2018) in lost tourism, and sun bathing had declined by 75 percent in some areas. A press conference was convened on July 8, 1916, at the American Museum of Natural History with scientists Frederic Augustus Lucas, John Treadwell Nichols, and Robert Cushman Murphy as panelists. To calm the growing panic, the three men stressed that a third run in with a shark was unlikely, although they were admittedly surprised that sharks bit anyone at all. Nevertheless, Nichols—the only ichthyologist in the trio—warned swimmers to stay close to shore and to take advantage of the netted bathing areas installed at public beaches after the first attack. 
Question: What are the full names of the people who stressed that a third run in with a shark was unlikely?
Output: Robert Cushman Murphy.
Passage: A woman's dead body is shown in a cluster of lantana bushes. 
Leon, a police officer, and Jane, have sex in a motel room. They part ways, and Leon and his wife, Sonja, attend Latin dance classes that the recently separated Jane is also taking.
Leon does not enjoy the classes. He is seen savagely beating a drug dealer during a bust. He has emotional issues but refuses to confront or admit to them. Sonja sees a therapist, Valerie, who has just published a book on her own daughter's murder 18 months ago. She and her husband, John, are barely on speaking terms; he later refers to their marriage as held together by their grief. She feels threatened by another patient, Patrick Phelan, who is having an affair with a married man, which forces Valerie to confront her own issues in her marriage to John.
Hoping to see Leon again, Jane purposely bumps into him outside the police station, and they have sex again despite Leon's reservations. Nik is upset that she is seeing someone because he is friends with her estranged husband, Pete, who wants to return home. Jane pairs up with Sonja in the next salsa class, which angers Leon, who ends their arrangement, which upsets Jane. She invites Nik over for coffee at the behest of Paula, with whom she is friendly and offers him money as they are struggling. Paula now starts to dislike Jane.
Valerie is coming home late one night and drives off the road. She is stranded and makes several calls to John, who does not answer. Finally, she is seen approaching a car coming along the road but never makes it home. Leon is the investigating detective on the case and looks into her office and notes.  Surprised at seeing his wife's name and file, he takes an audio recording of their sessions. 
Question: Whose disappearance is Leon investigating when he finds tapes of his wife's therapy sessions?
Output: Valerie.
Passage: The audience response at Presley's live shows became increasingly fevered. Moore recalled, "He'd start out, 'You ain't nothin' but a Hound Dog,' and they'd just go to pieces. They'd always react the same way. There'd be a riot every time." At the two concerts he performed in September at the Mississippi–Alabama Fair and Dairy Show, 50 National Guardsmen were added to the police security to ensure that the crowd would not cause a ruckus. Elvis, Presley's second album, was released in October and quickly rose to number one on the billboard. The album includes "Old Shep", which he sang at the talent show in 1945, and which now marked the first time he played piano on an RCA session. According to Guralnick, one can hear "in the halting chords and the somewhat stumbling rhythm both the unmistakable emotion and the equally unmistakable valuing of emotion over technique." Assessing the musical and cultural impact of Presley's recordings from "That's All Right" through Elvis, rock critic Dave Marsh wrote that "these records, more than any others, contain the seeds of what rock & roll was, has been and most likely what it may foreseeably become."Presley returned to the Sullivan show at its main studio in New York, hosted this time by its namesake, on October 28. After the performance, crowds in Nashville and St. Louis burned him in effigy. His first motion picture, Love Me Tender, was released on November 21. Though he was not top billed, the film's original title—The Reno Brothers—was changed to capitalize on his latest number-one record: "Love Me Tender" had hit the top of the charts earlier that month. To further take advantage of Presley's popularity, four musical numbers were added to what was originally a straight acting role. The film was panned by the critics but did very well at the box office. Presley would receive top billing on every subsequent film he made.On December 4, Presley dropped into Sun Records where Carl Perkins and Jerry Lee Lewis were recording and had an impromptu jam session, along with Johnny Cash. Though Phillips no longer had the right to release any Presley material, he made sure that the session was captured on tape. The results, none officially released for 25 years, became known as the "Million Dollar Quartet" recordings. The year ended with a front-page story in The Wall Street Journal reporting that Presley merchandise had brought in $22 million on top of his record sales, and Billboard's declaration that he had placed more songs in the top 100 than any other artist since records were first charted. In his first full year at RCA, one of the music industry's largest companies, Presley had accounted for over 50 percent of the label's singles sales. 
Question: What month did Love Me Tender reach number one on the charts?
Output: November.
Passage: A Drax Industries Moonraker space shuttle on loan to the United Kingdom is hijacked in midair. M, head of MI6, assigns James Bond, Agent 007, to investigate. En route to England, Bond is attacked by the Apollo jet crew and pushed out of the plane by the mercenary assassin Jaws. He survives by stealing a parachute from the pilot, whilst Jaws lands on a trapeze net within a circus tent.
At the Drax Industries shuttle-manufacturing complex in California, Bond meets the owner of the company, Hugo Drax, and his henchman Chang. Bond also meets Dr. Holly Goodhead, an astronaut, and he then survives an assassination attempt while inside a centrifuge chamber. Drax's personal pilot, Corinne Dufour, helps Bond find blueprints for a glass vial made in Venice; Drax discovers her involvement and has her killed by his pet dogs. 
Bond again encounters Goodhead in Venice and observes her snooping around a door near the glass factory. Then he is chased through the canals by Drax's henchmen. He returns to the factory at night to check the door out, and discovers a secret biological laboratory, and learns that the glass vials are to hold a nerve gas deadly to humans, but harmless to animals. Chang attacks Bond, but Bond hurls him through the stained glass clockface of the Saint Mark's clocktower, killing him; during the fight, Bond finds evidence that Drax is moving his operation to Rio de Janeiro. Rejoining Goodhead, he deduces that she is a CIA agent spying on Drax. Bond has saved one of the vials he found earlier, as the only evidence of the now-empty laboratory; he gives it to M for analysis, who permits him to go to Rio de Janeiro under the pretence of being on leave. 
Question: What is the last name of the person who survives by stealing a parachute from the pilot?
Output: Bond.
Passage: In a letter to his friend and landlord Johann Lorenz Hagenauer (1712–1792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possible—the younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitals—Leopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God. 
Question: What is the last name of the person who was relying on his professional musical network?
Output: Mozart.
Passage: At 09:30 on 2 May, Oan appeared at the first-floor window of the embassy to demand access to the telex system, which the police had disabled along with the telephone lines, and threatened to kill Abdul Fazi Ezzati, the cultural attaché. The police refused and Oan pushed Ezzati, who he had been holding at gunpoint at the window, across the room, before demanding to speak to somebody from the BBC who knew Sim Harris. The police, relieved to have a demand to which they could easily agree, produced Tony Crabb, managing director of BBC Television News and Harris's boss. Oan shouted his demands; for safe passage out of the UK, to be negotiated by three ambassadors from Arab countries, to Crabb from the first-floor window, and instructed that they should be broadcast along with a statement of the hostage-takers' aims by the BBC. The Foreign and Commonwealth Office informally approached the embassies of Algeria, Jordan, Kuwait, Lebanon, Syria and Qatar to ask if their ambassadors would be willing to talk to the hostage-takers. The Jordanian ambassador immediately refused and the other five said they would consult their governments. The BBC broadcast the statement that evening, but in a form unsatisfactory to Oan, who considered it to be truncated and incorrect.Meanwhile, the police located the embassy caretaker and took him to their forward headquarters to brief the SAS and senior police officers. He informed them that the embassy's front door was reinforced by a steel security door, and that the windows on the ground floor and first floor were fitted with armoured glass, the result of recommendations made after the SAS had been asked to review security arrangements for the embassy several years earlier. Plans for entering the embassy by battering the front door and ground-floor windows were quickly scrapped and work began on other ideas. 
Question: Who informed police that the embassy's front door was reinforced by a steel security door, and that the windows on the ground floor and first floor were fitted with armoured glass?
Output: the embassy caretaker.
Passage: A group of teenagers verging on adulthood are to spend a year in a remote village in Indonesia, learning to live on the same terms as the people in that village. Their teacher is going along as well, but he decides to make a little extra money along the way: he cancels out on their scheduled transport to the village's nearest airport and hires a decrepit plane and its pilot, who's seen better days for his income. The deal is that the pilot will make out the receipt for a higher amount than the teacher actually pays.
The pilot, in turn, makes a deal with drug dealers to make a delivery, so when the plane takes off with the students aboard and the teacher in the co-pilot's seat, it isn't flying the direction the teacher and the students require to get to their destination. The plane has mechanical troubles, and lands in the water near an island while the pilot checks it out. He informs the teacher that he'll have to return to an airport for repairs, and teacher says he's going along to make sure the pilot returns. That leaves the students on the island.
While they wait, some of them explore, but one dies in the rising tide after a rock traps his foot against another rock. As night approaches, they decide to leave the beach and find a better campsite. They leave a note for the pilot and teacher that they'll listen for the plane. Meanwhile, the plane is having even more mechanical problems, as the pilot gives a grim comment to the teacher.
Many of them quickly discover they need a leader to make decisions and serve as arbiter in disagreements. Having accepted one boy, they then decide on some rules, such as lavatory rules.
Some days later, the airplane is spotted next to the shore of the island. The leader leads them cross-country to the plane to check it out, and he briefly gets caught in quicksand and panics, but is extricated without threat to his life, although a passing snake rubbing behind him freaks him out. 
Question: What is the position of the person that gets caught in quicksand?
Output: The leader.
Passage: The pay-what-you-want release, the first for a major act, made headlines worldwide and sparked debate about the implications for the music industry. According to Mojo, the release was "hailed as a revolution in the way major bands sell their music", and the media's reaction was "almost overwhelmingly positive". Time called it "easily the most important release in the recent history of the music business" and Jon Pareles of The New York Times wrote that "for the beleaguered recording business Radiohead has put in motion the most audacious experiment in years". The NME wrote that "the music world seemed to judder several rimes off its axis", and praised the fact that everyone, from fans to critics, had access to the album at the same time on release day: "the kind of moment of togetherness you don’t get very often." Singer Bono of U2 praised Radiohead as "courageous and imaginative in trying to figure out some new relationship with their audience".The release also drew criticism. Trent Reznor of Nine Inch Nails thought it did not go far enough, calling it "very much a bait and switch, to get you to pay for a Myspace-quality stream as a way to promote a very traditional record sale". Reznor independently released his sixth album Ghosts I-IV under a Creative Commons licence the following year. Singer Lily Allen called the release "arrogant", saying: "[Radiohead have] millions of pounds. It sends a weird message to younger bands who haven't done as well. You don't choose how to pay for eggs. Why should it be different for music?" In the Guardian, journalist Will Hodgkinson wrote that Radiohead had made it impossible for less successful musicians to compete and make a living from their music. Kim Gordon of Sonic Youth told the Guardian the release "seemed really community-oriented, but it wasn't catered towards their musician brothers and sisters, who don’t sell as many records as them. It makes everyone else look bad for not offering their music for whatever."Radiohead's managers defended the release as "a solution for Radiohead, not the industry", and doubted "it would work the same way [for Radiohead] ever again". Radiohead have not used the pay-what-you-want system for subsequent releases. In February 2013, Yorke told the Guardian that though Radiohead had hoped to subvert the corporate music industry with In Rainbows, he feared they had instead played into the hands of content providers such as Apple and Google: "They have to keep commodifying things to keep the share price up, but in doing so they have made all content, including music and newspapers, worthless, in order to make their billions. And this is what we want?". 
Question: What companies possibly benefited from the band who was called "arrogant" by Lily Allen decision to subvert the corporate music industry?
Output: Google.
Passage: The pay-what-you-want release, the first for a major act, made headlines worldwide and sparked debate about the implications for the music industry. According to Mojo, the release was "hailed as a revolution in the way major bands sell their music", and the media's reaction was "almost overwhelmingly positive". Time called it "easily the most important release in the recent history of the music business" and Jon Pareles of The New York Times wrote that "for the beleaguered recording business Radiohead has put in motion the most audacious experiment in years". The NME wrote that "the music world seemed to judder several rimes off its axis", and praised the fact that everyone, from fans to critics, had access to the album at the same time on release day: "the kind of moment of togetherness you don’t get very often." Singer Bono of U2 praised Radiohead as "courageous and imaginative in trying to figure out some new relationship with their audience".The release also drew criticism. Trent Reznor of Nine Inch Nails thought it did not go far enough, calling it "very much a bait and switch, to get you to pay for a Myspace-quality stream as a way to promote a very traditional record sale". Reznor independently released his sixth album Ghosts I-IV under a Creative Commons licence the following year. Singer Lily Allen called the release "arrogant", saying: "[Radiohead have] millions of pounds. It sends a weird message to younger bands who haven't done as well. You don't choose how to pay for eggs. Why should it be different for music?" In the Guardian, journalist Will Hodgkinson wrote that Radiohead had made it impossible for less successful musicians to compete and make a living from their music. Kim Gordon of Sonic Youth told the Guardian the release "seemed really community-oriented, but it wasn't catered towards their musician brothers and sisters, who don’t sell as many records as them. It makes everyone else look bad for not offering their music for whatever."Radiohead's managers defended the release as "a solution for Radiohead, not the industry", and doubted "it would work the same way [for Radiohead] ever again". Radiohead have not used the pay-what-you-want system for subsequent releases. In February 2013, Yorke told the Guardian that though Radiohead had hoped to subvert the corporate music industry with In Rainbows, he feared they had instead played into the hands of content providers such as Apple and Google: "They have to keep commodifying things to keep the share price up, but in doing so they have made all content, including music and newspapers, worthless, in order to make their billions. And this is what we want?". 
Question: What companies possibly benefited from the band who was called "arrogant" by Lily Allen decision to subvert the corporate music industry?
Output: Apple.
Passage: William Hulton, the chairman of the magistrates watching from the house on the edge of St Peter's Field, saw the enthusiastic reception that Hunt received on his arrival at the assembly, and it encouraged him to action. He issued an arrest warrant for Henry Hunt, Joseph Johnson, John Knight, and James Moorhouse. On being handed the warrant the Constable, Jonathan Andrews, offered his opinion that the press of the crowd surrounding the hustings would make military assistance necessary for its execution. Hulton then wrote two letters, one to Major Thomas Trafford, the commanding officer of the Manchester and Salford Yeomanry Cavalry, and the other to the overall military commander in Manchester, Lieutenant Colonel Guy L'Estrange. The contents of both notes were similar:
Sir, as chairman of the select committee of magistrates, I request you to proceed immediately to no. 6 Mount Street, where the magistrates are assembled. They consider the Civil Power wholly inadequate to preserve the peace. I have the honour, & c. Wm. Hulton.
The notes were handed to two horsemen who were standing by. The Manchester and Salford Yeomanry were stationed just a short distance away in Portland Street, and so received their note first. They immediately drew their swords and galloped towards St Peter's Field. One trooper, in a frantic attempt to catch up, knocked down a woman in Cooper Street, causing the death of her son when he was thrown from her arms; two-year-old William Fildes was the first casualty of Peterloo.Sixty cavalrymen of the Manchester and Salford Yeomanry, led by Captain Hugh Hornby Birley, a local factory owner, arrived at the house from where the magistrates were watching; some reports allege that they were drunk. Andrews, the Chief Constable, instructed Birley that he had an arrest warrant which he needed assistance to execute. Birley was asked to take his cavalry to the hustings to allow the speakers to be removed; it was by then about 1:40 pm.
The route towards the hustings between the special constables was narrow, and as the inexperienced horses were thrust further and further into the crowd they reared and plunged as people tried to get out of their way. The arrest warrant had been given to the Deputy Constable, Joseph Nadin, who followed behind the yeomanry. As the cavalry pushed towards the speakers' stand they became stuck in the crowd, and in panic started to hack about them with their sabres. On his arrival at the stand Nadin arrested Hunt, Johnson and a number of others including John Tyas, the reporter from The Times. Their mission to execute the arrest warrant having been achieved, the yeomanry set about destroying the banners and flags on the stand. According to Tyas, the yeomanry then attempted to reach flags in the crowd "cutting most indiscriminately to the right and to the left to get at them" – only then (said Tyas) were brickbats thrown at the military: "From this point the Manchester and Salford Yeomanry lost all command of temper". 
Question: What are the first names of the three people listed that Nadin arrested?
Output: Henry.