niryuu/sni-each-converted huggingface dataset:
Passage: At last, the newly crowned King of Denmark, Edvard, and his wife and Queen, Dr. Paige Morgan, find time to fly to Belavia for their secret honeymoon. They spend their Christmas holidays at a ski resort, but as they take a tour of Belavia's natural beauty, Eddie and Paige discover that the evil Prime Minister Polonius  has given orders to bulldoze the precious forests to drill for oil. Paige and Eddie decide they must do everything they can to save the forest, even if it means putting aside their honeymoon. Then, the couple bump into Paige's ex-boyfriend, Scott, a journalist. Eddie immediately becomes jealous. Even though Edvard suspects Scott cannot be trusted, Eddie and Paige ask him for help with the media to try and stop the minister's evil plans. Scott, however, is being controlled by the evil minister, who tells him to spy on the couple. Scott tries to back out, but fails. Eddie tries to get an audience with the prince of Belavia, but fails, so he and Paige go to the Holiday Ball. Meanwhile, Scott tries to kiss Paige and says he is sorry he let her go. Disgusted, Paige walks away and goes to find Eddie, only to find him drunk. 
Question: What is Paige's husband's nickname?
Output: Eddie.
Passage: Bud Doyle is a jockey who has discovered the secret to get his favorite mount, Six-Shooter, to boost his performance. If he simply chants the phrase, "Whoop-te-doo", the horse responds with a burst of speed. There is a special bond between the jockey and his mount, but there is increasing tension between Doyle and the horse's owner, Pop Blake (who also raised Doyle), over Doyle's relationship with local singer Babe Ellis. Blake sees Ellis as a distraction prior to the upcoming big race, the Camden Stakes.
The owner of the club where Babe sings, Wally Weber, has his eyes on his horse winning the Camden Stakes. When the issues between Pop and Doyle come to a head, Pop tells Doyle that he has to choose: either he stops seeing Babe, or he'll be replaced as Six-Shooter's jockey in the big race. Angry and frustrated, Doyle quits. Weber approaches him to become the jockey for Rose Dawn, Weber's horse, and Doyle agrees, with the precondition that he not ride Royal Dawn in the Camden Stakes, for he wants Six-Shooter to still win the race.  Weber accedes to that one precondition, however, on the day of the race, he makes it clear that Doyle is under contract, and that he will ride Rose Dawn in the race.
Upset, Doyle has no choice but to ride Rose Dawn.  However, during the race, he manages to chant his signature "Whoop-te-doo" to Six-Shooter, causing his old mount to win the race. Furious that his horse lost, Weber goes to the judges, who rule that Doyle threw the race, pulling back on Rose Dawn, to allow Six-Shooter to win, and suspend Doyle from horse-racing. 
Question: What is the last name of the person who must stop seeing Babe or he'll be replaced as a jockey?
Output: Doyle.
Passage: The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to Marie Roze, well known for previous triumphs at the Opéra-Comique, the Opéra and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to Célestine Galli-Marié, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal.The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the Covent Garden premiere of Les pêcheurs de perles. Jacques Bouhy, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's Faust and as Mozart's Figaro. Marguerite Chapuy, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's Theatre Royal, Drury Lane; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return. 
Question: What is the last name of the person who refused the part when she learned that she would be required to die on stage?
Output: Roze.
Passage: After the conquest of Bulgaria, Basil II prevented revolts by retaining the rule of local nobility and relieving their lands of the obligation to pay taxes in gold, allowing tax in kind instead. The Bulgarian Patriarchate was reduced to an archbishopric, but retained its autocephalous status and its dioceses. Byzantine domestic policies changed after Basil's death and a series of unsuccessful rebellions broke out, the largest being led by Peter Delyan. In 1185 Asen dynasty nobles Ivan Asen I and Peter IV organized a major uprising which resulted in the re-establishment of the Bulgarian state. Ivan Asen and Peter laid the foundations of the Second Bulgarian Empire with Tarnovo as the capital.
Kaloyan, the third of the Asen monarchs, extended his dominion to Belgrade and Ohrid. He acknowledged the spiritual supremacy of the pope and received a royal crown from a papal legate. The empire reached its zenith under Ivan Asen II (1218–1241), when its borders expanded as far as the coast of Albania, Serbia and Epirus, while commerce and culture flourished. Ivan Asen's rule was also marked by a shift away from Rome in religious matters.The Asen dynasty became extinct in 1257. Internal conflicts and incessant Byzantine and Hungarian attacks followed, enabling the Mongols to establish suzerainty over the weakened Bulgarian state. In 1277, swineherd Ivaylo led a great peasant revolt that chased the Mongols out of Bulgaria and briefly made him emperor. He was overthrown in 1280 by the feudal landlords, whose factional conflicts caused the Second Bulgarian Empire to disintegrate into small feudal dominions by the 14th century. These fragmented rump states—two tsardoms at Vidin and Tarnovo and the Despotate of Dobrudzha—became easy prey for a new threat arriving from the Southeast: the Ottoman Turks. 
Question: What ruler was overthrown by a group whose factional conflicts caused the Second Bulgarian Empire to disintegrate?
Output: Ivaylo.
Passage: Idaho police officer Hal Jackson arrives at the funeral for young Frank Dixon, Jr., who has died in a car accident. Hal, a friend of the Dixon family, does not go inside, feeling it would be too difficult to take. Hal finds it hard to believe that, only a few days ago, the Dixons were a relatively regular family. In flashback, he recounts what led to Frank Jr.'s death. Frank Jr. has returned home for the summer to aid his father, Frank Sr. (Harold Agee), on the family farm. He also visits his girlfriend Betty Hutchins. When Frank Sr.'s new tractor arrives at the local train station, Frank Jr.'s brother Alan wishes to drive it, having recently taken a driver's test. His father disallows it, so Frank Jr. drives it home.
The next day, Alan discovers that his license has arrived in the mail. Ecstatic, he wishes to drive immediately, asking his family members if they need help with any errands. Later, Hal shows up at the Dixon home. Knowing that Alan's license had been scheduled to arrive, he begins to talk to Alan, telling him about things he should know in order to be able to drive safely. As he finishes giving the advice, Frank Jr. and Betty return home. Alan asks his father if he can drive the car into town. His father lets him, and Frank Jr. and Betty agree to go with him to make sure he arrives safely. 
Question: What is the first name of the person who is giving Alan driving safety tips?
Output: Hal.
Passage: The interior and exterior of Literary Hall remain largely intact. At two stories, the building is tall in its proportion and incorporates elements from both early American and Victorian styles, which were common in academic buildings built during this period.Architectural historian S. Allen Chambers described Literary Hall as an anomaly because the basic design and fenestration patterns, which invoke early Federal and Greek Revival design elements, are adorned with details more characteristic of the Victorian era.According to architectural historian Michael J. Pauley of the West Virginia Department of Culture and History's Historic Preservation Unit, Literary Hall's unique structural features make the building "one of Romney's and Hampshire County's most notable landmarks, and one in which this community is justifiably proud". Pauley further averred that the building is "highly representative of the development of education and literature in the early United States". In describing its impact on Romney's streetscape, Chambers described Literary Hall as "adding distinction to Romney's major street intersection". Chambers also noted the building's resemblance and "strong architectural kinship" to the Romney Presbyterian Church.Literary Hall is a two-story red brick structure, rectangular in plan, and topped with a gable roof. The first floor of Literary Hall consists of four rooms, and the second story is a single large ballroom. Fused with symmetrical elements evoking Federal and Greek Revival architectural styles are exterior decorative moldings and brick corbeling in the Victorian style. 
Question: What is the full name of the person who noted the building's resemblance and "strong architectural kinship" to the Romney Presbyterian Church?
Output: S. Allen Chambers.
Passage: Dr. Donald Blake, a science professor at Dunsford University, receives delivery of a coelacanth. A student, Jimmy, asks Blake if the fish is really a million years old. Blake replies, "It's the species that's old. No change in millions of years. See, the coelacanth is a living fossil, immune to the forces of evolution". Blake lectures his students about evolution and devolution, telling them that man is the only creature that can decide whether to move forwards or backwards, and that "unless we learn to control the instincts we've inherited from our ape-like ancestors, the race is doomed".
Inside the lab, Blake scratches himself on its teeth of the Partially-thawed coelacanth, accidentally sticking his bloody hand into the water-filled container which held the fish. Molly Riordan, assistant to Dr. Cole Oliver, is with Blake and offers him a ride home. When they get to Molly's car, Blake says he doesn't feel well and passes out.
At Blake's home, Molly is attacked by person or persons unknown. Madeline Howard, Blake's fiancee and daughter of Dr. Gilbert Howard, president of the university, arrives and finds the home in shambles and Blake moaning on the ground. Madeline calls the police after seeing Molly hanging by her hair in a tree, her eyes wide, dead.
Detective Lt. Mike Stevens and Detective Sgt. Eddie Daniels find a huge "deformed" hand print on a window and Blake's tie clasp in Molly's dead hand. They take Blake downtown when he admits that he can't remember anything after getting into Molly's car.
Stevens releases Blake after concluding that someone is holding a grudge and trying to implicate Blake in Molly's murder. He assigns Daniels as Blake's bodyguard and tells Blake that Molly's autopsy showed she died of fright. 
Question: What are the first names of the people who get to Molly's car?
Output: Donald.
Passage: Dr. Donald Blake, a science professor at Dunsford University, receives delivery of a coelacanth. A student, Jimmy, asks Blake if the fish is really a million years old. Blake replies, "It's the species that's old. No change in millions of years. See, the coelacanth is a living fossil, immune to the forces of evolution". Blake lectures his students about evolution and devolution, telling them that man is the only creature that can decide whether to move forwards or backwards, and that "unless we learn to control the instincts we've inherited from our ape-like ancestors, the race is doomed".
Inside the lab, Blake scratches himself on its teeth of the Partially-thawed coelacanth, accidentally sticking his bloody hand into the water-filled container which held the fish. Molly Riordan, assistant to Dr. Cole Oliver, is with Blake and offers him a ride home. When they get to Molly's car, Blake says he doesn't feel well and passes out.
At Blake's home, Molly is attacked by person or persons unknown. Madeline Howard, Blake's fiancee and daughter of Dr. Gilbert Howard, president of the university, arrives and finds the home in shambles and Blake moaning on the ground. Madeline calls the police after seeing Molly hanging by her hair in a tree, her eyes wide, dead.
Detective Lt. Mike Stevens and Detective Sgt. Eddie Daniels find a huge "deformed" hand print on a window and Blake's tie clasp in Molly's dead hand. They take Blake downtown when he admits that he can't remember anything after getting into Molly's car.
Stevens releases Blake after concluding that someone is holding a grudge and trying to implicate Blake in Molly's murder. He assigns Daniels as Blake's bodyguard and tells Blake that Molly's autopsy showed she died of fright. 
Question: What are the first names of the people who get to Molly's car?
Output: Molly.
Passage: Down-on-his-luck Los Angeles architect and builder Edward Shaw is approached by Doris Hillman with a business proposal: buying land together, on which he would build houses that she would then sell, using her experience as a former real estate broker. Her husband, Gus Hillman, a wealthy businessman, would be willing to contribute half a million dollars as capital for the venture.
Doris quickly seems interested in more than a purely professional relationship. Shaw starts an affair with her and accepts the business offer. However, an accidental discovery leaves him convinced that the Hillmans' interest lies less in the long-term profits of the venture than in the $175,000 key man insurance policy he took on himself as a precondition for the deal, and that an attempt on his life is imminent.
Madge, the younger sister of Doris, develops a romantic interest in Shaw as well. Without knowing what Doris has planned, she reveals to Shaw that her sister was married previously to a man who died in Wyoming when his car crashed over a bridge. Shaw ends up drugged by Gus Hillman and barely keeps his car from going off a cliff.
The police are skeptical about his story and the insurance company refuses to cancel the policy, Hillman having portrayed Shaw as a man who is trying to steal his wife. Madge teams with Shaw to try to foil her sister's scheme, but Doris lures him to a mountain cabin and shoots him with a gun. A wounded Shaw sees both Hillmans struggle then fall to their deaths through a clifftop doorway, just minutes before Madge and the cops arrive. 
Question: What are the first names of the two people who have a romantic interest in Shaw?
Output: Madge.
Passage: Down-on-his-luck Los Angeles architect and builder Edward Shaw is approached by Doris Hillman with a business proposal: buying land together, on which he would build houses that she would then sell, using her experience as a former real estate broker. Her husband, Gus Hillman, a wealthy businessman, would be willing to contribute half a million dollars as capital for the venture.
Doris quickly seems interested in more than a purely professional relationship. Shaw starts an affair with her and accepts the business offer. However, an accidental discovery leaves him convinced that the Hillmans' interest lies less in the long-term profits of the venture than in the $175,000 key man insurance policy he took on himself as a precondition for the deal, and that an attempt on his life is imminent.
Madge, the younger sister of Doris, develops a romantic interest in Shaw as well. Without knowing what Doris has planned, she reveals to Shaw that her sister was married previously to a man who died in Wyoming when his car crashed over a bridge. Shaw ends up drugged by Gus Hillman and barely keeps his car from going off a cliff.
The police are skeptical about his story and the insurance company refuses to cancel the policy, Hillman having portrayed Shaw as a man who is trying to steal his wife. Madge teams with Shaw to try to foil her sister's scheme, but Doris lures him to a mountain cabin and shoots him with a gun. A wounded Shaw sees both Hillmans struggle then fall to their deaths through a clifftop doorway, just minutes before Madge and the cops arrive. 
Question: What are the first names of the two people who have a romantic interest in Shaw?
Output: Doris.
Passage: Britten's fellow-composers had divided views about him. To Tippett he was "simply the most musical person I have ever met", with an "incredible" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten "a man at odds with the world", and said of his music: "[I]f you hear it, not just listen to it superficially, you become aware of something very dark". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: "There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as "inimitable, possessed of ... a voice and sound too dangerous to imitate". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became "a phenomenal father-figure". Brett believes that he affected every subsequent British composer to some extent: "He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate."Whittall believes that one reason for Britten's enduring popularity is the "progressive conservatism" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, "the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times". Britten defined his mission as a composer in very simple terms: composers should aim at "pleasing people today as seriously as we can". 
Question: What was the name of the person who was described as "inimitable, possessed of ... a voice and sound too dangerous to imitate"?
Output: Britten.
Passage: In 2007 Yehuda David, a physician at Tel Hashomer hospital near Tel Aviv, told Israel's Channel 10 that he had treated Jamal Al-Durrah in 1994 for knife and axe wounds to his arms and legs, injuries sustained during a gang attack. David maintained that the scars Jamal had presented as bullet wounds were in fact scars from a tendon-repair operation David had performed in the early 90s. When David repeated his allegations in an interview with a "Daniel Vavinsky," published in 2008 in Actualité Juive in Paris, Jamal filed a complaint with the Tribunal de grande instance de Paris for defamation and breach of doctor-patient confidentiality.The court established that "Daniel Vavinsky" was a pseudonym for Clément Weill-Raynal, a deputy editor at France 3. In 2011 it ruled that David and Actualité Juive had defamed Jamal. David, Weill-Raynal and Serge Benattar, the managing editor of Actualité Juive, were fined €5,000 each, and Actualité Juive was ordered to print a retraction. The Israeli government said it would fund David's appeal. The appeal was upheld in 2012; David was acquitted of defamation and breach of confidentiality. Benjamin Netanyahu, Israeli's prime minister, telephoned David to congratulate him. Jamal Al-Durrah said he would appeal the court's decision.In 2012 Rafi Walden, deputy director of the Tel Hashomer hospital and board member of Physicians for Human Rights, wrote in Haaretz that he had examined Jamal's 50-page medical file, and that the injuries from the 2000 shooting were "completely different wounds" from the 1994 injuries. Walden listed "a gunshot wound in the right wrist, a shattered forearm bone, multiple fragment wounds in a palm, gunshot wounds in the right thigh, a fractured pelvis, an exit wound in the buttocks, a tear in the main nerve of the right thigh, tears in the main groin arteries and veins, and two gunshot wounds in the left lower leg.". 
Question: What is the full name of the person that said Jamal Al-Durrah's injuries were from a shooting?
Output: Rafi Walden.
Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the firsts names the original preliminary ensemble?
Output: Lucrezia.
Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the firsts names the original preliminary ensemble?
Output: Isabella.
Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the firsts names the original preliminary ensemble?
Output: Leonora.
Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the firsts names the original preliminary ensemble?
Output: Vittoria.
Passage: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers.
The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in the musica secreta. Today, however, the earlier group is viewed as a crucial part of the creation and development of the social and vocal genre of the concerto delle donne. 
Question: What were the firsts names the original preliminary ensemble?
Output: Giulio.
Passage: The impact would have caused a megatsunami over 100 metres (330 ft) tall that would have reached all the way to what are now Texas and Florida. The height of the tsunami was limited by the relatively shallow sea in the area of the impact; in deep ocean it would have been 4.6 kilometres (2.9 mi) tall. A cloud of super-heated dust, ash and steam would have spread from the crater as the impactor burrowed underground in less than a second. Excavated material along with pieces of the impactor, ejected out of the atmosphere by the blast, would have been heated to incandescence upon re-entry, broiling the Earth's surface and possibly igniting wildfires; meanwhile, colossal shock waves would have triggered global earthquakes and volcanic eruptions. Fossil evidence for an instantaneous die-off of diverse animals was found in a soil layer only 10 centimetres (3.9 in) thick in New Jersey some 5,000 kilometres (3,100 mi) away from the impact site, indicating that death and burial under debris occurred suddenly and quickly over wide distances on land.The emission of dust and particles could have covered the entire surface of the Earth for several years, possibly a decade, creating a harsh environment for living things. The shock production of carbon dioxide caused by the destruction of carbonate rocks would have led to a sudden greenhouse effect. Over a decade or longer, sunlight would have been blocked from reaching the surface of the Earth by the dust particles in the atmosphere, cooling the surface dramatically. Photosynthesis by plants would also have been interrupted, affecting the entire food chain. A model of the event developed by Lomax et al. (2001) suggests that net primary productivity (NPP) rates may have increased to higher than pre-impact levels over the long term because of the high carbon dioxide concentrations.In February 2008, a team of researchers led by Sean Gulick at the University of Texas at Austin's Jackson School of Geosciences used seismic images of the crater to determine that the impactor landed in deeper water than was previously assumed. They argued that this would have resulted in increased sulfate aerosols in the atmosphere. According to the press release, that "could have made the impact deadlier in two ways: by altering climate (sulfate aerosols in the upper atmosphere can have a cooling effect) and by generating acid rain (water vapor can help to flush the lower atmosphere of sulfate aerosols, causing acid rain)." This was borne out by the results of a drilling project in 2016 which found that sulfate-containing rocks found in the area were not found in the peak ring (the rocks found were from deep within the earth's crust instead), the interpretation being that they had been vaporized by the impact and dispersed into the atmosphere. 
Question: What in the atmosphere would have blocked sunlight from reaching the surface of the Earth?
Output: dust particles.
Passage: Dr. Sullivan Travis (aka "Dr. T.") (Richard Gere) is a wealthy Dallas gynecologist for some of the wealthiest women in Texas who finds his life beginning to fall apart starting when his wife, Kate, suffers a rare type of infantalizing syndrome of wealthy women, receding into a childlike state and, after she disrobes in a shopping mall fountain is committed to the state mental hospital.  When Dr. T visits  Kate , she rebuffs his kisses as improper and he sees her pre-teen psychic age cannot be brought back to adulthood by his affection. Dr. T's eldest daughter, Dee Dee, is planning to go through with her approaching wedding despite the secret that she is romantically involved with Marilyn, the maid of honor. Dr. T's youngest daughter, Connie, is a spunky conspiracy theorist who has her own agenda including sharing with her father how she discovered Dee Dee and Marilyn are lovers. 
While Marilyn is on his examining table for the first time, she surmises her condition is caused by the stress of being the maid of honor for her friend Dee Dee. Dr. T  realizes she is Dee Dee's lover and becomes embarrassed mid-examination asking Carolyn, Dr. T's loyal secretary, (Shelley Long) to finish.  
Carolyn has romantic feelings for him, which are not mutual: in a farcical scene at the workday end, she locks the office door and gives him a shoulder-massage from behind his chair, secretly disrobing while emphasizing his need for a loving wife. Refreshed but unaware of her intentions , he goes to the coat closet, turns and finds she has vanished. From under the desk, she says he never empties his trash baskets. Approaching the desk he glimpses her state of dress and quickly leaves.
Dr. T's sister-in-law, Peggy, meddles in every situation she stumbles into. 
Question: Who cannot be brought back to adulthood?
Output: Kate.
Passage: Nick Rivers, an American rock star, travels to East Germany (which is represented as like Hitler's regime) to perform at a cultural festival, which secretly serves the East German government as a diversion for a military operation with the intent of reuniting Germany under their rule. At a dinner, Nick encounters Hillary Flammond, a member of the local resistance movement, attempting to avoid the authorities. He pretends to be her date to get to know her, and performs an impromptu song and dance, mistakenly thinking he was asked to do so, to the delight of Hillary and the diners but to the annoyance of General Streck, the mastermind of the "reunification" plot.
Nick later sees Hillary at a ballet, where she expects to rendezvous with the resistance leader but she is met by the police instead. Nick saves her and they try to escape, but Nick turns himself in so that Hillary can get away. He is taken to a prison where he is questioned and tortured, but he knows nothing and does not break. In an escape attempt, he ends up in the secret prison lab of Dr. Paul Flammond, a brilliant scientist developing the "Polaris naval mine", a device that can destroy the entire NATO submarine fleet as part of the government's plot. The Germans force him to work by threatening to kill his daughter Hillary. Nick is recaptured and scheduled for execution. 
Question: What is the last name of the person who performs a song and dance?
Output: Rivers.
Passage: New York City's Central Park, an oasis that functions as the city's "green lung", was in a state of deterioration in the mid-1970s. Though Central Park had been designated a National Historic Landmark in 1962, at the start of the 1980s, the city lacked the financial resources to spend an estimated US$3,000,000 to restore or even to maintain the park. The nonprofit Central Park Conservancy was founded in 1980, and began a successful campaign to raise renovation funds.In the early 1980s, Parks Commissioner Gordon Davis, responsible for New York City's green areas, and Ron Delsener, one of the city's most influential concert promoters, developed the idea of helping Central Park financially with a free open-air concert, under the legal guidance of Bob Donnelly. The city would use profits from merchandising, television, and video rights to renovate the park. Earlier park performances by Elton John and James Taylor showed that this concept could be a success. Davis authorized the project, and Delsener entered discussions with cable TV channel HBO to decide who would perform.They decided on Simon & Garfunkel, a group that had formed in New York City in the 1960s, and had been one of the most successful folk rock groups through the late 60s/early 70s. Simon & Garfunkel had broken up at the height of their popularity and shortly after the release of their fifth studio album, Bridge Over Troubled Water, which is deemed to be their artistic peak and which topped the 1970 Billboard charts for ten weeks. They had grown apart artistically and did not get along well with each other. In the following eleven years, both continued musical careers as solo artists, and worked together only sporadically on single projects. Garfunkel made brief guest appearances at Simon's concerts, which were always successful.Delsener presented the plan to Paul Simon in the summer of 1981. Simon was enthusiastic about the idea, but questioned whether it could be financially successful, especially given the poor audience attendance of his last project, the autobiographical movie One-Trick Pony. Simon's confidence had declined and he had sought treatment for depression. He questioned whether he and Art Garfunkel could work together, but contacted Garfunkel, who was vacationing in Switzerland. Garfunkel was excited about the idea, and immediately returned to the US.From the promoter's viewpoint, Simon and Garfunkel were ideal choices. Not only were they likely to draw a large crowd to the concert, they also had roots in the city –  both had grown up and gone to school in Forest Hills, Queens. Music critic Stephen Holden pointed out that, unlike artists who had left in pursuit of lifestyles offered by other locales, the two had always been a part of New York City. Both gained inspiration from the cityscape and the cultural variety of New York, and spoke of these influences in their songs. 
Question: What are the full names of the two individuals who had roots in the city, both having grown up and gone to school in Forest Hills, Queens?
Output: Paul Simon.
Passage: New York City's Central Park, an oasis that functions as the city's "green lung", was in a state of deterioration in the mid-1970s. Though Central Park had been designated a National Historic Landmark in 1962, at the start of the 1980s, the city lacked the financial resources to spend an estimated US$3,000,000 to restore or even to maintain the park. The nonprofit Central Park Conservancy was founded in 1980, and began a successful campaign to raise renovation funds.In the early 1980s, Parks Commissioner Gordon Davis, responsible for New York City's green areas, and Ron Delsener, one of the city's most influential concert promoters, developed the idea of helping Central Park financially with a free open-air concert, under the legal guidance of Bob Donnelly. The city would use profits from merchandising, television, and video rights to renovate the park. Earlier park performances by Elton John and James Taylor showed that this concept could be a success. Davis authorized the project, and Delsener entered discussions with cable TV channel HBO to decide who would perform.They decided on Simon & Garfunkel, a group that had formed in New York City in the 1960s, and had been one of the most successful folk rock groups through the late 60s/early 70s. Simon & Garfunkel had broken up at the height of their popularity and shortly after the release of their fifth studio album, Bridge Over Troubled Water, which is deemed to be their artistic peak and which topped the 1970 Billboard charts for ten weeks. They had grown apart artistically and did not get along well with each other. In the following eleven years, both continued musical careers as solo artists, and worked together only sporadically on single projects. Garfunkel made brief guest appearances at Simon's concerts, which were always successful.Delsener presented the plan to Paul Simon in the summer of 1981. Simon was enthusiastic about the idea, but questioned whether it could be financially successful, especially given the poor audience attendance of his last project, the autobiographical movie One-Trick Pony. Simon's confidence had declined and he had sought treatment for depression. He questioned whether he and Art Garfunkel could work together, but contacted Garfunkel, who was vacationing in Switzerland. Garfunkel was excited about the idea, and immediately returned to the US.From the promoter's viewpoint, Simon and Garfunkel were ideal choices. Not only were they likely to draw a large crowd to the concert, they also had roots in the city –  both had grown up and gone to school in Forest Hills, Queens. Music critic Stephen Holden pointed out that, unlike artists who had left in pursuit of lifestyles offered by other locales, the two had always been a part of New York City. Both gained inspiration from the cityscape and the cultural variety of New York, and spoke of these influences in their songs. 
Question: What are the full names of the two individuals who had roots in the city, both having grown up and gone to school in Forest Hills, Queens?
Output: Art Garfunkel.
Passage: Pearl Jam commenced work on a new album following a year-long break after its full-scale tour in support of Binaural. McCready described the recording environment as "a pretty positive one" and "very intense and spiritual." Regarding the time period when the lyrics were being written, Vedder said, "There's been a lot of mortality...It's a weird time to be writing. Roskilde changed the shape of us as people, and our filter for seeing the world changed." Pearl Jam released its seventh album, Riot Act, on November 12, 2002. It included the singles "I Am Mine" and "Save You". The album featured a much more folk-based and experimental sound, evident in the presence of B3 organist Boom Gaspar on songs such as "Love Boat Captain". Stephen Thomas Erlewine of AllMusic said "Riot Act is the album that Pearl Jam has been wanting to make since Vitalogy—a muscular art rock record, one that still hits hard but that is filled with ragged edges and odd detours." The track entitled "Arc" was recorded as a vocal tribute to the nine people who died at the Roskilde Festival in June 2000. Vedder only performed this song nine times on the 2003 tour, and the band left the track off all released bootlegs.In 2003, the band embarked on its Riot Act Tour, which included tours in Australia and North America. The band continued its official bootleg program, making every concert from the tour available in CD form through its official website. A total of six bootlegs were made available in record stores: Perth, Tokyo, State College, Pennsylvania, two shows from Madison Square Garden, and Mansfield, Massachusetts. At many shows during the 2003 North American tour, Vedder performed Riot Act's "Bu$hleaguer", a commentary on President George W. Bush, with a rubber mask of Bush, wearing it at the beginning of the song and then hanging it on a mic stand to allow him to sing. The band made news when it was reported that several fans left after Vedder had "impaled" the Bush mask on his mic stand at the band's Denver, Colorado show.In June 2003, Pearl Jam announced it was officially leaving Epic Records following the end of its contract with the label. The band stated it had "no interest" in signing with another label. The band's first release without a label was the single for "Man of the Hour", in partnership with Amazon.com. Director Tim Burton approached Pearl Jam to request an original song for the soundtrack of his new film, Big Fish. After screening an early print of the film, Pearl Jam recorded the song for him. "Man of the Hour", which was later nominated for a Golden Globe Award, can be heard in the closing credits of Big Fish. 
Question: What is the last name of the person that directed the movie that had a golden globe nominated track by the band that went on the Riot Act tour?
Output: Burton.