niryuu/sni-each-converted huggingface dataset:
Passage: On the Greek island of Kalokairi, 20-year-old bride-to-be Sophie Sheridan reveals to her bridesmaids, Ali and Lisa, that she has secretly invited three men to her wedding without telling her mother, Donna. They are the men that her mother's diary reveals could have been her father: Irish-American architect Sam Carmichael, Swedish adventurer and writer Bill Anderson, and British banker Harry Bright. She dreams of being given away by her father at her wedding, and believes that after she spends time with them she will know which is her father.
Sophie's mother Donna, who owns a villa and runs it not very successfully as a hotel, is ecstatic to reunite with her former Dynamos bandmates, wisecracking author Rosie Mulligan and wealthy multiple divorcée Tanya Chesham-Leigh, and reveals her bafflement at her daughter's desire to get married. Donna shows off the villa to Rosie and Tanya. The three men arrive and Sophie smuggles them to their room. She doesn't reveal that she believes one of them is her father, but does explain that she and not her mother sent the invitations. She begs them to hide so Donna will be surprised by the old friends of whom she "so often" favorably speaks. They overhear Donna working and swear not to reveal Sophie's secret.
Donna spies them and is dumbfounded to find herself facing former lovers, demanding they leave. She confides in Tanya and Rosie that she truly does not know which of the three fathered Sophie. Tanya and Rosie rally her spirits by getting her to dance with an all female ensemble of staff and islanders. Sophie finds the men aboard Bill's yacht, and they sail around Kalokairi, telling stories of Donna's carefree youth. Sophie plans to tell her fiancé Sky about her ploy, but loses her nerve. Sky and Sophie sing to each other, but Sky is abducted for his bachelor party. 
Question: Who might have been Sophie's father?
Output: Sam Carmichael,.
Passage: On the Greek island of Kalokairi, 20-year-old bride-to-be Sophie Sheridan reveals to her bridesmaids, Ali and Lisa, that she has secretly invited three men to her wedding without telling her mother, Donna. They are the men that her mother's diary reveals could have been her father: Irish-American architect Sam Carmichael, Swedish adventurer and writer Bill Anderson, and British banker Harry Bright. She dreams of being given away by her father at her wedding, and believes that after she spends time with them she will know which is her father.
Sophie's mother Donna, who owns a villa and runs it not very successfully as a hotel, is ecstatic to reunite with her former Dynamos bandmates, wisecracking author Rosie Mulligan and wealthy multiple divorcée Tanya Chesham-Leigh, and reveals her bafflement at her daughter's desire to get married. Donna shows off the villa to Rosie and Tanya. The three men arrive and Sophie smuggles them to their room. She doesn't reveal that she believes one of them is her father, but does explain that she and not her mother sent the invitations. She begs them to hide so Donna will be surprised by the old friends of whom she "so often" favorably speaks. They overhear Donna working and swear not to reveal Sophie's secret.
Donna spies them and is dumbfounded to find herself facing former lovers, demanding they leave. She confides in Tanya and Rosie that she truly does not know which of the three fathered Sophie. Tanya and Rosie rally her spirits by getting her to dance with an all female ensemble of staff and islanders. Sophie finds the men aboard Bill's yacht, and they sail around Kalokairi, telling stories of Donna's carefree youth. Sophie plans to tell her fiancé Sky about her ploy, but loses her nerve. Sky and Sophie sing to each other, but Sky is abducted for his bachelor party. 
Question: Who might have been Sophie's father?
Output: Bill Anderson.
Passage: On the Greek island of Kalokairi, 20-year-old bride-to-be Sophie Sheridan reveals to her bridesmaids, Ali and Lisa, that she has secretly invited three men to her wedding without telling her mother, Donna. They are the men that her mother's diary reveals could have been her father: Irish-American architect Sam Carmichael, Swedish adventurer and writer Bill Anderson, and British banker Harry Bright. She dreams of being given away by her father at her wedding, and believes that after she spends time with them she will know which is her father.
Sophie's mother Donna, who owns a villa and runs it not very successfully as a hotel, is ecstatic to reunite with her former Dynamos bandmates, wisecracking author Rosie Mulligan and wealthy multiple divorcée Tanya Chesham-Leigh, and reveals her bafflement at her daughter's desire to get married. Donna shows off the villa to Rosie and Tanya. The three men arrive and Sophie smuggles them to their room. She doesn't reveal that she believes one of them is her father, but does explain that she and not her mother sent the invitations. She begs them to hide so Donna will be surprised by the old friends of whom she "so often" favorably speaks. They overhear Donna working and swear not to reveal Sophie's secret.
Donna spies them and is dumbfounded to find herself facing former lovers, demanding they leave. She confides in Tanya and Rosie that she truly does not know which of the three fathered Sophie. Tanya and Rosie rally her spirits by getting her to dance with an all female ensemble of staff and islanders. Sophie finds the men aboard Bill's yacht, and they sail around Kalokairi, telling stories of Donna's carefree youth. Sophie plans to tell her fiancé Sky about her ploy, but loses her nerve. Sky and Sophie sing to each other, but Sky is abducted for his bachelor party. 
Question: Who might have been Sophie's father?
Output: Harry Bright.
Passage: Zenzile Miriam Makeba (4 March 1932 – 9 November 2008), nicknamed Mama Africa, was a South African singer, songwriter, actress, United Nations goodwill ambassador, and civil rights activist. Associated with musical genres including Afropop, jazz, and world music, she was an advocate against apartheid and white-minority government in South Africa.
Born in Johannesburg to Swazi and Xhosa parents, Makeba was forced to find employment as a child after the death of her father. She had a brief and allegedly abusive first marriage at the age of 17, gave birth to her only child in 1950, and survived breast cancer. Her vocal talent had been recognized when she was a child, and she began singing professionally in the 1950s, with the Cuban Brothers, the Manhattan Brothers, and an all-woman group, the Skylarks, performing a mixture of jazz, traditional African melodies, and Western popular music. In 1959, Makeba had a brief role in the anti-apartheid film Come Back, Africa, which brought her international attention, and led to her performing in Venice, London, and New York City. In London, she met the American singer Harry Belafonte, who became a mentor and colleague. She moved to New York City, where she became immediately popular, and recorded her first solo album in 1960. Her attempt to return to South Africa that year for her mother's funeral was prevented by the country's government.
Makeba's career flourished in the United States, and she released several albums and songs, her most popular being "Pata Pata" (1967). Along with Belafonte she received a Grammy Award for her 1965 album An Evening with Belafonte/Makeba. She testified against the South African government at the United Nations and became involved in the civil rights movement. She married Stokely Carmichael, a leader of the Black Panther Party, in 1968. As a result, she lost support among white Americans and faced hostility from the US government, leading her and Carmichael to move to Guinea. She continued to perform, mostly in African countries, including at several independence celebrations. She began to write and perform music more explicitly critical of apartheid; the 1977 song "Soweto Blues", written by her former husband Hugh Masekela, was about the Soweto uprising. After apartheid was dismantled in 1990, Makeba returned to South Africa. She continued recording and performing, including a 1991 album with Nina Simone and Dizzy Gillespie, and appeared in the 1992 film Sarafina!. She was named a UN goodwill ambassador in 1999, and campaigned for humanitarian causes. She died of a heart attack during a 2008 concert in Italy. 
Question: What is the last name of the person who gave birth to her only child in 1950?
Output: Makeba.
Passage: The Frog Prince begins with the protagonist Princess Zora rolling over and waking up in her bed. When she hears royal trumpets signifying an important announcement, she sings "Lucky Day" as she gets dressed. She holds onto her golden lucky ball, and carries it throughout her day for good luck. Zora runs through the castle and the Emissary and chef scold her for not acting 'like a princess'. Then, Zora is confronted by Henrietta and Henrietta's friend Dulcey in the hallway, where Henrietta lies to Zora, telling her that they are allowed to interrupt the King that day. After Zora leaves, Henrietta tells Dulcey that she intercepted a letter which declared that only her or Zora is a true princess, not both.
Meanwhile, the King, surrounded by his advisors, reads the letter which declares that Baron Von Whobble will decide the true princess at the Sunset Dance. The King is upset because he made a promise to care for both of his nieces (Henrietta and Zora) when his sister died. He then sings "A Promise is A Promise" with his royal advisors. Princess Zora interrupts the meeting to ask about the trumpet announcement, but becomes too shy to ask when the King gets upset at her for interrupting.
After Zora leaves the King, she goes to ask Henrietta why she lied earlier. Henrietta ignores her question as she and Dulcey look through a book of eligible bachelors. They turn the page to see the handsome Prince of Freedly. The book says that a witch put a curse on him and that he has been missing for a year. When Zora asks to see, Henrietta banishes her from the room. That night at dinner, Henrietta arrives elegantly and is praised by the royal advisers. When Zora walks in dressed in a feathered cape, the advisors, Henrietta, and Dulcey laugh at her for looking silly. As Zora realizes she is being made fun of, she flees from the room. Her Uncle, the King, watches sadly, feeling pity for his niece. 
Question: Who owns a ball?
Output: Princess Zora.
Passage: Michael Baskin is an average 11-year-old boy. His father, Billy Baskin, is a struggling artist and temporary sole caregiver of the children while his wife attends to the needs of her recently deceased father in Australia. Upon hearing the news that an abandoned mansion has recently burned down, Michael and his friend Connie decide to explore the remains. Outside the mansion, Connie dares Michael to take a look inside, leading to a frightening encounter with the ghosts of its homeless inhabitants who had died in the fire. Michael does not know this yet, but his fearsome run in with the ghosts has given him a mysterious illness simply known as "The Fright". Michael wakes up the next morning to find out that "The Fright" has made him lose all of his hair. After a failed attempt with a wig (his wig was pulled off by an older boy during a fight in a soccer game), the ghosts visit Michael in his sleep and give him the recipe of a magical formula for hair growth, the main ingredient of which is peanut butter. Michael's first attempt to make the formula is thwarted when his father and sister think he is making something to ingest (rather than use topically) and dispose of it. 
Question: Where does Billy Baskin's son acquire The Fright?
Output: an abandoned mansion.
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel. 
Question: What is the last name of the person whose uncle died shortly after he went to Paris?
Output: Kertész.
Passage: Nathalie Stein, an embittered and exhausted young woman, is currently going through a bitter divorce from her husband Tim. A qualified attorney, she is doing her best to ensure that her two children, Jeremy and Elisabeth, never see their father again. Tim arrives to pick the children up for what is believed to be one last time. He fails to return with the children.
Nathalie's dog disappears under mysterious circumstances and she then discovers a piece of paper with the word "Dard" (the Persian word for "to inflict pain") written in blood in her house. Panicked, she calls the police, who cannot help without more evidence of a crime. She decides to meet Tim and the children in Chinatown, but they do not show up.
In the evening, Tim suddenly appears at the house, apparently badly injured. Before dying, he tells Nathalie that the children have been abducted. She immediately informs the police, but when the detective, James Gates, arrives, the body is gone and the site has been cleaned up leaving no evidence that Nathalie is telling the truth. Later a police officer, Phil Warren arrives to question Nathalie. Warren is revealed to be corrupt and overpowers Nathalie. Graphically depicted in flashback, he tells Nathalie that Tim had been hired by the Persian Mafioso Maho and had burst in on a drug deal organised by Maho, killing those present before running off with a million dollars in cash and the cocaine. Convinced that the drugs are hidden in the house, he tells her he has killed her son Jeremy with a chainsaw and will kill Elisabeth as well if he is not told where drugs and money are, Warren then tortures Nathalie in an attempt to get the information out of her, cutting off a finger and a toe with pruning shears. Nathalie eventually manages to break free and kills Warren with a broken bottle. 
Question: Whose body disappears?
Output: Tim.
Passage: In April 1997, the band convened at Buck's Kauai vacation home to record demos of material intended for the next album. The band sought to reinvent its sound and intended to incorporate drum loops and percussion experiments. Just as the sessions were due to begin in October, Berry decided, after months of contemplation and discussions with Downs and Mills, to tell the rest of the band that he was quitting. Berry told his bandmates that he would not quit if they would break up as a result, so Stipe, Buck, and Mills agreed to carry on as a three-piece with his blessing. Berry publicly announced his departure three weeks later in October 1997. Berry told the press, "I'm just not as enthusiastic as I have been in the past about doing this anymore . . . I have the best job in the world. But I'm kind of ready to sit back and reflect and maybe not be a pop star anymore." Stipe admitted that the band would be different without a major contributor: "For me, Mike, and Peter, as R.E.M., are we still R.E.M.? I guess a three-legged dog is still a dog. It just has to learn to run differently."The band cancelled its scheduled recording sessions as a result of Berry's departure. "Without Bill it was different, confusing", Mills later said. "We didn't know exactly what to do. We couldn't rehearse without a drummer." The remaining members of R.E.M. resumed work on the album in February 1998 at Toast Studios in San Francisco. The band ended its decade-long collaboration with Scott Litt and hired Pat McCarthy to produce the record. Nigel Godrich was taken on as assistant producer, and drafted in Screaming Trees member Barrett Martin and Beck's touring drummer Joey Waronker. The recording process was plagued with tension, and the group came close to disbanding. Bertis Downs called an emergency meeting where the band members sorted out their problems and agreed to continue as a group. Led off by the single "Daysleeper", Up (1998) debuted in the top ten in the US and UK. However, the album was a relative failure, selling 900,000 copies in the US by mid-1999 and eventually selling just over two million copies worldwide. While R.E.M.'s American sales were declining, the group's commercial base was shifting to the UK, where more R.E.M. records were sold per capita than any other country and the band's singles regularly entered the Top 20.A year after Up's release, R.E.M. wrote the instrumental score to the Andy Kaufman biographical film Man on the Moon, a first for the group. The film took its title from the Automatic for the People song of the same name. The song "The Great Beyond" was released as a single from the Man on the Moon soundtrack album. "The Great Beyond" only reached number 57 on the American pop charts, but was the band's highest-charting single ever in the UK, reaching number three in 2000. 
Question: What is the name of the band that sought to reinvent its sound and intended to incorporate drum loops and percussion experiments?
Output: R.E.M.
Passage: In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting The Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an acronym for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.During April 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in Winston-Salem, North Carolina. Initially distributing it as a four-track demo tape to clubs, record labels and magazines, the single was released in July 1981 on the local independent record label Hib-Tone with an initial pressing of 1,000 copies—600 of which were sent out as promotional copies. The single quickly sold out, and another 6,000 copies were pressed due to popular demand, despite the original pressing leaving off the record label's contact details. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times. 
Question: What are the full names of the four individuals in the quartet that agreed to collaborate on several songs?
Output: Michael Stipe.
Passage: In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting The Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an acronym for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.During April 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in Winston-Salem, North Carolina. Initially distributing it as a four-track demo tape to clubs, record labels and magazines, the single was released in July 1981 on the local independent record label Hib-Tone with an initial pressing of 1,000 copies—600 of which were sent out as promotional copies. The single quickly sold out, and another 6,000 copies were pressed due to popular demand, despite the original pressing leaving off the record label's contact details. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times. 
Question: What are the full names of the four individuals in the quartet that agreed to collaborate on several songs?
Output: Peter Buck.
Passage: In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting The Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an acronym for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.During April 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in Winston-Salem, North Carolina. Initially distributing it as a four-track demo tape to clubs, record labels and magazines, the single was released in July 1981 on the local independent record label Hib-Tone with an initial pressing of 1,000 copies—600 of which were sent out as promotional copies. The single quickly sold out, and another 6,000 copies were pressed due to popular demand, despite the original pressing leaving off the record label's contact details. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times. 
Question: What are the full names of the four individuals in the quartet that agreed to collaborate on several songs?
Output: Mike Mills.
Passage: In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting The Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an acronym for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.During April 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in Winston-Salem, North Carolina. Initially distributing it as a four-track demo tape to clubs, record labels and magazines, the single was released in July 1981 on the local independent record label Hib-Tone with an initial pressing of 1,000 copies—600 of which were sent out as promotional copies. The single quickly sold out, and another 6,000 copies were pressed due to popular demand, despite the original pressing leaving off the record label's contact details. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times. 
Question: What are the full names of the four individuals in the quartet that agreed to collaborate on several songs?
Output: Bill Berry.
Passage: In support of Nine Inch Nails' third full-length studio album, The Fragile, the live-band reformed for the Fragility tour.  The lineup remained largely the same from the Self-Destruct tour, featuring Finck, Clouser, and Lohner.  To replace long-time member Vrenna, Reznor held open auditions to find a new drummer, eventually picking then-unknown Jerome Dillon.  Dillon would remain a member of the live band until 2005.
Nine Inch Nails' record label at the time, Interscope Records, reportedly refused to fund the promotional tour following The Fragile's lukewarm sales.  Reznor instead committed himself to fund the entire tour out of his own pocket, concluding that "The reality is, I’m broke at the end of the tour," but also adding "I will never present a show that isn’t fantastic."The Fragility tour began in late 1999, running until mid-2000, and was broken into two major legs, Fragility 1.0 and Fragility 2.0 respectively.  Destinations included Europe, Japan, New Zealand, Australia, and North America.  Before the first Fragility performance date in Spain, Nine Inch Nails opened their final rehearsal in London to 100 fans. Kick-starting the tour was a performance of the title track from The Fragile at the MTV Video Music Awards.  Atari Teenage Riot opened for Nine Inch Nails during Fragility 1.0, and A Perfect Circle for Fragility 2.0.  At the time, A Perfect Circle featured Josh Freese on drums, who would later replace Dillon and play drums for Nine Inch Nails from 2005 to 2007. The tour featured increasingly large production values, including a triptych video display created by contemporary video artist Bill Viola. Rolling Stone magazine named Fragility the best tour of 2000.In 2002, the tour documentary And All That Could Have Been was released featuring a collection of performances from the Fragility 2.0 tour.  While making the DVD, Reznor commented on the tour in retrospect by saying "I thought the show was really, really good when we were doing it", but later admitted that he "can't watch [the DVD] at all. I was sick for most of that tour and I really don't think it was Nine Inch Nails at its best". 
Question: What is the full name of the person that played drums for Nine Inch Nails from 2005 to 2007?
Output: Josh Freese.
Passage: The Rogue River begins at Boundary Springs on the border between Klamath and Douglas counties near the northern edge of Crater Lake National Park. Although it changes direction many times, it flows generally west for 215 miles (346 km) from the Cascade Range through the Rogue River – Siskiyou National Forest and the Klamath Mountains to the Pacific Ocean at Gold Beach. Communities along its course include Union Creek, Prospect, Trail, Shady Cove, Gold Hill and Rogue River, all in Jackson County; Grants Pass and Galice in Josephine County; and Agness, Wedderburn and Gold Beach in Curry County. Significant tributaries include the South Fork Rogue River, Elk Creek, Bear Creek, the Applegate River, and the Illinois River. Arising at 5,320 feet (1,622 m) above sea level, the river loses more than 1 mile (1.6 km) in elevation by the time it reaches the Pacific.
It was one of the original eight rivers named in the National Wild and Scenic Rivers Act of 1968, which included 84 miles (135 km) of the Rogue, from 7 miles (11.3 km) west of Grants Pass to 11 miles (18 km) east of the mouth at Gold Beach. In 1988, an additional 40 miles (64 km) of the Rogue between Crater Lake National Park and the unincorporated community of Prospect was named Wild and Scenic. Of the river's total length, 124 miles (200 km), about 58 percent is Wild and Scenic. The Rogue is one of only three rivers that start in or east of the Cascade Range in Oregon and reach the Pacific Ocean. The others are the Umpqua River and Klamath River. These three Southern Oregon rivers drain mountains south of the Willamette Valley; the Willamette River and its tributaries drain north along the Willamette Valley into the Columbia River, which starts in British Columbia rather than Oregon. 
Question: What state does the Rogue River start in?
Output: Oregon.
Passage: Henry Moore was born in Castleford, West Riding of Yorkshire, England, to Mary Baker and Raymond Spencer Moore. His father was of Irish origin and became pit deputy and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature. Determined that his sons would not work in the mines, he saw formal education as the route to their advancement. Henry was the seventh of eight children in a family that often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and carving in wood. He professed to have decided to become a sculptor when he was eleven after hearing of Michelangelo's achievements at a Sunday School reading.On his second attempt he was accepted at Castleford Grammar School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in medieval sculpture. His art teacher broadened his knowledge of art, and with her encouragement, he determined to make art his career; first by sitting for examinations for a scholarship to the local art college.  Moore's earliest recorded carvings – a plaque for the Scott Society at Castleford Secondary School, and a Roll of Honour commemorating the boys who went to fight in the First World War from the school – were executed around this time.Despite his early promise, Moore's parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended. Upon turning eighteen, Moore volunteered for army service. He was the youngest man in the Prince of Wales' Own Civil Service Rifles regiment and was injured in 1917 in a gas attack, on 30 November at Bourlon Wood, during the Battle of Cambrai. After recovering in hospital, he saw out the remainder of the war as a physical training instructor, only returning to France as the Armistice was signed. He recalled later, "for me the war passed in a romantic haze of trying to be a hero." This attitude changed as he reflected on the destructiveness of war and in 1940 he wrote, in a letter to his friend Arthur Sale, that "a year or two after [the war] the sight of a khaki uniform began to mean everything in life that was wrong and wasteful and anti-life. And I still have that feeling.". 
Question: What is the last name of the person whose father was an autodidact with an interest in music and literature?
Output: Moore.
Passage: Charles-Valentin Alkan (French: [ʃaʁl valɑ̃tɛ̃ alkɑ̃]; 30 November 1813 – 29 March 1888) was a French-Jewish composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life.
Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, including Eugène Delacroix and George Sand, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. During this period he published, among other works, his collections of large-scale studies in all the major keys (Op. 35) and all the minor keys (Op. 39). The latter includes his Symphony for Solo Piano (Op. 39, nos. 4–7) and Concerto for Solo Piano (Op. 39, nos. 8–10), which are often considered among his masterpieces and are of great musical and technical complexity. Alkan emerged from self-imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians.
Alkan's attachment to his Jewish origins is displayed both in his life and his work. He was the first composer to incorporate Jewish melodies in art music. Fluent in Hebrew and Greek, he devoted much time to a complete new translation of the Bible into French. This work, like many of his musical compositions, is now lost. Alkan never married, but his presumed son Élie-Miriam Delaborde was, like Alkan, a virtuoso performer on both the piano and the pedal piano, and edited a number of the elder composer's works.
Following his death (which according to persistent but unfounded legend was caused by a falling bookcase) Alkan's music became neglected, supported by only a few musicians including Ferruccio Busoni, Egon Petri and Kaikhosru Sorabji. From the late 1960s onwards, led by Raymond Lewenthal and Ronald Smith, many pianists have recorded his music and brought it back into the repertoire. 
Question: What is the full name of the person that edited a number of Charles-Valentin Alkan's works?
Output: Élie-Miriam Delaborde.
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques. 
Question: What is the first name of the person whose creativity was nurtured from a young age?
Output: Bronwyn.
Passage: Struggling actor Andrew Largeman wakes up from a dream—in which he apathetically sits on a crashing plane—to a telephone message from his father, telling Andrew that he needs to return home because his mother has died.
Andrew leaves Los Angeles and returns home to New Jersey to attend the funeral. He recognizes the grave-diggers as old friends Mark and Dave, who invite him to a party that night. At home, Andrew's father gets him a doctor's appointment for headaches that he's been having.
Later that night, Andrew goes to the party where he meets up with Mark, Dave, and Jesse, an old friend who has just earned a fortune after creating silent Velcro. After smoking marijuana and taking ecstasy at the party, he still remains detached.
The morning after the party, Andrew proceeds to the appointment. In the waiting room, he meets a young woman named Sam, who is a pathological liar. She later explains that most times she does not know why she lies and will always admit to them afterward. In Andrew's meeting with his doctor, it is revealed that Andrew has been on lithium and other mood stabilizers, as well as antidepressants, since the age of 10, but has recently stopped taking them. He also says that his father, who is his psychiatrist, put him on the medication. Andrew finds Sam outside the office and offers her a ride home. Sam invites him into her house, and he meets her mother, who inadvertently reveals that Sam has epilepsy. Andrew tells Sam of his mother's death, and Sam tearfully eulogizes her hamster. After returning home, Andrew's father confronts him and is insistent that they have a talk before Andrew leaves. 
Question: How does the actor know the grave-diggers?
Output: old friends.
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape. 
Question: What painter possibly influenced Eakins in the painting of The Swimming Hole?
Output: Frédéric Bazille.
Passage: The band members grew uncomfortable with their success, with much of the burden of Pearl Jam's popularity falling on frontman Vedder. While Pearl Jam received four awards at the 1993 MTV Video Music Awards for its video for "Jeremy", including Video of the Year and Best Group Video, the band refused to make a video for "Black" in spite of pressure from the label. This action began a trend of the band refusing to make videos for its songs. Vedder felt that the concept of music videos robbed listeners from creating their own interpretations of the song, stating that "Before music videos first came out, you'd listen to a song with headphones on, sitting in a beanbag chair with your eyes closed, and you'd come up with your own visions, these things that came from within. Then all of a sudden, sometimes even the very first time you heard a song, it was with these visual images attached, and it robbed you of any form of self-expression."
The United States Department of Justice was investigating the company's practices at the time and asked the band to create a memorandum of its experiences with the company. Band members Gossard and Ament testified at a subcommittee investigation on June 30, 1994 in Washington, D.C. Pearl Jam alleged that Ticketmaster used anti-competitive and monopolistic practices to gouge fans. After Pearl Jam's testimony before Congress, Congressman Dingell (D-Mich.) wrote a bill requiring full disclosure to prevent Ticketmaster from burying escalating service fees. Pearl Jam's manager said he was gratified that Congress recognized the problem as a national issue. 
Question: What band's members testified before Congress?
Output: Pearl Jam.