niryuu/sni-each-converted huggingface dataset:
Passage: David Huxley is a mild-mannered paleontologist. For the past four years, he has been trying to assemble the skeleton of a Brontosaurus but is missing one bone: the "intercostal clavicle". Adding to his stress is his impending marriage to the dour Alice Swallow and the need to impress Elizabeth Random, who is considering a million-dollar donation to his museum.
The day before his wedding, David meets Susan Vance by chance on a golf course when she plays his ball. She is a free-spirited, somewhat scatterbrained young lady unfettered by logic. These qualities soon embroil David in several frustrating incidents.
Susan's brother Mark has sent her a tame leopard named Baby from Brazil. Its tameness is helped by hearing "I Can't Give You Anything But Love". Susan thinks David is a zoologist, and manipulates him into accompanying her in taking Baby to her farm in Connecticut. Complications arise when Susan falls in love with him and tries to keep him at her house as long as possible, even hiding his clothes, to prevent his imminent marriage.
David's prized intercostal clavicle is delivered, but Susan's aunt's dog George takes it and buries it somewhere. When Susan's aunt arrives, she discovers David in a negligee. To David's dismay, she turns out to be potential donor Elizabeth Random. A second message from Mark makes clear the leopard is for Elizabeth, as she always wanted one. Baby and George run off. The zoo is called to help capture Baby. Susan and David race to find Baby before the zoo and, mistaking a dangerous leopard (also portrayed by Nissa) from a nearby circus for Baby, let it out of its cage. 
Question: Who does Susan fall in love with?
Output: David Huxley.
Passage: Neilston (Scots: Neilstoun, Scottish Gaelic: Baile Nèill, pronounced [paləˈnɛːʎ]) is a village and parish in East Renfrewshire in the west central Lowlands of Scotland. It is in the Levern Valley, 2 miles (3.2 km) southwest of Barrhead, 3.8 miles (6.1 km) south of Paisley, and 5.7 miles (9.2 km) south-southwest of Renfrew, at the southwestern fringe of the Greater Glasgow conurbation. Neilston is a dormitory village with a resident population of just over 5,000 people.
Neilston is mentioned in documents from the 12th century, when the feudal lord Robert de Croc, endowed a chapel to Paisley Abbey to the North. Neilston Parish Church—a Category B listed building—is said to be on the site of this original chapel and has been at the centre of the community since 1163. Little remains of the original structure. Before industrialisation, Neilston was a scattered farming settlement composed of a series of single-storey houses, many of them thatched. Some domestic weaving was carried out using local flax. Water power from nearby streams ground corn and provided a suitable environment for bleaching the flax.
The urbanisation and development of Neilston came largely with the Industrial Revolution. Industrial scale textile processing was introduced to Neilston around the middle of the 18th century with the building of several cotton mills. Neilston became a centre for cotton and calico bleaching and printing in the 18th century, which developed into a spinning and dying industry, and continued into the early 20th century. Although Neilston is known as a former milling village, agriculture has played, and continues to play, an economic role. The annual Neilston Agricultural Show is an important trading and cultural event for farmers from southwest Scotland each spring.Although heavy industry died out in the latter half of the 20th century, as part of Scotland's densely populated Central Belt, Neilston has continued to grow as a commuter village, supported by its position between Paisley and Glasgow, from roughly 1,000 people in 1800 to 5,168 in 2001. Expansion continues due to several new housing developments. 
Question: What was the 2001 population count of the town that was a centre for cotton and calico bleaching and printing?
Output: 5,168.
Passage: On a moonlit, tropical night, the native workers are asleep in their outdoor barracks. A shot is heard; the door of a house opens and a man stumbles out of it, followed by a woman who calmly shoots him several more times, the last few while standing over his body. The woman is Leslie Crosbie, the wife of a British rubber plantation manager in Malaya; the man whom she shot is recognized by her manservant as Geoff Hammond, a well-regarded member of the European community. Leslie tells the servant to send for her husband Robert, who is working at one of the plantations. Her husband returns, having summoned his attorney and a British police inspector. Leslie tells them that Geoff Hammond "tried to make love to me" and that she killed him to save her honor.

Leslie is placed under arrest and put in jail in Singapore to await trial for murder; that she killed a man makes such a trial inevitable, but her eventual acquittal seems a foregone conclusion, as the white community accepts her story and believes she acted heroically.  Only her attorney, Howard Joyce, is rather suspicious. Howard's suspicions seem justified when his clerk, Ong Chi Seng, shows him a copy of a letter Leslie wrote to Hammond the day she killed him, telling him that her husband would be away that evening, and pleading with him to come—implicitly threatening him if he did not come.
Ong Chi Seng tells Howard that the original letter is in the possession of Hammond's widow, a Eurasian woman who lives in the Chinese quarter of town.  The letter is for sale, and Ong himself, whom Howard had believed to be impeccable, stands to receive a substantial cut of the price.  Howard then confronts Leslie with the damning evidence and she breaks down and confesses to having written it, though she stands by her claim of having killed Hammond in self-defence.  Yet Leslie cleverly manipulates the attorney into agreeing to buy back the letter, even though in doing so he will risk his own freedom and career. 
Question: What's the full name of the person who stumbles out of the house?
Output: Geoff Hammond.
Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskjöld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, "for outstanding services to peace and international understanding". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage à Miriam Makeba and curated by Beninoise singer-songwriter and activist Angélique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurismäki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.
In 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the "Miriam Makebaplein". 
Question: What is the first name of the person who won the Dag Hammarskjöld Peace Prize in 1986?
Output: Miriam.
Passage: Major League Baseball's San Francisco Giants have played in San Francisco since moving from New York in 1958. The Giants play at Oracle Park, which opened in 2000. The Giants won World Series titles in 2010, 2012, and in 2014. The Giants have boasted such stars as Willie Mays, Willie McCovey and Barry Bonds. In 2012, San Francisco was ranked No. 1 in a study that examined which U.S. metro areas have produced the most Major Leaguers since 1920.The San Francisco 49ers of the National Football League (NFL) were the longest-tenured major professional sports franchise in the city until moving in 2013. The team began play in 1946 as an All-America Football Conference (AAFC) league charter member, moved to the NFL in 1950 and into Candlestick Park in 1971. The team began playing its home games at Levi's Stadium in Santa Clara in 2014, closer to the city of San Jose. The 49ers won five Super Bowl titles in the 1980s and 1990s.
The San Francisco Warriors played in the NBA from 1962–1971, before being renamed the Golden State Warriors prior to the 1971–1972 season in an attempt to present the team as a representation of the whole state of California. The Warrior's stadium, Oracle Arena, is currently located in Oakland. They have won 6 championships, including three of the last four.
At the collegiate level, the San Francisco Dons compete in NCAA Division I. Bill Russell led the Don's basketball team to NCAA championships in 1955 and 1956. There is also the San Francisco State Gators, who compete in NCAA Division II. Oracle Park hosted the annual Fight Hunger Bowl college football game from 2002 through 2013 before it moved to Santa Clara.
The Bay to Breakers footrace, held annually since 1912, is best known for colorful costumes and a celebratory community spirit. The San Francisco Marathon attracts more than 21,000 participants. The Escape from Alcatraz triathlon has, since 1980, attracted 2,000 top professional and amateur triathletes for its annual race. The Olympic Club, founded in 1860, is the oldest athletic club in the United States. Its private golf course has hosted the U.S. Open on five occasions. San Francisco hosted the 2013 America's Cup yacht racing competition.With an ideal climate for outdoor activities, San Francisco has ample resources and opportunities for amateur and participatory sports and recreation. There are more than 200 miles (320 km) of bicycle paths, lanes and bike routes in the city.
San Francisco residents have often ranked among the fittest in the country. Golden Gate Park has miles of paved and unpaved running trails as well as a golf course and disc golf course.
Boating, sailing, windsurfing and kitesurfing are among the popular activities on San Francisco Bay, and the city maintains a yacht harbor in the Marina District. 
Question: What is the full name of the team that began playing its home games at Levi's Stadium in Santa Clara in 2014?
Output: San Francisco 49ers.
Passage: Notorious mob boss James "Lucky" Lombardi looks back upon his life and career on the night of his execution.
The flashbacks picks up when Lucky, born and raised on the Balkan Peninsula, tries to marry into money and goes to the U.S. to find himself a wealthy bride. He has no luck, despite his name, and instead makes an attempt to bluff his way forward, pretending to be count De Kloven, a rich aristocrat.
As De Kloven, Lucky gets hired to escort the prominent socialite Mrs. Lola Morgan, but quits when she wants him to be her lover. Instead he tries a new disguise, as Rudolph Von Hertsen, and gets involved in another racket with a Dr. J.M. Randall, performing abortions and selling unwanted babies.
When the racket is disclosed, Lucky moves on to the business of pimping young women  into prostitution. He goes as far as to trick naive young women into laying their lives in his hands, selling them as sex-slaves, thus entering into the business of white slavery. He soon becomes the head of such an organization.
His right-arm man, Nick goes to lengths to get new merchandise for the business, and kidnaps Dorothy, a young, blonde schoolgirl. The election of a new ambitious district attorney causes Lucky problems, but he refuses to slow down.
Lucky falls in love with a beautiful woman named Lois, but his affections are not returned, and she has to run for her life from his long lawless arms, with the help of one of Lucky's more goodhearted men, Harry. When Lucky discovers what Harry has done he has him killed, and is ultimately arrested and convicted of murder. The new district attorney manages to get him sentenced to death.
We return from the flashbacks to present time, where Lucky has learned his lesson: that crime doesn't pay. 
Question: What is the nickname of the person who pretends to be a rich aristocrat?
Output: Lucky.
Passage: Politically, Istanbul is seen as the most important administrative region in Turkey. Many politicians, including the President Recep Tayyip Erdoğan, are of the view that a political party's performance in Istanbul is more significant than its general performance overall. This is due to the city's role as Turkey's financial centre, its large electorate and the fact that Erdoğan himself was elected Mayor of Istanbul in 1994. In the run-up to local elections in 2019, Erdoğan claimed 'if we fail in Istanbul, we will fail in Turkey'.Historically, Istanbul has voted for the winning party in general elections since 1995. Since 2002, the right-wing Justice and Development Party (AKP) has won pluralities in every general election, with 41.74% of the vote in the most recent parliamentary election on 24 June 2018. Erdoğan, the AKP's presidential candidate, received exactly 50.0% of the vote in the presidential election held on the same day. Starting with Erdoğan in 1994, Istanbul has had a conservative mayor for 25 years, until 2019. The second largest party in Istanbul is the centre-left Republican People's Party (CHP), which is also the country's main opposition. The left-wing pro-Kurdish Peoples' Democratic Party (HDP) is the city's third largest political force due to a substantial number of Kurdish people migrating from south-eastern Turkey.
More recently, Istanbul and many of Turkey's metropolitan cities are following a trend away from the government and their right-wing ideology. In 2013 and 2014, large-scale anti-AKP government protests began in İstanbul and spread throughout the nation. This trend first became evident electorally in the 2014 mayoral election where the centre-left opposition candidate won an impressive 40% of the vote, despite not winning. The first government defeat in Istanbul occurred in the 2017 constitutional referendum, where Istanbul voted 'No' by 51.4% to 48.6%. The AKP government had supported a 'Yes' vote and won the vote nationally due to high support in rural parts of the country. The biggest defeat for the government came in the 2019 local elections, where their candidate for Mayor, former Prime Minister Binali Yıldırım, was defeated by a very narrow margin by the opposition candidate Ekrem İmamoğlu. İmamoğlu won the vote with 48.77% of the vote, against Yıldırım's 48.61%. Similar trends and electoral successes for the opposition were also replicated in Ankara, Izmir, Antalya, Mersin, Adana and other metropolitan areas of Turkey.
Administratively, Istanbul is divided into 39 districts, more than any other province in Turkey. As a province, Istanbul sends 98 Members of Parliament to the Grand National Assembly of Turkey, which has a total of 600 seats. For the purpose of parliamentary elections, Istanbul is divided into three electoral districts; two on the European side and one on the Asian side, electing 28, 35 and 35 MPs respectively. 
Question: What is the first name of the person who was the AKP's presidential candidate?
Output: Tayyip.
Passage: During the latter half of 2002, Sasha collaborated with big beat artist Junkie XL on the single "Breezer". Junkie XL, along with Charlie May, also assisted Sasha on his second album of original material, Airdrawndagger.  Airdrawndagger took several years to produce due to Sasha's desire for the album to be "as near to perfection as possible."  That March, Sasha suffered a perforated eardrum in a traffic accident, further delaying the album's production. Though the accident temporarily impaired his hearing, he drew inspiration for the album from his ordeal.  Airdrawndagger was finally released, in August 2002, to much fanfare. However, the album was "received with a lot of head scratching", according to Sasha, which he attributed to its unexpected mix of genres. The album did not feature the heavier "club sound" of Sasha's previous mix albums, bearing a closer resemblance to ambient music.  Airdrawndagger generally received favorable reviews, though critics noted that it was not as consistent and well produced as his DJ mixes. Sasha himself described it as "a selfish, slightly self-indulgent record", though he maintains that he is "happy with it to this day".  Some critics, however, called it "sleepy"; E!Online described it as being "more in league with Yanni than Moby".  To encourage listeners' interest, Sasha held an amateur remix contest for the album's single, "Wavy Gravy".  Due to the contest's success, Sasha released all the tracks from Airdrawndagger on his website, so that fans could download and create their own versions.After the release of Airdrawndagger, Sasha took the young DJ James Zabiela "under his wing". He introduced Zabiela to the CDJ1000 turntable, and signed Zabiela to the Excession talent agency.  The two toured the United States together, which extended Sasha's influence to already-popular American DJs such as Kimball Collins.
In 2004, Sasha signed with Global Underground to produce another mix album. However, he found the process of creating a standard mix album unrewarding, and decided to apply his production and DJing skills to a mix compilation that resembled a "real" album—that is, one featuring original material.  Sasha's next studio album, Involver, was "a fusion of mix album and production record", consisting entirely of Sasha's reworkings of tracks by other artists.  "I tried to take all the separate sounds to all the tracks [and recombine them]", he later explained, "and it allowed me to mix the tracks together on a much deeper level."  He accomplished this by sequencing the album using Ableton Live and Logic Pro.  Ableton Live is a music loop-based software package that Sasha uses to engineer tracks in real-time, whereas he used Logic Pro primarily for premeditated edits to audio tracks. 
Question: Whose album was not as consistent or well produced as his DJ mixes?
Output: Sasha.
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What are the precise titles of the first three symphonies that form a sub-group within the nine?
Output: A Sea Symphony.
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What are the precise titles of the first three symphonies that form a sub-group within the nine?
Output: A London Symphony.
Passage: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer length—about eighty minutes—was unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (1911–1913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heard—and the composer never denied or confirmed—some social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the pastoral landscape evoked is not a tranquil English scene, but the French countryside ravaged by war. Some English musicians who had not fought in the First World War misunderstood the work and heard only the slow tempi and quiet tone, failing to notice the character of a requiem in the music and mistaking the piece for a rustic idyll. Kennedy comments that it was not until after the Second World War that "the spectral 'Last Post' in the second movement and the girl's lamenting voice in the finale" were widely noticed and understood. 
Question: What are the precise titles of the first three symphonies that form a sub-group within the nine?
Output: A Pastoral Symphony.
Passage: In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success.
M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on the album, but was unable due to budget constraints and other artists' unfamiliarity with her work. She chose to perform all the vocals herself, saying, "I just quietly got on with it ... I didn't wanna convince anyone it was good. I felt it was much better to prove that I could be an individual.". 
Question: What is the first name of the person with whom the track was co-written, and whose input M.I.A. described as "refreshing"?
Output: Justine.
Passage: Presley's physical attractiveness and sexual appeal were widely acknowledged. "He was once beautiful, astonishingly beautiful", in the words of critic Mark Feeney. Television director Steve Binder, no fan of Presley's music before he oversaw the '68 Comeback Special, reported, "I'm straight as an arrow and I got to tell you, you stop, whether you're male or female, to look at him. He was that good looking. And if you never knew he was a superstar, it wouldn't make any difference; if he'd walked in the room, you'd know somebody special was in your presence." His performance style, as much as his physical beauty, was responsible for Presley's eroticized image. Writing in 1970, critic George Melly described him as "the master of the sexual simile, treating his guitar as both phallus and girl". In his Presley obituary, Lester Bangs credited him as "the man who brought overt blatant vulgar sexual frenzy to the popular arts in America". Ed Sullivan's declaration that he perceived a soda bottle in Presley's trousers was echoed by rumors involving a similarly positioned toilet roll tube or lead bar.While Presley was marketed as an icon of heterosexuality, some cultural critics have argued that his image was ambiguous. In 1959, Sight and Sound's Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal". Brett Farmer places the "orgasmic gyrations" of the title dance sequence in Jailhouse Rock within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image". In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."Reinforcing Presley's image as a sex symbol were the reports of his dalliances with various Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of Presley's early girlfriends, later blamed Parker for encouraging him to choose his dating partners with publicity in mind. Presley never grew comfortable with the Hollywood scene, and most of these relationships were insubstantial. 
Question: What is the first name of the person whose physical attractiveness and sexual appeal were widely acknowledged?
Output: Elvis.
Passage: Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes.  Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques.
How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother, Fred Sullivan, may have encouraged him to write the music for Thespis.The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred. 
Question: What is the first name of the person whose encouragement to write the music Thespis may have come from Hollingshead's offer of a role to his brother?
Output: Arthur.
Passage: Kannada became more prominent as a literary language during the Rashtrakuta rule with its script and literature showing remarkable growth, dignity and productivity. This period effectively marked the end of the classical Prakrit and Sanskrit era. Court poets and royalty created eminent works in Kannada and Sanskrit that spanned such literary forms as prose, poetry, rhetoric, the Hindu epics and the life history of Jain tirthankars. Bilingual writers such as Asaga gained fame, and noted scholars such as the Mahaviracharya wrote on pure mathematics in the court of King Amoghavarsha I.Kavirajamarga (850) by King Amoghavarsha I is the earliest available book on rhetoric and poetics in Kannada, though it is evident from this book that native styles of Kannada composition had already existed in previous centuries. Kavirajamarga is a guide to poets (Kavishiksha) that aims to standardize these various styles. The book refers to early Kannada prose and poetry writers such as Durvinita, perhaps the 6th-century monarch of Western Ganga Dynasty.The Jain writer Adikavi Pampa, widely regarded as one of the most influential Kannada writers, became famous for Adipurana (941). Written in champu (mixed prose-verse style) style, it is the life history of the first Jain tirthankara Rishabhadeva. Pampa's other notable work was Vikramarjuna Vijaya (941), the author's version of the Hindu epic, Mahabharata, with Arjuna as the hero. Also called Pampa Bharata, it is a eulogy of the writer's patron, King Chalukya Arikeseri of Vemulawada (a Rashtrakuta feudatory), comparing the king's virtues favorably to those of Arjuna. Pampa demonstrates such a command of classical Kannada that scholars over the centuries have written many interpretations of his work.Another notable Jain writer in Kannada was Sri Ponna, patronised by King Krishna III and famed for Shantipurana, his account of the life of Shantinatha, the 16th Jain tirthankara. He earned the title Ubhaya Kavichakravathi (supreme poet in two languages) for his command over both Kannada and Sanskrit. His other writings in Kannada were Bhuvanaika-ramaabhyudaya, Jinaksharamale and Gatapratyagata. Adikavi Pampa and Sri Ponna are called "gems of Kannada literature". 
Question: What is the full name of the person whose other writings in Kannada were Bhuvanaika-ramaabhyudaya, Jinaksharamale and Gatapratyagata?
Output: Sri Ponna.
Passage: Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with The Planets, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov[ing] reassuringly above the steps of a descending bass", while Michael Kennedy points to the 12 Humbert Wolfe settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.Many of the characteristics that Holst employed — unconventional time signatures, rising and falling scales, ostinato, bitonality and occasional polytonality — set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil Jane Joseph, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible". 
Question: What is the last name of the person who did not hesitate to be remote when remoteness expressed his purpose?
Output: Holst.
Passage: Hex Enduction Hour was the first Fall album to make the UK Albums Chart, where it spent three weeks, peaking at no. 71. By mid-1983 it had sold 20,000 copies, reflecting a surge in the band's popularity, and five years into their career brought them to the attention of record labels. Critics were highly enthusiastic; according to Simon Ford, they could "have hardly been more supportive". Reviewing the album in the NME, Richard Cook described the band as tighter and more disciplined than in earlier recordings, "their master piece to date", while still maintaining their impact. He praised the band's use of recording-studio techniques and atmospherics without resorting to glamorisation. Melody Maker's Colin Irwin said it was "incredibly exciting and utterly compelling".  A dissenter was Neil McCormick of Irish fortnightly Hot Press, who dismissed the album as secondhand melodramatic punk and wondered if the album was "meant to be minimalist or primitive then it fatally ignores the true primitivism of the strong melody and accessible lyrics found in folk music."Later, Record Collector described the album as a "taut, twitchy and ominous masterclass in DIY post-punk", and singled out Smith's lyrics for praise. The Quietus, in 2009, wrote of the album as "arguably ... The Fall's mightiest hour", while Stylus Magazine wrote that "Hex demonstrates the culmination of 'early' Fall: a monolithic beast of ragged grooves piloted through the embittering miasma of English society by the verbose acidity/Joycean all-inclusiveness of Mark E. Smith." Pitchfork listed Hex Enduction Hour as the 33rd best album of the 1980s. Comedian Stewart Lee has called it his favourite album and "probably the best album of all time."According to Smith, the album's lyrics had a negative impact on the band's later career. In 1984, Motown Records expressed interest in signing the band to a new UK division, with a provisional offer of a £46,000 up-front advance. A label executive asked to hear something from the Fall's back catalogue, but Hex was the only album Smith had available; he remembered thinking, "when he hears that, we've had it." The rejection letter stated that the label saw "no commercial potential in this band whatsoever". Smith believes this was due to the "obligatory niggers" line from the opening track "The Classical". 
Question: What band did Colin Irwin describe as "incredibly exciting and utterly compelling"?
Output: Fall.
Passage: In 1987, Doris Duke, considered the wealthiest woman in the world, hires Bernard Lafferty, who lists Elizabeth Taylor and Peggy Lee as former employers on his résumé, as her majordomo. He explains a six-month gap in his employment history was due to "health issues," a euphemism for time spent in rehab to deal with his addiction to alcohol. He assures Doris, who immediately suspects the truth, he is capable of performing his duties without any problems. As Bernard moves in, the viewer can quickly tell he is a little neurotic, first putting portraits of his former employers, Taylor and Lee, in his bedroom, then informing the rest of the staff he is now "Miss Duke's eyes and ears" and demanding they listen to him. Despite Bernard's growing affection for Doris, the brash and often crude Doris thinks little of him, not even remembering how to correctly pronounce his name. However, their situation slowly evolves into a more emotionally intimate but non-physical relationship as Doris returns from a plastic surgery center one evening, drunk and on painkillers, and is aided by Bernard who stays with her through the night. 
Question: What is the first name of the person who demands the rest of the staff listen to him?
Output: Bernard.
Passage: In September 1930 Heseltine moved with Barbara Peache into a basement flat at 12a Tite Street in Chelsea. With no fresh creative inspiration, he worked in the British Museum to transcribe the music of English composer Cipriani Potter, and made a solo version of "Bethlehem Down" with organ accompaniment. On the evening of 16 December Heseltine met with Van Dieren and his wife for a drink and invited them home afterwards. According to Van Dieren, the visitors left at about 12:15 a.m. Neighbours later reported sounds of movement and of a piano in the early morning. When Peache, who had been away, returned early on 17 December, she found the doors and windows bolted, and smelled coal gas. The police broke into the flat and found Heseltine unconscious; he was declared dead shortly afterwards, apparently as the result of coal gas poisoning.An inquest was held on 22 December; the jury could not determine whether the death was accidental or suicide and an open verdict was returned. Most commentators have considered suicide the more likely cause; Heseltine's close friend Lionel Jellinek and Peache both recalled that he had previously threatened to take his life by gas and the outline of a new will was found among the papers in the flat. Much later, Nigel Heseltine introduced a new theory—that his father had been murdered by Van Dieren, the sole beneficiary of Heseltine's 1920 will, which stood to be revoked by the new one. This theory is not considered tenable by most commentators. The suicide theory is supported (arguably), by the (supposed, accepted) fact that Heseltine/Warlock had put his young cat outside the room before he had turned on the lethal gas.Philip Heseltine was buried alongside his father at Godalming cemetery on 20 December 1930. In late February 1931, a memorial concert of his music was held at the Wigmore Hall; a second such concert took place in the following December.In 2011 the art critic Brian Sewell published his memoirs, in which he claimed that he was Heseltine's illegitimate son, born in July 1931 seven months after the composer's death. Sewell's mother, unnamed, was an intermittent girlfriend, a Roman Catholic  who refused Heseltine's offer to pay for an abortion and subsequently blamed herself for his death. Sewell was unaware of his father's identity until 1986. 
Question: What is the full name of the person who claimed to be someone's illegitimate son?
Output: Brian Sewell.
Passage: At Eynsford, with Moeran as his co-tenant, Heseltine presided over a bohemian household with a flexible population of artists, musicians and friends. Moeran had studied at the Royal College of Music before and after the First World War; he avidly collected folk music and had admired Delius during his youth. Although they had much in common, he and Heseltine rarely worked together, though they did co-write a song, "Maltworms". The other permanent Eynsford residents were Barbara Peache, Heseltine's long-term girlfriend whom he had known since the early 1920s, and Hal Collins, a New Zealand Māori who acted as a general factotum. Peache was described by Delius's assistant Eric Fenby as "a very quiet, attractive girl, quite different from Phil's usual types". Although not formally trained, Collins was a gifted graphic designer and occasional composer, who sometimes assisted Heseltine. The household was augmented at various times by the composers William Walton and Constant Lambert, the artist Nina Hamnett, and sundry acquaintances of both sexes.The ambience at Eynsford was one of alcohol (the "Five Bells" public house was conveniently across the road) and uninhibited sexual activity. These years are the primary basis for the Warlock legends of wild living and debauchery. Visitors to the house left accounts of orgies, all-night drunken parties, and rough horseplay that at least once brought police intervention. However, such activities were mainly confined to weekends; within this unconventional setting Heseltine accomplished much work, including settings from the Jacobean dramatist John Webster and the modern poet Hilaire Belloc, and the Capriol Suite in versions for string and full orchestra. Heseltine continued to transcribe early music, wrote articles and criticism, and finished the book on Gesualdo. He attempted to restore the reputation of a neglected Elizabethan composer, Thomas Whythorne, with a long pamphlet which, years later, brought significant amendments to Whythorne's entry in The History of Music in England. He also wrote a general study of Elizabethan music, The English Ayre.In January 1927, Heseltine's string serenade was recorded for the National Gramophonic Society, by John Barbirolli and an improvised chamber orchestra. A year later, HMV recorded the ballad "Captain Stratton's Fancy", sung by Peter Dawson. These two are the only recordings of Heseltine's music released during his lifetime. His association with the poet and journalist Bruce Blunt led to the popular Christmas anthem "Bethlehem Down", which the pair wrote in 1927 to raise money for their Christmas drinking. By the summer of 1928 his general lifestyle had created severe financial problems, despite his industry. In October he was forced to give up the cottage at Eynsford, and returned to Cefn Bryntalch. 
Question: What is the name of the person whose general lifestyle had created severe financial problems by the summer of 1928?
Output: Heseltine.