Problem: Given the question: Given the following context: Saint Anthony Falls, the only waterfall of its height on the Mississippi, played an important part in the development of Minneapolis. The power of the waterfall first fueled sawmills, but later it was tapped to serve flour mills. In 1870, only a small number of flour mills were in the Minneapolis area, but by 1900 Minnesota mills were grinding 14.1% of the nation's grain. Advances in transportation, milling technology, and water power combined to give Minneapolis a dominance in the milling industry. Spring wheat could be sown in the spring and harvested in late summer, but it posed special problems for milling. To get around these problems, Minneapolis millers made use of new technology. They invented the middlings purifier, a device that used jets of air to remove the husks from the flour early in the milling process. They also started using roller mills, as opposed to grindstones. A series of rollers gradually broke down the kernels and integrated the gluten with the starch. These improvements led to the production of "patent" flour, which commanded almost double the price of "bakers" or "clear" flour, which it replaced. Pillsbury and the Washburn-Crosby Company (a forerunner of General Mills) became the leaders in the Minneapolis milling industry. This leadership in milling later declined as milling was no longer dependent on water power, but the dominance of the mills contributed greatly to the economy of Minneapolis and Minnesota, attracting people and money to the region. answer the following question: What type of mills were grinding 14.1% of the nation's grain in Minnesota?
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The answer is:
flour mills

input question: Given the following context: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year. While there, Walton met Susana Gil Passo (19262010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Facade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry... answer the following question: What is the name of the person who persisted in his proposal of marriage, which was eventually accepted by Susana????
output answer: Walton

Given the following context: Whitney Brown, a privileged and popular Philadelphia teenager, nominates herself and her best friend, Lindsay, for class president (which they win because they promised to throw the best school formal). Her mother, Joan, then gives her a credit card so she can buy a dress for the formal. After Whitney does a great deal of shopping, Joan's credit card is eventually declined. Later, they see on television that the office where Whitney's father, Henry, works has declared bankruptcy. This means her father is now unemployed and her family will be destitute. The bank repossesses everything they have and Whitney's world becomes upended. Her family has to move to Whitney's grandparents' old farm in the country. There, far from her dizzying world of shallow girlfriends, endless parties, and school pressures, she finds a new best pal: Bob, a beautiful and spirited Gypsy horse belonging to her new neighbor. The neighbor, Dusty, is a crusty rancher who turns out to be her estranged grandfather. Through her new relationships with Bob, Dusty, and her parents, Whitney rediscovers what it means to respect not only nature and her family, but also someone very special she had almost lost touch with: herself. At her new school, she feels like a fish out of water, having no contact with her old friends for months. She has to accept the way things are now or do something about it. answer the following question: What is the full name of the person who finds a new best pal named Bob?
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Answer: Whitney Brown

Please answer this: Given the following context: Boult, unlike many of his contemporaries, preferred the traditional orchestral layout, with first violins on the conductor's left and the seconds on the right. Of the practice of grouping all the violins together on the left, he wrote, "The new seating is, I admit, easier for the conductor and the second violins, but I firmly maintain that the second violins themselves sound far better on the right. ... When the new fashion reached us from America somewhere about 1908 it was adopted by some conductors, but Richter, Weingartner, Walter, Toscanini and many others kept what I feel is the right balance."This care for balance was an important feature of Boult's music-making. Orchestral players across decades commented on his insistence that every important part should be heard without difficulty. His BBC principal violist wrote in 1938, "If a woodwind player has to complain that he has already been blowing 'fit to burst' there is trouble for somebody." The trombonist Ray Premru wrote forty years later, "One of the old school, like Boult, is so refreshing because he will reduce the dynamic level 'No, no, pianissimo, strings, let the soloist through, less from everyone else.' That is the old idea of balance."As an educator, Boult influenced several generations of musicians, beginning with his conducting class at the Royal College of Music, London, which he ran from 1919 to 1930. As no such classes had been held before in Britain, Boult "created its curriculum from out of his own experience. ... From that first small class has come all the later formal training for conductors throughout Britain." In the 1930s Boult ran a series of "conferences for conductors" at his country house near Guildford, sometimes helped by Vaughan Williams who lived a few miles away. From 1962 to 1966 he again taught at the Royal College of Music. In later life, he made time for young conductors who sought his counsel. Among those who studied with or were influenced by Boult were Colin Davis, James Loughran, Richard Hickox and Vernon... answer the following question: What is the full name of the person that was Boult's musical assistant on many occasions.
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Answer:
Vernon Handley