input: Please answer the following: Question: "Who was loyal to the new country during the American Revolutionary War?" Context: "Differences in the settlement patterns of eastern and western North Carolina, or the Low Country and uplands, affected the political, economic, and social life of the state from the 18th until the 20th century. The Tidewater in eastern North Carolina was settled chiefly by immigrants from rural England and the Scottish Highlands. The upcountry of western North Carolina was settled chiefly by Scots-Irish, English, and German Protestants, the so-called "cohee". Arriving during the mid- to late 18th century, the Scots-Irish from what is today Northern Ireland were the largest non-English immigrant group before the Revolution; English indentured servants were overwhelmingly the largest immigrant group before the Revolution. During the American Revolutionary War, the English and Highland Scots of eastern North Carolina tended to remain loyal to the British Crown, because of longstanding business and personal connections with Great Britain. The English, Welsh, Scots-Irish, and German settlers of western North Carolina tended to favor American independence from Britain." Answer:
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output: English, Welsh, Scots-Irish, and German settlers of western North Carolina tended to favor American independence from Britain

input: Please answer the following: Question: "The openings of "O Fortuna", "Also sprach Zarathustra", and this other opening are often used commercially." Context: "Certain staples of classical music are often used commercially (either in advertising or in movie soundtracks). In television commercials, several passages have become cliched, particularly the opening of Richard Strauss' Also sprach Zarathustra (made famous in the film 2001: A Space Odyssey) and the opening section "O Fortuna" of Carl Orff's Carmina Burana, often used in the horror genre; other examples include the Dies Irae from the Verdi Requiem, Edvard Grieg's In the Hall of the Mountain King from Peer Gynt, the opening bars of Beethoven's Symphony No. 5, Wagner's Ride of the Valkyries from Die Walkure, Rimsky-Korsakov's Flight of the Bumblebee, and excerpts of Aaron Copland's Rodeo." Answer:
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output: Symphony No. 5

input: Please answer the following: Question: "What breaks but can not put itself onto a table?" Context: "The problem of the direction of time arises directly from two contradictory facts. Firstly, the fundamental physical laws are time-reversal invariant; if a cinematographic film were taken of any process describable by means of the aforementioned laws and then played backwards, it would still portray a physically possible process. Secondly, our experience of time, at the macroscopic level, is not time-reversal invariant. Glasses can fall and break, but shards of glass cannot reassemble and fly up onto tables. We have memories of the past, and none of the future. We feel we can't change the past but can influence the future." Answer:
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output: Glasses

input: Please answer the following: Question: "What led to the result that observers in relative motion measure different elapsed times?" Context: "In non-relativistic classical mechanics, Newton's concept of "relative, apparent, and common time" can be used in the formulation of a prescription for the synchronization of clocks. Events seen by two different observers in motion relative to each other produce a mathematical concept of time that works sufficiently well for describing the everyday phenomena of most people's experience. In the late nineteenth century, physicists encountered problems with the classical understanding of time, in connection with the behavior of electricity and magnetism. Einstein resolved these problems by invoking a method of synchronizing clocks using the constant, finite speed of light as the maximum signal velocity. This led directly to the result that observers in motion relative to one another measure different elapsed times for the same event." Answer:
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output:
a method of synchronizing clocks