Input:
Passage: At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Monteux believed that the trouble began when the two factions   began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. The unrest receded significantly during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.Among the more hostile press reviews was that of Le Figaro's critic, Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand, Gustav Linor, writing in the leading theatrical magazine Comoedia, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic Michel-Dimitri Calvocoressi, who wrote: "The idea was excellent, but was not successfully carried out". Calvocoressi failed to observe any direct hostility to the composer—unlike, he said, the premiere of Debussy's Pelléas et Mélisande in 1902. Of later reports that the veteran composer Camille Saint-Saëns had stormed out of the premiere, Stravinsky observed that this was impossible; Saint-Saëns did not attend. Stravinsky also rejected Cocteau's story that, after the performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to the Bois de Boulogne where a tearful Diaghilev recited poems by Pushkin. Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome. To Maximilien Steinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that Nijinsky's choreography had been "incomparable: with the exception of a few places, everything was as I wanted it".
Question: What two groups made up the typical ballet audience?

Output: "Bohemian" group.


Input:
Passage: Touring internationally in June and July, the Beatles staged 37 shows over 27 days in Denmark, the Netherlands, Hong Kong, Australia and New Zealand. In August and September they returned to the US, with a 30-concert tour of 23 cities. Generating intense interest once again, the month-long tour attracted between 10,000 and 20,000 fans to each 30-minute performance in cities from San Francisco to New York.In August, journalist Al Aronowitz arranged for the Beatles to meet Bob Dylan. Visiting the band in their New York hotel suite, Dylan introduced them to cannabis. Gould points out the musical and cultural significance of this meeting, before which the musicians' respective fanbases were "perceived as inhabiting two separate subcultural worlds": Dylan's audience of "college kids with artistic or intellectual leanings, a dawning political and social idealism, and a mildly bohemian style" contrasted with their fans, "veritable 'teenyboppers' – kids in high school or grade school whose lives were totally wrapped up in the commercialised popular culture of television, radio, pop records, fan magazines, and teen fashion. To many of Dylan's followers in the folk music scene, the Beatles were seen as idolaters, not idealists." Within six months of the meeting, according to Gould, "Lennon would be making records on which he openly imitated Dylan's nasal drone, brittle strum, and introspective vocal persona"; and six months after that, Dylan began performing with a backing band and electric instrumentation, and "dressed in the height of Mod fashion". As a result, Gould continues, the traditional division between folk and rock enthusiasts "nearly evaporated", as the Beatles' fans began to mature in their outlook and Dylan's audience embraced the new, youth-driven pop culture.During the 1964 US tour, the group were confronted with the reality of racial segregation in the country at the time, particularly in the South. When informed that the venue for their 11 September concert, the Gator Bowl in Jacksonville, Florida, was segregated, the Beatles said they would refuse to perform unless the audience was integrated. Lennon stated: "We never play to segregated audiences and we aren't going to start now ... I'd sooner lose our appearance money." City officials relented and agreed to allow an integrated show. The group also cancelled their reservations at the whites-only Hotel George Washington in Jacksonville. Documents reveal that for their subsequent US tours in 1965 and 1966, the Beatles included clauses in contracts stipulating that shows be integrated.
Question: What is the name of the band whose fans are described as "veritable teenyboppers"?

Output: Beatles.


Input:
Passage: Set in New York City, Candy Mountain tells the tale of a struggling guitarist named Julius. After he promises a rock star he can find an elusive guitar maker and acquire his valuable products, he sets off on a quest to Canada to find the legendary Elmore Silk, in order to strike a deal with him. Along his journey via T-Bird, Volkswagen, and hitchhiking, he experiences a series of encounters and misadventures with those who claim to have known the reclusive Silk. Each encounter provides him with valuable insight into the kind of man Silk is, and his journey is filled with "musicians playing small roles: David Johanson as the star who wants to buy up the guitars, Tom Waits as Elmore's middle-class brother, Joe Strummer as a punk, Dr. John as Elmore's cranky son-in-law, Leon Redbone as one-half of a peculiar Canadian family who enjoy imprisoning passers-by". As he ventures further North, and reaches Canada, he is finally in the presence of the famous guitarist he had been searching for. Once he meets Silk, he is faced with the realization that financial gain is nothing compared to the development of one's artistic ability.
Question: What is the name of the person who goes on a quest to Canada?

Output: Julius.


Input:
Passage: When Scranton agreed to take on Steamtown, U.S.A., it was estimated that the museum and excursion business would attract 200,000 to 400,000 visitors to the city every year.  In anticipation of this economic boon, the city and a private developer spent $13 million to renovate the Delaware, Lackawanna and Western Railroad (DL&W) station and transform it into a Hilton hotel, at a time when the unemployment rate in the city was 13 percent.  Only 60,000 visitors showed up at Steamtown in 1987, and the 1988 excursions were canceled. After only three years, it was $2.2 million in debt and facing bankruptcy. Part of the problem was the cost of restoration of the new property and the deteriorating equipment. In addition, while the tourists in Vermont had enjoyed the sights of cornfields, farms, covered bridges, a waterfall and a gorge on a Steamtown excursion, the Scranton trip to Moscow, Pennsylvania, cut through one of the nation's largest junkyards, an eyesore described by Ralph Nader as "the eighth wonder of the world".In 1986, the U.S. House of Representatives, under the urging of Scranton native, Representative Joseph M. McDade, voted to approve the spending of $8 million to study the collection and to begin the process of making it a National Historic Site. By 1995, Steamtown was acquired and developed by the National Park Service (NPS) at a total cost of $66 million, and opened as Steamtown National Historic Site the same year. In preparation for its acquisition of the collection, the NPS had conducted historical research during 1987 and 1988 on the equipment that still remained in the foundation's possession. This research was used for a Scope of Collections Statement for Steamtown National Historic Site and was published in 1991 under the title Steamtown Special History Study. Aside from providing concise histories of the equipment, the report also made recommendations as to whether or not each piece belonged in the now government-funded collection. Historical significance to the United States was a criterion of the recommendations. Many of the pieces of equipment that did not meet the report's recommendations were sold or traded for pieces that had historical significance to the DL&W grounds on which the site is located.
Question: What is the full name of the place that was described by Ralph Nader as "the eighth wonder of the world"?

Output: Steamtown, U.S.A.


Input:
Passage: Pulakeshin II conquered the eastern Deccan, corresponding to the coastal districts of modern Andhra Pradesh in 616, defeating the remnants of the Vishnukundina kingdom. He appointed his brother Kubja Vishnuvardhana as Viceroy in 621. Thus the Eastern Chalukyas were originally of Kannada stock. After the death of Pulakeshin II, the Vengi Viceroyalty developed into an independent kingdom and included the region between Nellore and Visakhapatnam.After the decline of the Badami Chalukya empire in the mid-8th century, territorial disputes flared up between the Rashtrakutas, the new rulers of the western deccan, and the Eastern Chalukyas. For much of the next two centuries, the Eastern Chalukyas had to accept subordination towards the Rashtrakutas. Apart from a rare military success, such as the one by Vijayaditya II(c.808–847), it was only during the rule of Bhima I (c.892–921) that these Chalukyas were able to celebrate a measure of independence. After the death of Bhima I, the Andhra region once again saw succession disputes and interference in Vengi affairs by the Rashtrakutas.The fortunes of the Eastern Chalukyas took a turn around 1000. Danarnava, their king, was killed in battle in 973 by the Telugu Choda King Bhima who then imposed his rule over the region for twenty-seven years. During this time, Danarnava's two sons took refuge in the Chola kingdom. Choda Bhima's invasion of Tondaimandalam, a Chola territory, and his subsequent death on the battlefield opened up a new era in Chola–Chalukya relations. Saktivarman I, the elder son of Danarnava was crowned as the ruler of Vengi in 1000, though under the control of king Rajaraja Chola I. This new relationship between the Cholas and the coastal Andhra kingdom was unacceptable to the Western Chalukyas, who had by then replaced the Rashtrakutas as the main power in the western Deccan. The Western Chalukyas sought to brook the growing Chola influence in the Vengi region but were unsuccessful.Initially, the Eastern Chalukyas had encouraged Kannada language and literature, though, after a period of time, local factors took over and they gave importance to Telugu language. Telugu literature owes its growth to the Eastern Chalukyas.
Question: Who did the new rulers of the western deccan dispute with?

Output: Eastern Chalukyas.


Input:
Passage: The film begins by introducing Kellyanne Williamson, playing with imaginary friends Pobby and Dingan. The family of Rex Williamson—his wife, Anne, daughter Kellyanne and son Ashmol—have moved to Coober Pedy, known as the "opal capital of Australia", because Rex believed he could make a fortune in mining opal. So far he's had little success. Ashmol, while he loves his sister, is frequently annoyed when she talks to her imaginary friends, and some of the kids at school tease the siblings because of them.
Rex and Anne decide it is time to separate Kellyanne from her invisible companions. Annie takes Kellyanne to a Christmas party at Annie's friend's house, Rex telling her that he will let Pobby and Dingan come with him to go opal mining. Upon Rex's return, Kellyanne says she can no longer see them and that they have disappeared. She insists on going to the opal mining area to look for them, accompanied by Rex and Ashmol. The family accidentally strays on to a neighbouring miner's claim. The miner, Sid, pulls a shotgun on Rex and calls the police, thinking that Rex was "ratting" on his territory - that is, looking for opals on his turf.
Kellyanne is grief-stricken at the loss of her imaginary friends and takes ill, although doctors can find nothing physically wrong with her. Rex has to leave his opal claim. Annie loses her job at the local supermarket, thanks to the circulating rumours around Rex's arrest. Convinced that Kellyanne is faking her illness, Ashmol nonetheless goes along with her wish that he try to find Pobby and Dingan. He even comes up with the idea of putting posters around town. Ultimately, returning to his father's mine area, Ashmol finds two lollipop wrappers. Deeper in the tunnel, he finds a large opal which he takes back to Kellyanne. He tells her he has found Pobby and Dingan, and that they are dead.
Question: What are the first names of Kellyanne's parents?

Output: Rex.


Input:
Passage: The film begins by introducing Kellyanne Williamson, playing with imaginary friends Pobby and Dingan. The family of Rex Williamson—his wife, Anne, daughter Kellyanne and son Ashmol—have moved to Coober Pedy, known as the "opal capital of Australia", because Rex believed he could make a fortune in mining opal. So far he's had little success. Ashmol, while he loves his sister, is frequently annoyed when she talks to her imaginary friends, and some of the kids at school tease the siblings because of them.
Rex and Anne decide it is time to separate Kellyanne from her invisible companions. Annie takes Kellyanne to a Christmas party at Annie's friend's house, Rex telling her that he will let Pobby and Dingan come with him to go opal mining. Upon Rex's return, Kellyanne says she can no longer see them and that they have disappeared. She insists on going to the opal mining area to look for them, accompanied by Rex and Ashmol. The family accidentally strays on to a neighbouring miner's claim. The miner, Sid, pulls a shotgun on Rex and calls the police, thinking that Rex was "ratting" on his territory - that is, looking for opals on his turf.
Kellyanne is grief-stricken at the loss of her imaginary friends and takes ill, although doctors can find nothing physically wrong with her. Rex has to leave his opal claim. Annie loses her job at the local supermarket, thanks to the circulating rumours around Rex's arrest. Convinced that Kellyanne is faking her illness, Ashmol nonetheless goes along with her wish that he try to find Pobby and Dingan. He even comes up with the idea of putting posters around town. Ultimately, returning to his father's mine area, Ashmol finds two lollipop wrappers. Deeper in the tunnel, he finds a large opal which he takes back to Kellyanne. He tells her he has found Pobby and Dingan, and that they are dead.
Question: What are the first names of Kellyanne's parents?

Output: Anne.


Input:
Passage: Anne is in Cannes with her husband Michael, a prominent movie producer. As the festival ends she learns that the vacation she and her husband were supposed to go on in Paris will be slightly delayed as they need to go to Budapest first. They plan to fly to Paris, but the pilot suggests Anne not fly due to an ear infection. Michael's producing partner Jacques offers to drive Anne to Paris himself.
What is supposed to be a short car ride quickly devolves into a pleasant leisurely trip as Jacques, a French foodie, can't resist taking any opportunity he can to stop every hour or so to sample new food. He is also openly flirtatious with Anne but she begins to question his intentions when he repeatedly uses her credit card to foot the bill for the gourmet meals they are sampling. They visit a church where Anne grieves the baby she lost, and tells Jacques she wears her locket necklace in his honor.  They share a romantic dinner together where Jacques admires Anne's photography, and asks why she doesn't share it with her husband.
Later, on the road, Jacques confides that only he knows his brother's death was a suicide, and he carries that burden so his nephew doesn't have to know.  They finally reach the place where Anne is staying and almost kiss, but the elevator doors close in on them.  Anne sees Jacques has driven away, but he returns to kiss her passionately and ask her to a rendez-vous with him later in San Francisco.
Days later, she receives a package from Jacques with chocolate roses and the money she had lent him on the trip.  It includes a note that reminds her of the restaurant they will be meeting at, and she smiles at the camera suggestively.
Question: In whose honor does Anne wear a locket?

Output: the baby she lost.


Input:
Passage: After being released from jail, Wallace made a demo tape called "Microphone Murderer", under the name Biggie Smalls, a reference to a character in the 1975 film Let's Do It Again as well as his stature; he stood at 6 feet 3 inches (1.91 m) and weighed 300 to 380 lb (140–170 kg) according to differing accounts. The tape was reportedly made with no serious intent of getting a recording deal. However, it was promoted by New York-based DJ Mister Cee, who had previously worked with Big Daddy Kane, and in 1992 it was heard by the editor of The Source.In March 1992, Wallace was featured in The Source's Unsigned Hype column, dedicated to aspiring rappers, and made a recording off the back of this success. The demo tape was heard by Uptown Records A&R and record producer Sean Combs, who arranged for a meeting with Wallace. He was signed to Uptown immediately and made an appearance on label mates Heavy D & the Boyz's "A Buncha Niggas" (from the album Blue Funk). Soon after Wallace signed his recording contract, Combs was fired from Uptown and started a new label, Bad Boy Records. Wallace followed and signed to the label in mid-1992.On August 8, 1993, Wallace's longtime girlfriend gave birth to his first child, T'yanna. Wallace had split with the girlfriend some time before T'yanna's birth. Despite having dropped out of high school himself, Wallace wanted his daughter to complete her education. He promised her "everything she wanted", saying that if his mother had promised him the same he would have graduated at the top of his class. He continued selling drugs after the birth to support his daughter financially. Once Combs discovered this, he forced Wallace to quit.Later in the year, Wallace, recording as the Notorious B.I.G., gained exposure after featuring on a remix to Mary J. Blige's single "Real Love". He recorded under this name for the remainder of his career, after finding the original moniker "Biggie Smalls" was already in use. "Real Love" peaked at No. 7 on the Billboard Hot 100 chart and was followed by a remix of Blige's "What's the 411?". He continued this success, to a lesser extent, on remixes with Neneh Cherry ("Buddy X") and reggae artist Super Cat ("Dolly My Baby", also featuring Combs) in 1993. In April 1993, his solo track, "Party and Bullshit", appeared on the Who's the Man? soundtrack. In July 1994, he appeared alongside LL Cool J and Busta Rhymes on a remix to label mate Craig Mack's "Flava in Ya Ear", which reached No. 9 on the Billboard Hot 100.
Question: What is the last name of the person who stood at 6 feet 3 inches?

Output: Wallace.


Input:
Passage: The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the Toreador Song from act 2, and the motif that, in two slightly differing forms, represents both Carmen herself and the fate that she personifies. This motif, played on clarinet, bassoon, cornet and cellos over tremolo strings, concludes the prelude with an abrupt crescendo. When the curtain rises a light and sunny atmosphere is soon established, and pervades the opening scenes. The mock solemnities of the changing of the guard, and the flirtatious exchanges between the townsfolk and the factory girls, precede a mood change when a brief phrase from the fate motif announces Carmen's entrance. After her provocative habanera, with its persistent insidious rhythm and changes of key, the fate motif sounds in full when Carmen throws her flower to José before departing. This action elicits from José a passionate A major solo that Dean suggests is the turning-point in his musical characterisation. The softer vein returns briefly, as Micaëla reappears and joins with José in a duet to a warm clarinet and strings accompaniment. The tranquillity is shattered by the women's noisy quarrel, Carmen's dramatic re-entry and her defiant interaction with Zuniga. After her beguiling "Seguidilla" provokes José to an exasperated high A sharp shout, Carmen's escape is preceded by the brief but disconcerting reprise of a fragment from the habanera. Bizet revised this finale several times to increase its dramatic effect.
Act 2 begins with a short prelude, based on a melody that José will sing offstage before his next entry. A festive scene in the inn precedes Escamillo's tumultuous entrance, in which brass and percussion provide prominent backing while the crowd sings along. The quintet that follows is described by Newman as "of incomparable verve and musical wit". José's appearance precipitates a long mutual wooing scene; Carmen sings, dances and plays the castanets; a distant cornet-call summoning José to duty is blended with Carmen's melody so as to be barely discernible. A muted reference to the fate motif on an English horn leads to José's "Flower Song", a flowing continuous melody that ends pianissimo on a sustained high B-flat. José's insistence that, despite Carmen's blandishments, he must return to duty leads to a quarrel; the arrival of Zuniga, the consequent fight and José's unavoidable ensnarement into the lawless life culminates musically in the triumphant hymn to freedom that closes the act.
Question: What was the name of the person that shattered the tranquil sounds of the duet?

Output: Carmen.


Input:
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 with whom Heseltine co-wrote the song, "Maltworms"?

Output: Moeran.


Input:
Passage: Puss in Boots is a talking cat named for his signature pair of boots. Puss is a fugitive on the run from the law, looking to restore his lost honor. He learns that the outlaw couple Jack and Jill have the magic beans he has been looking for most of his life, which can lead him to a giant's castle holding valuable golden goose eggs. When Puss tries to steal them from the outlaws' room, a female cat named Kitty Softpaws interrupts, and both fail. Kitty is allied with Humpty Alexander Dumpty, a talking egg and Puss' long-estranged childhood friend from the orphanage where he was raised. Puss tells Kitty his origin story and of his feelings of betrayal for a youthful misadventure when Humpty tricked Puss into helping commit a bank robbery in his hometown of San Ricardo; Puss has been on the run ever since. Humpty eventually convinces Puss to join them in finding the beans and retrieving the golden eggs.
The trio steal the beans from Jack and Jill and plant them in the desert. Puss and Kitty's relationship becomes romantic. The trio ride the beanstalk into the clouds to find the castle of the late giant, while avoiding the Great Terror, a giant goose that guards the Golden Goose. When they realize the golden eggs are too heavy to carry, they steal the Goose, which is just a gosling, and escape the castle. While celebrating their victory, the group is ambushed by Jack and Jill, who knock Puss unconscious.
When Puss wakes up, he tracks Jack and Jill to San Ricardo where he learns the entire heist was a plot by Humpty to lure him home to be arrested, as revenge for abandoning him to the authorities when Humpty's youthful heist went bad. Jack, Jill, and Kitty were involved in the con. After pleas from Imelda, his adoptive mother, Puss turns himself in to the guards while Humpty donates many golden eggs to the town and becomes a hero.
Question: What's the full name of the ally of the thief that Puss gets romantic with?

Output: Humpty Alexander Dumpty.


Input:
Passage: The Orb's next studio album, The Dream, was released in Japan in 2007 and the following year in the United States and United Kingdom. Fehlmann is absent on The Dream and Paterson was instead reunited with Martin Glover and joined by Tim Bran of Dreadzone. The album saw a return to the Orb's sounds of the early 1990s, with peculiar vocals and playful samples. The Orb also brought in jazz and house music singer Juliet Roberts and guitarist Steve Hillage.After July 2006 re-release of The Orb's Adventures Beyond the Ultraworld 3-CD Deluxe Edition, 2007 and 2008 saw releases of expanded 2-CD editions of the band's subsequent regular studio records: U.F.Orb, Pomme Fritz EP, Orbus Terrarum, Orblivion and Cydonia. In late 2008 a double-cd compilation of BBC Radio 1 sessions called The Orb: Complete BBC Sessions 1989-2001 was released.
In May 2009, the British Malicious Damage Records (run by the members of Killing Joke) announced the release of the Orb's ninth regular studio album Baghdad Batteries (Orbsessions Volume III) on 11 September 2009. A reunification of Paterson and long-term collaborator Thomas Fehlmann who last worked together on Okie Dokie It's the Orb on Kompakt, the album was promoted with a launch party with Paterson and Fehlmann performing the whole album live at The-Situation Modern in Clapham, England on 10 September. A track "Chocolate Fingers" was uploaded onto the label's MySpace profile. The 11-track album is said to be the third in the Orbsessions series, although unlike the first two outtakes parts composed of brand new material, recorded at Fehlmann's Berlin studio.In March 2010 Internet station Dandelion Radio broadcast a seventeen and a half minute long Orb session track by Patterson and Fehlmann on the Andrew Morrison show. This new track was titled "Battersea Bunches" and was a remixed version of the soundtrack to a short movie of the same title by Mike Coles and Alex Patterson - a film installation to be seen at London's Battersea Power Station on 1 June 2010 as part of an evening of art and music. The film and its soundtrack (together with remixes) were later released as the CD/DVD album C Batter C on 11 November 2011.
In mid-2010 Alex Paterson teamed up with Youth aka Martin Glover to compile a retrospective compilation album of tracks from the WAU! Mr Modo label. The album titled Impossible Oddities is set to be released on CD and double Vinyl on 25 October 2010 via Year Zero records.
The Orb released the Metallic Spheres album in October 2010, featuring David Gilmour of Pink Floyd. It was released by Columbia Records.In 2011 Alex Paterson teamed up with electronic producer Gaudi and vocalist Chester for the creation of their experimental and ongoing collaborative project SCREEN, releasing the album "We are Screen" by Malicious Damage Records.
Question: What is the name of the film that, together with its soundtrack and re-mixes, was later released on the CD/DVD album C Batter C?

Output: Battersea Bunches.


Input:
Passage: When passed over for promotion at work in favor of a foreign-born friend, Frank Taylor, a midwestern factory worker, joins the anti-immigrant Black Legion, a secret white vigilante organization portrayed as related to the Ku Klux Klan. Dressed in black robes and hoods, Taylor and the Legion mount a torchlight raid and burn down the friend's chicken farm, driving him out of town, so that Taylor can gain the job he believed was his. Soon, however, Taylor's recruiting activities with the Legion get in the way of his work, and he is demoted in favor of his Irish neighbor Mike Grogan. The Legion takes action again, attacking Grogan.
Under the continued influence of the Legion, Taylor becomes a brutal racist, and alienates his wife. He starts drinking heavily and takes up with a loose woman. When his friend Ed Jackson tries to counsel him, a drunken Taylor tells about his Legion activities. Taylor reports the conversation to Cliff, a co-worker and fellow member of the Legion, who initiates a false rumor that Jackson is a woman-beater. On the pretext of punishing him for that offense, the Legion kidnaps Jackson, planning to flog him. Jackson tries to escape. As he is running away, Taylor shoots and kills him; breaking down afterward with guilt and remorse, he exclaims, "I didn't mean to shoot!"Taylor is arrested for the murder, and the Legion threatens his wife and son to prevent him from implicating the secret group in the crime. Taylor finally tells the truth, resulting in all the members of the Black Legion being convicted of murder and sentenced to life in prison.
Question: What emotion is expression by Ed's killer?

Output: remorse.


Input:
Passage: When passed over for promotion at work in favor of a foreign-born friend, Frank Taylor, a midwestern factory worker, joins the anti-immigrant Black Legion, a secret white vigilante organization portrayed as related to the Ku Klux Klan. Dressed in black robes and hoods, Taylor and the Legion mount a torchlight raid and burn down the friend's chicken farm, driving him out of town, so that Taylor can gain the job he believed was his. Soon, however, Taylor's recruiting activities with the Legion get in the way of his work, and he is demoted in favor of his Irish neighbor Mike Grogan. The Legion takes action again, attacking Grogan.
Under the continued influence of the Legion, Taylor becomes a brutal racist, and alienates his wife. He starts drinking heavily and takes up with a loose woman. When his friend Ed Jackson tries to counsel him, a drunken Taylor tells about his Legion activities. Taylor reports the conversation to Cliff, a co-worker and fellow member of the Legion, who initiates a false rumor that Jackson is a woman-beater. On the pretext of punishing him for that offense, the Legion kidnaps Jackson, planning to flog him. Jackson tries to escape. As he is running away, Taylor shoots and kills him; breaking down afterward with guilt and remorse, he exclaims, "I didn't mean to shoot!"Taylor is arrested for the murder, and the Legion threatens his wife and son to prevent him from implicating the secret group in the crime. Taylor finally tells the truth, resulting in all the members of the Black Legion being convicted of murder and sentenced to life in prison.
Question: What emotion is expression by Ed's killer?

Output: guilt.


Input:
Passage: George Frideric Handel was born on 23 February 1685 in the German city of Halle. It is unclear what initial musical education he received; his father, Georg Händel, was not a music lover, and did not at first appreciate or encourage his son's precocious talents. Nevertheless, by the age of ten Handel had become an accomplished organist; his playing in the royal chapel at Weissenfels, where his half-brother Karl was in the service of the Duke of Saxe-Weissenfels, impressed the duke, who persuaded Händel senior that the boy should have a proper musical education. As a result, Handel began formal study under Friedrich Zachow, the organist of the Lutheran church at Halle.Handel's biographer Jonathan Keates writes that: "From [Zachow] Handel learned not only a great deal about the line and shape of an aria, about strong, adventurous bass lines and solid choral writing, but also about those delicacies of instrumental colouring which he later perfected in his own style". Handel's musical development also benefited from an early and lasting friendship with Georg Philipp Telemann, whom he met in 1700. In February 1702 Handel enrolled at the University of Halle, perhaps intending to study law. In March he took up the post of organist at Halle's Calvinist cathedral (Domkirche), a prestigious appointment for one so young and indicative of his burgeoning musical reputation in the city.At some time, possibly in late 1702 or early 1703, Handel visited Berlin, where his father had held an honorary post as physician to the elector who, in 1701, had become the Prussian king Frederick I. In Berlin Handel first experienced Italian opera, and may have met the Italian composers Giovanni Bononcini and Attilio Ariosti, who were writing operas for Frederick's court. The king heard of Handel's abilities, and wanted him to train as a future court composer, but Handel's horizons had been broadened by his sojourn in Berlin and he was developing his own ideas for his future. He declined the king's offer, and returned to Halle to fulfil his year's contract at the Domkirche. With few career prospects available in his home city, Handel would have liked to go to Italy, but this, he realised, was not yet practicable, since he lacked both cash and contacts. Instead in mid-1703 he left Halle for Hamburg, a thriving free city which housed the leading opera house in northern Germany.
Question: What is the last name of the person whose initial musical education is unclear?

Output: Handel.


Input:
Passage: The film adopts a linear plot.
Ice Quake is an action film about the Alaskan landscape, where there is a great threat that is going to affect the beautiful and gentle scenery. Under the permafrost, organic materials have been rotting for thousands of years and the compound is very deadly to the planet. As the permafrost thaws, underground volatile liquid methane and gases are created which causes a succession of violent and very destructive earthquakes. A family ends up going to this Alaskan landscape on the hunt for a Christmas tree, hoping to have fun, and unfortunately finds out firsthand how deadly this can be.
As they are exploring these mountains,  their dog runs away for an unknown reason and soon after there is an explosion of gas from underneath the ice that ends up causing an avalanche. The family has to run for their lives. The father takes charge and tries to lead them to safety when suddenly another tremor occurs. This time, it causes the ground to split open, creating a deep ravine dividing the family apart - the parents on one side and two children on the other. They cannot group back together as there is dangerous gas flowing out the ravine so the father tell them to go to the summit and wait for rescue. The children head up to top to then find out there is a storm on their way causing more concern. The younger brother suggests they keep moving until they can stop at a safe place
As this chaos is going on, the military based around the mountain are investigating the tremors. At first believed the tremors were being caused by earthquakes but then discover that there have been no tectonic movements and nothing has showed on the Richter scale. They then thought it could have been a volcano eruption causing this but also ends up to be false. It is a race against time to stop these harmful liquids and gases before it leads to a catastrophic explosion that threatens the planet.
Question: What is the cause of what the military is investigating?

Output: underground volatile liquid methane and gases.


Input:
Passage: James Barton Longacre was born on a farm in Delaware County, Pennsylvania, on August 11, 1794.  His mother Sarah (Barton) Longacre died early in his life; his father, Peter Longacre, was the descendant of early Swedish settlers of North America.  When Peter Longacre remarried, his son found the home life intolerable, and James Longacre left home at the age of 12, seeking work in the nearby city of Philadelphia.  He apprenticed himself at a bookstore; the owner, John E. Watson, took the boy into his family.  Over the following years, Longacre worked in the bookstore, but Watson realized that the boy's skill was in portraiture.  Watson granted Longacre a release from his apprenticeship in 1813 so that he could follow an artistic muse, but the two remained close, and Watson would often sell Longacre's works.Longacre became apprenticed to George Murray, principal in the engraving firm Murray, Draper, Fairman & Co. at 47 Sansom Street in Philadelphia.  This business derived from the firm established by the Philadelphia Mint's first chief engraver, Robert Scot.  Longacre remained at the Murray firm until 1819; his major work there was portraits of George Washington, Thomas Jefferson, and John Hancock which were placed on a facsimile of the Declaration of Independence by publisher John Binns; the work cost Binns a total of $9,000 (equal to $147,307 today). Also employed at the Murray firm from 1816 was the man who would be Longacre's predecessor as chief engraver, Christian Gobrecht. Longacre's work at the company gave him a good reputation as an engraver skilled in rendering other artists' paintings as a printed engraving, and in 1819, he set up his own business at 230 Pine Street in Philadelphia.Longacre's first important commission were plates for S.F. Bradford's Encyclopedia in 1820; an engraving of General Andrew Jackson by Longacre based on a portrait by Thomas Sully achieved wide sales. Longacre then agreed to engrave illustrations for Joseph and John Sanderson's Biographies of the Signers of the Declaration of Independence, published in nine volumes between 1820 and 1827.  Although the venture was marked by criticism of the writing, sales were good enough that the project was completed.  Numismatic writer Richard Snow suggests that the books sold on the strength of the quality of Longacre's illustrations.  Longacre also completed a series of studies of actors in their roles in 1826 for The American Theatre.
Question: What is the first name of the person who apprenticed himself at Watson's bookstore?

Output: James.


Input:
Passage: The documentary follows the travels of Armand Denis and his wife, Michaela Denis, as they travel around sub-Saharan Africa. Their safari begins in British East Africa, and continues on to Victoria Falls. From there they travel to South Africa, and trek up the coast of southwest Africa, before once more heading inland, where they meet with various African tribes. They fly to an animal farm run by Carr Hartley, where they learn how cheetahs are trained to hunt down other wild animals. The Denises next go to another animal farm, this one specializing in ostriches, where Michaela mounts and rides an ostrich. Their final stop is at a village where the local tribe is about to go on a gorilla hunt. The Denises go on the hunt with them, which results in the killing of two male gorillas who are taken back to the village to be eaten.
Other highlights of the safari include capturing a large sea lion in order to take a blood sample, and one of their carriers being attacked by a leopard they had been filming. The film offers wonderful vistas and some beautiful footage of wildlife including crocodiles, gazelles, elephants, gannets, antelopes, hippopotamus, water buffalos, penguins, and pelicans.
Question: What is the first name of the person who travels with Armand?

Output: Michaela.


Input:
Passage: After the 1994 release of The Downward Spiral, the live band embarked on the Self-Destruct tour in support of the album. Chris Vrenna and James Woolley performed drums and keyboards respectively, Robin Finck replaced Richard Patrick on guitar and bassist Danny Lohner was added to the line-up. The stage set-up consisted of dirty curtains which would be pulled down for visuals shown during songs such as "Hurt". The back of the stage was littered with darker and standing lights, along with very little actual ones. The tour debuted the band's grungy and messy image in which they would come out in ragged clothes slathered in corn starch. The concerts were violent and chaotic, with band members often injuring themselves. They would frequently destroy their instruments at the end of concerts, attack each other, and stage-dive into the crowd.The tour included a set at Woodstock '94 broadcast on Pay-per-view and seen in as many as 24 million homes. The band being covered in mud was a result of pre-concert backstage play, contrary to the belief that it was an attention-grabbing ploy, thus making it difficult for Reznor to navigate the stage: Reznor pushed Lohner into the mud pit as the concert began and saw mud from his hair going into his eyes while performing. Nine Inch Nails was widely proclaimed to have "stolen the show" from its popular contemporaries, mostly classic rock bands, and its fan base expanded. The band received considerable mainstream success thereafter, performing with significantly higher production values and the addition of various theatrical visual elements. Its performance of "Happiness in Slavery" from the Woodstock concert earned the group a Grammy Award for Best Metal Performance in 1995. Entertainment Weekly commented about the band's Woodstock '94 performance: "Reznor unstrings rock to its horrifying, melodramatic core--an experience as draining as it is exhilarating". Despite this acclaim, Reznor attributed his dislike of the concert to its technical difficulties.
Question: What is the name of the Nine Inch Nails guitarist on the Self Destruct tour?

Output: Robin Finck.


Input:
Passage: Increasing tourist and commercial interest in petrified wood during the late 19th century began to alarm residents of the region. In 1895, the Arizona Territorial Legislature asked the U.S. Congress to create a petrified forest national park. Although this first attempt failed, in 1906 the Antiquities Act signed by President Theodore Roosevelt was used to create the Petrified Forest National Monument. Between 1934 and 1942, the federal Civilian Conservation Corps built road, trails, and structures in the monument, and the government acquired additional land in the Painted Desert section. The monument became a national park in 1962. Six years after the signing of the Wilderness Act in 1964 by President Lyndon B. Johnson, wilderness areas (where human activity is limited), were designated in the park. In 2004, President George W. Bush signed a bill authorizing the eventual expansion of the park from 93,353 acres (about 146 mi2 or 378 km2) to 218,533 acres (about 341 mi2 or 884 km2). Theft of petrified wood is still a problem. Despite a guard force of seven National Park Service rangers, fences, warning signs, and the threat of a $325 fine, an estimated 12 short tons (11,000 kg) of the fossil wood is stolen from the Petrified Forest every year.Jessee Walter Fewkes, the first archeologist to visit Puerco Ruin, predicted in the late 19th century that it would yield many artifacts. Conservationist John Muir conducted the first excavations of the ruin in 1905–06. Although he did not publish his findings, he urged the federal government to preserve Petrified Forest. Professional archeological work in the park began in the early 20th century when Walter Hough conducted excavations at Puerco Ruin and other sites.  In 1919, a phytosaur skull was discovered near Blue Mesa in the Petrified Forest and sent to the Museum of Paleontology in Berkeley, California.  In 1921, Annie Alexander, founder of the museum, visited Blue Mesa to collect more of the phytosaur and other specimens; this led to further excavations by paleontologist Charles Camp.  Since then, more than 250 fossil sites have been documented in the park. In the 1930s, the Civil Works Administration funded research in the park by archeologists H.P. Mera and C.B. Cosgrove. A National Park Service resurvey of the Petrified Forest in the early 1940s identified most of the large sites with stone ruins, and subsequent surveys since 1978 have identified a total of more than 600 artifact sites, many of them small. Research in paleontology and archeology continues at the park in the 21st century.
Question: What is the full name of the person who urged the government to preserve the forest?

Output: John Muir.


Input:
Passage: Giovanni Battista Barbirolli was born in Southampton Row, Holborn, London, the second child and eldest son of an Italian father and a French mother. He was a British national from birth, and as Southampton Row is within the sound of Bow Bells, Barbirolli always regarded himself as a Cockney. His father, Lorenzo Barbirolli (1864–1929), was a Venetian violinist who had settled in London with his wife, Louise Marie, née Ribeyrol (1870–1962). Lorenzo and his father had played in the orchestra at La Scala, Milan, where they had taken part in the première of Otello in 1887. In London they played in West End theatre orchestras, principally that of the Empire, Leicester Square.
The young Barbirolli began to play the violin when he was four, but soon changed to the cello. He later said that this was at the instigation of his grandfather who, exasperated at the child's habit of wandering around while practising the violin, bought him a small cello to stop him from "getting in everybody's way". His education at St. Clement Danes Grammar School overlapped, from 1910, with a scholarship at Trinity College of Music. As a Trinity student, he made his concert debut in a cello concerto in the Queen's Hall in 1911. The following year he won a scholarship to the Royal Academy of Music, which he attended from 1912 to 1916, studying harmony, counterpoint and theory under Dr. J. B. McEwen and the cello with Herbert Walenn. In 1914 he was joint winner of the academy's Charles Rube Prize for ensemble playing, and in 1916 The Musical Times singled him out as "that excellent young 'cello player, Mr Giovanni Barbirolli." The principal of the Academy, Sir Alexander Mackenzie, had forbidden students to play the chamber music of Ravel, which he regarded as "a pernicious influence". Barbirolli was keenly interested in modern music, and he and three colleagues secretly rehearsed Ravel's String Quartet in the privacy of a men's lavatory in the Academy.From 1916 to 1918 Barbirolli was a freelance cellist in London. He recalled, "My first orchestral engagement was with the Queen's Hall Orchestra – I was probably the youngest orchestral musician ever, joining them in 1916. We had an enormous repertory – six concerts a week, three hours or more rehearsal a day. In those days we were happy if we began and finished together". While playing in the Queen's Hall Orchestra, Barbirolli also played in the opera pit for the Beecham and Carl Rosa opera companies, in recitals with the pianist Ethel Bartlett, with orchestras in theatres, cinemas, hotels and dance-halls, and, as he said, "everywhere except the street". During the last year of the First World War, Barbirolli enlisted in the army and became a lance-corporal in the Suffolk Regiment. Here he had his first opportunity to conduct, when an orchestra of volunteers was formed. He later described the experience:.
Question: What person did Sir Alexander Mackenzie call "a pernicious influence"?

Output: Ravel.


Input:
Passage: The city's zoo, the Tulsa Zoo, was voted "America's Favorite Zoo" in 2005 by Microsoft Game Studios in connection with a national promotion of its Zoo Tycoon 2 computer game. The zoo encompasses a total of 84 acres (34 ha) with over 2,600 animals representing 400 species. The zoo is located in 2,820-acre (1,140 ha) Mohawk Park (the third largest municipal park in the United States) which also contains the 745-acre (301 ha) Oxley Nature Center.
The Tulsa State Fair, operating in late September and early October, attracts over one million people during its 10-day run, and the city's Oktoberfest celebration was named one of the top 10 in the world by USA Today and one of the top German food festivals in the nation by Bon Appetit magazine. A number of other cultural heritage festivals are held in the city throughout the year, including the Intertribal Indian Club Powwow of Champions in August; Scotfest, India Fest, Greek Festival, and Festival Viva Mexico in September; ShalomFest in October; Dia de Los Muertos Art Festival in November; and the Asian-American Festival in May. The annual Mayfest arts and crafts festival held downtown was estimated to have drawn more than 365,000 people in its four-day run in 2012. On a smaller scale, the city hosts block parties during a citywide "Block Party Day" each year, with festivals varying in size throughout city neighborhoods. Tulsa has one major amusement park attraction, Safari Joe's H2O Water Park (formerly Big Splash Water Park), featuring multi-story water slides, large wave pools, and a reptile exhibit. Until 2006, the city also hosted Bell's Amusement Park, which closed after Tulsa County officials declined to renew its lease agreement.
Question: The lease agreement of what was not renewed?

Output: Bell's Amusement Park.


Input:
Passage: Scary Monsters and Super Creeps (1980) produced the number-one hit "Ashes to Ashes", featuring the textural work of guitar-synthesist Chuck Hammer and revisiting the character of Major Tom from "Space Oddity". The song gave international exposure to the underground New Romantic movement when Bowie visited the London club "Blitz"—the main New Romantic hangout—to recruit several of the regulars (including Steve Strange of the band Visage) to act in the accompanying video, renowned as one of the most innovative of all time. While Scary Monsters used principles established by the Berlin albums, it was considered by critics to be far more direct musically and lyrically. The album's hard rock edge included conspicuous guitar contributions from Robert Fripp, Chuck Hammer, and Pete Townshend. As "Ashes to Ashes" hit number one on the UK charts, Bowie opened a three-month run on Broadway on 24 September, starring as John Merrick in The Elephant Man.Bowie paired with Queen in 1981 for a one-off single release, "Under Pressure". The duet was a hit, becoming Bowie's third UK number-one single. Bowie was given the lead role in the BBC's 1982 televised adaptation of Bertolt Brecht's play Baal. Coinciding with its transmission, a five-track EP of songs from the play, recorded earlier in Berlin, was released as David Bowie in Bertolt Brecht's Baal. In March 1982, the month before Paul Schrader's film Cat People came out, Bowie's title song, "Cat People (Putting Out Fire)", was released as a single, becoming a minor US hit and entering the UK Top 30.Bowie reached his peak of popularity and commercial success in 1983 with Let's Dance. Co-produced by Chic's Nile Rodgers, the album went platinum in both the UK and the US. Its three singles became Top 20 hits in both countries, where its title track reached number one. "Modern Love" and "China Girl" each made No. 2 in the UK, accompanied by a pair of "absorbing" promotional videos that biographer David Buckley said "activated key archetypes in the pop world. 'Let's Dance', with its little narrative surrounding the young Aborigine couple, targeted 'youth', and 'China Girl', with its bare-bummed (and later partially censored) beach lovemaking scene (a homage to the film From Here to Eternity), was sufficiently sexually provocative to guarantee heavy rotation on MTV". Stevie Ray Vaughan was guest guitarist playing solo on "Let's Dance", although the video depicts Bowie miming this part. By 1983, Bowie had emerged as one of the most important video artists of the day. Let's Dance was followed by the Serious Moonlight Tour, during which Bowie was accompanied by guitarist Earl Slick and backing vocalists Frank and George Simms. The world tour lasted six months and was extremely popular." At the 1984 MTV Video Music Awards Bowie received two awards including the inaugural Video Vanguard Award.
Question: What was the full name of the person that starred in The Elephant Man?

Output: David Bowie.


Input:
Passage: Trans-America Air Lines pilot "Three Star" Bob Halsey is in love with stewardess Judy Wagner, but she wants him to stop his daredevil ways. So does his boss, Lackey. Confident in his abilities and knowing that he is the airline's best pilot, he pays neither any mind.
Federal agent Brownell urgently requests Lackey's cooperation: Clement Williams must be flown from Los Angeles to Washington, D.C., with a cylinder full of a revolutionary new explosive he has invented. However, Lackey's assistant Jason is eavesdropping on him for Taggart, a spy.
He eavesdrops again when Lackey chooses Bob as pilot and Judy's brother Tom as co-pilot. Taggart sends three men to provoke Bob into a fistfight. While Bob is knocked out, another pilot, George Wexley, chats casually with Tom, "learns" that Bob is late for the special trip, and offers to protect Bob's job by taking over.
Over the lower Sierras, the Ford Trimotor airliner explodes.
Bob and Lackey fly to the crash site and talk to Brownell. Tom's cap is there. Back in Los Angeles, they report that there are no survivors.
Frantic for news of her brother, Judy drives to the site before they return, evading the police roadblock. She is recognized by Jason, who is traveling with the spies to a nearby house they are using. Improvising a plan, they pose as federal agents and stop her.
Question: What are the full names of the people on the flight when it exploded?

Output: George Wexley.


Input:
Passage: Trans-America Air Lines pilot "Three Star" Bob Halsey is in love with stewardess Judy Wagner, but she wants him to stop his daredevil ways. So does his boss, Lackey. Confident in his abilities and knowing that he is the airline's best pilot, he pays neither any mind.
Federal agent Brownell urgently requests Lackey's cooperation: Clement Williams must be flown from Los Angeles to Washington, D.C., with a cylinder full of a revolutionary new explosive he has invented. However, Lackey's assistant Jason is eavesdropping on him for Taggart, a spy.
He eavesdrops again when Lackey chooses Bob as pilot and Judy's brother Tom as co-pilot. Taggart sends three men to provoke Bob into a fistfight. While Bob is knocked out, another pilot, George Wexley, chats casually with Tom, "learns" that Bob is late for the special trip, and offers to protect Bob's job by taking over.
Over the lower Sierras, the Ford Trimotor airliner explodes.
Bob and Lackey fly to the crash site and talk to Brownell. Tom's cap is there. Back in Los Angeles, they report that there are no survivors.
Frantic for news of her brother, Judy drives to the site before they return, evading the police roadblock. She is recognized by Jason, who is traveling with the spies to a nearby house they are using. Improvising a plan, they pose as federal agents and stop her.
Question: What are the full names of the people on the flight when it exploded?

Output: Clement Williams.


Input:
Passage: Trans-America Air Lines pilot "Three Star" Bob Halsey is in love with stewardess Judy Wagner, but she wants him to stop his daredevil ways. So does his boss, Lackey. Confident in his abilities and knowing that he is the airline's best pilot, he pays neither any mind.
Federal agent Brownell urgently requests Lackey's cooperation: Clement Williams must be flown from Los Angeles to Washington, D.C., with a cylinder full of a revolutionary new explosive he has invented. However, Lackey's assistant Jason is eavesdropping on him for Taggart, a spy.
He eavesdrops again when Lackey chooses Bob as pilot and Judy's brother Tom as co-pilot. Taggart sends three men to provoke Bob into a fistfight. While Bob is knocked out, another pilot, George Wexley, chats casually with Tom, "learns" that Bob is late for the special trip, and offers to protect Bob's job by taking over.
Over the lower Sierras, the Ford Trimotor airliner explodes.
Bob and Lackey fly to the crash site and talk to Brownell. Tom's cap is there. Back in Los Angeles, they report that there are no survivors.
Frantic for news of her brother, Judy drives to the site before they return, evading the police roadblock. She is recognized by Jason, who is traveling with the spies to a nearby house they are using. Improvising a plan, they pose as federal agents and stop her.
Question: What are the full names of the people on the flight when it exploded?

Output: Tom.


Input:
Passage: Music critic J. D. Considine noted "on albums, Jackson's sound isn't defined by her voice so much as by the way her voice is framed by the lush, propulsive production of Jimmy Jam and Terry Lewis." Wendy Robinson of PopMatters said "the power of Janet Jackson's voice does not lie in her pipes. She doesn't blow, she whispers ... Jackson's confectionary vocals are masterfully complemented by gentle harmonies and balanced out by pulsing rhythms, so she's never unpleasant to listen to."Matthew Perpetus of Fluxblog suggested Jackson's vocal techniques as a study for indie rock music, considering it to possess "a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks." Perpetus added: "Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance ... a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities."Jackson's music has encompassed a broad range of genres. Her records from the 1980s have been described as being influenced by Prince, as her producers are ex-members of the Time. Sal Cinquemani wrote that in addition to defining Top 40 radio, she "gave Prince's Minneapolis sound a distinctly feminine—and, with songs like 'What Have You Done for Me Lately?,' 'Nasty,' 'Control,' and 'Let's Wait Awhile,' a distinctly feminist—spin."On Control, Richard J. Ripani documented that she, Jam and Lewis had "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility." Author Rickey Vincent stated that she has often been credited for redefining the standard of popular music with the industrial-strength beats of the album. She is considered a trendsetter in pop balladry, with Richard Rischar stating "the black pop ballad of the mid-1980s had been dominated by the vocal and production style that was smooth and polished, led by singers Whitney Houston, Janet Jackson, and James Ingram."Jackson continued her musical development by blending pop and urban music with elements of hip-hop in the nineties. This included a softer representation, articulated by lush, soulful ballads and up-tempo dance beats. She is described by music critic Greg Kot as "an artist who has reshaped the sound and image of rhythm and blues" within the first decade of her career. Critic Karla Peterson remarked that "she is a sharp dancer, an appealing performer, and as 'That's the Way Love Goes' proves—an ace pop-song writer." Selected material from the following decade has been viewed less favorably, as Sal Cinquemani comments "except for maybe R.E.M., no other former superstar act has been as prolific with such diminishing commercial and creative returns."Jackson has changed her lyrical focus over the years, becoming the subject of analysis in musicology, African American studies, and gender studies. David Ritz compared Jackson's musical style to Marvin Gaye's, stating, "like Marvin, autobiography seemed the sole source of her music. Her art, also like Marvin's, floated over a reservoir of secret pain." Much of her success has been attributed to "a series of powerful, metallic grooves; her chirpy, multi-tracked vocals; and a lyrical philosophy built on pride and self-knowledge." Ritz also stated, "The mystery is the low flame that burns around the perimeters of Janet Jackson's soul. The flame feeds off the most highly combustible elements: survival and ambition, caution and creativity, supreme confidence and dark fear."During the 1980s, her lyrics embodied self-actualization, feminist principles, and politically driven ideology. Gillian G. Gaar described Control as "an autobiographical tale about her life with her parents, her first marriage, and breaking free." Jessie Carney Smith wrote "with that album, she asserted her independence, individuality, and personal power. She challenged audiences to see her as a transformed person, from an ingénue to a grow-up, multi-talented celebrity." Referring to Rhythm Nation 1814 as an embodiment of hope, Timothy E. Scheurer wrote "It may remind some of Sly Stone prior to There's a Riot Going On and other African-American artists of the 1970s in its tacit assumption that the world imagined by Dr. King is still possible, that the American Dream is a dream for all people."On Janet, Jackson began focusing on sexual themes. Shayne Lee wrote that her music over the following decade "brand[ed] her as one of the most sexually stimulating vocalists of the 1990s." Lilly J. Goren observed "Jackson's evolution from politically aware musician to sexy diva marked the direction that society and the music industry were encouraging the dance-rock divas to pursue." The Washington Post declared Jackson's public image over the course of her career had shifted "from innocence to experience, inspiring such carnal albums as 1993's 'Janet' and 1997's 'The Velvet Rope', the latter of which explored the bonds—figuratively and literally—of love and lust."The song "Free Xone" from The Velvet Rope, which portrays same-sex relationships in a positive light, is described by sociologist Shayne Lee as "a rare incident in which a popular black vocalist explores romantic or sensual energy outside the contours of heteronormativity, making it a significant song in black sexual politics." During promotion for Janet, she stated "I love feeling deeply sexual—and don't mind letting the world know. For me, sex has become a celebration, a joyful part of the creative process."Upon the release of Damita Jo, Jackon stated "Beginning with the earlier albums, exploring—and liberating—my sexuality has been an ongoing discovery and theme," adding "As an artist, that's not only my passion, it's my obligation." Stephen Thomas Erlewine has found Jackson's consistent inclusion of sex in her music lacking ingenuity, especially in comparisons to other artists such as Prince, stating "while sex indisputably fuels much great pop music, it isn't an inherently fascinating topic for pop music—as with anything, it all depends on the artist.".
Question: What is the last name of the person who is considered a trendsetter in pop balladry?

Output: Jackson.


Input:
Passage: That lovable know-it-all knucklehead Ernest P. Worrell, who is working as a janitor at a local college, meets a history professor named Dr. Abner Melon. After discovering an antique metal plate near a construction site, Ernest shows it to Dr. Melon who believes that it came from a giant Revolutionary War cannon called "Goliath", (named after the legendary biblical giant). Dr. Melon had previously been ridiculed by his peers for theorizing that the real Crown Jewels of England were stolen during the Revolutionary War and were actually hidden inside the long-lost cannon.
They begin to search for the artifact near the construction site and eventually locate it inside an abandoned mine. They are ambushed by historical antiquity collector and Dr. Melon's colleague Dr. Glencliff whom they then lead on an action-packed chase through the countryside. Things become more complicated for them when British authorities hear about the incident and send a team of secret agents after them to retrieve the jewels. Dr. Melon's wife, Nan, on the other hand is only after him and Ernest for the jewels. While everyone is hot on their trail, Ernest develops a deep friendship with Dr. Melon. After crashing the cannon into a forest, Ernest locates the jewels, not in its barrel as the legend describes but in the gunpowder kegs. After putting the crown on his head, he finds himself unable to get it off. Dr. Glencliff shows up, abducts him, and takes him to his clinic in an attempt to surgically remove it and kill him at the same time. Dr. Melon meets up with Nan and convinces her to help him save Ernest.
Question: What is the name of the person that crashed the cannon into a forest?

Output: Ernest P. Worrell.


Input:
Passage: 1100 Jefferson Street is not just any address; it's everything for four friends bonded by both their circumstances and their struggle to make something, anything out of their seemingly predetermined fate.
The crew played by Arlen Escarpeta, Cory Hardrict, Maurice McRae and Lorenzo Eduardo share one simple job description -- "Dough Boys."
Corey, the all-around good guy with great potential; Smooth, the ladies man, big dreamer and quintessential leader; Black, the eager-to-please skinny weed head and Long Cuz, the skittishly annoying square trying to keep up with everyone else (Eduardo) form the group who make up their rules and moves as they go along.
Drama can always be found among 1100 Jefferson Street's day-to-day dealings down to the resident crack head that serves as both lookout and snitch and the good-hearted Beauty running a full-service hair salon out of her one-bedroom apartment.
Meanwhile, Corey plays a balancing act with the streets and his future as he weighs the arguments of his girlfriend in one ear and mentor, Simuel – played by Gabriel Casseus – in the other to go back to school.
But constantly calling Corey's attention are the "Dough Boys," who dream big enough to spend their money before they get it and smoke their joints before they roll 'em.
Although they shy clear of the drug game, the boys still do their streetwise duty in protecting the resident drug dealer in the building, played by Kirk Jones a.k.a. Sticky Fingaz. This is a loyal bond that pays off well. But their current "hustle" of choice is flipping counterfeit casino chips in a limited market.
The young men have obviously bit off more than they can chew and when their buyer Julian France, played by Wood Harris walks in it gets really interesting. Thus, the "Dough Boys" fight to stay alive as the rules of the street that they live by consequentially are the very rules that begin to pull them under.
Question: What location is Beauty's apartment where she runs a full-service hair salon?

Output: 1100 Jefferson Street.


Input:
Passage: The charting and conquest of this new world made real regions previously only idealised in the imagination of artists and poets. At the same time, the certainty of the old biblical paradise began to slip from the grasp of thinkers into the realms of mythology. In response, treatment of the Paradise in literature, poetry and art shifted towards a self-consciously fictional Utopian representation, as exemplified by the writings of Thomas More (1478–1535).Albrecht Dürer was an avid student of exotic animals, and drew many sketches based on his visits to European zoos. Dürer visited 's-Hertogenbosch during Bosch's lifetime, and it is likely the two artists met, and that Bosch drew inspiration from the German's work.Attempts to find sources for the work in literature from the period have not been successful. Art historian Erwin Panofsky wrote in 1953 that, "In spite of all the ingenious, erudite and in part extremely useful research devoted to the task of "decoding Jerome Bosch", I cannot help feeling that the real secret of his magnificent nightmares and daydreams has still to be disclosed. We have bored a few holes through the door of the locked room; but somehow we do not seem to have discovered the key." The humanist Desiderius Erasmus has been suggested as a possible influence; the writer lived in 's-Hertogenbosch in the 1480s, and it is likely he knew Bosch. Glum remarked on the triptych's similarity of tone with Erasmus's view that theologians "explain (to suit themselves) the most difficult mysteries ... is it a possible proposition: God the Father hates the Son? Could God have assumed the form of a woman, a devil, an ass, a gourd, a stone?".
Question: What is the full name of the person that Desiderius Erasmus influenced?

Output: Jerome Bosch.


Input:
Passage: Lois Conway works as a music teacher at a local high school in a small town, where recently a woman was found murdered. When she starts receiving notes from an anonymous admirer, she suspects her favorite student Sandy is responsible, and tells him they could never be lovers. The notes grow more violent and when, in her latest letter, she is invited to meet at the school's lockers at night, Lois decides to visit, hoping to stop the young man. There, she is attacked by an initial shadowy figure, whom she later identifies as Leonard Bennett, the high school's star football player.
She successfully gets away, though drops her purse, and is aided by Lieutenant Harry Graham. Graham advises her to press charges, but Lois wants to drop the matter in hopes of it blowing over.
Back at home, she notices her purse on her table, and aware that the thief is in her home, orders him to leave. As he bashes through the door to get away, Lois is now certain that Leonard is her attacker.
Leonard is able to get home without his dominant and overbearing father noticing he is gone. Mr. Bennett lectures his son on the dangers of women, stimulated by the occurrence of him being left by his wife and Leonard's mother when he was very ill.
The following day, Lois reports the incident to the principal Pendleton, but when Leonard denies the whole matter, Pendleton protects the school's most valuable athletic asset by suggesting to Lois that she should provide evidence.
Soon the story spreads around school, and with gossip surrounding Lois allegedly pursuing Leonard, both her personal and professional life becomes a mess. One day, she pulls him out of class and tries to reason with him, but he refuses to listen to her. Meanwhile, she grows closer to Graham, who does not understand why she is sympathetic to Leonard.
Question: Who was left by their wife when they were very ill?

Output: Mr. Bennett.


Input:
Passage: Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; as well as one of "the decade's most innovative British bands." by Mark Jenkins. Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different." In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal." In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points." They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group. Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need." In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music. They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums. In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine. The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.
Question: What is the full name of the journalist that did not believe the influential band's music would not have much longevity?

Output: Barney Hoskyns.


Input:
Passage: The French colonization of Texas began with the establishment of a fort in present-day southeastern Texas. It was established in 1685 near Arenosa Creek and Matagorda Bay by explorer Robert Cavelier de La Salle. He intended to found the colony at the mouth of the Mississippi River, but inaccurate maps and navigational errors caused his ships to anchor instead 400 miles (640 km) to the west, off the coast of Texas. The colony survived until 1688. The present-day town of Inez is near the fort's site.
The colony faced numerous difficulties during its brief existence, including Native American raids, epidemics, and harsh conditions. From that base, La Salle led several expeditions to find the Mississippi River. These did not succeed, but La Salle did explore much of the Rio Grande and parts of east Texas. During one of his absences in 1686, the colony's last ship was wrecked, leaving the colonists unable to obtain resources from the French colonies of the Caribbean. As conditions deteriorated, La Salle realized the colony could survive only with help from the French settlements in Illinois Country to the north, along the Mississippi and Illinois Rivers. His last expedition ended along the Brazos River in early 1687, when La Salle and five of his men were murdered during a mutiny.
Although a handful of men reached Illinois Country, help never made it to the fort. Most of the remaining members of the colony were killed during a Karankawa raid in late 1688, four children survived after being adopted as captives. Although the colony lasted only three years, it established France's claim to possession of the region that is now Texas. The United States later claimed, unsuccessfully, this region as part of the Louisiana Purchase because of the early French colony.
Spain learned of La Salle's mission in 1686. Concerned that the French colony could threaten Spain's control over the Viceroyalty of New Spain and the unsettled southeastern region of North America, the Crown funded multiple expeditions to locate and eliminate the settlement. The unsuccessful expeditions helped Spain to better understand the geography of the Gulf Coast region. When the Spanish finally discovered the remains of the French colony at the fort in 1689, they buried the cannons and burned the buildings. Years later, Spanish authorities built a presidio at the same location. When the presidio was abandoned, the site of the French settlement was lost to history.
The fort was rediscovered by historians and excavated in 1996, and the area is now an archaeological site. In 1995, researchers located the ship La Belle in Matagorda Bay, with several sections of the hull remaining virtually intact. They constructed a cofferdam, the first to be used in North America to excavate the ship as if in dry conditions. In 2000, excavations revealed three of the original structures of the fort, as well as three graves of Frenchmen.
Question: In what year did the colony established by Robert Cavelier de La Salle fail?

Output: 1688.


Input:
Passage: Throughout the 360° Tour, the band worked on multiple album projects, including: a traditional rock album produced by Danger Mouse; a dance record produced by RedOne and will.i.am; and Songs of Ascent. However, the latter was not completed to their satisfaction, and by December 2011, Clayton admitted it would not come to fruition. The sessions with Danger Mouse instead formed the foundation of U2's next album, and they worked with him until May 2013 before enlisting the help of producers Paul Epworth, Ryan Tedder, Declan Gaffney, and Flood. The band suspended work on the album late in 2013 to contribute a new song, "Ordinary Love", to the film Mandela: Long Walk to Freedom. The track, written in honour of Nelson Mandela, won the 2014 Golden Globe Award for Best Original Song. In November 2013, U2's long-time manager Paul McGuinness stepped down from his post as part of a deal with Live Nation to acquire his management firm, Principle Management. McGuinness, who had managed the group for over 30 years, was succeeded by Guy Oseary. In February 2014, another new U2 song, the single "Invisible", debuted in a Super Bowl television advertisement and was made available in the iTunes Store at no cost to launch a partnership with Product Red and Bank of America to fight AIDS. Bono called the track a "sneak preview" of their pending record.On 9 September 2014, U2 announced their thirteenth studio album, Songs of Innocence, at an Apple product launch event, and released it digitally the same day to all iTunes Store customers at no cost. The release made the album available to over 500 million iTunes customers in what Apple CEO Tim Cook called "the largest album release of all time." Apple reportedly paid Universal Music Group and U2 a lump sum for a five-week exclusivity period in which to distribute the album and spent US$100 million on a promotional campaign. Songs of Innocence recalls the group members' youth in Ireland, touching on childhood experiences, loves and losses, while paying tribute to their musical inspirations. Bono described it as "the most personal album we've written". The record received mixed reviews and drew criticism for its digital release strategy; it was automatically added to users' iTunes accounts, which for many, triggered an unprompted download to their electronic devices. Chris Richards of The Washington Post called the release "rock-and-roll as dystopian junk mail". The group's press tour for the album was interrupted after Bono was seriously injured in a bicycle accident in Central Park on 16 November 2014. He suffered fractures of his shoulder blade, humerus, orbit, and pinky finger, leading to uncertainty that he would ever be able to play guitar again.
Question: What is the name of the album that received mixed reviews and drew criticism for its digital release strategy?

Output: Songs of Innocence.


Input:
Passage: An aged Henry Van Cleve enters the opulent reception area of Hell, to be personally greeted by "His Excellency" (Laird Cregar). Henry petitions to be admitted (fully aware of the kind of life he had led), but there is some doubt as to his qualifications. To prove his worthiness (or rather unworthiness), he begins to tell the story of his dissolute life.
Born in Manhattan on October 25, 1872, Henry is the spoiled only child of stuffy, clueless, wealthy parents Randolph and Bertha. His paternal grandmother (Clara Blandick in an uncredited role) is also doting and naive, although his down-to-earth grandfather Hugo Van Cleve, a self-made millionaire, understands Henry quite well. Henry grows up an idle young man, with a taste for attractive showgirls. One day, Henry overhears a beautiful woman lying to her mother on a public telephone. Intrigued, he follows her into a Brentano's and pretends to be an employee to get to know her better. Despite learning that she is engaged, he begins making advances, finally confessing he does not work there, whereupon she hastily departs.
Later, obnoxious cousin Albert introduces the family to his fiancée, Martha, and her feuding parents, the Strables. Henry is shocked to find that his mystery woman and Martha are one and the same. It turns out that Albert was the first suitor of whom both her parents approved. Fearful of spending the rest of her life as a spinster in Kansas City, Martha agreed to marry him. Henry convinces her to elope with him instead. Though everyone is scandalized, eventually they are received back into the family.
Question: Whose fiancee does Henry convince to elope with him instead?

Output: Albert.


Input:
Passage: According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.
Question: What two things do some songs have two guitars trading back and forth like a jigsaw puzzle?

Output: rhythm.


Input:
Passage: According to Rolling Stone, Marquee Moon is a post-punk album, while Jason Heller from The A.V. Club described it as "elegantly jagged" art punk. Robert Christgau regarded it as more of a rock record because of Television's formal and technical abilities as musicians: "It wasn't punk. Its intensity wasn't manic; it didn't come in spurts." Both sides of the album begin with three shorter, hook-driven songs, which Stylus Magazine's Evan Chakroff said veer between progressive rock and post-punk styles. The title track and "Torn Curtain" are longer and more jam-oriented. "As peculiar as it sounds, I've always thought that we were a pop band", Verlaine later told Select. "You know, I always thought Marquee Moon was a bunch of cool singles. And then I'd realise, Christ, [the title track] is ten minutes long. With two guitar solos." As Tom Moon observed, Verlaine's singing avoids the "cursory punk snarl" while the band's music demonstrates "extended instrumental sections, impenetrable moods" (as on "Torn Curtain") and historical rock influences like Chuck Berry and the early music of the Rolling Stones (as on "Friction").Verlaine and Lloyd's guitar parts on the album are interplayed around the rhythm section's drum hits and basslines. Their dual playing draws on 1960s rock and avant-garde jazz styles, abandoning the layered power chords of contemporary punk rock in favor of melodic lines and counter-melodies. Verlaine's guitar establishes the song's rhythmic phrase, against which Lloyd is heard playing dissonant melodies. Lloyd had learned to notate his solos by the time they recorded Marquee Moon, allowing him to develop his solo for a song from introduction to variation and resolution. Some songs have the two guitarists trading rhythmic and melodic lines several times while producing tension. "There weren't many bands where the two guitars played rhythm and melody back and forth, like a jigsaw puzzle", Lloyd said.Most of the solos on Marquee Moon follow a pattern wherein Verlaine runs up a major scale but regresses slightly after each step. On "See No Evil", he solos through a full octave before playing a blues-influenced riff, and on the title track, he is heard playing in a Mixolydian mode and lowering the seventh by half a step. "Friction" opens with Lloyd playing octaves before Verlaine's ringing harmonics and series of descending scales.
Question: What two things do some songs have two guitars trading back and forth like a jigsaw puzzle?

Output: melody.


Input:
Passage: On 1 March 1849, Brown was charged with the murder of "unknown aboriginal natives". In late March or early April he appeared before a local magistrate in the district, Captain G. V. Butler, who committed him for trial. In May, Butler wrote a letter to Charles Hervey Bagot, a member of the South Australian Legislative Council, in which he listed the victims as one "old man blind and infirm", three female adults, two teenage girls (aged 15 and 12 years), and three female children (aged two years, 18 months, and a baby). Butler added that there was "little question of the butchery or the butcher".Brown's trial came before the Supreme Court in Adelaide on 11 June 1849. The presiding judge considered that the evidence presented was insufficient, and gave the prosecution another week to investigate. The weakness of the case was directly related to the provisions of the Aboriginal Witnesses Act of 1848 regarding testimony given by Aboriginal witnesses. It was generally believed that Aboriginal people could not understand the oath, but the Act allowed unsworn testimony to be offered by Aboriginal witnesses, with two significant limitations. The court could determine the weight and credibility to be given to Aboriginal testimony, but even more telling was the restriction that when the punishment for a crime was death or transportation, the evidence of an "uncivilised person or persons" was considered insufficient unless corroborated by other evidence. A week later, the judge remained unconvinced about the strength of the prosecution, but given "great suspicion rested on the case", he gave the prosecution a further extension of time, and released Brown on bail of ₤500.In July 1849, the South Australian Advocate General produced a summary of the investigation to date. Several difficulties were detailed, including the fact that Parker denied any knowledge of the crime, as did others who were believed to have heard the incident, discussed in Brown's presence. Brown's co-accused, Eastwood, alias "Yorkie", had fled when the investigation began and had apparently left the colony aboard a whaling ship off Kangaroo Island. An important witness named Joice had gone to the neighbouring Port Phillip District of the colony of New South Wales, and Leandermin himself, who it appears was being detained at Guichen Bay, absconded and had allegedly been "made away with". The remaining witnesses were those that knew Brown, and apparently would not give evidence against him. Despite the extremely difficult task faced by the prosecution under these circumstances, the Advocate General ordered that investigations continue and issued warrants for the arrest of those that had fled South Australia. Brown appeared at the Supreme Court yet again on 10 and 28 September, but the judge again refused to hear the case without further evidence. By the November sittings of the court, Brown's case had been removed from the listings, and this was the end of the matter as far as the formal investigation was concerned. Effectively, settler solidarity and the law of evidence ensured that Brown was never tried for the murders, despite the fact that those involved in the investigation had no doubt of his guilt. Possibly in response to Brown's case, the Aboriginal Witnesses Act of 1848 was amended in July 1849 to allow a person to be convicted on the sole testimony of an Aboriginal person.
Question: What is the name of the person who was committed for trial?

Output: Brown.


Input:
Passage: Sissinghurst Castle Garden, at Sissinghurst in the Weald of Kent in England, was created by Vita Sackville-West, poet and writer, and her husband Harold Nicolson, author and diplomat. It is among the most famous gardens in England and is designated Grade I on Historic England's register of historic parks and gardens. It was bought by Sackville-West in 1930, and over the next thirty years, working with, and later succeeded by, a series of notable head gardeners, she and Nicolson transformed a farmstead of "squalor and slovenly disorder" into one of the world's most influential gardens. Following Sackville-West's death in 1962, the estate was donated to the National Trust for Places of Historic Interest or Natural Beauty. It is one of the Trust's most popular properties, with nearly 200,000 visitors in 2017.
The gardens contain an internationally respected plant collection, particularly the assemblage of old garden roses. The writer Anne Scott-James considered the roses at Sissinghurst to be "one of the finest collections in the world". A number of plants propagated in the gardens bear names related to people connected with Sissinghurst or the name of the garden itself. The garden design is based on axial walks that open onto enclosed gardens, termed "garden rooms", one of the earliest examples of this gardening style. Among the individual "garden rooms", the White Garden has been particularly influential, with the horticulturalist Tony Lord describing it as "the most ambitious ... of its time, the most entrancing of its type."The site of Sissinghurst is ancient and has been occupied since at least the Middle Ages. The present-day buildings began as a house built in the 1530s by Sir John Baker. In 1554 Sir John's daughter Cecily married Thomas Sackville, 1st Earl of Dorset, an ancestor of Vita Sackville-West. By the 18th century the Baker's fortunes had waned, and the house, renamed Sissinghurst Castle, was leased to the government to act as a prisoner-of-war camp during the Seven Years' War. The prisoners caused great damage and by the 19th century much of Sir Richard's house had been demolished. In the mid-19th century, the remaining buildings were in use as a workhouse, and by the 20th century Sissinghurst had declined to the status of a farmstead. In 1928 the castle was advertised for sale but remained unsold for two years.
Question: What was Sissinghurst Castle used for during the Seven Year War?

Output: prisoner-of-war camp.


Input:
Passage: In December 2005, the two ton Reclining Figure (1969–70) – insured for £3 million – was lifted by crane from the grounds of the Henry Moore Foundation on to a lorry and has not been recovered. Two men were jailed for a year in 2012 for stealing a sculpture called Sundial (1965) and the bronze plinth of another work, also from the foundation's estate. In October 2013 Standing Figure (1950), one of four Moore pieces in Glenkiln Sculpture Park, estimated to be worth £3 million, was stolen.
In 2012, the council of the London Borough of Tower Hamlets announced its plans to sell another version of Draped Seated Woman 1957–58, a 1.6-tonne bronze sculpture. Moore, a well-known socialist, had sold the sculpture at a fraction of its market value to the former London County Council on the understanding that it would be displayed in a public space and might enrich the lives of those living in a socially deprived area. Nicknamed Old Flo, it was installed on the Stifford council estate in 1962 but was vandalised and moved to the Yorkshire Sculpture Park in 1997. Tower Hamlets Council later had considered moving Draped Seated Woman to private land in Canary Wharf but instead chose to "explore options" for a sale. In response to the announcement an open letter was published in The Guardian, signed by Mary Moore, the artist's daughter, by Sir Nicholas Serota, Director of the Tate Gallery, by filmmaker Danny Boyle, and by artists including Jeremy Deller. The letter said that the sale "goes against the spirit of Henry Moore's original sale" of the work.
Question: What is the full name of the artist whose daughter signed an open letter published in The Guardian?

Output: Henry Moore.


Input:
Passage: Lennon was born on 9 October 1940 at Liverpool Maternity Hospital, to Julia (née Stanley) (1914–1958) and Alfred Lennon (1912–1976). Alfred was a merchant seaman of Irish descent who was away at the time of his son's birth. His parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother; the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia, by then pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon. In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them – with her partner at the time, Bobby Dykins – and after a heated argument, his father forced the five-year-old to choose between them. In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, however, Lennon's parents agreed that Julia should take him and give him a home. A witness who was there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years.Throughout the rest of his childhood and adolescence, Lennon lived at Mendips, 251 Menlove Avenue, Woolton, with Mimi and her husband George Toogood Smith, who had no children of their own. His aunt purchased volumes of short stories for him, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and when John was 11 years old, he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, taught him the banjo, and showed him how to play "Ain't That a Shame" by Fats Domino. In September 1980, Lennon commented about his family and his rebellious nature:.
Question: What was the full name of the person that Julia Lennon visited in Mendips?

Output: John Winston Lennon.