Input:
Passage: Nielsen was born the seventh of twelve children to a poor peasant family on 9 June 1865 at Sortelung near Nørre Lyndelse, south of Odense on the island of Funen. His father, Niels Jørgensen, was a house painter and traditional musician who, with his abilities as a fiddler and cornet player, was in strong demand for local celebrations. Nielsen described his childhood in his autobiography Min Fynske Barndom (My Childhood on Funen). His mother, whom he recalls singing folk songs during his childhood, came from a well-to-do family of sea captains while one of his half-uncles, Hans Andersen (1837–1881), was a talented musician.Nielsen gave an account of his introduction to music: "I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin". He had received the instrument from his mother when he was six. He learned the violin and piano as a child and wrote his earliest compositions at the age of eight or nine: a lullaby, now lost, and a polka which the composer mentioned in his autobiography. As his parents did not believe he had any future as a musician, they apprenticed him to a shopkeeper from a nearby village when he was fourteen; the shopkeeper went bankrupt by midsummer and Nielsen had to return home. After learning to play brass instruments, on 1 November 1879 he became a bugler and alto trombonist in the band of the army's 16th Battalion at nearby Odense.Nielsen did not give up the violin during his time with the battalion, continuing to play it when he went home to perform at dances with his father. The army paid him three kroner and 45 øre and a loaf of bread every five days for two and a half years, after which his salary was raised slightly, enabling him to buy the civilian clothes he needed to perform at barn dances.
Question: What is the name of the person whose mother gave him instruments when he was six?

Output: Nielsen.


Input:
Passage: Pearl Jam commenced work on a new album following a year-long break after its full-scale tour in support of Binaural. McCready described the recording environment as "a pretty positive one" and "very intense and spiritual." Regarding the time period when the lyrics were being written, Vedder said, "There's been a lot of mortality...It's a weird time to be writing. Roskilde changed the shape of us as people, and our filter for seeing the world changed." Pearl Jam released its seventh album, Riot Act, on November 12, 2002. It included the singles "I Am Mine" and "Save You". The album featured a much more folk-based and experimental sound, evident in the presence of B3 organist Boom Gaspar on songs such as "Love Boat Captain". Stephen Thomas Erlewine of AllMusic said "Riot Act is the album that Pearl Jam has been wanting to make since Vitalogy—a muscular art rock record, one that still hits hard but that is filled with ragged edges and odd detours." The track entitled "Arc" was recorded as a vocal tribute to the nine people who died at the Roskilde Festival in June 2000. Vedder only performed this song nine times on the 2003 tour, and the band left the track off all released bootlegs.In 2003, the band embarked on its Riot Act Tour, which included tours in Australia and North America. The band continued its official bootleg program, making every concert from the tour available in CD form through its official website. A total of six bootlegs were made available in record stores: Perth, Tokyo, State College, Pennsylvania, two shows from Madison Square Garden, and Mansfield, Massachusetts. At many shows during the 2003 North American tour, Vedder performed Riot Act's "Bu$hleaguer", a commentary on President George W. Bush, with a rubber mask of Bush, wearing it at the beginning of the song and then hanging it on a mic stand to allow him to sing. The band made news when it was reported that several fans left after Vedder had "impaled" the Bush mask on his mic stand at the band's Denver, Colorado show.In June 2003, Pearl Jam announced it was officially leaving Epic Records following the end of its contract with the label. The band stated it had "no interest" in signing with another label. The band's first release without a label was the single for "Man of the Hour", in partnership with Amazon.com. Director Tim Burton approached Pearl Jam to request an original song for the soundtrack of his new film, Big Fish. After screening an early print of the film, Pearl Jam recorded the song for him. "Man of the Hour", which was later nominated for a Golden Globe Award, can be heard in the closing credits of Big Fish.
Question: What is the name of the golden globe nominated single by the band that had an official bootleg program?

Output: Man of the Hour.


Input:
Passage: Wealthy American businessman Robert Talbot owns a villa on the Ligurian coast, where he and his Roman mistress Lisa Fellini spend September of each year. When Robert moves up his annual visit to July and calls her en route from Milano, she cancels her wedding to Englishman Spencer and rushes to meet him. Upon his arrival at the villa, Robert discovers that, in his absence, his major domo, Maurice Clavell, has turned the villa into a hotel, currently hosting a group of teenage girls, including Sandy, and their chaperone, Margaret Allison. Their departure is delayed when Margaret slips on the cork of a champagne bottle opened by Robert and is forced to spend a day in the hospital. Four teenage boys who irritated Robert on the drive to his villa, including Tony, set up camp right outside of the villa and begin courting the girls.
Robert chaperones the girls on a sightseeing tour and to a music club. He dances with each of the girls and appeals to their virtues, stressing the importance of chastity. Trying to get Robert inebriated, the boys end up drunk themselves. Sandy revives Tony, but slaps him when he makes a pass at her. She then recounts the lecture received earlier to Lisa, who gets infuriated over Robert's double standards. The next morning, she leaves to get back together with Spencer. A sobered-up Tony apologizes to Robert.
Question: What is the full name of the person who cancels their wedding?

Output: Lisa Fellini.


Input:
Passage: After seeing several patients, Travis, a troubled psychiatrist, is contacted at home by a patient, Rachel.  Travis invites her into his apartment, though he acknowledges this is unorthodox.  As they talk, Rachel sees Travis take several pills, which he explains are to help him deal with the mounting stresses in his life.  After they kiss, Rachel offers to help him, and Travis laughs derisively.  Hurt, Rachel leaves his apartment and goes to the top of the apartment building, where she phones him.  When he realises she means to commit suicide, he races upstairs, only to see her leap to her death.  After one of his patients taunts him over this rumor, Travis reacts violently and is put on leave, though he angrily quits instead.
Grace, a young woman, hands out pamphlets on a train and invites Travis to a support group.  Though dismissive, Travis takes one of her pamphlets.  After drinking heavily and becoming depressed over his life, Travis attends the meeting.  Travis is disgusted when the group's leader, Father Jay, a military veteran and former drug addict, forces a young member, Marcus, to confront difficult personal issues in public.  As Travis leaves, Grace urges him to seek the group's support.  After a suicide attempt in which he overdoses on pills, Travis calls the group before slipping into unconsciousness.  Father Jay, Grace, and another member, Tom, arrive and induce vomiting, saving his life.
Question: Who angrily quits their job?

Output: Travis.


Input:
Passage: Concurrently with designing churches and building railways, Sharpe was heavily involved in the civic life of Lancaster, particularly in pioneering sanitary reform.  By political persuasion he was a Conservative, and in 1837 he joined the local Heart of Oak Club, the core of the Lancaster Conservative Association. He was elected a town councillor for Castle Ward in 1841, a post he held for ten years, and in 1843 was appointed the town council's representative on the local Police Commission.  He was also a visitor to the national schools, and in November 1848 he was elected as mayor for year, at that time a position more like that of a "chief magistrate". Through these offices he became aware of the unsatisfactory state of sanitation in the town, and resolved to improve it. The town was overcrowded, it suffered from poor housing, open sewers, overflowing cesspits, and a very poor water supply, mainly from wells polluted by infiltration.  Many people suffered from typhus, and in 1848 there was an outbreak of cholera. The Police Commission had been established in Lancaster in 1825 with a wider role than suggested by its title, including "cleansing, lighting and watching" the town. However, there was constant friction between the Police Commission and the Town Council, the former tending to block any necessary reforms on the grounds of cost to the ratepayers.  The conflict was unresolved until the two bodies merged in 1849. The functions of the new body included the establishment of the first Lancaster Board of Health.
Question: Which town suffered from poor housing, open sewers, overflowing cesspits, and a very poor water supply?

Output: Lancaster.


Input:
Passage: Max Anderson is being pursued by a Tyrannosaurus until a fissure vent opens in the ground. When he tries to jump across, he calls out his brother's name before falling into the vent. Ten years later, Max's 13-year-old son, Sean Anderson, visits Max's brother, volcanologist Trevor Anderson. In a box of items that belonged to Max is a book, Journey to the Center of the Earth by Jules Verne. Notes written by Max are found inside the book.
In Trevor's volcanology laboratory, a device shows activity on Snæfell, a dormant volcano in Iceland. Trevor and Sean travel to Iceland to investigate. They try to contact Icelandic volcanologist Sigurbjörn Ásgeirsson, but instead encounter his daughter Hannah Ásgeirsdóttir since her father had died some years earlier. It turns out that Sigurbjörn and Max were both Vernians, a group of people who believe the works of Jules Verne to be fact and not fiction.
Hannah offers to help them climb the volcano. While the group is hiking up the volcano, a lightning storm forces them to take shelter in a cave. The cave entrance collapses, trapping them in what appears to be an abandoned mine. The trio rappel down a giant hole and ride on out-of-control mine carts, in which the tracks start to branch off in three ways. Hannah and Trevor save each other from dead-ends and Sean reunites with them. They reach the bottom of a volcanic vent filled with different varieties of crystals, including Diamonds. Sean accidentally drops a diamond, which breaks the Muscovite floor, and they begin to fall towards the center of the Earth. The vent eventually becomes a water slide which drops them safely into a lake in the center of the Earth, which turns out to be a completely separate world contained within the Earth.
Question: What is the full name of the person who wrote inside the book Journey to the Center of the Earth?

Output: Max Anderson.


Input:
Passage: Jordan Sands is an awkward and nerdy 17-year-old girl with a bad case of allergies, who just became the woman of the house after the recent death of her mother. Her father David is struggling to make ends meet, while her 14-year-old brother Hunter drives the family crazy with gory pranks. They inherit their deceased mother's Great-Uncle Dragomir's castle in Wolfsberg, Romania after getting a package in the mail. After arriving in Wolfsberg, they meet the strange and steely castle housekeeper, Madame Varcolac.
Varcolac discourages David from selling the property, but he ends up going on dates with and falling for the real estate agent Paulina von Eckberg. One day while snooping around Dragomir's lab, Jordan steps on a vial of strange liquid. Hunter manages to pull the pieces out from her foot, but Jordan's behavior changes, such as her allergies disappearing, seeing without glasses, and smelling things very far away. Hunter's friends explain that Jordan's behaviors are akin to those of a werewolf's, and that she is one either because of a bloodline curse, a bite from an infected person, or from getting blood of a werewolf. In Jordan's case, it was revealed to have been LB-217, which is short for "Lycanthrope Blood".
Jordan continues to succumb to the changes, having behavioral changes. After her date with Goran, the young butcher, Jordan turns into a werewolf, which Hunter witnesses. She flees and Hunter contacts his friends for help. They reveal that there is no cure they know of other than shooting a werewolf dead with silver. Hunter refuses to do this to his sister. His friends warn that if Jordan is not cured by the next sunrise, she will always be a werewolf, cursed to shift every night until the end of her life.
Question: What is the short name for Lycanthrope Blood?

Output: LB-217.


Input:
Passage: A Bill of Divorcement describes a day in the lives of a middle-aged Englishwoman named Margaret "Meg" Fairfield; her daughter Sydney; Sydney's fiancé Kit Humphreys; Meg's fiancé Gray Meredith; and Meg's husband Hilary, who escapes after spending almost twenty years in a mental hospital.  After the family discusses Hilary's genetic predisposition toward psychiatric problems, which Sydney seems to have inherited, Hilary and Sydney give up Meg and Kit in order to avoid passing this trait to future generations.
The film begins on Christmas Eve as Meg gives a party in her comfortable English manor.  In addition to dancing and listening to Christmas carols, Sydney and Kit happily discuss their future together, as do Meg and Gray.  The only unpleasant moment of the evening occurs when the singers dedicate their performance of God Bless the Master of This House to Gray.  Hilary's sister Hester objects to this because she considers Hilary to be the master of the house even though he is psychotic and institutionalized.
On Christmas morning, while Meg and Gray are at church, the asylum telephones to say that Hilary has gone missing, and Hester unintentionally reveals to Sydney that insanity runs in their family.  The family's official explanation of Hilary's troubles has been that he experienced shell shock while fighting in World War I, but another family member had similar problems in the past.
Hester and Sydney discuss Hilary's talent as a composer, and Sydney sits down at the piano to play an unfinished sonata that Hilary wrote before going to war.  A few minutes later, Hilary returns home, having escaped from the asylum.  He meets Sydney and they chat comfortably, except for a heated argument that serves to further display their similarities as sensitive, free-spirited individuals.
Question: Who does Sydney find out about the families mental illness from?

Output: Hester.


Input:
Passage: On October 9, 2006, Kristi Rey and her husband Daniel are killed by her demon-possessed sister Katie, who then abducts Kristi's one-year-old son, Hunter. Text states that Katie and Hunter's whereabouts remained unknown.
Five years later, in November 2011, Alex Nelson lives in a wealthy suburb of Henderson, Nevada with her father Doug, mother Holly, and little brother Wyatt. When their new neighbor falls ill and is taken to the hospital, her son, Robbie, is left in the care of the family.
One night while Alex is sleeping, her boyfriend Ben's computer starts recording her laptop webcam, and he sees Robbie getting into the bed with her. The next day, Wyatt tells Alex about Robbie's friend, Toby. After strange events happen, Alex and Ben set up cameras all over the house. On the third night, the strange happenings escalate until one day, Alex finds a trail of toys that leads to a closet. She finds Robbie, who says, "He doesn't like you watching us," as a chandelier falls and almost kills her.
Question: Who is friends with the neighbor's son?

Output: Toby.


Input:
Passage: In Osbert: A Portrait of Osbert Lancaster, Boston comments that after the dramatic events in Athens his subject's later life was uneventful and industrious with "a somewhat dismaying dearth of rows, intrigues, scandals or scrapes to report." The Lancasters had a Georgian house in Henley-on-Thames, and a flat in Chelsea, where they lived from Mondays to Fridays. He worked at home in the mornings, on illustrations, stage designs, book reviews and any other commissions, before joining his wife for a midday dry martini and finally dressing and going to one of his clubs for lunch. After that he would walk to the Express building in  Fleet Street at about four in the afternoon. There he would gossip with his colleagues before sitting at his desk smoking furiously, producing the next day's pocket cartoon. By about half-past six he would have presented the cartoon to the editor and be ready for a drink at El Vino's across the road, and then the evening's social events.Karen Lancaster died in 1964. They were markedly different in character, she quiet and home-loving, he extrovert and gregarious, but they were devoted to each other, and her death left him devastated. Three years later he married the journalist Anne Scott-James; they had known each other for many years, although at first she did not much like him, finding him "stagey" and "supercilious". By the 1960s they had become good friends, and after Karen died the widowed Lancaster and the divorced Scott-James spent increasing amounts of time together. Their wedding was at the Chelsea Register Office on 2 January 1967. After their marriage they kept his Chelsea flat,  and lived at weekends in her house in the Berkshire village of Aldworth, the house in Henley having been sold.
Question: What is the full name of the person who would go to one of his clubs for lunch after finally dressing?

Output: Osbert Lancaster.


Input:
Passage: Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself.".
Question: What is the name of the person who said Monteverdi, Mozart, Chopin, Wagner, Mussorgsky, and Stravinsky all wrote strongly coloured music?

Output: Messiaen.


Input:
Passage: Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.
The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.
In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten's opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck's Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.
Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954.  The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers.
Question: What is the first name of the person whose career was boosted when she met a conductor ?

Output: Ferrier.


Input:
Passage: In the decades preceding World War I, this stretch of coast became famous for its wildfowling; locals were looking for food, but some more affluent visitors hunted to collect rare birds; Norfolk's first barred warbler was shot on the point in 1884. In 1901, the Blakeney and Cley Wild Bird Protection Society created a bird sanctuary and appointed as its "watcher", Bob Pinchen, the first of only six men, up to 2012, to hold that post.In 1910, the owner of the Point, Augustus Cholmondeley Gough-Calthorpe, 6th Baron Calthorpe, leased the land to University College London (UCL), who also purchased the Old Lifeboat House at the end of the spit. When the baron died later that year, his heirs put Blakeney Point up for sale, raising the possibility of development. In 1912, a public appeal initiated by Charles Rothschild and organised by UCL Professor Francis Wall Oliver and Dr Sidney Long enabled the purchase of Blakeney Point from the Calthorpe estate, and the land was then donated to the National Trust. UCL established a research centre at the Old Lifeboat House in 1913, where Oliver and his college pioneered the scientific study of Blakeney Point. The building is still used by students, and also acts as an information centre. Despite formal protection, the tern colony was not fenced off until the 1960s.The Point was designated as a Site of Special Scientific Interest (SSSI) in 1954, along with the adjacent Cley Marshes reserve, and subsumed into the newly created 7,700-hectare (19,000-acre) North Norfolk Coast SSSI in 1986. The larger area is now additionally protected through Natura 2000, Special Protection Area (SPA) and Ramsar listings, IUCN category IV (habitat/species management area) and is part of the Norfolk Coast Area of Outstanding Natural Beauty. The Point became a National Nature Reserve (NNR) in 1994, and the coast from Holkham NNR to Salthouse, together with Scolt Head Island, became a Biosphere Reserve in 1976.
Question: What is the first name of the person who, along with his college, pioneered the study of Blakeney Point?

Output: Francis.


Input:
Passage: A few weeks after Of Human Feelings was recorded, Mwanga went to Japan to negotiate a deal with Trio Records to have the album released on Phrase Text. Trio, who had previously released a compilation of Coleman's 1966 to 1971 live performances in Paris, prepared to press the album once Mwanga provided the label with the record stamper. Coleman was also set to perform his song "Skies of America" with the NHK Symphony Orchestra, but cancelled both deals upon Mwanga's return from Japan. Mwanga immediately quit after less than four months as Coleman's manager. In 1981, Coleman hired Stan and Sid Bernstein as his managers, who sold the album's recording tapes to Island Records. He signed with the record label that year, and Of Human Feelings was released in 1982 on Island's subsidiary jazz label Antilles Records. Billboard magazine published a front-page story at the time about its distinction as both the first digital album recorded in New York City and the first digital jazz album recorded by an American label.According to jazz writer Francis Davis, "a modest commercial breakthrough seemed imminent" for Coleman, who appeared to be regaining his celebrity. German musicologist Peter Niklas Wilson said the album may have been the most tuneful and commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for radio airplay by Mandel, who described its production as "the surface consistency that would put it in the pop sphere". Of Human Feelings had no success on the American pop charts, only charting on the Top Jazz Albums, where it spent 26 weeks and peaked at number 15. Because the record offered a middle ground between funk and jazz, McRae argued that it consequently appealed to neither demographic of listeners. Sound & Vision critic Brent Butterworth speculated that it was overlooked because it had electric instruments, rock and funk drumming, and did not conform to what he felt was the hokey image of jazz that many of the genre's fans preferred. The album later went out of print.
Question: On what chart did the album that was released on the label Antilles Records in 1982 peak at 15?

Output: Top Jazz Albums.


Input:
Passage: Joseph Krauzenberg is a very wealthy Hungarian Jewish industrial tycoon whose fortune is mirrored in the great palaces he owns. However, by 1944 his important businesses are needed by the Nazis and Hitler's 'Final Solution' is sweeping through Europe.
The Nazis are greedy to accumulate wealth as easily as possible, and under the terms of the Third Reich's "Europa Plan", Krauzenberg arranges with Nazi leaders to exchange his fortune, his business holdings (textile plants, steel mills, ownership of several banks) and a collection of rare art for safe passage to Switzerland for himself, his wife Rachel, and their family. As the night of transaction approaches, Krauzenberg visits his large family being held by the Gestapo, and reassures them that all will be safe.
Such is Krauzenberg's wealth and power that when he agrees to sign over his property, it is two of the most powerful men in the Nazi regime who announce they will be coming to his house to handle the paperwork – Adolf Eichmann and Heinrich Himmler.
However, as the Nazi leaders are ushered into Krauzenberg's home, they are struck by something unusual – his two most trusted servants, Hans Vassmann and his wife Ingrid are a married Aryan couple who, despite the law, are still working for Jews.
As it happens, Eichmann and Himmler's suspicions are well-founded – despite appearing to be the perfect Aryan couple, Hans and Ingrid are actually Jews working deep undercover with the underground Resistance. Young, married, in love and expecting their first child, they work as valet and maid for the elderly Jewish couple. They have everything to look forward to or so they would have believed.
Question: What is the full name of the person that is married to Rachel?

Output: Joseph Krauzenberg.


Input:
Passage: The film shows a scene of a girl being kidnapped from a charity plane by Vietnamese rebels (a U.N. supplies [as in food and medicine] plane) in Vietnam.  Then we are taken to the United States to a detention center in Los Angeles where the warden of the center and 6 of the toughest prisoners are hired to rescue the girl, whose name is Gabrielle Presscott, daughter of Jameson Prescott, CEO and billionaire.  Warden Toliver and prisoners (by last name only, their first names are never revealed) Butts and Monster (black youths), Lopez and Vasquez (Latino youths, with Vasquez being a girl), and Brophy and Lamb (white youths). The group travels to Vietnam with three days to rescue Gabrielle, spending one day to train and the rest of the days to find her.
After winning a battle the group spends the night at a village brothel and has a small celebration, with Brophy sneaking away into the night.  The group awakens to find the rebels with Brophy as a hostage and asking the villagers to hand over the rest of the Americans.  The group decides to attempt a rescue for Brophy and are successful, however, Lopez and Monster are both killed during the fight. The group runs away into the jungle and is tiredly marching along when Lamb steps on a landmine.  While Toliver is trying to disarm the mine, some rebels are slowly getting nearer and nearer to the group.  Brophy once again sneaks away but sacrifices himself, bringing another death to the group.  Toliver and his men finally arrive at the rebel base camp, with Toliver combing the camp for Gabrielle.  After he finds her he returns to the others and hands each of them a set of explosives to be detonated by a timer.
Question: Where is Gabrielle kidnapped?

Output: Vietnam.


Input:
Passage: The palazzo remained the principal Medici residence until the last male Medici heir died in 1737. It was then occupied briefly by his sister, the elderly Electress Palatine; on her death, the Medici dynasty became extinct and the palazzo passed to the new Grand Dukes of Tuscany, the Austrian House of Lorraine, in the person of Francis I, Holy Roman Emperor. The Austrian tenancy was briefly interrupted by Napoleon, who used the palazzo during his period of control over Italy.When Tuscany passed from the House of Lorraine to the House of Savoy in 1860, the Palazzo Pitti was included. After the Risorgimento, when Florence was briefly the capital of the Kingdom of Italy, Victor Emmanuel II resided in the palazzo until 1871. His grandson, Victor Emmanuel III, presented the palazzo to the nation in 1919.  The palazzo and other buildings in the Boboli Gardens were then divided into five separate art galleries and a museum, housing not only many of its original contents, but priceless artefacts from many other collections acquired by the state.  The 140 rooms open to the public are part of an interior, which is in large part a later product than the original portion of the structure, mostly created in two phases, one in the 17th century and the other in the early 18th century. Some earlier interiors remain, and there are still later additions such as the Throne Room. In 2005 the surprise discovery of forgotten 18th-century bathrooms in the palazzo revealed remarkable examples of contemporary plumbing very similar in style to the bathrooms of the 21st century.
Question: What is the full name of the father of the man who presented the former Medici palazzo to the nation in 1919?

Output: Victor Emmanuel II.


Input:
Passage: In his usurpation of the throne from the Jianwen Emperor (r. 1398–1402), the Yongle Emperor was aided by the Buddhist monk Yao Guangxiao, and like his father, the Hongwu Emperor, the Yongle Emperor was "well-disposed towards Buddhism", claims Rossabi. On March 10, 1403, the Yongle Emperor invited Deshin Shekpa, 5th Karmapa Lama (1384–1415), to his court, even though the fourth Karmapa had rejected the invitation of the Hongwu Emperor. A Tibetan translation in the 16th century preserves the letter of the Yongle Emperor, which the Association for Asian Studies notes is polite and complimentary towards the Karmapa. The letter of invitation reads,My father and both parents of the queen are now dead. You are my only hope, essence of buddhahood. Please come quickly. I am sending as offering a large ingot of silver, one hundred fifty silver coins, twenty rolls of silk, a block of sandalwood, one hundred fifty bricks of tea and ten pounds of incense."
In order to seek out the Karmapa, the Yongle Emperor dispatched his eunuch Hou Xian and the Buddhist monk Zhi Guang (d. 1435) to Tibet. Traveling to Lhasa either through Qinghai or via the Silk Road to Khotan, Hou Xian and Zhi Guang did not return to Nanjing until 1407.
The Information Office of the State Council of the PRC preserves an edict of the Zhengtong Emperor (r. 1435–1449) addressed to the Karmapa in 1445, written after the latter's agent had brought holy relics to the Ming court. Zhengtong had the following message delivered to the Great Treasure Prince of Dharma, the Karmapa:
Out of compassion, Buddha taught people to be good and persuaded them to embrace his doctrines. You, who live in the remote Western Region, have inherited the true Buddhist doctrines. I am deeply impressed not only by the compassion with which you preach among the people in your region for their enlightenment, but also by your respect for the wishes of Heaven and your devotion to the Court. I am very pleased that you have sent bSod-nams-nyi-ma and other Tibetan monks here bringing with them statues of Buddha, horses and other specialties as tributes to the court.
Despite this glowing message by the Emperor, Chan writes that a year later in 1446, the Ming court cut off all relations with the Karmapa hierarchs. Until then, the court was unaware that Deshin Shekpa had died in 1415. The Ming court had believed that the representatives of the Karma Kagyu who continued to visit the Ming capital were sent by the Karmapa.
Question: What is the full name of the person who was sent ten pounds of incense with an invitation?

Output: Deshin Shekpa.


Input:
Passage: By the time Smetana completed his schooling, his father's fortunes had declined. Although František now agreed that his son should follow a musical career, he could not provide financial support. In August 1843 Smetana departed for Prague with twenty gulden, and no immediate prospects. Lacking any formal musical training, he needed a teacher, and was introduced by Kateřina Kolářová's mother to Josef Proksch, head of the Prague Music Institute—where Kateřina was now studying. Proksch used the most modern teaching methods, drawing on Beethoven, Chopin, Berlioz and the Leipzig circle of Liszt. In January 1844 Proksch agreed to take Smetana as a pupil, and at the same time the young musician's financial difficulties were eased when he secured an appointment as music teacher to the family of a nobleman, Count Thun.For the next three years, besides teaching piano to the Thun children, Smetana studied theory and composition under Proksch. The works he composed in these years include songs, dances, bagatelles, impromptus and the G minor Piano Sonata. In 1846 Smetana attended concerts given in Prague by Berlioz, and in all likelihood met the French composer at a reception arranged by Proksch. At the home of Count Thun he met Robert and Clara Schumann, and showed them his G minor sonata, but failed to win their approval for this work—they detected too much of Berlioz in it. Meanwhile, his friendship with Kateřina blossomed. In June 1847, on resigning his position in the Thun household, Smetana recommended her as his replacement. He then set out on a tour of Western Bohemia, hoping to establish a reputation as a concert pianist.
Question: What is the name of the person who showed Robert and Clara Schumann their G minor sonata?

Output: Smetana.


Input:
Passage: A troubled and irresponsible man named Nick Wrigley is hacked by criminals who are looking for a bank account code to Nick's boss. The criminals Bill and Harry manage to find his apartment and start beating him for the Internet scam he has pulled on them. They tell him they want their money by Christmas or else they will have their enforcer Eliot beat him up. Bill and Harry leave and Nick decides to run away. Nick is leaving the building when Eliot sees him leaving and chases him. Nick manages to escape when he runs to a North Pole stage where kids meet Santa Claus. He steals the costume for Santa Claus and walks to the bus stop in disguise and goes to his brother's house.
Meanwhile, the house's mischievous 14-year-old Danny Wrigley welcomes his uncle because he has a better relationship with him than any other person in his family. Danny's father however is less than thrilled to see his older brother, while his wife welcomes Nick. Danny's parents, both doctors, are called into the hospital and reluctantly leave Nick to look after their three children. After receiving a threatening e-mail from Bill and Harry that they are currently tracking him down to get the money out of him, Nick ends up having to unleash a virus to throw them off his trail. On Christmas Eve, Santa comes to the house with a device that can freeze time, in order to put the family's presents under the tree unnoticed. An object hits the device, time goes back to normal, and Nick hits him unconscious. They decide to deliver Santa's presents. While Nick is delivering the presents, unbeknown to Danny he is stealing from the houses. When Danny finds out that Nick is stealing he feels betrayed and goes back home in Santa's sleigh.
Question: Who is Danny's uncle running from?

Output: Eliot.


Input:
Passage: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes.
Question: What is the road named where Martin's firm is located?

Output: George Street.


Input:
Passage: Tchaikovsky was born in 1840 in Votkinsk, a small town in present-day Udmurtia, formerly the Imperial Russian province of Vyatka. A precocious pupil, he began piano lessons at the age of five, and could read music as adeptly as his teacher within three years. However, his parents' passion for his musical talent soon cooled. In 1850, the family decided to send Tchaikovsky to the Imperial School of Jurisprudence in Saint Petersburg. This establishment mainly served the lesser nobility or gentry, and would prepare him for a career as a civil servant. As the minimum age for acceptance was 12, Tchaikovsky was sent by his family to board at the Imperial School of Jurisprudence's preparatory school in Saint Petersburg, 800 miles (1,300 km) from his family home in Alapayevsk. Once Tchaikovsky came of age for acceptance, he was transferred to the Imperial School of Jurisprudence to begin a seven-year course of studies.Music was not a priority at the School, but Tchaikovsky regularly attended the theater and the opera with other students. He was fond of works by Rossini, Bellini, Verdi and Mozart. Piano manufacturer Franz Becker made occasional visits to the School as a token music teacher. This was the only formal music instruction Tchaikovsky received there. From 1855 the composer's father, Ilya Tchaikovsky, funded private lessons with Rudolph Kündinger, a well-known piano teacher from Nuremberg, and questioned Kündinger about a musical career for his son. Kündinger replied that nothing suggested a potential composer or even a fine performer. Tchaikovsky was told to finish his course and then try for a post in the Ministry of Justice.Tchaikovsky graduated on May 25, 1859 with the rank of titular counselor, a low rung on the civil service ladder. On June 15, he was appointed to the Ministry of Justice in Saint Petersburg. Six months later he became a junior assistant and two months after that, a senior assistant. Tchaikovsky remained there for the rest of his three-year civil service career.In 1861, Tchaikovsky attended classes in music theory organized by the Russian Musical Society and taught by Nikolai Zaremba. A year later he followed Zaremba to the Saint Petersburg Conservatory. Tchaikovsky would not give up his Ministry post "until I am quite certain that I am destined to be a musician rather than a civil servant." From 1862 to 1865 he studied harmony, counterpoint and fugue with Zaremba, while Rubinstein taught him instrumentation and composition. In 1863 he abandoned his civil service career and studied music full-time, graduating in December 1865.
Question: What is the first name of the person who questioned Kündinger about a music career for his son?

Output: Ilya.


Input:
Passage: Karluk had been chosen by Pedersen and bought by Stefansson for the bargain price of US$10,000. Stefansson was advised by Pedersen that, of four ships that were available, Karluk was "the soundest and best adapted for our purpose", but Bartlett had deep reservations about her fitness for prolonged Arctic service. The ship, a 29-year-old brigantine, was 129 feet (39 m) in length with a beam of 23 feet (7.0 m). She had been built for the Aleutian fishing industry (karluk is the Aleut word for "fish") and later converted for whaling, when her bows and sides had been sheathed with 2-inch (51 mm) Australian ironwood. Despite 14 arctic whaling voyages, including six overwinterings, she had not been built to withstand sustained ice pressure, and lacked the engine power to force a passage through the ice. She did not match the expectations of Bartlett, or of many of the more experienced crew.The ship spent most of April and May 1913 undergoing repairs and refitting at the dockyard in Esquimalt. When Bartlett arrived in early June he immediately ordered further repair work. In addition to Karluk, Stefansson had purchased sight unseen a small gasoline-driven schooner, Alaska, to act as a supply ship for the Southern Party. He later added a second schooner, Mary Sachs, when the hold space in Alaska proved inadequate. In the confusion surrounding the expedition's departure, McKinlay notes, no attempt was made to align men or equipment to their appropriate ships. Thus anthropologists Henri Beuchat and Diamond Jenness, both designated for the Southern Party, found themselves sailing with Karluk, while their equipment was on board Alaska. McKinlay himself, aboard Karluk as magnetic observer, discovered that most of his equipment was with Alaska. Stefansson insisted that all would be sorted out when the ships reached their Herschel Island rendezvous. "Heaven help us all if we failed to reach Herschel Island", McKinlay wrote.
Question: What were the names of the three ships bought by Stefansson?

Output: Karluk.


Input:
Passage: Karluk had been chosen by Pedersen and bought by Stefansson for the bargain price of US$10,000. Stefansson was advised by Pedersen that, of four ships that were available, Karluk was "the soundest and best adapted for our purpose", but Bartlett had deep reservations about her fitness for prolonged Arctic service. The ship, a 29-year-old brigantine, was 129 feet (39 m) in length with a beam of 23 feet (7.0 m). She had been built for the Aleutian fishing industry (karluk is the Aleut word for "fish") and later converted for whaling, when her bows and sides had been sheathed with 2-inch (51 mm) Australian ironwood. Despite 14 arctic whaling voyages, including six overwinterings, she had not been built to withstand sustained ice pressure, and lacked the engine power to force a passage through the ice. She did not match the expectations of Bartlett, or of many of the more experienced crew.The ship spent most of April and May 1913 undergoing repairs and refitting at the dockyard in Esquimalt. When Bartlett arrived in early June he immediately ordered further repair work. In addition to Karluk, Stefansson had purchased sight unseen a small gasoline-driven schooner, Alaska, to act as a supply ship for the Southern Party. He later added a second schooner, Mary Sachs, when the hold space in Alaska proved inadequate. In the confusion surrounding the expedition's departure, McKinlay notes, no attempt was made to align men or equipment to their appropriate ships. Thus anthropologists Henri Beuchat and Diamond Jenness, both designated for the Southern Party, found themselves sailing with Karluk, while their equipment was on board Alaska. McKinlay himself, aboard Karluk as magnetic observer, discovered that most of his equipment was with Alaska. Stefansson insisted that all would be sorted out when the ships reached their Herschel Island rendezvous. "Heaven help us all if we failed to reach Herschel Island", McKinlay wrote.
Question: What were the names of the three ships bought by Stefansson?

Output: Alaska.


Input:
Passage: Karluk had been chosen by Pedersen and bought by Stefansson for the bargain price of US$10,000. Stefansson was advised by Pedersen that, of four ships that were available, Karluk was "the soundest and best adapted for our purpose", but Bartlett had deep reservations about her fitness for prolonged Arctic service. The ship, a 29-year-old brigantine, was 129 feet (39 m) in length with a beam of 23 feet (7.0 m). She had been built for the Aleutian fishing industry (karluk is the Aleut word for "fish") and later converted for whaling, when her bows and sides had been sheathed with 2-inch (51 mm) Australian ironwood. Despite 14 arctic whaling voyages, including six overwinterings, she had not been built to withstand sustained ice pressure, and lacked the engine power to force a passage through the ice. She did not match the expectations of Bartlett, or of many of the more experienced crew.The ship spent most of April and May 1913 undergoing repairs and refitting at the dockyard in Esquimalt. When Bartlett arrived in early June he immediately ordered further repair work. In addition to Karluk, Stefansson had purchased sight unseen a small gasoline-driven schooner, Alaska, to act as a supply ship for the Southern Party. He later added a second schooner, Mary Sachs, when the hold space in Alaska proved inadequate. In the confusion surrounding the expedition's departure, McKinlay notes, no attempt was made to align men or equipment to their appropriate ships. Thus anthropologists Henri Beuchat and Diamond Jenness, both designated for the Southern Party, found themselves sailing with Karluk, while their equipment was on board Alaska. McKinlay himself, aboard Karluk as magnetic observer, discovered that most of his equipment was with Alaska. Stefansson insisted that all would be sorted out when the ships reached their Herschel Island rendezvous. "Heaven help us all if we failed to reach Herschel Island", McKinlay wrote.
Question: What were the names of the three ships bought by Stefansson?

Output: Mary Sachs.


Input:
Passage: Dave Lizewski, bored after having retired from fighting crime as Kick-Ass, begins training with Hit-Girl Mindy Macready to become a real hero. Following the death of his father, Chris D'Amico accidentally kills his own mother by short-circuiting her tanning bed; Now in control of his father's criminal empire, Chris decides to become a supervillain named The Motherfucker, and assembles a gang of supervillains called the Toxic Mega Cunts with his aide Javier and has gained a cult following on Twitter, swearing vengeance on Kick-Ass.
Mindy's guardian, Marcus, discovers she is still fighting crime and makes her promise to give it up. Dave resumes his life as Kick-Ass, joining the superhero team Justice Forever (which Dave had inspired), led by Colonel Stars and Stripes. Kick-Ass begins a sexual relationship with Night Bitch, one of the members after breaking up with Katie Deauxma. He and Marty, who is also on the team as Battle Guy, alienate their friend Todd from participating in their heroics. Mindy, attempting to lead a normal life, tries out for the dance team at school, and promptly asks a boy to take her on a date after declining to join Justice Forever. The date ends up as a cruel prank planned by bullies in her school, but Mindy gets her revenge the next day, resulting in her suspension from school.
Question: What is the superhero alias of the person being trained by Dave Lizewski?

Output: Hit-Girl.


Input:
Passage: Claudio Giovanni Antonio Monteverdi (Italian: [ˈklaudjo monteˈverdi] (listen); 15 May 1567 (baptized) – 29 November 1643) was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history.
Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di capella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics.
Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale sacred works such as his Vespro della Beata Vergine (Vespers) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for the commercial theatre in Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea.
While he worked extensively in the tradition of earlier Renaissance polyphony, such as in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded.
Question: What is the last name of the person who was maestro di capella at the basilica of San Marco?

Output: Monteverdi.


Input:
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.
Question: What are the names of the characters who are considered morally contemptible?

Output: Agrippina.


Input:
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.
Question: What are the names of the characters who are considered morally contemptible?

Output: Nero.


Input:
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.
Question: What are the names of the characters who are considered morally contemptible?

Output: Claudius.


Input:
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.
Question: What are the names of the characters who are considered morally contemptible?

Output: Poppaea.


Input:
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.
Question: What are the names of the characters who are considered morally contemptible?

Output: Pallas.


Input:
Passage: Of the main characters, only Otho is not morally contemptible. Agrippina is an unscrupulous schemer; Nero, while not yet the monster he would become, is pampered and hypocritical; Claudius is pompous, complacent, and something of a buffoon, while Poppaea, the first of Handel's sex kittens, is also a liar and a flirt. The freedmen Pallas and Narcissus are self-serving and salacious. All, however, have some redeeming features, and all have arias that express genuine emotion. The situations in which they find themselves are sometimes comic, but never farcical—like Mozart in the Da Ponte operas, Handel avoids laughing at his characters.In Agrippina the da capo aria is the musical form used to illustrate character in the context of the opera. The first four arias of the work exemplify this: Nero's "Con raggio", in a minor key and with a descending figure on the key phrase "il trono ascenderò" ("I will ascend the throne") characterises him as weak and irresolute. Pallas's first aria "La mia sorte fortunata", with its "wide-leaping melodic phrasing" introduces him as a bold, heroic figure, contrasting with his rival Narcissus whose introspective nature is displayed in his delicate aria "Volo pronto" which immediately follows. Agrippina's introductory aria "L'alma mia" has a mock-military form which reflects her outward power, while subtle musical phrasing establishes her real emotional state. Poppaea's arias are uniformly light and rhythmic, while Claudius's short love song "Vieni O cara" gives a glimpse of his inner feelings, and is considered one of the gems of the score.
Question: What are the names of the characters who are considered morally contemptible?

Output: Narcissus.


Input:
Passage: In the year 2000, Dick Harper has been promoted to Vice President of Communications for a large media corporation known as Globodyne. The following day, he is on a television program with presidential candidate Ralph Nader, who calls Globodyne "perverters of the American dream", claiming it helps the super-rich get even wealthier. As they speak, Globodyne's stock value collapses, rendering all investments – including all the employees' savings and pensions – worthless. Dick arrives home, where his wife Jane tells him that she quit her job as a travel agent following his promotion to spend more time with the family. Dick breaks the news of the company's failure over dinner. Despite his attempts, Dick is unable to find another job with comparable pay, and within a short time, the family faces bankruptcy.
After accepting the prospect of being poor, Dick and Jane apply for low-paying jobs. Both are unable to keep them, and soon their utilities are cut off, forcing them to sell off personal property to stay afloat. When they are confronted with a 24-hour eviction notice, Dick decides to turn to a life of crime. After several failed robbery attempts, Dick and Jane successfully rob a head shop. They begin nightly robbing sprees and become more comfortable and professional over time. They soon steal enough money to pay off their debts including their house and car, both of which were about to be repossessed. For one last heist, Dick and Jane plan to rob a local bank. All goes as planned until the Petersons – another couple formerly employed at Globodyne – make an amateurish attempt to rob the same bank. The Petersons are quickly arrested, and the Harpers take advantage of the hysteria to evade police and escape.
Question: What was Dick's company called that caused a stock dive?

Output: "perverters of the American dream".


Input:
Passage: Temperley writes: "After 1855 [Bennett] was spurred by belated honours, and occasional commissions, to compose a respectable number of significant and substantial works, though it was too late to recapture his early self-confidence." Works from his later years included the cello Sonata Duo for Piatti; a pastoral cantata, The May Queen, Op. 39, for the opening of the Leeds Town Hall in 1858; an Ode (Op. 40) with words by Alfred, Lord Tennyson for the opening of the 1862 International Exhibition in London; an Installation Ode for Cambridge University (Op. 41) with words by Charles Kingsley, which included a lament for the late Prince Albert; a symphony in G minor (Op. 43); a sacred cantata,The Woman of Samaria for the Birmingham Triennial Music Festival of 1867; and finally a second Piano Sonata (The Maid of Orleans, Op. 46). Many of these works were composed during his summer holidays which were spent at Eastbourne. The Ode for the Exhibition was the cause of a further imbroglio with Costa, who although in charge of music for the Exhibition refused to conduct anything by Bennett. Eventually it was conducted by Prosper Sainton, between works by Meyerbeer and Daniel Auber also commissioned for the occasion. The affair leaked into the press, and Costa was widely condemned for his behaviour.In March 1856 Bennett, while still teaching at the RAM and Queen's College, was elected Professor of Music at the University of Cambridge. He modernised the system of awarding music degrees, instituting viva voce examinations and requiring candidates for doctorates to first take the degree of Bachelor of Music. Two years later on 8 June 1868 the newly formed (later Royal) College of Organists awarded him an Honorary Fellowship.In 1858 came yet another clash involving Costa, when the autocratic Earl of Westmorland, the original founder of the RAM, saw fit to arrange a subscription concert for the Academy to include a Mass of his own composition, to be conducted by Costa and using the orchestra and singers of the Opera, over the heads of the Academy directors. Bennett resigned from the RAM at this overbearing behaviour, and was not to return until 1866. Towards the end of 1862 Bennett's wife died after a painful illness. His biographer W. B. Squire suggests that "he never recovered from the effects of Mrs. Bennett's death, and that henceforward a painful change in him became apparent to his friends." In 1865 Bennett again visited Leipzig where he was reunited with old friends including Ferdinand David, and his Op. 43 Symphony was performed.
Question: What is the last name of the man who wrote that the musician who composed during his summer holidays "...never recovered from the effects of Mrs. Bennett's death"?

Output: Squire.


Input:
Passage: Darren Silverman, Wayne LeFessier, and J.D. McNugent, best friends since fifth grade and Neil Diamond fans throughout, form a Neil Diamond tribute band called "Diamonds in the Rough". Darren meets a beautiful but domineering psychologist who is showing signs of being emotionally abusive, Judith Fessbeggler, through a chance encounter in a local bar after a band gig. Six weeks into their relationship, Darren asks Judith if whether they could finally have sex, but Judith refuses in the belief that premarital sex is wrong; rather, she suggests non-penetrative sex as alternative, during which Darren gets nothing but a sore jaw.
Judith isolates Darren from his friends, demands that Darren quit the band, receive humiliating medical procedures, and attend relationship counseling under her care. Wayne and J.D. decide to save Darren from her by attempting to bribe her, arm wrestle her, and shock her with faked photographs of Darren cheating, all to no avail.
The friends, undaunted, try to reunite Darren with his "one and only", Sandy Perkus, when she returns to Seattle to take her final vows as a nun. When Darren and Judith announce their engagement, Wayne and J.D. kidnap Judith. However, Judith eventually discovers the identity of her captors, and the duo are convinced they cannot let her go. When they visit Coach Norton in jail (who accidentally killed a referee in a fit of rage) his advice is that they should just kill her. The pair attempt to shoot Judith, but end up deciding against it. Sandy's feelings for Darren are reawakened, but the pair's attempted date is ruined by Darren's preoccupation with Judith. Sandy, disheartened, returns to the convent, but Darren snaps out of it and runs the 30 miles there to win her back.
Question: What are the first names of the people who visit someone in jail?

Output: Wayne and J.D.


Input:
Passage: In 1964 Shostakovich composed the music for the Russian film Hamlet, which was favourably reviewed by The New York Times: "But the lack of this aural stimulation – of Shakespeare's eloquent words – is recompensed in some measure by a splendid and stirring musical score by Dmitri Shostakovich. This has great dignity and depth, and at times an appropriate wildness or becoming levity".In later life, Shostakovich suffered from chronic ill health, but he resisted giving up cigarettes and vodka. Beginning in 1958 he suffered from a debilitating condition that particularly affected his right hand, eventually forcing him to give up piano playing; in 1965 it was diagnosed as poliomyelitis. He also suffered heart attacks the following year and again in 1971, and several falls in which he broke both his legs; in 1967 he wrote in a letter: "Target achieved so far: 75% (right leg broken, left leg broken, right hand defective). All I need to do now is wreck the left hand and then 100% of my extremities will be out of order."A preoccupation with his own mortality permeates Shostakovich's later works, among them the later quartets and the Fourteenth Symphony of 1969 (a song cycle based on a number of poems on the theme of death). This piece also finds Shostakovich at his most extreme with musical language, with twelve-tone themes and dense polyphony throughout. He dedicated the piece to his close friend Benjamin Britten, who conducted its Western premiere at the 1970 Aldeburgh Festival. The Fifteenth Symphony of 1971 is, by contrast, melodic and retrospective in nature, quoting Wagner, Rossini and the composer's own Fourth Symphony.
Shostakovich died of lung cancer on 9 August 1975. A civic funeral was held; he was interred in Novodevichy Cemetery, Moscow. Even before his death he had been commemorated with the naming of the Shostakovich Peninsula on Alexander Island, Antarctica., Despite suffering from Motor Neurone Disease (or ALS) from as early as the 1960s, Shostakovich insisted upon writing all his own correspondence and music himself, even when his right hand was virtually unusable. This is a last hallmark of his extraordinarily determined and tenacious character.
He was survived by his third wife, Irina; his daughter, Galina; and his son, Maxim, a pianist and conductor who was the dedicatee and first performer of some of his father's works. Shostakovich himself left behind several recordings of his own piano works; other noted interpreters of his music include Emil Gilels, Mstislav Rostropovich, Tatiana Nikolayeva, Maria Yudina, David Oistrakh, and members of the Beethoven Quartet.
His last work was his Viola Sonata, which was first performed on 28 December 1975, four months after his death.
Question: What is the last name of the person whose legs were both broken in several falls?

Output: Shostakovich.


Input:
Passage: Critical analysis of Beiderbecke's work during his lifetime was sparse. Surprisingly, his innovative playing initially received greater attention and appreciation among European critics than those in the country of his birth. The British music trade magazine "Melody Maker" published a number of reviews of his recordings and assessments of his cornet playing. In the April 1927 issue, bandleader Fred Elizalde stated: "Bix Bidlebeck (sic) is considered by Red Nichols himself and every other trumpet player in the States, for that matter, as the greatest trumpet player of all time". The magazine's editor, Edgar Jackson, was equally fulsome in his praise: "Bix has a heart as big as your head, which shines through his playing with the warmth of the sun's rays" (September 1927 issue); "The next sixteen bars are a trumpet solo by Bix, and if this doesn't get you right in the heart, you'd better see a vet…."
In Blackboard Jungle, a 1955 film starring Glenn Ford and Sidney Poitier, Beiderbecke's music is briefly featured, but as a symbol of cultural conservatism in a nation on the cusp of the rock and roll revolution.
Brendan Wolfe, the author of Finding Bix, spoke of Beiderbecke's lasting influence on Davenport, Iowa: "His name and face are still a huge part of the city's identity. There's an annual Bix Beiderbecke Memorial Jazz Festival, and a Bix 7 road race with tens of thousands of runners, Bix T-shirts, bumper stickers, bobble-head dolls, the whole works." In 1971, on the 40th anniversary of Beiderbecke's death, the Bix Beiderbecke Memorial Jazz Festival was founded in Davenport, Iowa, to honor the musician.  In 1974, Sudhalter and Evans published their biography, Bix: Man and Legend, which was nominated for a National Book Award. In 1977, the Beiderbecke childhood home at 1934 Grand Avenue in Davenport was added to the National Register of Historic Places."Bix: 'Ain't None of Them Play Like Him Yet", a 1981 film documentary on Beiderbecke's life directed and produced by Brigitte Berman, featured interviews with Hoagy Carmichael, Bill Challis and others, who knew and worked with Bix.
Question: What is the full name of the person that is considered as the greatest trumpet player of all time?

Output: Bix Beiderbecke.


Input:
Passage: In 1952 the LPO negotiated a five-year contract with Decca Records, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the Communist party; when the cold war began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post.  A later writer, Richard Witts, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the Royal Festival Hall.In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of Elizabeth II. During the proceedings, he conducted the first performances of Bliss's Processional and Walton's march Orb and Sceptre.  In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: The Times found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of The Planets. In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Royal Albert Hall in which Boult was joined by guest conductors including Paul Kletzki, Jean Martinon,  Hans Schmidt-Isserstedt, Georg Solti, Walter Susskind and Vaughan Williams.In 1956 Boult and the LPO visited Russia. Boult had not wished to go on the tour because flying hurt his ears, and long land journeys hurt his back. The Soviet authorities threatened to cancel the tour if he did not lead it, and he felt obliged to go. The LPO gave nine concerts in Moscow and four in Leningrad.  Boult's assistant conductors were Anatole Fistoulari and George Hurst. Boult's four Moscow programmes included Vaughan Williams's Fourth and Fifth Symphonies, Holst's The Planets, Walton's Violin Concerto (with Alfredo Campoli as soloist), and Schubert's Great C major Symphony. While in Moscow, Boult and his wife visited the Bolshoi Opera and were guests at the composer Dmitri Shostakovich's 50th birthday party.After the Russian tour, Boult told the LPO that he wished to step down from the principal conductorship. He continued to be the orchestra's main conductor until his successor William Steinberg took up the post in 1959.  After the sudden resignation of Andrzej Panufnik from the City of Birmingham Symphony Orchestra (CBSO), Boult returned as principal conductor of the CBSO for the 1959–60 season. That was his last chief conductorship, though he remained closely associated with the LPO as its president and a guest conductor until his retirement.
Question: What is the name of the orchestra to whose funds Bould always contributed his share of the recording fees?

Output: LPO.


Input:
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Question: What are the four titles the painting has been referred as?

Output: Swimming.


Input:
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Question: What are the four titles the painting has been referred as?

Output: The Swimmers.


Input:
Passage: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.
Question: What are the four titles the painting has been referred as?

Output: The Old Swimming Hole.


Input:
Passage: Oliver was born Bronwyn Gooda on 22 February 1959, in Gum Flat, west of Inverell, in New South Wales. Her parents were Milton, a farmer turned greenkeeper, and Wendy, who worked in a pharmacy. Her creativity was nurtured from a young age. Aged just eight, Oliver attended weekend art classes in Inverell run by Ian Howard, who went on to become dean of the college in Sydney where she would later study. As she was dux of her school, her parents expected her to go on to university. However, Oliver wished to pursue a creative career. When she told her parents of her plans, her mother replied, "Darling, your father and I are very pleased you're going to art school, but if you'd been a son, I think we'd be a little disappointed." A rift subsequently developed between her and her family that resulted in her having no contact with them for 25 years.After leaving school, Oliver studied and worked in Sydney. She had intended to enrol in painting classes, but a computer error placed her in the sculpture course: she later said "I knew straight away I was in the right place".She graduated from the Alexander Mackie College of Advanced Education in 1980. Winning a New South Wales Travelling Art Scholarship in 1983, she then completed a master's degree at Chelsea School of Art in 1984. Her work was influenced by Richard Deacon, Antony Gormley and Martin Puryear under whom she studied while in England. Upon returning from the United Kingdom, she immediately met with further success, when in 1984 she won a Moet & Chandon Australian Art Fellowship. In 1988 she was granted a period as artist-in-residence in the city of Brest on the coast of Brittany, where she studied Celtic metalworking techniques.
Question: What was the first name of the person who attended weekend art classes in Inverell run by Ian Howard?

Output: Bronwyn.


Input:
Passage: Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care.
By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor.
Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".
Question: What was the name of the painting that portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea?

Output: A Golden Hour.


Input:
Passage: "Single Ladies (Put a Ring on It)" was written by Beyoncé, Terius "The-Dream" Nash, Thaddis "Kuk" Harrell, and Christopher "Tricky" Stewart, and was produced by Nash and Stewart. Beyoncé recorded the song in May 2008 at the Boom Boom Room Studio in Burbank, California, and it was mixed by Jaycen Joshua and Dave Pensado, with assistance from Randy Urbanski and Andrew Wuepper. Nash conceptualized "Single Ladies" after Beyoncé's secret marriage to hip hop recording artist Jay-Z in April 2008. Stewart commented that the song was "the only public statement that [Beyoncé and Jay-Z had] ever made about marriage", and that while in the studio recording the song Beyoncé had remained tightlipped, even to the point of removing her wedding band. Beyoncé's marriage inspired Nash to compose a song about an issue that affected many people's relationships: the fear or unwillingness of men to commit. In an interview with Billboard magazine, Beyoncé added that she was drawn to the song because of the universality of the topic, an issue that "people are passionate about and want to talk about and debate". She stated that although "Single Ladies" is a playful uptempo song, it addresses an issue that women experience every day.In "Single Ladies", Beyoncé portrays her alter ego Sasha Fierce, which appears on the second part of I Am... Sasha Fierce. The song was released simultaneously with "If I Were a Boy"; as lead singles, they were meant to demonstrate the concept of the dueling personalities of the singer. This reinforced the theme of the album, which was created by placing its ballads and uptempo tracks on separate discs. The singles debuted on US radio on October 8, 2008; "Single Ladies" did so on mainstream urban New York radio station Power 105.1. Both singles were added to rhythmic contemporary radio playlists on October 12, 2008; "Single Ladies" was sent to urban contemporary playlists the same day, while "If I Were a Boy" was instead classified for contemporary hit radio. The two songs were released as a double A-side single on November 7, 2008, in Australia, New Zealand, and Germany. Dance remixes of the song were made available in the US on February 10, 2009, and in Europe on February 16, 2009. "Single Ladies" was not originally released as a single in the UK, but the song became increasingly popular there and reached the top ten in the UK Singles Chart as a result of download sales. On February 16, 2009, it was released as a CD single, and the dance remixes became available as a digital download.
Question: Who removed her wedding band?

Output: Beyoncé.


Input:
Passage: Phaedra is a poor Greek sponge diver on the island of Hydra. She works from the boat of her boyfriend, Rhif, an illegal immigrant from Albania. She accidentally finds an ancient Greek statue of a boy riding a dolphin on the bottom of the Aegean Sea. Her efforts to sell it to the highest bidder lead her to two competing individuals: Dr. James Calder, an honest archaeologist who will surrender it to Greek authorities, and Victor Parmalee, an aesthete and an unscrupulous dealer with a history of trying to acquire works of art stolen by the Nazis from their owners.
Calder and Parmalee each try to win Phaedra's cooperation. She works in concert with Parmalee, while developing feelings for Calder. When she seems to waver, Rhif decides to make the deal with Parmalee work. The film reaches a happy conclusion, with virtue rewarded, the statue celebrated by the people of Hydra, and Phaedra and Calder in each other's arms. Parmalee, a man with no apparent national loyalties or heritage, sets course for Monte Carlo.
Question: Who is dating an illegal immigrant?

Output: Phaedra.


Input:
Passage: John Michael Wright, who at the height of his career would interchangeably sign himself "Anglus" or "Scotus", is of uncertain origin. The diarist John Evelyn called him a Scotsman, an epithet repeated by Horace Walpole and tentatively accepted by his later biographer, Verne. However, writing in 1700, the English antiquarian Thomas Hearne claims Wright was born in Shoe Lane, London and, after an adolescent conversion to Roman Catholicism, was taken to Scotland by a priest.  A London birth certainly seems supported by a baptismal record, dated 25 May 1617, for a "Mighell Wryghtt", son of James Wright, described as a tailor and a citizen of London, in St Bride's Church, Fleet Street, London.What is known is that, on 6 April 1636, the 19-year-old Wright was apprenticed to George Jamesone, an Edinburgh portrait painter of some repute. The Edinburgh Register of Apprentices records him as "Michaell, son to James W(right), tailor, citizen of London". The reasons for this move to Scotland are unclear, but may have to do with familial connections (his parents may have been London Scots) or the advent of plague in London. During his apprenticeship, Wright is likely to have lodged at the High Street tenement near the Netherbow Gate that served as Jameson's workplace. The apprenticeship was contracted for five years, but may have been curtailed by Jameson's imprisonment in late 1639. There is no record of any independent work by Wright from this period (his earliest known painting being a small portrait of Robert Bruce, 1st Earl of Ailesbury, painted in the early 1640s during his time in Rome).It is also possible that Wright met his wife during his Scottish residency. Nothing is known of her, except from a statement of thirty years later which describes her as "related to the most noble and distinguished families of Scotland." If this is accurate, it may explain how Wright was later able to find aristocratic patronage. All that is known for certain is that Wright had at least one child by her, a son, Thomas.
Question: What is the first name of the person who had at least one son with his wife?

Output: John.


Input:
Passage: In support of Nine Inch Nails' third full-length studio album, The Fragile, the live-band reformed for the Fragility tour.  The lineup remained largely the same from the Self-Destruct tour, featuring Finck, Clouser, and Lohner.  To replace long-time member Vrenna, Reznor held open auditions to find a new drummer, eventually picking then-unknown Jerome Dillon.  Dillon would remain a member of the live band until 2005.
Nine Inch Nails' record label at the time, Interscope Records, reportedly refused to fund the promotional tour following The Fragile's lukewarm sales.  Reznor instead committed himself to fund the entire tour out of his own pocket, concluding that "The reality is, I’m broke at the end of the tour," but also adding "I will never present a show that isn’t fantastic."The Fragility tour began in late 1999, running until mid-2000, and was broken into two major legs, Fragility 1.0 and Fragility 2.0 respectively.  Destinations included Europe, Japan, New Zealand, Australia, and North America.  Before the first Fragility performance date in Spain, Nine Inch Nails opened their final rehearsal in London to 100 fans. Kick-starting the tour was a performance of the title track from The Fragile at the MTV Video Music Awards.  Atari Teenage Riot opened for Nine Inch Nails during Fragility 1.0, and A Perfect Circle for Fragility 2.0.  At the time, A Perfect Circle featured Josh Freese on drums, who would later replace Dillon and play drums for Nine Inch Nails from 2005 to 2007. The tour featured increasingly large production values, including a triptych video display created by contemporary video artist Bill Viola. Rolling Stone magazine named Fragility the best tour of 2000.In 2002, the tour documentary And All That Could Have Been was released featuring a collection of performances from the Fragility 2.0 tour.  While making the DVD, Reznor commented on the tour in retrospect by saying "I thought the show was really, really good when we were doing it", but later admitted that he "can't watch [the DVD] at all. I was sick for most of that tour and I really don't think it was Nine Inch Nails at its best".
Question: What is the name of the person that funded the Fragility tour?

Output: Reznor.