Input: Article: Her tenth studio album, Confessions on a Dance Floor, was released in November 2005. Musically the album was structured like a club set composed by a DJ. It was acclaimed by critics, with Keith Caulfield from Billboard commenting that the album was a "welcome return to form for the Queen of Pop." The album won a Grammy Award for Best Electronic/Dance Album. Confessions on a Dance Floor and its lead single, "Hung Up", went on to reach number one in 40 and 41 countries respectively, earning a place in Guinness World Records. The song contained a sample of ABBA's "Gimme! Gimme! Gimme! (A Man After Midnight)", only the second time that ABBA has allowed their work to be used. ABBA songwriter Björn Ulvaeus remarked "It is a wonderful track—100 per cent solid pop music." "Sorry", the second single, became Madonna's twelfth number-one single in the UK.

Now answer this question: What was the name of Madonna's tenth studio album?

Output: Confessions on a Dance Floor

Input: Article: The German rocket center in Peenemünde was located in the eastern part of Germany, which became the Soviet zone of occupation. On Stalin's orders, the Soviet Union sent its best rocket engineers to this region to see what they could salvage for future weapons systems. The Soviet rocket engineers were led by Sergei Korolev. He had been involved in space clubs and early Soviet rocket design in the 1930s, but was arrested in 1938 during Joseph Stalin's Great Purge and imprisoned for six years in Siberia. After the war, he became the USSR's chief rocket and spacecraft engineer, essentially the Soviet counterpart to von Braun. His identity was kept a state secret throughout the Cold War, and he was identified publicly only as "the Chief Designer." In the West, his name was only officially revealed when he died in 1966.

Now answer this question: What was his "secret" title after World War II?

Output: the Chief Designer

Input: Article: Whitehead pointed to the limitations of language as one of the main culprits in maintaining a materialistic way of thinking, and acknowledged that it may be difficult to ever wholly move past such ideas in everyday speech. After all, each moment of each person's life can hardly be given a different proper name, and it is easy and convenient to think of people and objects as remaining fundamentally the same things, rather than constantly keeping in mind that each thing is a different thing from what it was a moment ago. Yet the limitations of everyday living and everyday speech should not prevent people from realizing that "material substances" or "essences" are a convenient generalized description of a continuum of particular, concrete processes. No one questions that a ten-year-old person is quite different by the time he or she turns thirty years old, and in many ways is not the same person at all; Whitehead points out that it is not philosophically or ontologically sound to think that a person is the same from one second to the next.

Now answer this question: Whitehead's main philosophy on humans changing is what?

Output:
each thing is a different thing from what it was a moment ago