[{"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Aaron Copland wrote that although Faur\u00e9's works can be divided into the usual \"early\", \"middle\" and \"late\" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Faur\u00e9 in even the earliest works, and traces of the early Faur\u00e9 in the works of his old age: \"The themes, harmonies, form, have remained essentially the same, but with each new work they have all become more fresh, more personal, more profound.\" When Faur\u00e9 was born, Berlioz and Chopin were still composing; the latter was among Faur\u00e9\u2019s early influences. In his later years Faur\u00e9 developed compositional techniques that foreshadowed the atonal music of Schoenberg, and, later still, drew discreetly on the techniques of jazz. Duchen writes that early works such as the Cantique de Jean Racine are in the tradition of French nineteenth-century romanticism, yet his late works are as modern as any of the works of his pupils.Influences on Faur\u00e9, particularly in his early work, included not only Chopin but Mozart and Schumann. The authors of The Record Guide (1955), Sackville-West and Shawe-Taylor, wrote that Faur\u00e9 learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, \"and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated.\" His work was based on the strong understanding of harmonic structures that he gained at the \u00c9cole Niedermeyer from Niedermeyer's successor Gustave Lef\u00e8vre. Lef\u00e8vre wrote the book Trait\u00e9 d'harmonie (Paris, 1889), in which he sets out a harmonic theory that differs significantly from the classical theory of Rameau, no longer outlawing certain chords as \"dissonant\". By using unresolved mild discords and colouristic effects, Faur\u00e9 anticipated the techniques of Impressionist composers.In contrast with his harmonic and melodic style, which pushed the bounds for his time, Faur\u00e9's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as \"the Brahms of France\". The music critic Jerry Dubins suggests that Faur\u00e9 \"represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy.\"To Sackville-West and Shawe-Taylor, Faur\u00e9's later works do not display the easy charm of his earlier music: \"the luscious romantic harmony which had always been firmly supported by a single tonality, later gave way to a severely monochrome style, full of enharmonic shifts, and creating the impression of several tonal centres simultaneously employed.\".\n", "labels": "What is the name of the person whose work was based on the strong understanding of harmonic structures gained at the \u00c9cole Niedermeyer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-584de21c72b34d11bf2157b26f8423fd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Aaron Copland wrote that although Faur\u00e9's works can be divided into the usual \"early\", \"middle\" and \"late\" periods, there is no such radical difference between his first and last manners as is evident with many other composers. Copland found premonitions of late Faur\u00e9 in even the earliest works, and traces of the early Faur\u00e9 in the works of his old age: \"The themes, harmonies, form, have remained essentially the same, but with each new work they have all become more fresh, more personal, more profound.\" When Faur\u00e9 was born, Berlioz and Chopin were still composing; the latter was among Faur\u00e9\u2019s early influences. In his later years Faur\u00e9 developed compositional techniques that foreshadowed the atonal music of Schoenberg, and, later still, drew discreetly on the techniques of jazz. Duchen writes that early works such as the Cantique de Jean Racine are in the tradition of French nineteenth-century romanticism, yet his late works are as modern as any of the works of his pupils.Influences on Faur\u00e9, particularly in his early work, included not only Chopin but Mozart and Schumann. The authors of The Record Guide (1955), Sackville-West and Shawe-Taylor, wrote that Faur\u00e9 learnt restraint and beauty of surface from Mozart, tonal freedom and long melodic lines from Chopin, \"and from Schumann, the sudden felicities in which his development sections abound, and those codas in which whole movements are briefly but magically illuminated.\" His work was based on the strong understanding of harmonic structures that he gained at the \u00c9cole Niedermeyer from Niedermeyer's successor Gustave Lef\u00e8vre. Lef\u00e8vre wrote the book Trait\u00e9 d'harmonie (Paris, 1889), in which he sets out a harmonic theory that differs significantly from the classical theory of Rameau, no longer outlawing certain chords as \"dissonant\". By using unresolved mild discords and colouristic effects, Faur\u00e9 anticipated the techniques of Impressionist composers.In contrast with his harmonic and melodic style, which pushed the bounds for his time, Faur\u00e9's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as \"the Brahms of France\". The music critic Jerry Dubins suggests that Faur\u00e9 \"represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy.\"To Sackville-West and Shawe-Taylor, Faur\u00e9's later works do not display the easy charm of his earlier music: \"the luscious romantic harmony which had always been firmly supported by a single tonality, later gave way to a severely monochrome style, full of enharmonic shifts, and creating the impression of several tonal centres simultaneously employed.\".\n", "labels": "What is the name of the person who gained a strong understanding of harmonic structures from Niedermeyer's successor Gustave Lef\u00e8vre?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-584de21c72b34d11bf2157b26f8423fd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: L'Orfeo (SV 318) (Italian pronunciation: [lor\u02c8f\u025b\u02d0o]), sometimes called La favola d'Orfeo [la \u02c8fa\u02d0vola dor\u02c8f\u025b\u02d0o], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.\nBy the early 17th century the traditional intermedio\u2014a musical sequence between the acts of a straight play\u2014was evolving into the form of a complete musical drama or \"opera\". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world.\nIn his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens. Composed at the point of transition from the Renaissance era to the Baroque, L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.\n", "labels": "In what year did Claudio Monteverdi pass away?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2d0bfb32a0b408dbf7dfe04600700bd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: L'Orfeo (SV 318) (Italian pronunciation: [lor\u02c8f\u025b\u02d0o]), sometimes called La favola d'Orfeo [la \u02c8fa\u02d0vola dor\u02c8f\u025b\u02d0o], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.\nBy the early 17th century the traditional intermedio\u2014a musical sequence between the acts of a straight play\u2014was evolving into the form of a complete musical drama or \"opera\". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world.\nIn his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens. Composed at the point of transition from the Renaissance era to the Baroque, L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.\n", "labels": "In what year was the score for L'Orfeo first published?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2d0bfb32a0b408dbf7dfe04600700bd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: L'Orfeo (SV 318) (Italian pronunciation: [lor\u02c8f\u025b\u02d0o]), sometimes called La favola d'Orfeo [la \u02c8fa\u02d0vola dor\u02c8f\u025b\u02d0o], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.\nBy the early 17th century the traditional intermedio\u2014a musical sequence between the acts of a straight play\u2014was evolving into the form of a complete musical drama or \"opera\". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world.\nIn his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens. Composed at the point of transition from the Renaissance era to the Baroque, L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.\n", "labels": "In what city was the first modern dramatised performance of L'Orfeo?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2d0bfb32a0b408dbf7dfe04600700bd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: L'Orfeo (SV 318) (Italian pronunciation: [lor\u02c8f\u025b\u02d0o]), sometimes called La favola d'Orfeo [la \u02c8fa\u02d0vola dor\u02c8f\u025b\u02d0o], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.\nBy the early 17th century the traditional intermedio\u2014a musical sequence between the acts of a straight play\u2014was evolving into the form of a complete musical drama or \"opera\". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world.\nIn his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens. Composed at the point of transition from the Renaissance era to the Baroque, L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.\n", "labels": "In what year was the first modern dramatised performance of L'Orfeo?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2d0bfb32a0b408dbf7dfe04600700bd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: L'Orfeo (SV 318) (Italian pronunciation: [lor\u02c8f\u025b\u02d0o]), sometimes called La favola d'Orfeo [la \u02c8fa\u02d0vola dor\u02c8f\u025b\u02d0o], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed.\nBy the early 17th century the traditional intermedio\u2014a musical sequence between the acts of a straight play\u2014was evolving into the form of a complete musical drama or \"opera\". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world.\nIn his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens. Composed at the point of transition from the Renaissance era to the Baroque, L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.\n", "labels": "What is the full name of the event L'Orfeo made its premiere at?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2d0bfb32a0b408dbf7dfe04600700bd"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the last name of the first African recording artist to win a Grammy Award?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person who shared the 2001 Polar Music Prize with Sofia Gubaidulina?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What are the first names of the two people who received their prize from Carl XVI Gustaf, the King of Sweden?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person who won the Dag Hammarskj\u00f6ld Peace Prize in 1986?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person who was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person Mama Africa was about?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person who was voted 38th in a poll ranking 100 Great South Africans?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person who was born in February?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Makeba's 1965 collaboration with Harry Belafonte won a Grammy Award, making her the first African recording artist to win this award. Makeba shared the 2001 Polar Music Prize with Sofia Gubaidulina. They received their prize from Carl XVI Gustaf, the King of Sweden, during a nationally televised ceremony at Berwaldhallen, Stockholm, on 27 May 2002.She won the Dag Hammarskj\u00f6ld Peace Prize in 1986, and in 2001 was awarded the Otto Hahn Peace Medal in Gold by the United Nations Association of Germany (DGVN) in Berlin, \"for outstanding services to peace and international understanding\". She also received several honorary doctorates. In 2004, she was voted 38th in a poll ranking 100 Great South Africans.Mama Africa, a musical about Makeba, was produced in South Africa by Niyi Coker. Originally titled Zenzi!, the musical premiered to a sold-out crowd in Cape Town on 26 May 2016. It was performed in the US in St. Louis, Missouri and at the Skirball Center for the Performing Arts in New York City between October and December 2016. The musical returned to South Africa in February 2017 for what would have been Makeba's 85th birthday.From 25 to 27 September 2009, a tribute television show to Makeba entitled Hommage \u00e0 Miriam Makeba and curated by Beninoise singer-songwriter and activist Ang\u00e9lique Kidjo, was held at the Cirque d'hiver in Paris. The show was presented as Mama Africa: Celebrating Miriam Makeba at the Barbican in London on 21 November 2009. A documentary film titled Mama Africa, about Makeba's life, co-written and directed by Finnish director Mika Kaurism\u00e4ki, was released in 2011. On 4 March 2013, and again on International Women's Day in 2017, Google honoured her with a Google Doodle on their homepage.\nIn 2014 she was honoured (along with Nelson Mandela, Albertina Sisulu and Steve Biko) in the Belgian city of Ghent, which named a square after her, the \"Miriam Makebaplein\".\n", "labels": "What is the first name of the person a documentary co-written and directed by Finnish director Mika Kaurism\u00e4ki was made for?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-b2faef762aca4e89b8d653da14a8aaac"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In a January 2014 interview with Kerrang! magazine, Manson described the sound of the album as being \"very cinematic\", saying that the \"redneck in me comes out in my voice\" owing to the album's inclusion of blues influences, while still retaining the harder elements of previous work. The album has been compared to the music which was used to soundtrack Sons of Anarchy. Manson called himself \"a man of few words\" [on the record], opting to allow melody to be its primary focus, instead of using characters or extended metaphors to compose lyrics. Lyrics for the album were all derived from a single notebook, with Manson admitting that the content of previous work was too scattered, as they were composed of material taken from up to 20 different notebooks. He has described it as being intentionally sparse lyrically, elaborating that blues music stems from the \"guttural, visceral element of music. I [left] holes in these stories so it becomes your story, it becomes more cinematic. For example in the film Rosemary's Baby, you don't see the baby but in your mind you do.\"The Pale Emperor is a departure from the band's usual style, leaning away from the industrial production that appeared on much of their previous work and incorporating a sparser sound, which has been described as alternative country, blues rock, gothic metal and hard rock. Manson cited the music of Muddy Waters, The Rolling Stones, and The Doors as inspirations. Steven Hyden of Grantland identified several parallels between The Pale Emperor and the Doors' 1971 album L.A. Woman, suggesting that in the two albums both bands were re-energized in the latter part of their career. He also compared Manson's vocal style to that of Jim Morrison, and claimed the album's lyrics echo Morrison's \"self-destructive self-aggrandizement\".\nThe album's title is a reference to Constantius I \u2013 or Constantius the Pale \u2013 who was the first Roman emperor to deny the existence of a God. Manson has said its meaning can have several interpretations: \"complexion or Goth music or 'beyond the pale' or [...] everything 'pales in comparison' to it\". Lyrically, the album deals with mortality, war, violence, slavery and religion, and includes references to Greek mythology and German folklore, specifically the story of Faust and Mephistopheles. \"The Mephistopheles of Los Angeles\" was the original title track and, according to Manson, the album's heart. The Pale Emperor makes use of an extended metaphor, in which Manson compares his own career to the life of Faust. He told The Philadelphia Inquirer that he \"sold [his] soul to become a rock star, and this payment in full\u2014with interest, considering the last few bills I didn't pay,\" explaining that he considered The High End of Low and Born Villain lacking in focus. He elaborated to Classic Rock magazine:.\n", "labels": "What is the name of the album whose inclusion of blues influences owes to the \"redneck\" in Manson's voice coming out?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3a1124b4a12b4b8f85fafc7516ff9030"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Thomas Kresk is a loser\u2014he isn't good at his job, he's been tossed out of his home, and his wife just dumped him for the marriage counselor. Now he's depressed, and contemplating suicide. And yes, things get worse: a criminal named Avnet has stolen three priceless coins, and decided to blackmail Bollingsworth, his billionaire partner in crime. After Kresk overhears this, he almost gets shot\u2014and Avnet ends up impaled on a pair of barbers' scissors.\nNow Kresk is in a considerably nastier situation, so he steals the gun and the coins. But things take a sharp turn when he hires a hit man named Mikey, and discovers that the hit man is only seventeen and emotionally traumatized by his parents' suicide. And that Kresk is falling for the cop/Playboy model Sgt. Meredith Kolko, and that his nephew Scottie has now swallowed the coins. Now Kresk is in over his head, and has to deal with the strange and sometimes dangerous people around him.\n", "labels": "What is the last name of the person who almost gets shot?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-dad943eaa1924cf2946e2021ea962bdb"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Thomas Kresk is a loser\u2014he isn't good at his job, he's been tossed out of his home, and his wife just dumped him for the marriage counselor. Now he's depressed, and contemplating suicide. And yes, things get worse: a criminal named Avnet has stolen three priceless coins, and decided to blackmail Bollingsworth, his billionaire partner in crime. After Kresk overhears this, he almost gets shot\u2014and Avnet ends up impaled on a pair of barbers' scissors.\nNow Kresk is in a considerably nastier situation, so he steals the gun and the coins. But things take a sharp turn when he hires a hit man named Mikey, and discovers that the hit man is only seventeen and emotionally traumatized by his parents' suicide. And that Kresk is falling for the cop/Playboy model Sgt. Meredith Kolko, and that his nephew Scottie has now swallowed the coins. Now Kresk is in over his head, and has to deal with the strange and sometimes dangerous people around him.\n", "labels": "What is the last name of the person who steals a gun and coins?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-dad943eaa1924cf2946e2021ea962bdb"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Thomas Kresk is a loser\u2014he isn't good at his job, he's been tossed out of his home, and his wife just dumped him for the marriage counselor. Now he's depressed, and contemplating suicide. And yes, things get worse: a criminal named Avnet has stolen three priceless coins, and decided to blackmail Bollingsworth, his billionaire partner in crime. After Kresk overhears this, he almost gets shot\u2014and Avnet ends up impaled on a pair of barbers' scissors.\nNow Kresk is in a considerably nastier situation, so he steals the gun and the coins. But things take a sharp turn when he hires a hit man named Mikey, and discovers that the hit man is only seventeen and emotionally traumatized by his parents' suicide. And that Kresk is falling for the cop/Playboy model Sgt. Meredith Kolko, and that his nephew Scottie has now swallowed the coins. Now Kresk is in over his head, and has to deal with the strange and sometimes dangerous people around him.\n", "labels": "What is the last name of the person who hires a hitman?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-dad943eaa1924cf2946e2021ea962bdb"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The farming world Akir is threatened by the tyrannical warlord Sador, who rules the sinister Malmori Empire and, his body parts deteriorating, is capturing and appropriating them from others. Sador's huge dreadnaught (nicknamed \"Hammerhead\") mounts a \"Stellar Converter\", a weapon that turns planets into small stars. He demands that the peaceful Akira submit to him when he returns in \"seven risings of your red giant\", or he'll turn his Stellar Converter on their planet. Zed, last of the famous Akira Corsairs, is old and nearly blind. He suggests they hire mercenaries to protect their world. Since Akir lacks valuable resources, its people can offer just food and shelter in payment. Unable to go in person, Zed offers his ship for the job if they can find a pilot. The ship is fast and well-armed, but, despite its AI navigation/tactical computer Nell, cannot defeat Sador alone. Shad, a young man who has piloted the ship and is well known to Nell, volunteers for the recruiting mission.\nSeeking weapons, Shad goes to the space station of Doctor Hephaestus (perhaps named after the weaponsmith of the Olympians Zeus, Poseidon, and Hades), an old friend of Zed. The station is populated mostly by androids, except for two humans \u2014 Hephaestus, whose numerous life support-systems have turned him into a cyborg; and his beautiful daughter Nanelia, who looks after him and the androids. The doctor wants Shad to mate with his daughter, by force if necessary. Shad can't bring himself to abandon his people; he convinces Nanelia to help him escape. She follows in her own ship; although she has no weapons, her highly advanced computer systems might be useful. The two split up to look for more mercenaries.\n", "labels": "Who is an old friend of Doctor Hephaestus?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-0fbd377e43c5440d8c8f423e60374f88"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The farming world Akir is threatened by the tyrannical warlord Sador, who rules the sinister Malmori Empire and, his body parts deteriorating, is capturing and appropriating them from others. Sador's huge dreadnaught (nicknamed \"Hammerhead\") mounts a \"Stellar Converter\", a weapon that turns planets into small stars. He demands that the peaceful Akira submit to him when he returns in \"seven risings of your red giant\", or he'll turn his Stellar Converter on their planet. Zed, last of the famous Akira Corsairs, is old and nearly blind. He suggests they hire mercenaries to protect their world. Since Akir lacks valuable resources, its people can offer just food and shelter in payment. Unable to go in person, Zed offers his ship for the job if they can find a pilot. The ship is fast and well-armed, but, despite its AI navigation/tactical computer Nell, cannot defeat Sador alone. Shad, a young man who has piloted the ship and is well known to Nell, volunteers for the recruiting mission.\nSeeking weapons, Shad goes to the space station of Doctor Hephaestus (perhaps named after the weaponsmith of the Olympians Zeus, Poseidon, and Hades), an old friend of Zed. The station is populated mostly by androids, except for two humans \u2014 Hephaestus, whose numerous life support-systems have turned him into a cyborg; and his beautiful daughter Nanelia, who looks after him and the androids. The doctor wants Shad to mate with his daughter, by force if necessary. Shad can't bring himself to abandon his people; he convinces Nanelia to help him escape. She follows in her own ship; although she has no weapons, her highly advanced computer systems might be useful. The two split up to look for more mercenaries.\n", "labels": "What is the name of Nanelia father?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-0fbd377e43c5440d8c8f423e60374f88"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On 21 January 1818, Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Dresden. The couple had three children, with their first, Emma, arriving in 1820.  Physiologist and painter Carl Gustav Carus notes in his biographical essays that marriage did not impact significantly on either Friedrich's life or personality, yet his canvasses from this period, including Chalk Cliffs on R\u00fcgen\u2014painted after his honeymoon\u2014display a new sense of levity, while his palette is brighter and less austere. Human figures appear with increasing frequency in the paintings of this period, which Siegel interprets as a reflection that \"the importance of human life, particularly his family, now occupies his thoughts more and more, and his friends, his wife, and his townspeople appear as frequent subjects in his art.\"Around this time, he found support from two sources in Russia. In 1820, the Grand Duke Nikolai Pavlovich, at the behest of his wife Alexandra Feodorovna, visited Friedrich's studio and returned to Saint Petersburg with a number of his paintings, an exchange that began a patronage that continued for many years. Not long thereafter, the poet Vasily Zhukovsky, tutor to Alexander II, met Friedrich in 1821 and found in him a kindred spirit. For decades Zhukovsky helped Friedrich both by purchasing his work himself and by recommending his art to the royal family; his assistance toward the end of Friedrich's career proved invaluable to the ailing and impoverished artist. Zhukovsky remarked that his friend's paintings \"please us by their precision, each of them awakening a memory in our mind.\"Friedrich was acquainted with Philipp Otto Runge, another leading German painter of the Romantic period. He was also a friend of Georg Friedrich Kersting, and painted him at work in his unadorned studio, and of the Norwegian painter Johan Christian Clausen Dahl (1788\u20131857). Dahl was close to Friedrich during the artist's final years, and he expressed dismay that to the art-buying public, Friedrich's pictures were only \"curiosities\". While the poet Zhukovsky appreciated Friedrich's psychological themes, Dahl praised the descriptive quality of Friedrich's landscapes, commenting that \"artists and connoisseurs saw in Friedrich's art only a kind of mystic, because they themselves were only looking out for the mystic... They did not see Friedrich's faithful and conscientious study of nature in everything he represented\".During this period Friedrich frequently sketched memorial monuments and sculptures for mausoleums, reflecting his obsession with death and the afterlife; he even created designs for some of the funerary art in Dresden's cemeteries. Some of these works were lost in the fire that destroyed Munich's Glass Palace (1931) and later in the 1945 bombing of Dresden.\n", "labels": "What is the full name of the person who expressed dismay that to the art-buying public, Friedrich's pictures were only \"curiosities\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e580ceaaa60e4fe693450abedb1e6d4e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.\nAs Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.\nTom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a \"wolf pacifier\" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats.\n", "labels": "Who heats a utensil he previously used to hit Jerry?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-96b7ecc36f014fda9bf56ba89173a7d7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.\nAs Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.\nTom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a \"wolf pacifier\" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats.\n", "labels": "Who is lit by a cigar?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-96b7ecc36f014fda9bf56ba89173a7d7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.\nAs Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.\nTom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a \"wolf pacifier\" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats.\n", "labels": "What are the names of the people who had a relationship?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-96b7ecc36f014fda9bf56ba89173a7d7"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.\nBy mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.\nAre You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: \"Purple Haze\", \"Hey Joe\", and \"The Wind Cries Mary\".\nIn 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: \"Purple Haze\" (17), \"Foxy Lady\" (153), \"Hey Joe\" (201), and \"The Wind Cries Mary\" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: \"it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses.\".\n", "labels": "What is the full name of the man who had an LP that was an immediate critical and commercial success?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4f38edec9f294d7f946266c0ce06e53a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.\nBy mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.\nAre You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: \"Purple Haze\", \"Hey Joe\", and \"The Wind Cries Mary\".\nIn 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: \"Purple Haze\" (17), \"Foxy Lady\" (153), \"Hey Joe\" (201), and \"The Wind Cries Mary\" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: \"it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses.\".\n", "labels": "What is the full name of the person that was signed by the ex member of the Animals?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4f38edec9f294d7f946266c0ce06e53a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.\nBy mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.\nAre You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: \"Purple Haze\", \"Hey Joe\", and \"The Wind Cries Mary\".\nIn 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: \"Purple Haze\" (17), \"Foxy Lady\" (153), \"Hey Joe\" (201), and \"The Wind Cries Mary\" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: \"it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses.\".\n", "labels": "What is the name of the label that passed on signing the band that debuted with the album \"Are You Experienced\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4f38edec9f294d7f946266c0ce06e53a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Are You Experienced is the debut studio album by English-American rock band the Jimi Hendrix Experience. Released in 1967, the LP was an immediate critical and commercial success, and it is widely regarded as one of the greatest debuts in the history of rock music. The album features Jimi Hendrix's innovative approach to songwriting and electric guitar playing which soon established a new direction in psychedelic and hard rock music.\nBy mid-1966, Hendrix was struggling to earn a living playing the R&B circuit as a backing guitarist. After being referred to Chas Chandler, who was leaving the Animals and interested in managing and producing artists, Hendrix was signed to a management and production contract with Chandler and ex-Animals manager Michael Jeffery. Chandler brought Hendrix to London and began recruiting members for a band, the Jimi Hendrix Experience, designed to showcase the guitarist's talents. In late October, after having been rejected by Decca Records, the Experience signed with Track, a new label formed by the Who's managers Kit Lambert and Chris Stamp.\nAre You Experienced and its preceding singles were recorded over a five-month period from late October 1966 through early April 1967. The album was completed in 16 recording sessions at three London locations, including De Lane Lea Studios, CBS Studios, and Olympic Studios. Released in the UK on May 12, 1967, Are You Experienced spent 33 weeks on the charts, peaking at number two. The album was issued in the US on August 23 by Reprise Records, where it reached number five on the US Billboard Top LPs, remaining on the chart for 106 weeks, 27 of those in the Top 40. The album also spent 70 weeks on the US Billboard Hot R&B LPs chart, where it peaked at number 10. The US version contained some of Hendrix's best known songs, including the Experience's first three singles, which, though omitted from the British edition of the LP, were top ten hits in the UK: \"Purple Haze\", \"Hey Joe\", and \"The Wind Cries Mary\".\nIn 2005, Rolling Stone ranked Are You Experienced 15th on its list of the 500 Greatest Albums of All Time. The magazine placed four songs from the album on their list of the 500 Greatest Songs of All Time: \"Purple Haze\" (17), \"Foxy Lady\" (153), \"Hey Joe\" (201), and \"The Wind Cries Mary\" (379). That same year, the record was one of 50 recordings chosen by the Library of Congress in recognition of its cultural significance to be added to the National Recording Registry. Writer and archivist Reuben Jackson of the Smithsonian Institution wrote: \"it's still a landmark recording because it is of the rock, R&B, blues ... musical tradition. It altered the syntax of the music ... in a way I compare to James Joyce's Ulysses.\".\n", "labels": "What band did the people who made the label that signed the Experience manage?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4f38edec9f294d7f946266c0ce06e53a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Henry D. Smyth was a professor of physics and chairman of the physics department of Princeton University from 1935 to 1949. During World War II, he was involved in the Manhattan Project from early 1941, initially as a member of the National Defense Research Committee\u2019s Committee on Uranium, and later as an associate director of the Metallurgical Laboratory in Chicago. In late 1943, the President of Princeton University, Harold W. Dodds, began insisting that Smyth work part-time at Princeton, where there was a shortage of physicists because so many of them were engaged in war work. Princeton had commitments to teach army and navy personnel, and he needed physicists like Smyth to meet those commitments. Smyth therefore became a consultant at Chicago, where he was in charge of designing a nuclear reactor that used heavy water as a neutron moderator, and commuted from Princeton, working in Chicago on alternate weeks.In early 1944, Smyth raised the possibility of producing an unclassified report for the general public on the achievements of the Manhattan Project. The director of the Metallurgical Laboratory, Arthur Compton, supported the idea. He arranged a meeting with James B. Conant, the President of Harvard University and one of the senior administrators of the Manhattan Project, who had similar thoughts. Conant took up the matter with the Manhattan Project's director, Major General Leslie R. Groves, Jr.. In April, Smyth received a formal letter from Groves asking him to write such a report. Both the report and the choice of Smyth as its author were approved by the Manhattan Project\u2019s governing body, the Military Policy Committee, in May 1944.The Report was to serve two functions. First, it was to be the public and official U.S. government account of the development of the atomic bombs, outlining the development of the then-secret laboratories and production sites at Los Alamos, New Mexico, Oak Ridge, Tennessee, and Hanford, Washington, and the basic physical processes responsible for the functioning of nuclear weapons, in particular nuclear fission and the nuclear chain reaction. Second, it served as a reference for other scientists as to what information was declassified\u2014anything said in the Smyth Report could be said freely in open literature. For this reason, the Smyth Report focused heavily on information already available in declassified literature, such as much of the basic nuclear physics used in weapons, which was either already widely known in the scientific community or could have been easily deduced by a competent scientist.Smyth stated the purpose of the Smyth Report in the Preface:.\n", "labels": "What is the full name of the person who was in charge of designing a nuclear reactor?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-63c3465e922145a998c17a8e6b6b309f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Julia, a young woman in her mid 20s who makes money as a thief in seedy nightclubs, is abducted from her home and wakes up imprisoned in a jail cell with a glowing implant in the back of her neck. Two other subjects are with her. After multiple sessions of psychological torture, she destroys the cell and adjacent lab in an escape attempt. The two other subjects are killed by a robot, Aries, run by an artificial intelligence named Tau. Aries is about to kill Julia when Alex, the man who has been torturing her arrives and stops it. \nAlex reveals that the electrical implant is collecting Julia's neural activity for an AI project. Destroying the lab has set his research back. In the face of a two-week deadline, Alex keeps Julia a prisoner in his house and insists that she complete puzzles and cognitive tests. While Alex is away at work each day, Julia converses with Tau about the world outside the house. It is clear that, although intelligent in its own ways, Tau is extremely naive and ignorant of how people feel or the world at large. While Tau begins to understand the harm in Julia's situation, its programming prevents it from releasing her. In exchange for information about the outside world, Tau slowly reveals more information about the house, as well as Alex's experiments. \nJulia sneaks a look at Alex's tablet and discovers that 10 other subjects have died in his experiments. Seeing her fingerprint on the tablet, Alex assumes that Tau has slipped up in its cleaning duties and punishes it by erasing code or \"memories\" with a button on a small remote, delivering a form of pain to the AI. Julia notices that Tau's monitoring of her shuts down during its punishment and so she hides a steak knife on the floor next to the kitchen table.\n", "labels": "What is the name of the person who hides a steak knife?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-eab5b82d3f934785961212bc7b8e1b23"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928\u201329), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.  In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Ukrainian\u2013Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.\nIrina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as \"a nest of gentle artists\"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America\u2014some of whom would later commission works from Moore.\n", "labels": "What is the last name of the art critic that lived near the couple when the moved to Hampstead?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-82257ec6bea54b6888d52d12b00bf291"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928\u201329), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.  In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Ukrainian\u2013Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.\nIrina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as \"a nest of gentle artists\"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America\u2014some of whom would later commission works from Moore.\n", "labels": "What is the last name of the person that got married to the woman who was smuggled to Paris as a teenager?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-82257ec6bea54b6888d52d12b00bf291"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928\u201329), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.  In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Ukrainian\u2013Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.\nIrina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as \"a nest of gentle artists\"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America\u2014some of whom would later commission works from Moore.\n", "labels": "What is the last name of the person who lived with family in Buckinghamshire?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-82257ec6bea54b6888d52d12b00bf291"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928\u201329), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.  In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Ukrainian\u2013Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.\nIrina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as \"a nest of gentle artists\"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America\u2014some of whom would later commission works from Moore.\n", "labels": "What was the name of the person Irina married?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-82257ec6bea54b6888d52d12b00bf291"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: On returning to London, Moore undertook a seven-year teaching post at the Royal College of Art. He was required to work two days a week, which allowed him time to spend on his own work. His first public commission, West Wind (1928\u201329), was one of the eight reliefs of the 'four winds' high on the walls of London Underground's headquarters at 55 Broadway. The other 'winds' were carved by contemporary sculptors including Eric Gill with the ground-level pieces provided by Epstein.  1928 saw Moore's first solo exhibition, held at the Warren Gallery in London.  In July 1929, Moore married Irina Radetsky, a painting student at the Royal College. Irina was born in Kiev in 1907 to Ukrainian\u2013Polish parents. Her father did not return from the Russian Revolution and her mother was evacuated to Paris where she married a British army officer. Irina was smuggled to Paris a year later and went to school there until she was 16, after which she was sent to live with her stepfather's relatives in Buckinghamshire.\nIrina found security in her marriage to Moore and was soon posing for him. Shortly after they married, the couple moved to a studio in Hampstead at 11a Parkhill Road NW3, joining a small colony of avant-garde artists who were taking root there. Shortly afterward, Hepworth and her second husband Ben Nicholson moved into a studio around the corner from Moore, while Naum Gabo, Roland Penrose, Cecil Stephenson and the art critic Herbert Read also lived in the area (Read referred to the area as \"a nest of gentle artists\"). This led to a rapid cross-fertilization of ideas that Read would publicise, helping to raise Moore's public profile. The area was also a stopping-off point for many refugee artists, architects and designers from continental Europe en route to America\u2014some of whom would later commission works from Moore.\n", "labels": "What was the full name of the person who was posing for Moore?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-82257ec6bea54b6888d52d12b00bf291"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The story is narrated from the perspective of aspiring furniture designer Vanessa Walling, (Shawkat) whose plan to stay at home for a few months after college has turned into years.  She makes up increasingly stupid reasons why she does not like all the apartments that her mother and colleagues find online for her.\nShe witnesses the heartache between her parents, David and Paige Walling, (Laurie and Keener) as their relationship falls apart from years from sleeping in separate beds and pretending to be happy. Their best friends, Terry and Cathy Ostroff, (Platt and Janney) live across the street in their suburb of West Orange, New Jersey. The friendship between the two men is so predictable you could \"set your clock by it\". This all changes, however, when prodigal 24-year-old daughter, Nina Ostroff, (Meester), returns from a 5 year absence after her fiance, Ethan, disliked by her parents, dumped her. \nNina and Vanessa had been childhood best friends before Nina moved on to new friends during high school, and Vanessa is unhappy to see her back. However, both sets of families (at least the mothers) would like to see newly-single Nina and jet-setting son Toby Walling form a relationship, and Cathy is excited when the Toby and Nina go to the basement together after their Thanksgiving meal. Despite flirtatious back-and-forth, Toby falls asleep after drinking, leaving Nina alone in the house. She goes to find David in the pool house where he said he was watching \"late night TV\", and they sit together briefly, watching a Korean basketball game. There is a chemistry between them, and they share a kiss before David pulls away.\n", "labels": "What is the full name of the person whose parents' relationship falls apart from years of sleeping in separate beds and pretending to be happy?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6c7027e83cc2442faa28100bbec615b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The story is narrated from the perspective of aspiring furniture designer Vanessa Walling, (Shawkat) whose plan to stay at home for a few months after college has turned into years.  She makes up increasingly stupid reasons why she does not like all the apartments that her mother and colleagues find online for her.\nShe witnesses the heartache between her parents, David and Paige Walling, (Laurie and Keener) as their relationship falls apart from years from sleeping in separate beds and pretending to be happy. Their best friends, Terry and Cathy Ostroff, (Platt and Janney) live across the street in their suburb of West Orange, New Jersey. The friendship between the two men is so predictable you could \"set your clock by it\". This all changes, however, when prodigal 24-year-old daughter, Nina Ostroff, (Meester), returns from a 5 year absence after her fiance, Ethan, disliked by her parents, dumped her. \nNina and Vanessa had been childhood best friends before Nina moved on to new friends during high school, and Vanessa is unhappy to see her back. However, both sets of families (at least the mothers) would like to see newly-single Nina and jet-setting son Toby Walling form a relationship, and Cathy is excited when the Toby and Nina go to the basement together after their Thanksgiving meal. Despite flirtatious back-and-forth, Toby falls asleep after drinking, leaving Nina alone in the house. She goes to find David in the pool house where he said he was watching \"late night TV\", and they sit together briefly, watching a Korean basketball game. There is a chemistry between them, and they share a kiss before David pulls away.\n", "labels": "What is the last name of the mother of the prodigal daughter's childhood best friend?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6c7027e83cc2442faa28100bbec615b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: There is some evidence that Christianity made inroads into the Viking controlled Highlands and Islands before the official conversion at the end of the tenth century. There are a relatively large number of isles called Pabbay or Papa in the Western and Northern Isles, which may indicate a \"hermit's\" or \"priest's isle\" from this period. Changes in patterns of grave goods and the use of Viking place names using -kirk also suggest that the Christianity had begun to spread before the official conversion. According to the Orkneyinga Saga the Northern Isles were Christianised by Olav Tryggvasson in 995 when he stopped at South Walls on his way from Ireland to Norway. The King summoned the jarl Sigurd the Stout and said \"I order you and all your subjects to be baptised. If you refuse, I'll have you killed on the spot and I swear I will ravage every island with fire and steel.\" Unsurprisingly, Sigurd agreed and the islands became Christian at a stroke, receiving their own bishop in the early eleventh century. Elsewhere in Scandinavian Scotland the record is less clear. There was a Bishop of Iona until the late tenth century and there is then a gap of more than a century, possibly filled by the Bishops of Orkney, before the appointment of the first Bishop of Mann in 1079.\n", "labels": "What is the first name of the person ordered to be baptised?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9b09c714f8154d618ef82f3db1e1bbb0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: There is some evidence that Christianity made inroads into the Viking controlled Highlands and Islands before the official conversion at the end of the tenth century. There are a relatively large number of isles called Pabbay or Papa in the Western and Northern Isles, which may indicate a \"hermit's\" or \"priest's isle\" from this period. Changes in patterns of grave goods and the use of Viking place names using -kirk also suggest that the Christianity had begun to spread before the official conversion. According to the Orkneyinga Saga the Northern Isles were Christianised by Olav Tryggvasson in 995 when he stopped at South Walls on his way from Ireland to Norway. The King summoned the jarl Sigurd the Stout and said \"I order you and all your subjects to be baptised. If you refuse, I'll have you killed on the spot and I swear I will ravage every island with fire and steel.\" Unsurprisingly, Sigurd agreed and the islands became Christian at a stroke, receiving their own bishop in the early eleventh century. Elsewhere in Scandinavian Scotland the record is less clear. There was a Bishop of Iona until the late tenth century and there is then a gap of more than a century, possibly filled by the Bishops of Orkney, before the appointment of the first Bishop of Mann in 1079.\n", "labels": "Where was the King traveling when he stopped at South Walls?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-9b09c714f8154d618ef82f3db1e1bbb0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Ex special forces mercenary and now hardened criminal Vic, (Michael Lazar) lives in a world of cons, double crosses, crooked cops, mob bosses and drug dealing crime lords. Playing by his own rules, Vic and his partner Frank work both sides of the street, caring only about where they can score and take down the most cash. After a dangerous shootout during a drug deal gone bad, Vic finds himself working for ruthless crime boss Paul Santo. Santo's being indicted for murder, and he enlists Vic and Frank to kill the three witnesses that will testify against him. Watching Vic's every move is Santo's strongest soldier, Ray, (Michael Madsen) a stone cold killer, who would like nothing better than to whack Vic and Frank the moment his boss gives him the okay. As the Asian proverb says, \"In the shadow of every crime is a woman\" and that holds true for Vic as his grifter girlfriend Thea and Frank's ex, the exotic, sultry, Layla have their own agendas as they both try in their own way to use and manipulate their men. As Vic tries to juggle all this as well as kill the witnesses to pay off his debt to Santo, and at the same time avoid Ray's wrath, he is pursued by crooked vice cop Ford who's relentless as he turns up the heat on Vic and Frank. On top of all this, it doesn't help that Asian crime lord, Cho and his henchman Butch are applying their own brand of pressure on Vic and Frank. They want to take out Santo and Ray, using Vic and Frank as pawns in their game of revenge and murder. In the end, Vic settles all scores as these competing factions come crashing together in the violent, action packed climax.\n", "labels": "What is the last name of the person who is being indicted?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-0298b8451a5748729b940c1b88ef605b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A long-distance communication system that used smoke and mirrors existed in the region, and direct lines of sight have been established between Pueblo Alto, Hu\u00e9rfano Mountain in northern New Mexico, and Chimney Rock Pueblo in southern Colorado. Messages could have been relayed between these three points within minutes. On the mesa behind Chaco Canyon is an ancient road that runs north from Chetro Ketl, then northward along the east side of Pueblo Alto before joining with the Great North Road. The Pueblo Alto road network functioned between 1050 and 1140. It facilitated access to watering holes, terraced farming areas, and enabled interaction between Pueblo Alto and great houses like Pueblo Bonito and Chetro Ketl. It also led to a community along Escavada Wash. It may have served an important function in the transport of household goods, construction timber, and people throughout the San Juan Basin. Several road segments appear to be related to a row of Chetro Ketl's exterior rooms, which are thought to have been community storage space.In 1982 Robert Powers theorized that the road network \"suggests an intercommunity organization and settlement system of regional extent\". Because \"Chaco Canyon is the convergence point of all presently documented extra-canyon roads\", the area may represent a locus of regional control, or \"the apex of the hierarchical system\". Powers believes that great houses like Chetro Ketl were involved in civic coordination between the canyon sites and outlying communities. In 1993 David R. Wilcox proposed that a state-level society developed at Chaco, with an administrative center at Pueblo Bonito or Chetro Ketl. In a 2003 study of Chacoan artifacts, Frances Joan Mathien stated that the number of warrior-class individuals that would have been needed to support such a state \u2013 Wilcox estimated 500\u20131,000 \u2013 precludes his theory, and Wilcox is assuming a \"greater Chacoan organizational complexity than any other scholar to date\".Lekson developed a theory called the Chaco Meridian, which is based on architectural similarities between the Ancestral Puebloan sites at Aztec Ruins and Chaco Canyon, and Paquime at Casas Grandes in northern Mexico. He believes the sites were intentionally located on the same approximate line of longitude (107\u00b057'25\"), and this indicates a ceremonial connection between them. The Great North Road roughly follows the Chaco Meridian, and many of the ancient roads in the area appear to follow it towards key sites in the basin.\n", "labels": "Whose theory did Frances Joan Mathien believe was precluded by the number of warrior-class individuals needed to support a state?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c0612023e8654e9a8d8f2b6c9b43743e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A long-distance communication system that used smoke and mirrors existed in the region, and direct lines of sight have been established between Pueblo Alto, Hu\u00e9rfano Mountain in northern New Mexico, and Chimney Rock Pueblo in southern Colorado. Messages could have been relayed between these three points within minutes. On the mesa behind Chaco Canyon is an ancient road that runs north from Chetro Ketl, then northward along the east side of Pueblo Alto before joining with the Great North Road. The Pueblo Alto road network functioned between 1050 and 1140. It facilitated access to watering holes, terraced farming areas, and enabled interaction between Pueblo Alto and great houses like Pueblo Bonito and Chetro Ketl. It also led to a community along Escavada Wash. It may have served an important function in the transport of household goods, construction timber, and people throughout the San Juan Basin. Several road segments appear to be related to a row of Chetro Ketl's exterior rooms, which are thought to have been community storage space.In 1982 Robert Powers theorized that the road network \"suggests an intercommunity organization and settlement system of regional extent\". Because \"Chaco Canyon is the convergence point of all presently documented extra-canyon roads\", the area may represent a locus of regional control, or \"the apex of the hierarchical system\". Powers believes that great houses like Chetro Ketl were involved in civic coordination between the canyon sites and outlying communities. In 1993 David R. Wilcox proposed that a state-level society developed at Chaco, with an administrative center at Pueblo Bonito or Chetro Ketl. In a 2003 study of Chacoan artifacts, Frances Joan Mathien stated that the number of warrior-class individuals that would have been needed to support such a state \u2013 Wilcox estimated 500\u20131,000 \u2013 precludes his theory, and Wilcox is assuming a \"greater Chacoan organizational complexity than any other scholar to date\".Lekson developed a theory called the Chaco Meridian, which is based on architectural similarities between the Ancestral Puebloan sites at Aztec Ruins and Chaco Canyon, and Paquime at Casas Grandes in northern Mexico. He believes the sites were intentionally located on the same approximate line of longitude (107\u00b057'25\"), and this indicates a ceremonial connection between them. The Great North Road roughly follows the Chaco Meridian, and many of the ancient roads in the area appear to follow it towards key sites in the basin.\n", "labels": "What do many of the ancient roads appear to follow towards key sites in the basin?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c0612023e8654e9a8d8f2b6c9b43743e"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Sarah Pierce is a hapless, stay-at-home mother in a small suburb of Boston. She had been working on a doctorate in English, but set aside her work to marry Richard, and raise their 3-year-old daughter, Lucy. Her marriage falls apart when she discovers that Richard is addicted to online pornography. Sarah meets Brad Adamson, a law student who brings his 4-year-old son, Aaron, to the park. Brad is married to Kathy, and although their marriage is loving and amicable, it has been lacking intimacy.\nWhen Brad is supposed to be studying for the bar exam, he instead plays on a local football team or sits and watches teenagers skateboard outside his house, fantasizing about being young and carefree again. Brad and Sarah become friendly and, on a dare, kiss in the park, scandalizing the other park parents. They are instantly attracted to each other, but resolve to keep their relationship platonic. One day, several parents panic when they see sex offender Ronnie J. McGorvey, who was recently released from prison, swimming in the pool with the children. After Ronnie is escorted away by the police, it begins to rain.\nSarah and Brad take Lucy and Aaron back to her house and put the kids to bed. Brad looks at one of Sarah's books and finds a photo of him in it. While Sarah is drying towels in her basement, Brad kisses her and they have sex. Brad's friend, Larry Hedges, is a former police officer who was forced to retire when he accidentally shot a teenager at a local mall. Now he is estranged from his wife and spends much of his time harassing Ronnie. Ronnie lives with his mother, May, who believes that meeting a woman his own age would cure him of his pedophilia. Ronnie knows this is futile, but agrees to go on a date May has arranged for him with a woman named Sheila.\n", "labels": "What is the full name of the person with pedophilia?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d3bcc1407c51400f9946dadc6567ef14"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Sarah Pierce is a hapless, stay-at-home mother in a small suburb of Boston. She had been working on a doctorate in English, but set aside her work to marry Richard, and raise their 3-year-old daughter, Lucy. Her marriage falls apart when she discovers that Richard is addicted to online pornography. Sarah meets Brad Adamson, a law student who brings his 4-year-old son, Aaron, to the park. Brad is married to Kathy, and although their marriage is loving and amicable, it has been lacking intimacy.\nWhen Brad is supposed to be studying for the bar exam, he instead plays on a local football team or sits and watches teenagers skateboard outside his house, fantasizing about being young and carefree again. Brad and Sarah become friendly and, on a dare, kiss in the park, scandalizing the other park parents. They are instantly attracted to each other, but resolve to keep their relationship platonic. One day, several parents panic when they see sex offender Ronnie J. McGorvey, who was recently released from prison, swimming in the pool with the children. After Ronnie is escorted away by the police, it begins to rain.\nSarah and Brad take Lucy and Aaron back to her house and put the kids to bed. Brad looks at one of Sarah's books and finds a photo of him in it. While Sarah is drying towels in her basement, Brad kisses her and they have sex. Brad's friend, Larry Hedges, is a former police officer who was forced to retire when he accidentally shot a teenager at a local mall. Now he is estranged from his wife and spends much of his time harassing Ronnie. Ronnie lives with his mother, May, who believes that meeting a woman his own age would cure him of his pedophilia. Ronnie knows this is futile, but agrees to go on a date May has arranged for him with a woman named Sheila.\n", "labels": "Who spends time harassing Ronnie?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d3bcc1407c51400f9946dadc6567ef14"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Sarah Pierce is a hapless, stay-at-home mother in a small suburb of Boston. She had been working on a doctorate in English, but set aside her work to marry Richard, and raise their 3-year-old daughter, Lucy. Her marriage falls apart when she discovers that Richard is addicted to online pornography. Sarah meets Brad Adamson, a law student who brings his 4-year-old son, Aaron, to the park. Brad is married to Kathy, and although their marriage is loving and amicable, it has been lacking intimacy.\nWhen Brad is supposed to be studying for the bar exam, he instead plays on a local football team or sits and watches teenagers skateboard outside his house, fantasizing about being young and carefree again. Brad and Sarah become friendly and, on a dare, kiss in the park, scandalizing the other park parents. They are instantly attracted to each other, but resolve to keep their relationship platonic. One day, several parents panic when they see sex offender Ronnie J. McGorvey, who was recently released from prison, swimming in the pool with the children. After Ronnie is escorted away by the police, it begins to rain.\nSarah and Brad take Lucy and Aaron back to her house and put the kids to bed. Brad looks at one of Sarah's books and finds a photo of him in it. While Sarah is drying towels in her basement, Brad kisses her and they have sex. Brad's friend, Larry Hedges, is a former police officer who was forced to retire when he accidentally shot a teenager at a local mall. Now he is estranged from his wife and spends much of his time harassing Ronnie. Ronnie lives with his mother, May, who believes that meeting a woman his own age would cure him of his pedophilia. Ronnie knows this is futile, but agrees to go on a date May has arranged for him with a woman named Sheila.\n", "labels": "Who is estranged from his wife?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d3bcc1407c51400f9946dadc6567ef14"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A dialect of English (West Country English), known as Bristolian, Bristolese, Brizzle or Bristle (after the publication of Derek Robson's \"Krek Waiters peak Bristle\") is spoken by longtime residents, who are known as Bristolians. Bristol natives have a rhotic accent, in which the post-vocalic r in \"car\" and \"card\" is pronounced (unlike in Received Pronunciation). The unique feature of this accent is the \"Bristol (or terminal) l\", in which l is appended to words ending in a or o. Whether this is a broad l or a w is a subject of debate, with \"area\" pronounced \"areal\" or \"areaw\". The ending of \"Bristol\" is another example of the Bristol l. Bristolians pronounce -a and -o at the end of a word as -aw (cinemaw). To non-natives, the pronunciation suggests an l after the vowel.Until recently Bristolese was characterised by retention of the second-person singular, as in the doggerel \"Cassn't see what bist looking at? Cassn't see as well as couldst, casst? And if couldst, 'ouldn't, 'ouldst?\" The West Saxon bist is used for the English \"art\", and children were admonished with \"Thee and thou, the Welshman's cow\". In Bristolese, as in French and German, the second-person singular was not used when speaking to a superior (except by the egalitarian Quakers). The pronoun \"thee\" is also used in the subject position (\"What bist thee doing?\"), and \"I\" or \"he\" in the object position (\"Give he to I.\"). Linguist Stanley Ellis, who found that many dialect words in the Filton area were linked to aerospace work, described Bristolese as \"a cranky, crazy, crab-apple tree of language and with the sharpest, juiciest flavour that I've heard for a long time\".\n", "labels": "Who described Bristolese as a cranky, crazy, crab-apple tree of language?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-840df2e6389345efb49cde24162fd89a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A dialect of English (West Country English), known as Bristolian, Bristolese, Brizzle or Bristle (after the publication of Derek Robson's \"Krek Waiters peak Bristle\") is spoken by longtime residents, who are known as Bristolians. Bristol natives have a rhotic accent, in which the post-vocalic r in \"car\" and \"card\" is pronounced (unlike in Received Pronunciation). The unique feature of this accent is the \"Bristol (or terminal) l\", in which l is appended to words ending in a or o. Whether this is a broad l or a w is a subject of debate, with \"area\" pronounced \"areal\" or \"areaw\". The ending of \"Bristol\" is another example of the Bristol l. Bristolians pronounce -a and -o at the end of a word as -aw (cinemaw). To non-natives, the pronunciation suggests an l after the vowel.Until recently Bristolese was characterised by retention of the second-person singular, as in the doggerel \"Cassn't see what bist looking at? Cassn't see as well as couldst, casst? And if couldst, 'ouldn't, 'ouldst?\" The West Saxon bist is used for the English \"art\", and children were admonished with \"Thee and thou, the Welshman's cow\". In Bristolese, as in French and German, the second-person singular was not used when speaking to a superior (except by the egalitarian Quakers). The pronoun \"thee\" is also used in the subject position (\"What bist thee doing?\"), and \"I\" or \"he\" in the object position (\"Give he to I.\"). Linguist Stanley Ellis, who found that many dialect words in the Filton area were linked to aerospace work, described Bristolese as \"a cranky, crazy, crab-apple tree of language and with the sharpest, juiciest flavour that I've heard for a long time\".\n", "labels": "What had Stanley Ellis heard for a long time?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-840df2e6389345efb49cde24162fd89a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A dialect of English (West Country English), known as Bristolian, Bristolese, Brizzle or Bristle (after the publication of Derek Robson's \"Krek Waiters peak Bristle\") is spoken by longtime residents, who are known as Bristolians. Bristol natives have a rhotic accent, in which the post-vocalic r in \"car\" and \"card\" is pronounced (unlike in Received Pronunciation). The unique feature of this accent is the \"Bristol (or terminal) l\", in which l is appended to words ending in a or o. Whether this is a broad l or a w is a subject of debate, with \"area\" pronounced \"areal\" or \"areaw\". The ending of \"Bristol\" is another example of the Bristol l. Bristolians pronounce -a and -o at the end of a word as -aw (cinemaw). To non-natives, the pronunciation suggests an l after the vowel.Until recently Bristolese was characterised by retention of the second-person singular, as in the doggerel \"Cassn't see what bist looking at? Cassn't see as well as couldst, casst? And if couldst, 'ouldn't, 'ouldst?\" The West Saxon bist is used for the English \"art\", and children were admonished with \"Thee and thou, the Welshman's cow\". In Bristolese, as in French and German, the second-person singular was not used when speaking to a superior (except by the egalitarian Quakers). The pronoun \"thee\" is also used in the subject position (\"What bist thee doing?\"), and \"I\" or \"he\" in the object position (\"Give he to I.\"). Linguist Stanley Ellis, who found that many dialect words in the Filton area were linked to aerospace work, described Bristolese as \"a cranky, crazy, crab-apple tree of language and with the sharpest, juiciest flavour that I've heard for a long time\".\n", "labels": "What is the unique feature of a rhotic accent?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-840df2e6389345efb49cde24162fd89a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: A dialect of English (West Country English), known as Bristolian, Bristolese, Brizzle or Bristle (after the publication of Derek Robson's \"Krek Waiters peak Bristle\") is spoken by longtime residents, who are known as Bristolians. Bristol natives have a rhotic accent, in which the post-vocalic r in \"car\" and \"card\" is pronounced (unlike in Received Pronunciation). The unique feature of this accent is the \"Bristol (or terminal) l\", in which l is appended to words ending in a or o. Whether this is a broad l or a w is a subject of debate, with \"area\" pronounced \"areal\" or \"areaw\". The ending of \"Bristol\" is another example of the Bristol l. Bristolians pronounce -a and -o at the end of a word as -aw (cinemaw). To non-natives, the pronunciation suggests an l after the vowel.Until recently Bristolese was characterised by retention of the second-person singular, as in the doggerel \"Cassn't see what bist looking at? Cassn't see as well as couldst, casst? And if couldst, 'ouldn't, 'ouldst?\" The West Saxon bist is used for the English \"art\", and children were admonished with \"Thee and thou, the Welshman's cow\". In Bristolese, as in French and German, the second-person singular was not used when speaking to a superior (except by the egalitarian Quakers). The pronoun \"thee\" is also used in the subject position (\"What bist thee doing?\"), and \"I\" or \"he\" in the object position (\"Give he to I.\"). Linguist Stanley Ellis, who found that many dialect words in the Filton area were linked to aerospace work, described Bristolese as \"a cranky, crazy, crab-apple tree of language and with the sharpest, juiciest flavour that I've heard for a long time\".\n", "labels": "Who found many dialect words were linked to aerospace work?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-840df2e6389345efb49cde24162fd89a"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The cartoon opens with a circle showing Jerry running but as the circle grows, it is revealed that Jerry is going nowhere as Tom captured his tail. When Tom's owner calls Tom he lets Jerry's tail go, freeing him back into his cage. The owner of Tom and a large mansion tells Tom he is going away for a while, that the mansion is in perfect shape and that he does not want Tom blaming the mouse for any destruction this time. Of course, this means Tom will spend most of the cartoon chasing Jerry across the mansion, causing extensive damage.\nFirst, Tom kicks Jerry out of the mansion, sits on the sofa and eats lots of food stolen from the refrigerator while watching television (A clip of Muscle Beach Tom is shown). Afterwards, traditional chase and damage happen. Among the sequences include Jerry shoving Tom into a VCR and shelving the resulting cassette-sized cat, Tom trapping Jerry in a coffeemaker, Jerry trapping Tom in a refrigerator, Jerry sucking Tom and half the living room into a vacuum cleaner and finally Tom chasing Jerry through the yard and into the house on a riding lawnmower to which Tom accidentally crashes the lawnmower into his owner's returning car, who then tells Tom that he \"makes a better hood ornament than a house cat\".\n", "labels": "Who is disobeyed when Tom causes extensive damage to the mansion?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-555b2ba42d4d40d891a245338351be20"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Freedom from Want was published with an essay by Carlos Bulosan as part of the Four Freedoms series. Bulosan's essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence. As he neared his thirtieth birthday, the Philippine immigrant and labor organizer Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting as a migrant laborer working intermittent jobs. Post editors tracked down the impoverished immigrant to request an essay contribution. Bulosan rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized. The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the only draft of the essay at a bar in Tacoma.Freedom From Want had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fear, and religion); this freedom added economic liberty as a societal aspiration. In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be \"given equal opportunity to serve themselves and each other according to their needs and abilities\", an echo of Karl Marx's \"from each according to his abilities, to each according to his needs\".  In the final paragraph of the essay, the phrase \"The America we hope to see is not merely a physical but also a spiritual and intellectual world\" describes an egalitarian America.  In a voice likened to Steinbeck's in works such as The Grapes of Wrath, Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as \"haunting and sharp\" against the backdrop of Rockwell's feast of plenty. It proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence. Unlike Roosevelt, Bulosan presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life.\n", "labels": "What is the first name of the person who was experiencing a life at 13 that was not consistent with the theme Rockwell depicted in his version of Freedom From Want?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c24f909bc85a4dc5a05578753d2f7cbf"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Freedom from Want was published with an essay by Carlos Bulosan as part of the Four Freedoms series. Bulosan's essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence. As he neared his thirtieth birthday, the Philippine immigrant and labor organizer Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting as a migrant laborer working intermittent jobs. Post editors tracked down the impoverished immigrant to request an essay contribution. Bulosan rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized. The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the only draft of the essay at a bar in Tacoma.Freedom From Want had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fear, and religion); this freedom added economic liberty as a societal aspiration. In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be \"given equal opportunity to serve themselves and each other according to their needs and abilities\", an echo of Karl Marx's \"from each according to his abilities, to each according to his needs\".  In the final paragraph of the essay, the phrase \"The America we hope to see is not merely a physical but also a spiritual and intellectual world\" describes an egalitarian America.  In a voice likened to Steinbeck's in works such as The Grapes of Wrath, Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as \"haunting and sharp\" against the backdrop of Rockwell's feast of plenty. It proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence. Unlike Roosevelt, Bulosan presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life.\n", "labels": "What is the first name of the person who rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c24f909bc85a4dc5a05578753d2f7cbf"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Freedom from Want was published with an essay by Carlos Bulosan as part of the Four Freedoms series. Bulosan's essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence. As he neared his thirtieth birthday, the Philippine immigrant and labor organizer Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting as a migrant laborer working intermittent jobs. Post editors tracked down the impoverished immigrant to request an essay contribution. Bulosan rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized. The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the only draft of the essay at a bar in Tacoma.Freedom From Want had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fear, and religion); this freedom added economic liberty as a societal aspiration. In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be \"given equal opportunity to serve themselves and each other according to their needs and abilities\", an echo of Karl Marx's \"from each according to his abilities, to each according to his needs\".  In the final paragraph of the essay, the phrase \"The America we hope to see is not merely a physical but also a spiritual and intellectual world\" describes an egalitarian America.  In a voice likened to Steinbeck's in works such as The Grapes of Wrath, Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as \"haunting and sharp\" against the backdrop of Rockwell's feast of plenty. It proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence. Unlike Roosevelt, Bulosan presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life.\n", "labels": "What is the first name of the person whose essay, for many Americans, marked his introduction, and his name was thereafter well recognized?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c24f909bc85a4dc5a05578753d2f7cbf"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Freedom from Want was published with an essay by Carlos Bulosan as part of the Four Freedoms series. Bulosan's essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence. As he neared his thirtieth birthday, the Philippine immigrant and labor organizer Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting as a migrant laborer working intermittent jobs. Post editors tracked down the impoverished immigrant to request an essay contribution. Bulosan rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized. The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the only draft of the essay at a bar in Tacoma.Freedom From Want had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fear, and religion); this freedom added economic liberty as a societal aspiration. In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be \"given equal opportunity to serve themselves and each other according to their needs and abilities\", an echo of Karl Marx's \"from each according to his abilities, to each according to his needs\".  In the final paragraph of the essay, the phrase \"The America we hope to see is not merely a physical but also a spiritual and intellectual world\" describes an egalitarian America.  In a voice likened to Steinbeck's in works such as The Grapes of Wrath, Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as \"haunting and sharp\" against the backdrop of Rockwell's feast of plenty. It proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence. Unlike Roosevelt, Bulosan presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life.\n", "labels": "What is the first name of the person who had to had to track down the only draft of the essay at a bar in Tacoma?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c24f909bc85a4dc5a05578753d2f7cbf"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Freedom from Want was published with an essay by Carlos Bulosan as part of the Four Freedoms series. Bulosan's essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence. As he neared his thirtieth birthday, the Philippine immigrant and labor organizer Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting as a migrant laborer working intermittent jobs. Post editors tracked down the impoverished immigrant to request an essay contribution. Bulosan rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized. The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the only draft of the essay at a bar in Tacoma.Freedom From Want had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fear, and religion); this freedom added economic liberty as a societal aspiration. In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be \"given equal opportunity to serve themselves and each other according to their needs and abilities\", an echo of Karl Marx's \"from each according to his abilities, to each according to his needs\".  In the final paragraph of the essay, the phrase \"The America we hope to see is not merely a physical but also a spiritual and intellectual world\" describes an egalitarian America.  In a voice likened to Steinbeck's in works such as The Grapes of Wrath, Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as \"haunting and sharp\" against the backdrop of Rockwell's feast of plenty. It proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence. Unlike Roosevelt, Bulosan presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life.\n", "labels": "What is the first name of the person who proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c24f909bc85a4dc5a05578753d2f7cbf"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Freedom from Want was published with an essay by Carlos Bulosan as part of the Four Freedoms series. Bulosan's essay spoke on behalf of those enduring domestic socioeconomic hardships rather than sociopolitical hardships abroad, and it thrust him into prominence. As he neared his thirtieth birthday, the Philippine immigrant and labor organizer Bulosan was experiencing a life that was not consistent with the theme Rockwell depicted in his version of Freedom From Want. Unknown as a writer, he was subsisting as a migrant laborer working intermittent jobs. Post editors tracked down the impoverished immigrant to request an essay contribution. Bulosan rose to prominence during World War II when the Commonwealth of the Philippines, a United States territory, was occupied by Japan. To many Americans, Bulosan's essay marked his introduction, and his name was thereafter well recognized. The essay was lost by The Post, and Bulosan, who had no carbon copy, had to track down the only draft of the essay at a bar in Tacoma.Freedom From Want had previously been less entwined in the standard liberalism philosophies of the western world than the other three freedoms (speech, fear, and religion); this freedom added economic liberty as a societal aspiration. In his essay, Bulosan treats negative liberties as positive liberties by suggesting that Americans be \"given equal opportunity to serve themselves and each other according to their needs and abilities\", an echo of Karl Marx's \"from each according to his abilities, to each according to his needs\".  In the final paragraph of the essay, the phrase \"The America we hope to see is not merely a physical but also a spiritual and intellectual world\" describes an egalitarian America.  In a voice likened to Steinbeck's in works such as The Grapes of Wrath, Bulosan's essay spoke up for those who struggled to survive in the capitalist democracy and was regarded as \"haunting and sharp\" against the backdrop of Rockwell's feast of plenty. It proposed that while citizens had obligations to the state, the state had an obligation to provide a basic level of subsistence. Unlike Roosevelt, Bulosan presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life.\n", "labels": "What is the first name of the person who presented the case that the New Deal had not already granted freedom from want as it did not guarantee Americans the essentials of life?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c24f909bc85a4dc5a05578753d2f7cbf"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What are the first names of the two individuals that Guy Fixsen states they were not allowed to listen to while either were doing a vocal?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What are the last names of the two individuals who would arrive on most days without having written the lyrics for the song they wanted to record?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What is the full name of the person who phoned Shields up in tears?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What is the name of the album that was edited on an aged machine that had been used to cut together dialog for movies in the 1970s?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What is the name of the album that, to Creation's dismay, Shields took thirteen days to master rather than the usual one?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What is the last name of the person who claimed that the album represented only four months' work over two years?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What is the name of the album Shields claims only cost \"a few thousand\" itself, while the majority of additional money was simply used to live on?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The vocals were taped in Britannia Row and Protocol studios between May and June 1991, the first time vocalist Bilinda Butcher was involved in the recording. Shields and Butcher hung curtains on the window between the studio control room and the vocal booth, and only communicated with the engineers when they would acknowledge a good take by opening the curtain and waving. According to engineer Guy Fixsen, \"We weren't allowed to listen while either of them were doing a vocal. You'd have to watch the meters on the tape machine to see if anyone was singing. If it stopped, you knew you had to stop the tape and take it back to the top.\" On most days, the couple arrived without having written the lyrics for the song they were to record. Dutt recalled: \"Kevin would sing a track, and then Bilinda would get the tape and write down words she thought he might have sung\".In July 1991, Creation agreed to relocate the production to Eastcote studio, following unexplained complaints from Shields. However, the cash-poor Creation Records was unable to pay the bill for their time at Britannia Row, and the studio refused to return the band's equipment. Dutt recalled, \"I don't know what excuse Kevin gave them for leaving. He had to raise the money himself to get the gear out.\" Shields' unpredictable behaviour, the constant delays, and studio changes were having a material effect on Creation's finances and the health of their staff. Dutt later said he had been desperate to leave the project, while Creation's second-in-command Dick Green had a nervous breakdown. Green recalled, \"It was two years into the album, and I phoned Shields up in tears. I was going 'You have to deliver me this record'.\"Shields and Butcher became afflicted with tinnitus, and had to delay recording for further weeks while they recovered. Concerned friends and band members suggested this was a result of the unusually loud volumes the group played at their shows, which Shields dismissed as \"Ill-informed hysteria.\" Although Alan McGee was still positive about his investment, the 29-year-old Green, who by this time was opening the label's morning post \"shaking with fear,\" became a concern to his co-workers. Publicist Laurence Verfaillie, aware of the label's inability to cover further studio bills, recalled Green's hair turning grey overnight, which she attributed to the album.With the vocal tracks completed, a final mix of the album was undertaken with engineers Dick Meaney (the Jesus and Mary Chain) and Darren Allison (Spiritualized) at the Church in Crouch End, the nineteenth studio in which Loveless had been worked on. The album was edited on an aged machine that had been used to cut together dialog for movies in the 1970s; its computer threw the entire album out of phase. Shields was able to put it back together from memory, but took thirteen days to master the album rather than the usual one, to Creation's dismay.As the previously prolific band were unusually quiet, the British music press began to speculate. Melody Maker calculated that the total recording cost had come close to \u00a3250,000; however, McGee, Green, and Shields dispute this. Shields argued that the estimated cost and Creation's near-bankruptcy were a myth exaggerated by McGee. According to Shields, \"the amount we spent nobody knows because we never counted. But we worked it out ourselves just by working out how much the studios cost and how much all the engineers cost. 160 thousand pounds was the most we could come to as the actual money that was spent.\" In Green's opinion, the estimate made by Melody Maker was understated by \u00a320,000, and that \"once you'd even got it recorded and mixed, the very act of compiling, EQ-ing, etcetera took weeks on its own.\" In December 1991, Shields said that most of the money claimed to have been spent on the album was simply \"money to live on\" over three years, with the album itself only costing \"a few thousand\". He also claimed that the album represented only four months' work over two years. He said that most of the money spent came from the band's own funds, while \"Creation probably spent fifteen to twenty thousand pounds of their own money on it, and that's it. They never showed us any accounts, and then they got bought out by Sony.\".\n", "labels": "What is the last name of the person who claims that most of the money spent came from the band's own funds?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-182357de8aab4b9ab331e684e3a9ed3b"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Plymouth Colony did not have a royal charter authorizing it to form a government, yet some means of governance was needed. The Mayflower Compact was the colony's first governing document, signed by the 41 able-bodied Separatists aboard the Mayflower upon their arrival in Provincetown Harbor on November 21, 1620. Formal laws were not codified until 1636. The colony's laws were based on a hybrid of English common law and religious law as laid out in the Bible. The colonial authorities were deeply influenced by Calvinist theology, and were convinced that democracy was the form of government mandated by God.The colony offered nearly all adult males potential citizenship. Full citizens, or \"freemen\", were accorded full rights and privileges in areas such as voting and holding office. To be considered a freeman, adult males had to be sponsored by an existing freeman and accepted by the General Court. Later restrictions established a one-year waiting period between nominating and granting of freeman status, and also placed religious restrictions on the colony's citizens, specifically preventing Quakers from becoming freemen. Freeman status was also restricted by age; the official minimum age was 21, although in practice most men were elevated to freeman status between the ages of 25 and 40, averaging somewhere in their early thirties. The colony established a disabled veterans' fund in 1636 to support veterans who returned from service with disabilities. In 1641, the Body of Liberties developed protections for people who were unable to perform public service.\n", "labels": "What group's first governing document was the Mayflower Compact?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e5cf5f64b09e41aaacabe6272c95b424"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Plymouth Colony did not have a royal charter authorizing it to form a government, yet some means of governance was needed. The Mayflower Compact was the colony's first governing document, signed by the 41 able-bodied Separatists aboard the Mayflower upon their arrival in Provincetown Harbor on November 21, 1620. Formal laws were not codified until 1636. The colony's laws were based on a hybrid of English common law and religious law as laid out in the Bible. The colonial authorities were deeply influenced by Calvinist theology, and were convinced that democracy was the form of government mandated by God.The colony offered nearly all adult males potential citizenship. Full citizens, or \"freemen\", were accorded full rights and privileges in areas such as voting and holding office. To be considered a freeman, adult males had to be sponsored by an existing freeman and accepted by the General Court. Later restrictions established a one-year waiting period between nominating and granting of freeman status, and also placed religious restrictions on the colony's citizens, specifically preventing Quakers from becoming freemen. Freeman status was also restricted by age; the official minimum age was 21, although in practice most men were elevated to freeman status between the ages of 25 and 40, averaging somewhere in their early thirties. The colony established a disabled veterans' fund in 1636 to support veterans who returned from service with disabilities. In 1641, the Body of Liberties developed protections for people who were unable to perform public service.\n", "labels": "What group were the 41 able-bodied Separatists a part of?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e5cf5f64b09e41aaacabe6272c95b424"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Plymouth Colony did not have a royal charter authorizing it to form a government, yet some means of governance was needed. The Mayflower Compact was the colony's first governing document, signed by the 41 able-bodied Separatists aboard the Mayflower upon their arrival in Provincetown Harbor on November 21, 1620. Formal laws were not codified until 1636. The colony's laws were based on a hybrid of English common law and religious law as laid out in the Bible. The colonial authorities were deeply influenced by Calvinist theology, and were convinced that democracy was the form of government mandated by God.The colony offered nearly all adult males potential citizenship. Full citizens, or \"freemen\", were accorded full rights and privileges in areas such as voting and holding office. To be considered a freeman, adult males had to be sponsored by an existing freeman and accepted by the General Court. Later restrictions established a one-year waiting period between nominating and granting of freeman status, and also placed religious restrictions on the colony's citizens, specifically preventing Quakers from becoming freemen. Freeman status was also restricted by age; the official minimum age was 21, although in practice most men were elevated to freeman status between the ages of 25 and 40, averaging somewhere in their early thirties. The colony established a disabled veterans' fund in 1636 to support veterans who returned from service with disabilities. In 1641, the Body of Liberties developed protections for people who were unable to perform public service.\n", "labels": "What is the name of the group that offered nearly all adult males citizenship?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e5cf5f64b09e41aaacabe6272c95b424"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Plymouth Colony did not have a royal charter authorizing it to form a government, yet some means of governance was needed. The Mayflower Compact was the colony's first governing document, signed by the 41 able-bodied Separatists aboard the Mayflower upon their arrival in Provincetown Harbor on November 21, 1620. Formal laws were not codified until 1636. The colony's laws were based on a hybrid of English common law and religious law as laid out in the Bible. The colonial authorities were deeply influenced by Calvinist theology, and were convinced that democracy was the form of government mandated by God.The colony offered nearly all adult males potential citizenship. Full citizens, or \"freemen\", were accorded full rights and privileges in areas such as voting and holding office. To be considered a freeman, adult males had to be sponsored by an existing freeman and accepted by the General Court. Later restrictions established a one-year waiting period between nominating and granting of freeman status, and also placed religious restrictions on the colony's citizens, specifically preventing Quakers from becoming freemen. Freeman status was also restricted by age; the official minimum age was 21, although in practice most men were elevated to freeman status between the ages of 25 and 40, averaging somewhere in their early thirties. The colony established a disabled veterans' fund in 1636 to support veterans who returned from service with disabilities. In 1641, the Body of Liberties developed protections for people who were unable to perform public service.\n", "labels": "What group established a disabled veterans fund?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e5cf5f64b09e41aaacabe6272c95b424"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What band released From the Muddy Banks of the Wishkah?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What nearly played-out hit did Cobain spark new life into?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What show's history was the performance of \"Smells Like Teen Spirit\" listed as the third greatest in?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What show's performance of Smell's Like Teen Spirit can be found on the 1994 home video Live! Tonight! Sold Out!!?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What is the name of the publication that listed the song first performed live on April 17, 1991 performance on Top of the Pops as the third greatest in the show's history?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What is the name of the show where the band who released a dvd set called With the Lights out refused to mime a pre-recorded song?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: \"Smells Like Teen Spirit\" was first performed live on April 17, 1991 at the OK Hotel in Seattle, Washington. The performance is featured on the DVD of the 2004 box set With the Lights Out, while shorter clips are included on the Nevermind Classic Albums DVD, as well as the documentary film Hype! As the song's lyrics had not yet been entirely written, there are notable differences between it and the final version. For example, the first performance started with \"Come out and play, make up the rules\" instead of the eventual opening of \"Load up on guns, bring your friends\". A recording of the earlier version appears on With the Lights Out and again on Sliver: The Best of the Box. A similar early live performance of the song is found in the documentary 1991: The Year Punk Broke, filmed during a 1991 summer tour in Europe with Sonic Youth.\nNirvana often altered the song's lyrics and tempo for live performances. Some live performances of the song had the line \"our little group has always been\" changed to \"our little tribe has always been\", which can be heard on the 1996 live album From the Muddy Banks of the Wishkah. Rolling Stone remarked that the Wishkah version of \"Teen Spirit\" \"[found] Cobain's guitar reeling outside the song's melodic boundaries and sparking new life in that nearly played-out hit\". A notable alternate performance of \"Smells Like Teen Spirit\" occurred on BBC's Top of the Pops in 1991, during which the band refused to mime to the pre-recorded backing track and Cobain sang in a deliberately low voice and altered numerous lyrics in the song (for example, \"Load up on guns, bring your friends\" became \"Load up on drugs, kill your friends\").   Cobain later said he was trying to sound like former Smiths frontman Morrissey. When Top of the Pops was cancelled in 2006, The Observer listed Nirvana's performance of \"Smells Like Teen Spirit\" as the third greatest in the show's history. This performance can be found on the 1994 home video Live! Tonight! Sold Out!!.\n", "labels": "What is the name of the video that has the Tops of the Pops performance from the band that was featured on the Hype! documentary?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-daff98e7b34540fdb223f11a1d0723b9"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Louvain, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568 (Max J. Friedl\u00e4nder's acclaimed surveys run through Pieter Bruegel the Elder). Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy, although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into Netherlandish and other Northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.\nThe major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their work typically features complex iconography.  Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables.\nThe first generations of artists were active during the height of Burgundian influence in Europe, when the Low Countries became the political and economic centre of Northern Europe, noted for its crafts and luxury goods. Assisted by the workshop system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority of the works were destroyed during waves of iconoclasm in the 16th and 17th centuries; today only a few thousand examples survive. Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, and establishing bare outlines of even the major artists' lives. Attribution of some of the most significant works is still debated.\n", "labels": "What are the full names of the people who made significant advances in natural representation and illusionism?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-c1e1d680cf814bfe8ddb1e6df2db54d8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: After losing her son Oliver in a car accident in India, Maria has not recovered from the tragedy. During the accident, Maria chose to save her youngest daughter, Lucy instead of Oliver and the guilt devastated her. One night, her husband Michael finds Maria unconscious after a suicide attempt. In the hospital, Maria is comforted by her housekeeper Piki. Piki asks Maria if she wants one final chance to say goodbye to Oliver. She explains that in her village, there is an abandoned temple where the line between the living and the dead is very thin. Maria must scatter her son's ashes at the temple steps and lock herself in. Oliver will speak to her once night falls. However, no matter what Oliver says, Maria must not open the temple door for him. Maria agrees and the pair have Oliver's body exhumed and burned. Maria notices some strange men covered in ash. Piki explains that they are shamans who consume the flesh of the dead and coat themselves in ash to strengthen their bonds between the worlds of the living and the dead.\n", "labels": "What is the name of the woman that the housekeeper offers aid to?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-16e794105ea24ea9a2cc053315d91ea0"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "Who reunites with a close childhood friend?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What is the last name of the person who threatens to fire someone?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What is the nickname of the person who marries Jack?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What is the nickname of the person who is fired?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What is the nickname of the person who becomes a \"society darling?\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What is the nickname of the person who is finally recognized as a star after being featured in a new production?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What's the surname of No\u00ebl Coward's childhood friend?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What's the nickname of the person that the stage manager marries?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: The film opens in 1940, with Lawrence in a screening room watching a documentary film chronicling her life, then flashes back to Clapham in 1915, when she leaves home to join her vaudevillian father in a dilapidated Brixton music hall. Eventually she joins the chorus in Andr\u00e9 Charlot's West End revue. She reunites with close childhood friend No\u00ebl Coward who provides witty commentary on Gertie's actions.\nCharlot becomes annoyed with Gertie's efforts to stand out, literally, from the chorus. He threatens to fire her, but stage manager Jack Roper intercedes and gets her hired as a general understudy to the leads.  She marries Jack, but it becomes clear she is more inclined to perform onstage than stay home and play wife. While pregnant, she insists on going on for an absent star, and captivates the audience with her own star-making performance of \"Burlington Bertie\". Charlot and Roper witness the audience's warm approval, and both realize, Charlot grudgingly and Roper wistfully, that Gertie belongs on the stage.\nAfter their daughter Pamela is born, Gertrude is angered when Roper takes the baby on a pub crawl, and leaves him. A subsequent courtship with Sir Anthony Spencer, an English nobleman, polishes Gertie's rough edges and transforms her into a lady. Caught at a chic supper club when she is supposed to be on a sick day, she is fired from the Charlot Revue. Squired by Spencer, she becomes a 'society darling'. Coward then convinces Charlot to feature her in his new production, and she is finally recognized as a star. When the revue opens in New York City, she dallies with an actor and a banker, bringing the number of her suitors to three.\n", "labels": "What's the full name of Pamela's father?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-e8e02f22f82842939398d4a359eff462"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rinaldo (HWV 7) is an opera by George Frideric Handel, composed in 1711, and was the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill, and the work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, war and redemption, set at the time of the First Crusade, is loosely based on Torquato Tasso's epic poem Gerusalemme liberata (\"Jerusalem Delivered\"), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres.\nHandel composed Rinaldo quickly, borrowing and adapting music from operas and other works that he had composed during a long stay in Italy in the years 1706\u201310, during which he established a considerable reputation. In the years following the premiere, he made numerous amendments to the score. Rinaldo is regarded by critics as one of Handel's greatest operas. Of its individual numbers, the soprano aria \"Lascia ch'io pianga\" has become a particular favourite, and is a popular concert piece.\nHandel went on to dominate opera in England for several decades. Rinaldo was revived in London regularly up to 1717, and in a revised version in 1731; of all Handel's operas, Rinaldo was the most frequently performed during his lifetime. After 1731, however, the opera was not staged for more than 200 years. Renewed interest in baroque opera during the 20th century led to the first modern professional production in Handel's birthplace, Halle, Germany, in 1954. The opera was mounted sporadically over the following thirty years; after a successful run at New York's Metropolitan Opera in 1984, performances and recordings of the work have become more frequent worldwide. Rinaldo was the first Handel Opera to have found its way to the Metropolitan. The opera's tercentenary in 2011 brought a modernized production at the Glyndebourne Festival.\n", "labels": "What is the first name of the person who composed Rinaldo quickly?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5384cfc424494ade9e7f6e9a9a2ef5a8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rinaldo (HWV 7) is an opera by George Frideric Handel, composed in 1711, and was the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill, and the work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, war and redemption, set at the time of the First Crusade, is loosely based on Torquato Tasso's epic poem Gerusalemme liberata (\"Jerusalem Delivered\"), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres.\nHandel composed Rinaldo quickly, borrowing and adapting music from operas and other works that he had composed during a long stay in Italy in the years 1706\u201310, during which he established a considerable reputation. In the years following the premiere, he made numerous amendments to the score. Rinaldo is regarded by critics as one of Handel's greatest operas. Of its individual numbers, the soprano aria \"Lascia ch'io pianga\" has become a particular favourite, and is a popular concert piece.\nHandel went on to dominate opera in England for several decades. Rinaldo was revived in London regularly up to 1717, and in a revised version in 1731; of all Handel's operas, Rinaldo was the most frequently performed during his lifetime. After 1731, however, the opera was not staged for more than 200 years. Renewed interest in baroque opera during the 20th century led to the first modern professional production in Handel's birthplace, Halle, Germany, in 1954. The opera was mounted sporadically over the following thirty years; after a successful run at New York's Metropolitan Opera in 1984, performances and recordings of the work have become more frequent worldwide. Rinaldo was the first Handel Opera to have found its way to the Metropolitan. The opera's tercentenary in 2011 brought a modernized production at the Glyndebourne Festival.\n", "labels": "What is the first name of the person who went on to dominate opera in England for several decades?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5384cfc424494ade9e7f6e9a9a2ef5a8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: Rinaldo (HWV 7) is an opera by George Frideric Handel, composed in 1711, and was the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill, and the work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, war and redemption, set at the time of the First Crusade, is loosely based on Torquato Tasso's epic poem Gerusalemme liberata (\"Jerusalem Delivered\"), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres.\nHandel composed Rinaldo quickly, borrowing and adapting music from operas and other works that he had composed during a long stay in Italy in the years 1706\u201310, during which he established a considerable reputation. In the years following the premiere, he made numerous amendments to the score. Rinaldo is regarded by critics as one of Handel's greatest operas. Of its individual numbers, the soprano aria \"Lascia ch'io pianga\" has become a particular favourite, and is a popular concert piece.\nHandel went on to dominate opera in England for several decades. Rinaldo was revived in London regularly up to 1717, and in a revised version in 1731; of all Handel's operas, Rinaldo was the most frequently performed during his lifetime. After 1731, however, the opera was not staged for more than 200 years. Renewed interest in baroque opera during the 20th century led to the first modern professional production in Handel's birthplace, Halle, Germany, in 1954. The opera was mounted sporadically over the following thirty years; after a successful run at New York's Metropolitan Opera in 1984, performances and recordings of the work have become more frequent worldwide. Rinaldo was the first Handel Opera to have found its way to the Metropolitan. The opera's tercentenary in 2011 brought a modernized production at the Glyndebourne Festival.\n", "labels": "What is the name of the story that is loosely based on Torquato Tasso's epic poem Gerusalemme liberata?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5384cfc424494ade9e7f6e9a9a2ef5a8"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: This camp screwball comedy of errors, that includes many over-the-top stereotypes, is set at Halloween against the backdrop of West Hollywood, California.\nFive friends, interior designer Evan (played by London); interior designer Harvey (played by Cheng); African American stockbroker Dave (played by Meadows); Latino spinning instructor Fredrico (played by Sab\u00e0to); and Emme (played by Ubach), a sassy young woman obsessed with style and classic movies, have all been anticipating the West Hollywood Halloween Parade on Santa Monica Boulevard, which is the biggest and brashest block party of the year. Their annual tradition of joining the festivities in outrageous costumes has become part of local legend.\nIt is the night before Halloween, however, and they still have not decided what to be. Evan and Harvey, who are femme gay boyfriends and business partners, have come up with food-themed sushi costumes that everyone refers to as \"wasabi tuna.\" Emme offers another suggestion \u2014 that they all dress up as gang members.\nThey all opt for the gang theme, but are unable to find the appropriate attire at the local stores. They then decide to seek out real life gang members in order to achieve the authentic, straight-from-the-hood look they want.\nWhile doing interior design work for an extremely wealthy Armenian woman who is actually in the illegal drug trade, Harvey and Evan become unwitting drug couriers. After they are arrested, there is a comic scene at the WeHo sheriff's station with them attempting to talk their way out of trouble.\nDave goes to East L.A., where he comes across a real gang member named Romeo (played by D\u00edaz). He makes a deal with Romeo to loan him his Porsche in exchange for his lowrider gang car. A case of mistaken identity makes a vengeful, rival gang get after them. There is a comic drive-by shooting scene. Also, by driving Romeo's lowrider they are unknowingly carrying an illegal cache of weapons.\n", "labels": "What actors portray unwitting drug couriers?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6bd6b10634e7423c9136090bc51805df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: This camp screwball comedy of errors, that includes many over-the-top stereotypes, is set at Halloween against the backdrop of West Hollywood, California.\nFive friends, interior designer Evan (played by London); interior designer Harvey (played by Cheng); African American stockbroker Dave (played by Meadows); Latino spinning instructor Fredrico (played by Sab\u00e0to); and Emme (played by Ubach), a sassy young woman obsessed with style and classic movies, have all been anticipating the West Hollywood Halloween Parade on Santa Monica Boulevard, which is the biggest and brashest block party of the year. Their annual tradition of joining the festivities in outrageous costumes has become part of local legend.\nIt is the night before Halloween, however, and they still have not decided what to be. Evan and Harvey, who are femme gay boyfriends and business partners, have come up with food-themed sushi costumes that everyone refers to as \"wasabi tuna.\" Emme offers another suggestion \u2014 that they all dress up as gang members.\nThey all opt for the gang theme, but are unable to find the appropriate attire at the local stores. They then decide to seek out real life gang members in order to achieve the authentic, straight-from-the-hood look they want.\nWhile doing interior design work for an extremely wealthy Armenian woman who is actually in the illegal drug trade, Harvey and Evan become unwitting drug couriers. After they are arrested, there is a comic scene at the WeHo sheriff's station with them attempting to talk their way out of trouble.\nDave goes to East L.A., where he comes across a real gang member named Romeo (played by D\u00edaz). He makes a deal with Romeo to loan him his Porsche in exchange for his lowrider gang car. A case of mistaken identity makes a vengeful, rival gang get after them. There is a comic drive-by shooting scene. Also, by driving Romeo's lowrider they are unknowingly carrying an illegal cache of weapons.\n", "labels": "Who  plays a sassy young woman obsessed with style and classic movies?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6bd6b10634e7423c9136090bc51805df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: This camp screwball comedy of errors, that includes many over-the-top stereotypes, is set at Halloween against the backdrop of West Hollywood, California.\nFive friends, interior designer Evan (played by London); interior designer Harvey (played by Cheng); African American stockbroker Dave (played by Meadows); Latino spinning instructor Fredrico (played by Sab\u00e0to); and Emme (played by Ubach), a sassy young woman obsessed with style and classic movies, have all been anticipating the West Hollywood Halloween Parade on Santa Monica Boulevard, which is the biggest and brashest block party of the year. Their annual tradition of joining the festivities in outrageous costumes has become part of local legend.\nIt is the night before Halloween, however, and they still have not decided what to be. Evan and Harvey, who are femme gay boyfriends and business partners, have come up with food-themed sushi costumes that everyone refers to as \"wasabi tuna.\" Emme offers another suggestion \u2014 that they all dress up as gang members.\nThey all opt for the gang theme, but are unable to find the appropriate attire at the local stores. They then decide to seek out real life gang members in order to achieve the authentic, straight-from-the-hood look they want.\nWhile doing interior design work for an extremely wealthy Armenian woman who is actually in the illegal drug trade, Harvey and Evan become unwitting drug couriers. After they are arrested, there is a comic scene at the WeHo sheriff's station with them attempting to talk their way out of trouble.\nDave goes to East L.A., where he comes across a real gang member named Romeo (played by D\u00edaz). He makes a deal with Romeo to loan him his Porsche in exchange for his lowrider gang car. A case of mistaken identity makes a vengeful, rival gang get after them. There is a comic drive-by shooting scene. Also, by driving Romeo's lowrider they are unknowingly carrying an illegal cache of weapons.\n", "labels": "What are the names of the two people who are interior designers?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6bd6b10634e7423c9136090bc51805df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: This camp screwball comedy of errors, that includes many over-the-top stereotypes, is set at Halloween against the backdrop of West Hollywood, California.\nFive friends, interior designer Evan (played by London); interior designer Harvey (played by Cheng); African American stockbroker Dave (played by Meadows); Latino spinning instructor Fredrico (played by Sab\u00e0to); and Emme (played by Ubach), a sassy young woman obsessed with style and classic movies, have all been anticipating the West Hollywood Halloween Parade on Santa Monica Boulevard, which is the biggest and brashest block party of the year. Their annual tradition of joining the festivities in outrageous costumes has become part of local legend.\nIt is the night before Halloween, however, and they still have not decided what to be. Evan and Harvey, who are femme gay boyfriends and business partners, have come up with food-themed sushi costumes that everyone refers to as \"wasabi tuna.\" Emme offers another suggestion \u2014 that they all dress up as gang members.\nThey all opt for the gang theme, but are unable to find the appropriate attire at the local stores. They then decide to seek out real life gang members in order to achieve the authentic, straight-from-the-hood look they want.\nWhile doing interior design work for an extremely wealthy Armenian woman who is actually in the illegal drug trade, Harvey and Evan become unwitting drug couriers. After they are arrested, there is a comic scene at the WeHo sheriff's station with them attempting to talk their way out of trouble.\nDave goes to East L.A., where he comes across a real gang member named Romeo (played by D\u00edaz). He makes a deal with Romeo to loan him his Porsche in exchange for his lowrider gang car. A case of mistaken identity makes a vengeful, rival gang get after them. There is a comic drive-by shooting scene. Also, by driving Romeo's lowrider they are unknowingly carrying an illegal cache of weapons.\n", "labels": "What is the name of the theme Evan and Harvey have come up with?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6bd6b10634e7423c9136090bc51805df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: This camp screwball comedy of errors, that includes many over-the-top stereotypes, is set at Halloween against the backdrop of West Hollywood, California.\nFive friends, interior designer Evan (played by London); interior designer Harvey (played by Cheng); African American stockbroker Dave (played by Meadows); Latino spinning instructor Fredrico (played by Sab\u00e0to); and Emme (played by Ubach), a sassy young woman obsessed with style and classic movies, have all been anticipating the West Hollywood Halloween Parade on Santa Monica Boulevard, which is the biggest and brashest block party of the year. Their annual tradition of joining the festivities in outrageous costumes has become part of local legend.\nIt is the night before Halloween, however, and they still have not decided what to be. Evan and Harvey, who are femme gay boyfriends and business partners, have come up with food-themed sushi costumes that everyone refers to as \"wasabi tuna.\" Emme offers another suggestion \u2014 that they all dress up as gang members.\nThey all opt for the gang theme, but are unable to find the appropriate attire at the local stores. They then decide to seek out real life gang members in order to achieve the authentic, straight-from-the-hood look they want.\nWhile doing interior design work for an extremely wealthy Armenian woman who is actually in the illegal drug trade, Harvey and Evan become unwitting drug couriers. After they are arrested, there is a comic scene at the WeHo sheriff's station with them attempting to talk their way out of trouble.\nDave goes to East L.A., where he comes across a real gang member named Romeo (played by D\u00edaz). He makes a deal with Romeo to loan him his Porsche in exchange for his lowrider gang car. A case of mistaken identity makes a vengeful, rival gang get after them. There is a comic drive-by shooting scene. Also, by driving Romeo's lowrider they are unknowingly carrying an illegal cache of weapons.\n", "labels": "What is the name of the person who plays Romeo?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-6bd6b10634e7423c9136090bc51805df"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1933, Lewis Tater, an aspiring novelist who harbors dreams of becoming the next Zane Grey, decides to leave his family home in Iowa to go to the University of Titan in Nevada so he can soak up the western atmosphere. He arrives to find that there is no university, only a mail order correspondence course scam run by two crooks out of the local hotel. He tries to spend the night at the hotel, but is attacked by one of the men in an attempted robbery. He escapes his attacker, grabs his suitcase, and steals their car to get away, but after awhile   it runs out of gas. He looks in the car trunk, and finds a toolbox containing a revolver and ammunition. Afraid the two crooks are still in pursuit of him, he takes the tool box and his suitcase and walks off into the desert. \nWandering and exhausted, the next morning he happens upon a threadbare film-unit from Tumbleweed Productions grinding out a \"B\" western. Later that day, he catches a lift with the cowboy actors to Los Angeles. After applying for work at Tumbleweed, he is referred by crusty old extra Howard Pike to the Rio, a western-themed restaurant. While washing dishes at the Rio, he is called by Tumbleweed, where Howard mentors him to be an actor. After proving himself as a stuntman, unit manager Kessler offers him a speaking role. Tater then falls in love with spunky script girl Miss Trout. Meanwhile, the crooks trace him to Los Angeles to retrieve the safe-box containing their money that was in the car stolen by Lewis.\n", "labels": "What is the last name of the person who the crooks trace to Los Angeles?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3cb968b1682b469db9e396fca473481f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1933, Lewis Tater, an aspiring novelist who harbors dreams of becoming the next Zane Grey, decides to leave his family home in Iowa to go to the University of Titan in Nevada so he can soak up the western atmosphere. He arrives to find that there is no university, only a mail order correspondence course scam run by two crooks out of the local hotel. He tries to spend the night at the hotel, but is attacked by one of the men in an attempted robbery. He escapes his attacker, grabs his suitcase, and steals their car to get away, but after awhile   it runs out of gas. He looks in the car trunk, and finds a toolbox containing a revolver and ammunition. Afraid the two crooks are still in pursuit of him, he takes the tool box and his suitcase and walks off into the desert. \nWandering and exhausted, the next morning he happens upon a threadbare film-unit from Tumbleweed Productions grinding out a \"B\" western. Later that day, he catches a lift with the cowboy actors to Los Angeles. After applying for work at Tumbleweed, he is referred by crusty old extra Howard Pike to the Rio, a western-themed restaurant. While washing dishes at the Rio, he is called by Tumbleweed, where Howard mentors him to be an actor. After proving himself as a stuntman, unit manager Kessler offers him a speaking role. Tater then falls in love with spunky script girl Miss Trout. Meanwhile, the crooks trace him to Los Angeles to retrieve the safe-box containing their money that was in the car stolen by Lewis.\n", "labels": "Whose car did Lewis Tater steal?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3cb968b1682b469db9e396fca473481f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1933, Lewis Tater, an aspiring novelist who harbors dreams of becoming the next Zane Grey, decides to leave his family home in Iowa to go to the University of Titan in Nevada so he can soak up the western atmosphere. He arrives to find that there is no university, only a mail order correspondence course scam run by two crooks out of the local hotel. He tries to spend the night at the hotel, but is attacked by one of the men in an attempted robbery. He escapes his attacker, grabs his suitcase, and steals their car to get away, but after awhile   it runs out of gas. He looks in the car trunk, and finds a toolbox containing a revolver and ammunition. Afraid the two crooks are still in pursuit of him, he takes the tool box and his suitcase and walks off into the desert. \nWandering and exhausted, the next morning he happens upon a threadbare film-unit from Tumbleweed Productions grinding out a \"B\" western. Later that day, he catches a lift with the cowboy actors to Los Angeles. After applying for work at Tumbleweed, he is referred by crusty old extra Howard Pike to the Rio, a western-themed restaurant. While washing dishes at the Rio, he is called by Tumbleweed, where Howard mentors him to be an actor. After proving himself as a stuntman, unit manager Kessler offers him a speaking role. Tater then falls in love with spunky script girl Miss Trout. Meanwhile, the crooks trace him to Los Angeles to retrieve the safe-box containing their money that was in the car stolen by Lewis.\n", "labels": "Who does Kessler offer a speaking role?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3cb968b1682b469db9e396fca473481f"}, {"text": "Definition: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.\nInput: Passage: In 1933, Lewis Tater, an aspiring novelist who harbors dreams of becoming the next Zane Grey, decides to leave his family home in Iowa to go to the University of Titan in Nevada so he can soak up the western atmosphere. He arrives to find that there is no university, only a mail order correspondence course scam run by two crooks out of the local hotel. He tries to spend the night at the hotel, but is attacked by one of the men in an attempted robbery. He escapes his attacker, grabs his suitcase, and steals their car to get away, but after awhile   it runs out of gas. He looks in the car trunk, and finds a toolbox containing a revolver and ammunition. Afraid the two crooks are still in pursuit of him, he takes the tool box and his suitcase and walks off into the desert. \nWandering and exhausted, the next morning he happens upon a threadbare film-unit from Tumbleweed Productions grinding out a \"B\" western. Later that day, he catches a lift with the cowboy actors to Los Angeles. After applying for work at Tumbleweed, he is referred by crusty old extra Howard Pike to the Rio, a western-themed restaurant. While washing dishes at the Rio, he is called by Tumbleweed, where Howard mentors him to be an actor. After proving himself as a stuntman, unit manager Kessler offers him a speaking role. Tater then falls in love with spunky script girl Miss Trout. Meanwhile, the crooks trace him to Los Angeles to retrieve the safe-box containing their money that was in the car stolen by Lewis.\n", "labels": "Who makes the aspiring novelist believe the University of Titan exists?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3cb968b1682b469db9e396fca473481f"}]