[{"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 his New York City apartment, a young boy named Josh Morrison stares through his telescope at an object falling from the sky. It is a golf-ball-sized metal ball which flies through the window and lands in his fishbowl, quickly draining the water along with the goldfish. He decides to show it at his school's science class presentation.\nSome months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human, controlled by 100 tiny humanoid aliens. Its Captain (also played by Murphy) pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 (Ed Helms), and researcher Number 3 (Gabrielle Union). The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the \"ship\" act like a human. A superstitious cop named Dooley desperately searches for the alien.\nThe aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. After the spaceship is hit by Josh's single mother, Gina Morrison, while driving, the Captain decides to befriend Gina and Josh. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation. After having breakfast with Gina, \"Dave\" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully (Nicholas Berman). With Josh's help, Dave takes the metal ball back from the bully.\n", "labels": "Where was the object needed to drain the Earth's oceans pictured at?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-2f2ee6d0a75d4c80a75922f3e95cd460"}, {"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 his New York City apartment, a young boy named Josh Morrison stares through his telescope at an object falling from the sky. It is a golf-ball-sized metal ball which flies through the window and lands in his fishbowl, quickly draining the water along with the goldfish. He decides to show it at his school's science class presentation.\nSome months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human, controlled by 100 tiny humanoid aliens. Its Captain (also played by Murphy) pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 (Ed Helms), and researcher Number 3 (Gabrielle Union). The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the \"ship\" act like a human. A superstitious cop named Dooley desperately searches for the alien.\nThe aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. After the spaceship is hit by Josh's single mother, Gina Morrison, while driving, the Captain decides to befriend Gina and Josh. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation. After having breakfast with Gina, \"Dave\" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully (Nicholas Berman). With Josh's help, Dave takes the metal ball back from the bully.\n", "labels": "What's the full name of the spaceship?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-2f2ee6d0a75d4c80a75922f3e95cd460"}, {"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 his New York City apartment, a young boy named Josh Morrison stares through his telescope at an object falling from the sky. It is a golf-ball-sized metal ball which flies through the window and lands in his fishbowl, quickly draining the water along with the goldfish. He decides to show it at his school's science class presentation.\nSome months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human, controlled by 100 tiny humanoid aliens. Its Captain (also played by Murphy) pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 (Ed Helms), and researcher Number 3 (Gabrielle Union). The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the \"ship\" act like a human. A superstitious cop named Dooley desperately searches for the alien.\nThe aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. After the spaceship is hit by Josh's single mother, Gina Morrison, while driving, the Captain decides to befriend Gina and Josh. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation. After having breakfast with Gina, \"Dave\" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully (Nicholas Berman). With Josh's help, Dave takes the metal ball back from the bully.\n", "labels": "What is inside of Dave Ming Chang?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-2f2ee6d0a75d4c80a75922f3e95cd460"}, {"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 his New York City apartment, a young boy named Josh Morrison stares through his telescope at an object falling from the sky. It is a golf-ball-sized metal ball which flies through the window and lands in his fishbowl, quickly draining the water along with the goldfish. He decides to show it at his school's science class presentation.\nSome months later a massive fireball crashes into the water near Liberty Island. It is revealed to be a spaceship which resembles a human, controlled by 100 tiny humanoid aliens. Its Captain (also played by Murphy) pilots the spaceship from the command deck located in its head, with the help of his second-in-command Number 2 (Ed Helms), and researcher Number 3 (Gabrielle Union). The spaceship looks very human, and displays numerous superpowers, but the aliens don't know how to make the \"ship\" act like a human. A superstitious cop named Dooley desperately searches for the alien.\nThe aliens need to save their planet, Nil, from an energy crisis. They need salt, which they plan to take by draining the Earth's oceans using the metal ball, so they have to recover the ball. After the spaceship is hit by Josh's single mother, Gina Morrison, while driving, the Captain decides to befriend Gina and Josh. He tells them his name is Dave Ming Chang, based on a quick scan of common Earth names. At Gina's home the crew see their missing ball in a photograph taken at the science presentation. After having breakfast with Gina, \"Dave\" goes to Josh's school where he pretends to be a substitute teacher and eventually is able to talk to Josh alone. Josh tells him that the ball was taken from him by a bully (Nicholas Berman). With Josh's help, Dave takes the metal ball back from the bully.\n", "labels": "What's the full name of the person who hits \"Dave\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-2f2ee6d0a75d4c80a75922f3e95cd460"}, {"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 Chinnerys were wealthy and influential. William Chinnery's father, also named William, owned trading ships and named one Gilwell in 1800. William and Margaret Chinnery initially resided in London, and after three years of marriage and inheriting Gilwell in 1792, they moved to Gilwell in 1793. They soon shocked the populace by renaming Osborne Hall to \"Gilwell Hall\". William Chinnery expanded Gilwell's land holdings through significant purchases over 15 years and, with his wife, transformed it into a country estate with gardens, paths, and statues. Parts of the garden, paths, and dwelling modifications exist into the 21st century. William Chinnery was exposed as the embezzler of a small fortune from the British Treasury where he worked and was dismissed from all his posts on 12 March 1812. Margaret Chinnery was forced to sign over Gilwell Estate to the Exchequer on 2 July 1812.The Chinnery family was prominent enough that members of the English nobility visited often during the 1790s and early 19th century. King George III visited on occasion, and the Prince Regent, who later became George IV, was a regular visitor. George III's seventh son, Prince Adolphus, became a family friend, lived at Gilwell for a while, and tutored their eldest son George.Gilpin Gorst bought the estate in 1815 at public auction, and his son sold it to Thomas Usborne in 1824. When London Bridge was replaced in 1826, Usborne bought pieces of the stone balustrades, which date to 1209, and erected them behind the White House around the Buffalo Lawn. The estate changed ownership more times, but these families did not maintain the property and it fell into disrepair by 1900. Reverend Cranshaw, a local resident, bought the estate in 1911 and was the last owner prior to the Boy Scout Association, as it was then known.\n", "labels": "What is the first name of the person who bought pieces of the stone balustrades from London Bridge?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-deba076150c443e9bf855cc172c8848d"}, {"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 Chinnerys were wealthy and influential. William Chinnery's father, also named William, owned trading ships and named one Gilwell in 1800. William and Margaret Chinnery initially resided in London, and after three years of marriage and inheriting Gilwell in 1792, they moved to Gilwell in 1793. They soon shocked the populace by renaming Osborne Hall to \"Gilwell Hall\". William Chinnery expanded Gilwell's land holdings through significant purchases over 15 years and, with his wife, transformed it into a country estate with gardens, paths, and statues. Parts of the garden, paths, and dwelling modifications exist into the 21st century. William Chinnery was exposed as the embezzler of a small fortune from the British Treasury where he worked and was dismissed from all his posts on 12 March 1812. Margaret Chinnery was forced to sign over Gilwell Estate to the Exchequer on 2 July 1812.The Chinnery family was prominent enough that members of the English nobility visited often during the 1790s and early 19th century. King George III visited on occasion, and the Prince Regent, who later became George IV, was a regular visitor. George III's seventh son, Prince Adolphus, became a family friend, lived at Gilwell for a while, and tutored their eldest son George.Gilpin Gorst bought the estate in 1815 at public auction, and his son sold it to Thomas Usborne in 1824. When London Bridge was replaced in 1826, Usborne bought pieces of the stone balustrades, which date to 1209, and erected them behind the White House around the Buffalo Lawn. The estate changed ownership more times, but these families did not maintain the property and it fell into disrepair by 1900. Reverend Cranshaw, a local resident, bought the estate in 1911 and was the last owner prior to the Boy Scout Association, as it was then known.\n", "labels": "What did Thomas Usborne erect behind the White House around the Buffalo Lawn?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-deba076150c443e9bf855cc172c8848d"}, {"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 first single released from Tragic Kingdom was \"Just a Girl\", which details Gwen Stefani's exasperation with female stereotypes and her father's concerned reaction to her driving home late from her boyfriend's house. It peaked at number 23 on the Billboard Hot 100 chart and number 10 on the Modern Rock Tracks chart. The song also charted on the UK Singles Chart, where its original release peaked at number 38 and its reissue at number three. The second single was \"Spiderwebs\", written about an uninterested woman who is trying to avoid the constant phone calls of a persistent man. It reached number five on the Billboard Modern Rock Tracks chart, number 11 on the Billboard Top 40 Mainstream chart, and number 16 on the UK Singles Chart.The third single was \"Don't Speak\", a ballad about the breakup of Stefani and Kanal's relationship. It peaked at number one on the Billboard Hot 100 Airplay, and maintained that position for 16 consecutive weeks, a record at the time, although it was broken in 1998 by the Goo Goo Dolls' \"Iris\" with 18 weeks. The song was not eligible to chart on the Billboard Hot 100 because no commercial single was released, which was a requirement at the time. The song also peaked at number two on the Modern Rock Tracks chart, at number six on the Adult Contemporary chart, at number one on the Adult Top 40 chart, and at number nine on the Rhythmic Top 40 chart. The song also appeared on several international charts, reaching number one in Australia, Belgium, the Netherlands, New Zealand, Norway, Sweden, Switzerland, and the United Kingdom, number two in Austria and Germany, and number four in Finland and France.\"Excuse Me Mr.\" and \"Sunday Morning\" were released as the album's fourth and fifth singles, respectively. \"Excuse Me Mr.\" reached number 17 on the Billboard Modern Rock Tracks chart and number 11 in New Zealand. \"Sunday Morning\" peaked at number 35 on the Billboard Top 40 Mainstream chart, number 21 in Australia, number 42 in New Zealand, and number 55 in Sweden. Composing the song began when Kanal was having a fight with Stefani, then his girlfriend, through the bathroom door of his parents' house in Yorba Linda, California. Stefani later changed the lyrics to discuss dealing with her breakup with Kanal. \"Happy Now?\" was released as the album's sixth single on September 23, 1997, but failed to chart anywhere. \"Hey You!\" was released as the seventh and final single from Tragic Kingdom; it peaked at number 51 on the Dutch Single Top 100. Despite being a Dutch-only single, a Sophie Muller-directed music video was filmed to promote the single.\n", "labels": "What is the name of the song whose original release peaked at number 38 and its reissue at number three on the UK Singles chart?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-093ec8e5dc80493fae292ef8205d0b8c"}, {"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 first single released from Tragic Kingdom was \"Just a Girl\", which details Gwen Stefani's exasperation with female stereotypes and her father's concerned reaction to her driving home late from her boyfriend's house. It peaked at number 23 on the Billboard Hot 100 chart and number 10 on the Modern Rock Tracks chart. The song also charted on the UK Singles Chart, where its original release peaked at number 38 and its reissue at number three. The second single was \"Spiderwebs\", written about an uninterested woman who is trying to avoid the constant phone calls of a persistent man. It reached number five on the Billboard Modern Rock Tracks chart, number 11 on the Billboard Top 40 Mainstream chart, and number 16 on the UK Singles Chart.The third single was \"Don't Speak\", a ballad about the breakup of Stefani and Kanal's relationship. It peaked at number one on the Billboard Hot 100 Airplay, and maintained that position for 16 consecutive weeks, a record at the time, although it was broken in 1998 by the Goo Goo Dolls' \"Iris\" with 18 weeks. The song was not eligible to chart on the Billboard Hot 100 because no commercial single was released, which was a requirement at the time. The song also peaked at number two on the Modern Rock Tracks chart, at number six on the Adult Contemporary chart, at number one on the Adult Top 40 chart, and at number nine on the Rhythmic Top 40 chart. The song also appeared on several international charts, reaching number one in Australia, Belgium, the Netherlands, New Zealand, Norway, Sweden, Switzerland, and the United Kingdom, number two in Austria and Germany, and number four in Finland and France.\"Excuse Me Mr.\" and \"Sunday Morning\" were released as the album's fourth and fifth singles, respectively. \"Excuse Me Mr.\" reached number 17 on the Billboard Modern Rock Tracks chart and number 11 in New Zealand. \"Sunday Morning\" peaked at number 35 on the Billboard Top 40 Mainstream chart, number 21 in Australia, number 42 in New Zealand, and number 55 in Sweden. Composing the song began when Kanal was having a fight with Stefani, then his girlfriend, through the bathroom door of his parents' house in Yorba Linda, California. Stefani later changed the lyrics to discuss dealing with her breakup with Kanal. \"Happy Now?\" was released as the album's sixth single on September 23, 1997, but failed to chart anywhere. \"Hey You!\" was released as the seventh and final single from Tragic Kingdom; it peaked at number 51 on the Dutch Single Top 100. Despite being a Dutch-only single, a Sophie Muller-directed music video was filmed to promote the single.\n", "labels": "What is the name of the song whose composition began began when Kanal was having a fight with Stefani?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-093ec8e5dc80493fae292ef8205d0b8c"}, {"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 first single released from Tragic Kingdom was \"Just a Girl\", which details Gwen Stefani's exasperation with female stereotypes and her father's concerned reaction to her driving home late from her boyfriend's house. It peaked at number 23 on the Billboard Hot 100 chart and number 10 on the Modern Rock Tracks chart. The song also charted on the UK Singles Chart, where its original release peaked at number 38 and its reissue at number three. The second single was \"Spiderwebs\", written about an uninterested woman who is trying to avoid the constant phone calls of a persistent man. It reached number five on the Billboard Modern Rock Tracks chart, number 11 on the Billboard Top 40 Mainstream chart, and number 16 on the UK Singles Chart.The third single was \"Don't Speak\", a ballad about the breakup of Stefani and Kanal's relationship. It peaked at number one on the Billboard Hot 100 Airplay, and maintained that position for 16 consecutive weeks, a record at the time, although it was broken in 1998 by the Goo Goo Dolls' \"Iris\" with 18 weeks. The song was not eligible to chart on the Billboard Hot 100 because no commercial single was released, which was a requirement at the time. The song also peaked at number two on the Modern Rock Tracks chart, at number six on the Adult Contemporary chart, at number one on the Adult Top 40 chart, and at number nine on the Rhythmic Top 40 chart. The song also appeared on several international charts, reaching number one in Australia, Belgium, the Netherlands, New Zealand, Norway, Sweden, Switzerland, and the United Kingdom, number two in Austria and Germany, and number four in Finland and France.\"Excuse Me Mr.\" and \"Sunday Morning\" were released as the album's fourth and fifth singles, respectively. \"Excuse Me Mr.\" reached number 17 on the Billboard Modern Rock Tracks chart and number 11 in New Zealand. \"Sunday Morning\" peaked at number 35 on the Billboard Top 40 Mainstream chart, number 21 in Australia, number 42 in New Zealand, and number 55 in Sweden. Composing the song began when Kanal was having a fight with Stefani, then his girlfriend, through the bathroom door of his parents' house in Yorba Linda, California. Stefani later changed the lyrics to discuss dealing with her breakup with Kanal. \"Happy Now?\" was released as the album's sixth single on September 23, 1997, but failed to chart anywhere. \"Hey You!\" was released as the seventh and final single from Tragic Kingdom; it peaked at number 51 on the Dutch Single Top 100. Despite being a Dutch-only single, a Sophie Muller-directed music video was filmed to promote the single.\n", "labels": "Whose parents' house is in Yorba Linda, California?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-093ec8e5dc80493fae292ef8205d0b8c"}, {"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 first single released from Tragic Kingdom was \"Just a Girl\", which details Gwen Stefani's exasperation with female stereotypes and her father's concerned reaction to her driving home late from her boyfriend's house. It peaked at number 23 on the Billboard Hot 100 chart and number 10 on the Modern Rock Tracks chart. The song also charted on the UK Singles Chart, where its original release peaked at number 38 and its reissue at number three. The second single was \"Spiderwebs\", written about an uninterested woman who is trying to avoid the constant phone calls of a persistent man. It reached number five on the Billboard Modern Rock Tracks chart, number 11 on the Billboard Top 40 Mainstream chart, and number 16 on the UK Singles Chart.The third single was \"Don't Speak\", a ballad about the breakup of Stefani and Kanal's relationship. It peaked at number one on the Billboard Hot 100 Airplay, and maintained that position for 16 consecutive weeks, a record at the time, although it was broken in 1998 by the Goo Goo Dolls' \"Iris\" with 18 weeks. The song was not eligible to chart on the Billboard Hot 100 because no commercial single was released, which was a requirement at the time. The song also peaked at number two on the Modern Rock Tracks chart, at number six on the Adult Contemporary chart, at number one on the Adult Top 40 chart, and at number nine on the Rhythmic Top 40 chart. The song also appeared on several international charts, reaching number one in Australia, Belgium, the Netherlands, New Zealand, Norway, Sweden, Switzerland, and the United Kingdom, number two in Austria and Germany, and number four in Finland and France.\"Excuse Me Mr.\" and \"Sunday Morning\" were released as the album's fourth and fifth singles, respectively. \"Excuse Me Mr.\" reached number 17 on the Billboard Modern Rock Tracks chart and number 11 in New Zealand. \"Sunday Morning\" peaked at number 35 on the Billboard Top 40 Mainstream chart, number 21 in Australia, number 42 in New Zealand, and number 55 in Sweden. Composing the song began when Kanal was having a fight with Stefani, then his girlfriend, through the bathroom door of his parents' house in Yorba Linda, California. Stefani later changed the lyrics to discuss dealing with her breakup with Kanal. \"Happy Now?\" was released as the album's sixth single on September 23, 1997, but failed to chart anywhere. \"Hey You!\" was released as the seventh and final single from Tragic Kingdom; it peaked at number 51 on the Dutch Single Top 100. Despite being a Dutch-only single, a Sophie Muller-directed music video was filmed to promote the single.\n", "labels": "What is the name of the single for which a Sophie Muller-directed music video was filmed to promote?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-093ec8e5dc80493fae292ef8205d0b8c"}, {"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 were many prominent women at court during and after Wu's reign, including Shangguan Wan'er (664\u2013710), a poet, writer, and trusted official in charge of Wu's private office. In 706 the wife of Emperor Zhongzong of Tang, Empress Wei (d. 710), persuaded her husband to staff government offices with his sister and her daughters, and in 709 requested that he grant women the right to bequeath hereditary privileges to their sons (which before was a male right only). Empress Wei eventually poisoned Zhongzong, whereupon she placed his fifteen-year-old son upon the throne in 710. Two weeks later, Li Longji (the later Emperor Xuanzong) entered the palace with a few followers and slew Empress Wei and her faction. He then installed his father Emperor Ruizong (r. 710\u2013712) on the throne. Just as Emperor Zhongzong was dominated by Empress Wei, so too was Ruizong dominated by Princess Taiping. This was finally ended when Princess Taiping's coup failed in 712 (she later hanged herself in 713) and Emperor Ruizong abdicated to Emperor Xuanzong.\nDuring the 44-year reign of Emperor Xuanzong, the Tang dynasty reached its height, a golden age with low economic inflation and a toned down lifestyle for the imperial court. Seen as a progressive and benevolent ruler, Xuanzong even abolished the death penalty in the year 747; all executions had to be approved beforehand by the emperor himself (these were relatively few, considering that there were only 24 executions in the year 730). Xuanzong bowed to the consensus of his ministers on policy decisions and made efforts to staff government ministries fairly with different political factions. His staunch Confucian chancellor Zhang Jiuling (673\u2013740) worked to reduce deflation and increase the money supply by upholding the use of private coinage, while his aristocratic and technocratic successor Li Linfu (d. 753) favored government monopoly over the issuance of coinage. After 737 most of Xuanzong's confidence rested in his long-standing chancellor Li Linfu, who championed a more aggressive foreign policy employing non-Chinese generals. This policy ultimately created the conditions for a massive rebellion against Xuanzong.\n", "labels": "What is the name of the Emperor who staunch Confucian chancellor worked to reduce deflation and increase the money supply?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-4fc51f5557634193a18ebd58239da216"}, {"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 24-year-old divorcee, Betty Preisser, a receptionist for a clothing manufacturer, takes some office work home which her boss, widower Jerry Kingsley, a man of 56, drops by to pick up. Professional rather than personal acquaintances, Betty tells Jerry of her loveless marriage to George, a musician. Jerry has a married daughter, Lillian, about her age, and a spinster sister, Evelyn, who is very protective of him.\nJerry works up the nerve to invite Betty to dinner. He meets Betty's mother, Mrs. Mueller, and sister Alice, who share the apartment with Betty. Their relationship grows, but she professes to be reluctant to date her employer. Jerry wonders if their age difference is really behind this reluctance. Despite this, a May\u2013December relationship between them develops.\nFemale family members of both of them strongly disapprove. Mrs. Mueller calls him a \"dirty old man,\" while Jerry's sister calls Betty a \"fortune hunter\" and him a fool, although Lillian's husband Jack offers his congratulations, earning scorn from his wife and causing them to quarrel. A colleague, Walter Lockman, trapped in a long and unhappy marriage, urges Jerry to do whatever it takes to find true happiness.\nGeorge returns to town and tries to persuade Betty to return to him. In a moment of weakness, they have a romantic tryst. Betty regrets it and explains to Jerry that it meant nothing to her emotionally, but he feels humiliated. His sister observes how depressed Jerry has become when he returns home. At his lowest ebb, he learns that Walter has taken an overdose of pills in a likely suicide attempt. Jerry sees it as a sign to seize the joy in life while he still can. He returns to Betty's waiting arms.\n", "labels": "What is the name of the person that Betty Preisser is married to?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-879c954c2deb475f8062afcdc717a57c"}, {"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 March 24, 1958, Presley was drafted into the U.S. Army as a private at Fort Chaffee, near Fort Smith, Arkansas. His arrival was a major media event. Hundreds of people descended on Presley as he stepped from the bus; photographers then accompanied him into the fort. Presley announced that he was looking forward to his military stint, saying that he did not want to be treated any differently from anyone else: \"The Army can do anything it wants with me.\"Presley commenced basic training at Fort Hood, Texas. During a two-week leave in early June, he recorded five songs in Nashville. In early August, his mother was diagnosed with hepatitis, and her condition rapidly worsened. Presley, granted emergency leave to visit her, arrived in Memphis on August 12. Two days later, she died of heart failure, aged 46. Presley was devastated; their relationship had remained extremely close\u2014even into his adulthood, they would use baby talk with each other and Presley would address her with pet names.After training, Presley joined the 3rd Armored Division in Friedberg, Germany, on October 1. While on maneuvers, Presley was introduced to amphetamines by a sergeant. He became \"practically evangelical about their benefits\", not only for energy but for \"strength\" and weight loss as well, and many of his friends in the outfit joined him in indulging. The Army also introduced Presley to karate, which he studied seriously, training with J\u00fcrgen Seydel. It became a lifelong interest, which he later included in his live performances. Fellow soldiers have attested to Presley's wish to be seen as an able, ordinary soldier, despite his fame, and to his generosity. He donated his Army pay to charity, purchased TV sets for the base, and bought an extra set of fatigues for everyone in his outfit.While in Friedberg, Presley met 14-year-old Priscilla Beaulieu. They would eventually marry after a seven-and-a-half-year courtship. In her autobiography, Priscilla said that Presley was concerned that his 24-month spell as a GI would ruin his career. In Special Services, he would have been able to give musical performances and remain in touch with the public, but Parker had convinced him that to gain popular respect, he should serve his country as a regular soldier. Media reports echoed Presley's concerns about his career, but RCA producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared for his two-year hiatus. Armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases. Between his induction and discharge, Presley had ten top 40 hits, including \"Wear My Ring Around Your Neck\", the best-selling \"Hard Headed Woman\", and \"One Night\" in 1958, and \"(Now and Then There's) A Fool Such as I\" and the number-one \"A Big Hunk o' Love\" in 1959. RCA also generated four albums compiling old material during this period, most successfully Elvis' Golden Records (1958), which hit number three on the LP chart.\n", "labels": "What is the first name of the person whose mother was diagnosed with hepatitis?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ab0cd74b4eac411e9de04b0a57de0bdb"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the last name of the composer whose lack of lighthearted works Harding found regrettable?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the first name of the person who said Saint-Sa\u00ebns's operas were \"a bridge between Meyerbeer and the serious French operas of the early 1890s?\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the last name of the person who drew the effective use of the chorus in the action of a piece from Meyerbeer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the full name of the person in whose view the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the first name of the person who rates Saint-Sa\u00ebns's operas as important in the history of French opera, and as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the name of the person who drew the effective use of the chorus in the action of a piece from Meyerbeer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the name of the person who, for Henry VIII, included Tudor music he had researched in London?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the name of the person who used an oriental pentatonic scale in La princesse jaune?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the first name of the person whose view contends that operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What were the names of the five models Saint-Sa\u00ebns forged his own style from?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the name of the person who drew the effective use of chorus in the action of a piece from Meyerbeer?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fr\u00e9d\u00e9gonde, Saint-Sa\u00ebns wrote twelve operas, two of which are op\u00e9ras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Sa\u00ebns \"lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior\". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: \"Saint-Sa\u00ebns obviously had no time for Massenet's histrionics\". Saint-Sa\u00ebns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan \"with a light French touch\".Although most of Saint-Sa\u00ebns's operas have remained neglected, Crichton rates them as important in the history of French opera, as \"a bridge between Meyerbeer and the serious French operas of the early 1890s\". In his view, the operatic scores of Saint-Sa\u00ebns have, in general, the strengths and weaknesses of the rest of his music \u2013 \"lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable.\" Stylistically, Saint-Sa\u00ebns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Sa\u00ebns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Sa\u00ebns \"certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.\".\n", "labels": "What is the name of the person who used an oriental pentatonic scale in La princesse jaune?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-5bf1d0a59dd9414fab1b7b08be47189c"}, {"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: Jay Pritzker Pavilion cost $60 million, a quarter of which came from the Pritzker family donation. It includes 4,000 fixed seats and a 95,000-square-foot (8,800 m2) Great Lawn that can accommodate an additional 7,000 people. The pavilion was built above and behind the Harris Theater, which has the benefit that Millennium Park's indoor and outdoor performance venues share a loading dock, rehearsal rooms and other backstage facilities.The bandshell's brushed stainless steel headdress frames the 120-foot (37 m) proscenium theatre; the main stage can accommodate a full orchestra and chorus of 150 members. The bandshell is connected to a trellis of interlocking crisscrossing steel pipes that support the innovative sound system, which mimics indoor concert hall acoustics. The pavilion has restrooms on both its east and west sides. It is one of two features in the park to include accessible restrooms; the other is McCormick Tribune Plaza & Ice Rink. The majority of the park's 123 toilet fixtures (78 for women, 45 for men) are located in underground arcades to the east and west of the pavilion, with the ones on the east being heated for winter use.Millennium Park is built on top of a large underground parking garage. Construction started before the park's design was completed, and in January 2000, 17 additional caissons had to be added to the partially built garage to support the weight of Gehry's pavilion. In April the tops of all these caissons had to be rebuilt for changes in the pavilion's foundation.U.S. Equities Realty was responsible for negotiating contracts with Gehry and all contractors. Walsh Construction and its subcontractors were hired to execute three elements of Gehry's design: the structural steel supporting the stainless steel ribbons, the ribbons themselves and the trellis and associated sound system.\n", "labels": "What was built above and behind the Harris Theater?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-cf4d905677284648ad3be3ac4cf6bee5"}, {"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: Jay Pritzker Pavilion cost $60 million, a quarter of which came from the Pritzker family donation. It includes 4,000 fixed seats and a 95,000-square-foot (8,800 m2) Great Lawn that can accommodate an additional 7,000 people. The pavilion was built above and behind the Harris Theater, which has the benefit that Millennium Park's indoor and outdoor performance venues share a loading dock, rehearsal rooms and other backstage facilities.The bandshell's brushed stainless steel headdress frames the 120-foot (37 m) proscenium theatre; the main stage can accommodate a full orchestra and chorus of 150 members. The bandshell is connected to a trellis of interlocking crisscrossing steel pipes that support the innovative sound system, which mimics indoor concert hall acoustics. The pavilion has restrooms on both its east and west sides. It is one of two features in the park to include accessible restrooms; the other is McCormick Tribune Plaza & Ice Rink. The majority of the park's 123 toilet fixtures (78 for women, 45 for men) are located in underground arcades to the east and west of the pavilion, with the ones on the east being heated for winter use.Millennium Park is built on top of a large underground parking garage. Construction started before the park's design was completed, and in January 2000, 17 additional caissons had to be added to the partially built garage to support the weight of Gehry's pavilion. In April the tops of all these caissons had to be rebuilt for changes in the pavilion's foundation.U.S. Equities Realty was responsible for negotiating contracts with Gehry and all contractors. Walsh Construction and its subcontractors were hired to execute three elements of Gehry's design: the structural steel supporting the stainless steel ribbons, the ribbons themselves and the trellis and associated sound system.\n", "labels": "What structure had construction start before the park's design was completed?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-cf4d905677284648ad3be3ac4cf6bee5"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person whose father was born at Shorncliffe Army Camp?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person whose father was from Doncaster?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person whose father worked as a promotions officer for the children's charity Barnardo's?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person whose voice was considered \"adequate\" by the school choir?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person who demonstrated above-average abilities in playing the recorder?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person whose dancing during the newly-introduced music and movement classes was strikingly imaginative?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Bowie was born David Robert Jones on 8 January 1947 in Brixton, London. His mother, Margaret Mary \"Peggy\" (n\u00e9e Burns; 2 October 1913 \u2013 2 April 2001), was born at Shorncliffe Army Camp near Cheriton, Kent. Her paternal grandparents were Irish immigrants who had settled in Manchester. She worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton \"John\" Jones (21 November 1912 \u2013 5 August 1969), was from Doncaster, and worked as a promotions officer for the children's charity Barnardo's. The family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child\u2014and a defiant brawler.In 1953, Bowie moved with his family to Bromley. Two years later, he started attending Burnt Ash Junior School. His voice was considered \"adequate\" by the school choir, and he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations \"vividly artistic\" and his poise \"astonishing\" for a child. The same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, and Little Richard. Upon listening to Little Richard's song \"Tutti Frutti\", Bowie would later say that he had \"heard God\".Bowie was first impressed with Presley when he saw his cousin dance to \"Hound Dog\". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, and had started to play the piano; meanwhile, his stage presentation of numbers by both Presley and Chuck Berry\u2014complete with gyrations in tribute to the original artists\u2014to his local Wolf Cub group was described as \"mesmerizing ... like someone from another planet\". After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School.It was an unusual technical school, as biographer Christopher Sandford wrote:.\n", "labels": "What is the real name of the person whose teachers called his interpretations \"vividly artistic\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-32a1411152514ec3af1147f4ed6e0435"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "How many people survived the Universal Colliery mine disaster?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "What got trapped and caused Universal Colliery to be evacuated?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "When did funerals for the 81 victims of the Universal Colliery disaster start?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "Who was in charge of the enquiry that wrote the report on the Universal Colliery disaster?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "Who was exiting Universal Colliery when the explosions occurred?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "What was a small farming hamlet before William Lewis's mine was developed?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Senghenydd\u2014Senghennydd in Welsh\u2014is situated at the northern end of the Aber Valley, approximately four miles (6.4 km) north-west of Caerphilly and eleven miles (18 km) north-west of Cardiff. When geological surveys for coal began in 1890 it was a farming hamlet of around 100 people. Coal was found, and sinking of the first mineshaft for Universal Colliery\u2014which was owned and developed by William Lewis\u2014began in 1891; the first coal was extracted in 1896. The colliery's two shafts were both 1,950 feet (590 m) deep, the downcast Lancaster and the upcast York. Development of the pit coincided with the Boer War, and sectors of the underground workings were named after key places in the war, such as Pretoria, or the lifting of the sieges at Ladysmith, Mafeking and Kimberley.\nSouth Wales miners, including those at Universal, were paid on a rate determined by the Sliding Scale Committee, which fixed wages on the price coal fetched at market. When the price of coal slumped in the late 1890s, low wages led to industrial unrest and, in 1898, a strike that the men at Universal joined at the end of April. The Monmouthshire and South Wales Coal Owners' Association refused to replace the scale, and the strike ended on 1 September with some small concessions granted by the owners. The colliery resumed production and in 1899 was producing 3,000 long tons (3,400 short tons) of coal a week.The industrial historians Helen and Baron Duckham consider Universal Colliery to have been \"an unlucky mine\". At approximately 5:00 am on 24 May 1901 three underground explosions occurred as the night shift was exiting the pit. Because the explosion damaged the pit winding gear, it took time to clear the debris from the pithead to allow rescuers to begin work. They descended at 11:00 am and rescued one man, an ostler, found alongside the corpse of the horse he was tending. There were no other survivors and 81 men died. Although the funerals for the victims started four days later, the rescue and recovery operations lasted for six weeks.The Mines Inspectorate began an enquiry, chaired by the mining engineer William Galloway. The report was published on 15 July. It stated that the mine was hot with high levels of coal dust present. The method used to load coal onto underground trucks created quantities of dust, which had aggravated a small explosion and created a chain reaction of related explosions throughout the workings. An inquest held in October concluded that various safety precautions had not been followed, and had the mine been sufficiently watered it would have reduced the coal dust held in the air. The colliery had further problems in October 1910 when a heavy roof fall in the Mafeking return released trapped firedamp, which caused the mine to be temporarily evacuated.\n", "labels": "What mine's shafts were both 590 meters deep?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3053f495783d4483a3820657ead3deff"}, {"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: Stephen F. Austin was commander of the existing unpaid volunteer Texian army, and at his urging the Consultation of 1835 convened in San Felipe de Austin on November 3 of that year. Their creation of a provisional government based on the 1824 constitution established the General Council as a legislative body with each municipality allotted one representative. Henry Smith was elected governor without any clearly defined powers of the position. Sam Houston was in attendance as the elected representative from Nacogdoches, and also served as commander of the Nacogdoches militia.  Edward Burleson replaced Austin as commander of the volunteer army on December 1.\nOn December 10, the General Council called new elections to choose delegates to determine the fate of the region. The Consultation approved the creation of the Provisional Army of Texas, a paid force of 2,500 troops. Houston was named commander-in-chief of the new army and issued a recruitment Proclamation on December 12.\nThe volunteer army under Burleson disbanded on December 20.Harrisburg was designated the seat of a deeply divided provisional government on December 30. Most of the General Council wanted to remain part of Mexico, but with the restoration of the 1824 constitution.  Governor Smith supported the opposing faction who advocated for complete independence. Smith dissolved the General Council on January 10, 1836, but it was unclear if he had the power to do that. He was impeached on January 11. The power struggle effectively shut down the government.The Convention of 1836 met at Washington-on-the-Brazos on March 1. The following day, the 59 delegates created the Republic of Texas by affixing their signatures to the Texas Declaration of Independence. Houston's military authority was expanded on March 4, to include \"the land forces of the Texian army both Regular, Volunteer, and Militia.\" The delegates elected the Republic's ad interim government on March 16, with David G. Burnet as president, Lorenzo de Zavala as vice president, Samuel P. Carson as secretary of state, Thomas Jefferson Rusk as secretary of war, Bailey Hardeman as secretary of the treasury, Robert Potter as secretary of the navy, and David Thomas as attorney general.\n", "labels": "What is the first name of the person Edward Burleson replaced?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-1ba9b985edae4eccb2f1ae80088fe0fd"}, {"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: Stephen F. Austin was commander of the existing unpaid volunteer Texian army, and at his urging the Consultation of 1835 convened in San Felipe de Austin on November 3 of that year. Their creation of a provisional government based on the 1824 constitution established the General Council as a legislative body with each municipality allotted one representative. Henry Smith was elected governor without any clearly defined powers of the position. Sam Houston was in attendance as the elected representative from Nacogdoches, and also served as commander of the Nacogdoches militia.  Edward Burleson replaced Austin as commander of the volunteer army on December 1.\nOn December 10, the General Council called new elections to choose delegates to determine the fate of the region. The Consultation approved the creation of the Provisional Army of Texas, a paid force of 2,500 troops. Houston was named commander-in-chief of the new army and issued a recruitment Proclamation on December 12.\nThe volunteer army under Burleson disbanded on December 20.Harrisburg was designated the seat of a deeply divided provisional government on December 30. Most of the General Council wanted to remain part of Mexico, but with the restoration of the 1824 constitution.  Governor Smith supported the opposing faction who advocated for complete independence. Smith dissolved the General Council on January 10, 1836, but it was unclear if he had the power to do that. He was impeached on January 11. The power struggle effectively shut down the government.The Convention of 1836 met at Washington-on-the-Brazos on March 1. The following day, the 59 delegates created the Republic of Texas by affixing their signatures to the Texas Declaration of Independence. Houston's military authority was expanded on March 4, to include \"the land forces of the Texian army both Regular, Volunteer, and Militia.\" The delegates elected the Republic's ad interim government on March 16, with David G. Burnet as president, Lorenzo de Zavala as vice president, Samuel P. Carson as secretary of state, Thomas Jefferson Rusk as secretary of war, Bailey Hardeman as secretary of the treasury, Robert Potter as secretary of the navy, and David Thomas as attorney general.\n", "labels": "What was the first name of the person who  supported the opposing faction who advocated for complete independence?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-1ba9b985edae4eccb2f1ae80088fe0fd"}, {"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: Stephen F. Austin was commander of the existing unpaid volunteer Texian army, and at his urging the Consultation of 1835 convened in San Felipe de Austin on November 3 of that year. Their creation of a provisional government based on the 1824 constitution established the General Council as a legislative body with each municipality allotted one representative. Henry Smith was elected governor without any clearly defined powers of the position. Sam Houston was in attendance as the elected representative from Nacogdoches, and also served as commander of the Nacogdoches militia.  Edward Burleson replaced Austin as commander of the volunteer army on December 1.\nOn December 10, the General Council called new elections to choose delegates to determine the fate of the region. The Consultation approved the creation of the Provisional Army of Texas, a paid force of 2,500 troops. Houston was named commander-in-chief of the new army and issued a recruitment Proclamation on December 12.\nThe volunteer army under Burleson disbanded on December 20.Harrisburg was designated the seat of a deeply divided provisional government on December 30. Most of the General Council wanted to remain part of Mexico, but with the restoration of the 1824 constitution.  Governor Smith supported the opposing faction who advocated for complete independence. Smith dissolved the General Council on January 10, 1836, but it was unclear if he had the power to do that. He was impeached on January 11. The power struggle effectively shut down the government.The Convention of 1836 met at Washington-on-the-Brazos on March 1. The following day, the 59 delegates created the Republic of Texas by affixing their signatures to the Texas Declaration of Independence. Houston's military authority was expanded on March 4, to include \"the land forces of the Texian army both Regular, Volunteer, and Militia.\" The delegates elected the Republic's ad interim government on March 16, with David G. Burnet as president, Lorenzo de Zavala as vice president, Samuel P. Carson as secretary of state, Thomas Jefferson Rusk as secretary of war, Bailey Hardeman as secretary of the treasury, Robert Potter as secretary of the navy, and David Thomas as attorney general.\n", "labels": "What is the first name of the person who was impeached on January 11?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-1ba9b985edae4eccb2f1ae80088fe0fd"}, {"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 332 BC, Alexander the Great conquered Egypt with little resistance from the Persians and was welcomed by the Egyptians as a deliverer. The administration established by Alexander's successors, the Macedonian Ptolemaic Kingdom, was based on an Egyptian model and based in the new capital city of Alexandria. The city showcased the power and prestige of Hellenistic rule, and became a seat of learning and culture, centered at the famous Library of Alexandria. The Lighthouse of Alexandria lit the way for the many ships that kept trade flowing through the city\u2014as the Ptolemies made commerce and revenue-generating enterprises, such as papyrus manufacturing, their top priority.Hellenistic culture did not supplant native Egyptian culture, as the Ptolemies supported time-honored traditions in an effort to secure the loyalty of the populace. They built new temples in Egyptian style, supported traditional cults, and portrayed themselves as pharaohs. Some traditions merged, as Greek and Egyptian gods were syncretized into composite deities, such as Serapis, and classical Greek forms of sculpture influenced traditional Egyptian motifs. Despite their efforts to appease the Egyptians, the Ptolemies were challenged by native rebellion, bitter family rivalries, and the powerful mob of Alexandria that formed after the death of Ptolemy IV. In addition, as Rome relied more heavily on imports of grain from Egypt, the Romans took great interest in the political situation in the country. Continued Egyptian revolts, ambitious politicians, and powerful opponents from the Near East made this situation unstable, leading Rome to send forces to secure the country as a province of its empire.\n", "labels": "What is the full name of the person whose successors were the Macedonian Ptolemaic Kingdom?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-d38495c4dabc45a8a35c92bb3951180b"}, {"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 \"ship portrait\" had a long history in maritime art, from medieval seals and coins to early engravings in the 15th century, and the plain side-on view of a ship under sail, often with no crew shown, was well established as the most effective way of recording the build of vessels.  The Anthony Roll belongs to a genre of works that was intended to serve a dual role for the king and the military leadership: as reasonably informative overviews listing details of ships or strategic areas of coastlines they could be studied to determine strengths and weaknesses, and as boastful and lively depictions of Tudor military might they could be used to flatter the king, impress courtiers and impose martial authority on foreign ambassadors. Contemporary maps, or \"plats\", were routinely decorated with detailed pictures of ships, to mark bodies of water as much as to liven up the scenes. Such maps were common at the time, and were even embellished by artists if deemed too simple or drab. The navy was expanded during Henry VIII's reign, and he was known to take an interest in warships, as can be seen by the epic painting Embarkation of Henry VIII at Dover which portrayed, if rather unrealistically, the ships that took the 29-year-old king to the summit meeting with Francis I of France at the Field of the Cloth of Gold in 1520. This painting, recently dated to around 1545, has also been suggested as a likely source of inspiration to Anthony for his illustrations.There are three such plats depicting naval actions and expeditions that are attributed to Anthony: the route of Anne of Cleves from the Low Countries to England (1539), a French attack on a coastal fort (date unknown) and a French raid on Brighton (July 1545). The design of the ships in these paintings, especially that of the Brighton raid, closely match those in the rolls. It is not known exactly when work on the rolls began nor when it was finished. It is only certain that it was presented to the king the year it was dated, 1546. The inclusion of the Mary Rose that sank at the Battle of the Solent 19 July 1545 does not mean it was necessarily started before this date, since it was still considered possible that she could be raised even as late as 1549. The galleasses, the Antelope, Hart, Bull and Tiger, all present in the second roll, were still being built around March 1546, and the Hart was not at sea until October that year. At the same time the Galley Blanchard, captured from the French 18 May 1546 is not included.\n", "labels": "What is the name of the person for whose illustrations it is suggested that the Embarkation of Henry VIII at Dover likely served as a source of inspiration?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-30618fd47c8340ccb9f657b376ac1594"}, {"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: Leonard Harrison State Park is a 585-acre (237 ha) Pennsylvania state park in Tioga County, Pennsylvania, in the United States. It is on the east rim of the Pine Creek Gorge, also known as the Grand Canyon of Pennsylvania, which is 800 feet (240 m) deep and nearly 4,000 feet (1,200 m) across here. It also serves as headquarters for the adjoining Colton Point State Park, its sister park on the west rim of the gorge. Leonard Harrison State Park is known for its views of the Pine Creek Gorge, and offers hiking, fishing and hunting, whitewater boating, and camping. The park is in Shippen and Delmar Townships, 10 miles (16 km) west of Wellsboro at the western terminus of Pennsylvania Route 660.\nPine Creek flows through the park and has carved the gorge through five major rock formations from the Devonian and Carboniferous periods. Native Americans once used the Pine Creek Path along the creek. The path was later used by lumbermen, and then became the course of a railroad from 1883 to 1988. Since 1996, the 63.4-mile (102.0 km) Pine Creek Rail Trail has followed the creek through the park. The Pine Creek Gorge was named a National Natural Landmark in 1968 and is also protected as a Pennsylvania State Natural Area and Important Bird Area, while Pine Creek is a Pennsylvania Scenic and Wild River. The gorge is home to many species of plants and animals, some of which have been reintroduced to the area.\nAlthough the Pine Creek Gorge was clearcut in the 19th and early 20th centuries, it is now covered by second growth forest, thanks in part to the conservation efforts of the Civilian Conservation Corps (CCC) in the 1930s. The park is named for Leonard Harrison, a Wellsboro lumberman who cut the timber there, then established the park, which he donated to the state in 1922. The CCC improved the park and built many of its original facilities. Since a successful publicity campaign in 1936, the park has been a popular tourist destination and attracts hundreds of thousands of visitors each year. Leonard Harrison State Park was chosen by the Pennsylvania Department of Conservation and Natural Resources (DCNR) Bureau of Parks for its \"25 Must-See Pennsylvania State Parks\" list, which praised its \"spectacular vistas and a fabulous view of Pine Creek Gorge, also known as Pennsylvania's Grand Canyon\".\n", "labels": "What is the full name of the gorge on whose west rim is the sister park of Leonard Harrison State Park?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f969361481924a03a8a0927f42a6c14f"}, {"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: Leonard Harrison State Park is a 585-acre (237 ha) Pennsylvania state park in Tioga County, Pennsylvania, in the United States. It is on the east rim of the Pine Creek Gorge, also known as the Grand Canyon of Pennsylvania, which is 800 feet (240 m) deep and nearly 4,000 feet (1,200 m) across here. It also serves as headquarters for the adjoining Colton Point State Park, its sister park on the west rim of the gorge. Leonard Harrison State Park is known for its views of the Pine Creek Gorge, and offers hiking, fishing and hunting, whitewater boating, and camping. The park is in Shippen and Delmar Townships, 10 miles (16 km) west of Wellsboro at the western terminus of Pennsylvania Route 660.\nPine Creek flows through the park and has carved the gorge through five major rock formations from the Devonian and Carboniferous periods. Native Americans once used the Pine Creek Path along the creek. The path was later used by lumbermen, and then became the course of a railroad from 1883 to 1988. Since 1996, the 63.4-mile (102.0 km) Pine Creek Rail Trail has followed the creek through the park. The Pine Creek Gorge was named a National Natural Landmark in 1968 and is also protected as a Pennsylvania State Natural Area and Important Bird Area, while Pine Creek is a Pennsylvania Scenic and Wild River. The gorge is home to many species of plants and animals, some of which have been reintroduced to the area.\nAlthough the Pine Creek Gorge was clearcut in the 19th and early 20th centuries, it is now covered by second growth forest, thanks in part to the conservation efforts of the Civilian Conservation Corps (CCC) in the 1930s. The park is named for Leonard Harrison, a Wellsboro lumberman who cut the timber there, then established the park, which he donated to the state in 1922. The CCC improved the park and built many of its original facilities. Since a successful publicity campaign in 1936, the park has been a popular tourist destination and attracts hundreds of thousands of visitors each year. Leonard Harrison State Park was chosen by the Pennsylvania Department of Conservation and Natural Resources (DCNR) Bureau of Parks for its \"25 Must-See Pennsylvania State Parks\" list, which praised its \"spectacular vistas and a fabulous view of Pine Creek Gorge, also known as Pennsylvania's Grand Canyon\".\n", "labels": "What is the name of the National Natural Landmark carved through five major rock formations from the Devonian and Carboniferous periods by Pine Creek?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f969361481924a03a8a0927f42a6c14f"}, {"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: Leonard Harrison State Park is a 585-acre (237 ha) Pennsylvania state park in Tioga County, Pennsylvania, in the United States. It is on the east rim of the Pine Creek Gorge, also known as the Grand Canyon of Pennsylvania, which is 800 feet (240 m) deep and nearly 4,000 feet (1,200 m) across here. It also serves as headquarters for the adjoining Colton Point State Park, its sister park on the west rim of the gorge. Leonard Harrison State Park is known for its views of the Pine Creek Gorge, and offers hiking, fishing and hunting, whitewater boating, and camping. The park is in Shippen and Delmar Townships, 10 miles (16 km) west of Wellsboro at the western terminus of Pennsylvania Route 660.\nPine Creek flows through the park and has carved the gorge through five major rock formations from the Devonian and Carboniferous periods. Native Americans once used the Pine Creek Path along the creek. The path was later used by lumbermen, and then became the course of a railroad from 1883 to 1988. Since 1996, the 63.4-mile (102.0 km) Pine Creek Rail Trail has followed the creek through the park. The Pine Creek Gorge was named a National Natural Landmark in 1968 and is also protected as a Pennsylvania State Natural Area and Important Bird Area, while Pine Creek is a Pennsylvania Scenic and Wild River. The gorge is home to many species of plants and animals, some of which have been reintroduced to the area.\nAlthough the Pine Creek Gorge was clearcut in the 19th and early 20th centuries, it is now covered by second growth forest, thanks in part to the conservation efforts of the Civilian Conservation Corps (CCC) in the 1930s. The park is named for Leonard Harrison, a Wellsboro lumberman who cut the timber there, then established the park, which he donated to the state in 1922. The CCC improved the park and built many of its original facilities. Since a successful publicity campaign in 1936, the park has been a popular tourist destination and attracts hundreds of thousands of visitors each year. Leonard Harrison State Park was chosen by the Pennsylvania Department of Conservation and Natural Resources (DCNR) Bureau of Parks for its \"25 Must-See Pennsylvania State Parks\" list, which praised its \"spectacular vistas and a fabulous view of Pine Creek Gorge, also known as Pennsylvania's Grand Canyon\".\n", "labels": "What is the name of the creek along the path once used by Native Americans?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-f969361481924a03a8a0927f42a6c14f"}, {"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: Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.\nMcQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.\nWith the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.\nWhile waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred.\n", "labels": "What is the last name of the person that the ailing man wants to pull off a big train robbery?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3d17c432461f49bab6b765e425d1a3fe"}, {"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: Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.\nMcQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.\nWith the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.\nWhile waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred.\n", "labels": "Who does woman that the outlaw wants to marry still love?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-3d17c432461f49bab6b765e425d1a3fe"}, {"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 Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became \"Learning to Fly\", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was \"far easier for Dave and I to do our version of a Floyd record\". Ezrin arrived in England in mid-1986 for what Gilmour later described as \"mucking about with a lot of demos\".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music \"doesn't sound a fucking thing like Pink Floyd\". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of \"Learning to Fly\" and \"On the Turning Away\". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.\n", "labels": "What is the first name of the person who had turned down Waters' offer of a role on the development of his new solo album?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ffef720d1e9e477db53bc310ade310bb"}, {"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 Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became \"Learning to Fly\", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was \"far easier for Dave and I to do our version of a Floyd record\". Ezrin arrived in England in mid-1986 for what Gilmour later described as \"mucking about with a lot of demos\".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music \"doesn't sound a fucking thing like Pink Floyd\". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of \"Learning to Fly\" and \"On the Turning Away\". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.\n", "labels": "What is the first name of the person who arrived in England in mid-1986?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ffef720d1e9e477db53bc310ade310bb"}, {"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 Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became \"Learning to Fly\", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was \"far easier for Dave and I to do our version of a Floyd record\". Ezrin arrived in England in mid-1986 for what Gilmour later described as \"mucking about with a lot of demos\".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music \"doesn't sound a fucking thing like Pink Floyd\". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of \"Learning to Fly\" and \"On the Turning Away\". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.\n", "labels": "What is the name of the person that owned the Hookend studio?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ffef720d1e9e477db53bc310ade310bb"}, {"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 Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became \"Learning to Fly\", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was \"far easier for Dave and I to do our version of a Floyd record\". Ezrin arrived in England in mid-1986 for what Gilmour later described as \"mucking about with a lot of demos\".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music \"doesn't sound a fucking thing like Pink Floyd\". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of \"Learning to Fly\" and \"On the Turning Away\". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.\n", "labels": "What is the name of the person Jon Carin filled in for?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ffef720d1e9e477db53bc310ade310bb"}, {"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 Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became \"Learning to Fly\", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was \"far easier for Dave and I to do our version of a Floyd record\". Ezrin arrived in England in mid-1986 for what Gilmour later described as \"mucking about with a lot of demos\".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music \"doesn't sound a fucking thing like Pink Floyd\". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of \"Learning to Fly\" and \"On the Turning Away\". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.\n", "labels": "What is the name of the person that considered using Roger McGough as a songwriter?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ffef720d1e9e477db53bc310ade310bb"}, {"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 Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became \"Learning to Fly\", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was \"far easier for Dave and I to do our version of a Floyd record\". Ezrin arrived in England in mid-1986 for what Gilmour later described as \"mucking about with a lot of demos\".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music \"doesn't sound a fucking thing like Pink Floyd\". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of \"Learning to Fly\" and \"On the Turning Away\". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.\n", "labels": "What is the name of the person that decided to make the material into a Pink FLoyd project?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ffef720d1e9e477db53bc310ade310bb"}, {"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 French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: \"I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.\"Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment.\nWhen Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, \"He has more talent than I do.\" American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.\n", "labels": "What is the last name of the person whose third Benhardt play was La Tosca?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ae7ce5b7016a4399a7c7346057f65b60"}, {"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 French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: \"I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.\"Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment.\nWhen Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, \"He has more talent than I do.\" American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.\n", "labels": "What is the last name of the person who had a play premiere in Paris on November 24, 1887?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ae7ce5b7016a4399a7c7346057f65b60"}, {"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 French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: \"I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.\"Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment.\nWhen Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, \"He has more talent than I do.\" American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.\n", "labels": "What is the last name of the person who provided someone with a series of historical melodramas?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ae7ce5b7016a4399a7c7346057f65b60"}, {"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 French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: \"I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.\"Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment.\nWhen Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, \"He has more talent than I do.\" American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.\n", "labels": "What is the last name of the person who wrote to his publisher on May 7, 1889?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ae7ce5b7016a4399a7c7346057f65b60"}, {"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 French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: \"I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.\"Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment.\nWhen Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, \"He has more talent than I do.\" American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.\n", "labels": "What is the last name of the person who complained about the reception La Tosca had received in Italy?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ae7ce5b7016a4399a7c7346057f65b60"}, {"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 French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: \"I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.\"Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti.  Illica wrote a libretto for Franchetti, who was never at ease with the assignment.\nWhen Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini.  One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand gesture, saying, \"He has more talent than I do.\" American scholar Deborah Burton contends that Franchetti gave it up simply because he saw little merit in it and could not feel the music in the play. Whatever the reason, Franchetti surrendered the rights in May 1895, and in August Puccini signed a contract to resume control of the project.\n", "labels": "What is the last name of the person who warned that other composers were interested in adapting La Tosca?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-ae7ce5b7016a4399a7c7346057f65b60"}, {"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 June 2009, Ray Davies told The Independent that while a full-fledged reunion was unlikely, \"I will continue to play with ex-band members like Mick Avory from time to time. With Dave, a lot of it is psychological. I'll guide him in, and coerce and nurture him, and when the time is right I suppose I'll even shout at him again.\" When asked about a possible reunion in an interview that year, Avory stated, \"A reunion would not be possible with the originals, for a start due to ill health. But it would be possible with the Kast Off Kinks plus Ray. In any event Ray would record new material. We have some old tracks from the 80s as well.\" In March 2010, Avory reported that the band were planning on releasing an album of unreleased and new material. He stated that they had \"eight tracks\" ready for the album, but that the Davies brothers had to settle their differences before the project could progress.Quaife, who had been receiving kidney dialysis for more than ten years, died on 23 June 2010, aged 66. Two days after the bassist's death, Dave Davies posted a statement on his message board expressing deep sorrow over the passing of his former band mate and stating that Quaife \"was never really given the credit he deserved for his contribution and involvement [sic] [with The Kinks]\". Ray Davies dedicated his performance of 27 June at the Glastonbury Festival to Quaife and performed several Quaife-era Kinks songs in tribute to him. Davies told the crowd, \"I wouldn't be here today if it wasn't for him.\"In separate interviews early in 2011 both Davies brothers spoke positively about a potential reunion. Dave Davies explained, \"There's nothing in the pipeline yet, but ... we'll see. It's possible.\" Each has said that any reunion would be dependent on the other. According to Ray Davies, the brothers were to meet in April to discuss future plans.  In October that year, Dave Davies quashed rumours of a reunion, stating in an interview that although he loves his brother, \"I just can't stand to be with him. About an hour with Ray's my limit, so it would be a very short reunion.\"  In November of that year Ray Davies reported that he had recently recorded with Avory \"just to sort of try to do what we call demos ... we might do it in fits and starts and bring Dave in at a later date. I'll never say never with my brother, because he's totally unpredictable.\" In a 2013 Skype interview Dave Davies expressed interest in doing reunion shows. On 18 December 2015, Ray Davies joined Dave Davies onstage at the Islington Assembly Hall in London to perform \"You Really Got Me\". On 5 November 2016, Dave Davies posted on Twitter: \"Me and Ray have not spoken about Kinks shows at all \u2013 although were [sic] trying to work together on other stuff and have worked on music together\". Dave Davies subsequently confirmed that the Davies brothers had recorded 4\u20135 demos of new songs together for a potential concept album in 2016, but that they had both gotten too distracted by their respective solo work to complete the project. In a Rolling Stone interview, Davies stated that, \"We came up with a few songs and some lyrics and had a nice interaction. So he's [Ray] got demos on his computer, and I've got them on mine in a different form. I hope we'll get together and do something with them, but who knows.\"On 20 January 2018, long-time bassist Jim Rodford died at the age of 76.\n", "labels": "What is the first name of the person who stated that they had \"eight tracks\" ready for the album, but that the Davies brothers had to settle their differences before the project could progress?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7ae36a44bc2c4e25bc7169e4d60ce999"}, {"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 June 2009, Ray Davies told The Independent that while a full-fledged reunion was unlikely, \"I will continue to play with ex-band members like Mick Avory from time to time. With Dave, a lot of it is psychological. I'll guide him in, and coerce and nurture him, and when the time is right I suppose I'll even shout at him again.\" When asked about a possible reunion in an interview that year, Avory stated, \"A reunion would not be possible with the originals, for a start due to ill health. But it would be possible with the Kast Off Kinks plus Ray. In any event Ray would record new material. We have some old tracks from the 80s as well.\" In March 2010, Avory reported that the band were planning on releasing an album of unreleased and new material. He stated that they had \"eight tracks\" ready for the album, but that the Davies brothers had to settle their differences before the project could progress.Quaife, who had been receiving kidney dialysis for more than ten years, died on 23 June 2010, aged 66. Two days after the bassist's death, Dave Davies posted a statement on his message board expressing deep sorrow over the passing of his former band mate and stating that Quaife \"was never really given the credit he deserved for his contribution and involvement [sic] [with The Kinks]\". Ray Davies dedicated his performance of 27 June at the Glastonbury Festival to Quaife and performed several Quaife-era Kinks songs in tribute to him. Davies told the crowd, \"I wouldn't be here today if it wasn't for him.\"In separate interviews early in 2011 both Davies brothers spoke positively about a potential reunion. Dave Davies explained, \"There's nothing in the pipeline yet, but ... we'll see. It's possible.\" Each has said that any reunion would be dependent on the other. According to Ray Davies, the brothers were to meet in April to discuss future plans.  In October that year, Dave Davies quashed rumours of a reunion, stating in an interview that although he loves his brother, \"I just can't stand to be with him. About an hour with Ray's my limit, so it would be a very short reunion.\"  In November of that year Ray Davies reported that he had recently recorded with Avory \"just to sort of try to do what we call demos ... we might do it in fits and starts and bring Dave in at a later date. I'll never say never with my brother, because he's totally unpredictable.\" In a 2013 Skype interview Dave Davies expressed interest in doing reunion shows. On 18 December 2015, Ray Davies joined Dave Davies onstage at the Islington Assembly Hall in London to perform \"You Really Got Me\". On 5 November 2016, Dave Davies posted on Twitter: \"Me and Ray have not spoken about Kinks shows at all \u2013 although were [sic] trying to work together on other stuff and have worked on music together\". Dave Davies subsequently confirmed that the Davies brothers had recorded 4\u20135 demos of new songs together for a potential concept album in 2016, but that they had both gotten too distracted by their respective solo work to complete the project. In a Rolling Stone interview, Davies stated that, \"We came up with a few songs and some lyrics and had a nice interaction. So he's [Ray] got demos on his computer, and I've got them on mine in a different form. I hope we'll get together and do something with them, but who knows.\"On 20 January 2018, long-time bassist Jim Rodford died at the age of 76.\n", "labels": "What is the first name of the person who stated \"a reunion would not be possible with the originals, for a start due to ill health,\" when asked about a possible reunion??", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7ae36a44bc2c4e25bc7169e4d60ce999"}, {"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 June 2009, Ray Davies told The Independent that while a full-fledged reunion was unlikely, \"I will continue to play with ex-band members like Mick Avory from time to time. With Dave, a lot of it is psychological. I'll guide him in, and coerce and nurture him, and when the time is right I suppose I'll even shout at him again.\" When asked about a possible reunion in an interview that year, Avory stated, \"A reunion would not be possible with the originals, for a start due to ill health. But it would be possible with the Kast Off Kinks plus Ray. In any event Ray would record new material. We have some old tracks from the 80s as well.\" In March 2010, Avory reported that the band were planning on releasing an album of unreleased and new material. He stated that they had \"eight tracks\" ready for the album, but that the Davies brothers had to settle their differences before the project could progress.Quaife, who had been receiving kidney dialysis for more than ten years, died on 23 June 2010, aged 66. Two days after the bassist's death, Dave Davies posted a statement on his message board expressing deep sorrow over the passing of his former band mate and stating that Quaife \"was never really given the credit he deserved for his contribution and involvement [sic] [with The Kinks]\". Ray Davies dedicated his performance of 27 June at the Glastonbury Festival to Quaife and performed several Quaife-era Kinks songs in tribute to him. Davies told the crowd, \"I wouldn't be here today if it wasn't for him.\"In separate interviews early in 2011 both Davies brothers spoke positively about a potential reunion. Dave Davies explained, \"There's nothing in the pipeline yet, but ... we'll see. It's possible.\" Each has said that any reunion would be dependent on the other. According to Ray Davies, the brothers were to meet in April to discuss future plans.  In October that year, Dave Davies quashed rumours of a reunion, stating in an interview that although he loves his brother, \"I just can't stand to be with him. About an hour with Ray's my limit, so it would be a very short reunion.\"  In November of that year Ray Davies reported that he had recently recorded with Avory \"just to sort of try to do what we call demos ... we might do it in fits and starts and bring Dave in at a later date. I'll never say never with my brother, because he's totally unpredictable.\" In a 2013 Skype interview Dave Davies expressed interest in doing reunion shows. On 18 December 2015, Ray Davies joined Dave Davies onstage at the Islington Assembly Hall in London to perform \"You Really Got Me\". On 5 November 2016, Dave Davies posted on Twitter: \"Me and Ray have not spoken about Kinks shows at all \u2013 although were [sic] trying to work together on other stuff and have worked on music together\". Dave Davies subsequently confirmed that the Davies brothers had recorded 4\u20135 demos of new songs together for a potential concept album in 2016, but that they had both gotten too distracted by their respective solo work to complete the project. In a Rolling Stone interview, Davies stated that, \"We came up with a few songs and some lyrics and had a nice interaction. So he's [Ray] got demos on his computer, and I've got them on mine in a different form. I hope we'll get together and do something with them, but who knows.\"On 20 January 2018, long-time bassist Jim Rodford died at the age of 76.\n", "labels": "What is the full name of the brother to whom Dave Davies refers when he stated that although he loves him, \"I just can't stand to be with him\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-7ae36a44bc2c4e25bc7169e4d60ce999"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the first name of the person who  used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person who whose son was born in February 2009?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person who began composing and recording her third studio album six months after giving birth to her son in February 2009?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person who used instruments such as portable dynamic-phrase synthesizer Korg Kaossilator to compose?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person who collaborated with writer-producer Blaqstarr because she felt that \"he simply makes good music\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person whose creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the producer who played guitar and piano for the album by the musician who is mother to Ikyhd?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "Who worked with the English-Tamil musician on a track in Santa Monica?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the full name of the artist that began composing and recording her third studio album in a home studio?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the stage name of the person that collaborated with writer-producer Blaqstarr?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the name of the band that was signed to the label N.E.E.T.?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What was the name of Sligh Bells debut album?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the name of the person that was not allowed to visit the house of M.I.A.?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the full name of the person that played piano of the Kala album?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the name of the person that had their hear beat recorded?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the full name of the person Producer Rusko really had a good time making music with?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person who began composing and recording her third studio album in a home studio?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person Mathangi lived with?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: English-Tamil musician M.I.A. (Mathangi \"Maya\" Arulpragasam) released her second album Kala in 2007, which achieved widespread critical acclaim, and was certified gold in the United States and silver in the United Kingdom. Six months after giving birth to her son Ikyhd in February 2009, she began composing and recording her third studio album in a home studio section of the Los Angeles house she had bought with her partner Ben Bronfman. She used instruments such as the portable dynamic-phrase synthesizer Korg Kaossilator to compose. She took the beat machine and began recording atop Mayan pyramids in Mexico. Much of the work on the album was undertaken at her house in Los Angeles, in what she called a \"commune environment\", before it was completed in a rented studio in Hawaii. She collaborated with writer-producer Blaqstarr because, in her opinion, \"he simply makes good music\". M.I.A.'s collaboration with Derek E. Miller of Sleigh Bells on the track \"Meds and Feds\" prompted her subsequent signing of the band to her label N.E.E.T., and according to Miller, this experience gave him the confidence to record the band's debut album Treats.Her creative partnership with the comparatively unknown Rusko grew from a sense of frustration at what she saw as her now more mainstream associates suggesting sub-standard tracks due to their busy schedules. Diplo worked on the track \"Tell Me Why\", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because \"her boyfriend really hates me\".Tracks for the album were whittled down from recording sessions lasting up to 30 hours. Producer Rusko, who played guitar and piano on the album, described the pair getting \"carried away\" in the studio, appreciating the \"mad distorted and hectic\" sound they were able to create. Rusko said \"She's got a kid, a little one year old baby, and we recorded his heart beat. We'd just think of crazy ideas\". Rusko has described M.I.A. as the best artist he has ever worked with, saying that she had \"been the most creative and I really had a good time making music with her\".\n", "labels": "What is the last name of the person who took the beat machine and began recording atop Mayan pyramids in Mexico?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61ce12407ab841e3b50bda1758447cd5"}, {"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: Married competitive gamer couple Max and Annie are trying to have a child, but their attempts are unsuccessful due to Max's stress surrounding his feelings of inadequacy when compared to his successful, attractive brother Brooks. During Max and Annie's routine weekend game night with their friends Ryan, and married couple Kevin and Michelle, Brooks shows up Max by arriving in a Corvette Stingray (Max's dream car) and sharing an embarrassing childhood story about Max. Brooks offers to host the next game night at a house he is renting while he is in town. Meanwhile, Max and Annie are trying to keep their game nights secret from their neighbor Gary, an awkward police officer left distraught after his divorce from their friend Debbie.\nWhen the guests, including Ryan's new date, Sarah, arrive at Brooks' house the following week, Brooks says he has initiated an interactive role-playing mystery game, promising the winner his Stingray. A man dressed as an FBI agent bursts into the home and informs them of the narrative of the mystery, only for two masked men to break in and assault him and Brooks. The guests believe the assault is part of the game. After Brooks is dragged out of the house, the couples begin to solve the mystery using the clues left behind by the actor.\nUsing his GPS location, Max and Annie track Brooks down to a seedy bar and, using a pistol left behind by Brooks during the struggle (which they believe to be fake), manage to take the keys to the storage closet, where Brooks is being held. After Annie mistakenly fires the gun and shoots Max in the arm, confirming the weapon is real and that they are in actual danger, the three escape. Brooks admits that he actually makes his living buying and selling illegal items on the black market, in particular a Faberg\u00e9 egg sought by a man known only as the Bulgarian and owned by a man using the alias Marlon Freeman. With his captors in pursuit, Brooks exits the moving car to guarantee Max and Annie's escape.\n", "labels": "What are the first names of the people who are Debbie's friends?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-540dd91f0e904ee9aec52334b53fadfd"}, {"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: Visual elements employed during Nine Inch Nails concerts have often included numerous lighting, stage and projection effects employed to accompany and augment presentation.  Prior to the Fragility tour in 2000, Reznor reflected that \"I\u2019ve adopted a philosophy of the way to present Nine Inch Nails live that incorporates a theatrical element. I want it to be drama. I want my rock stars to be larger than life, you know? The Kurt Cobains of the world, I\u2019m sick of that shit. I don\u2019t want a gas station attendant being my hero. I grew up with Gene Simmons. I grew up with Ziggy Stardust.\"Many songs are typically accompanied with specially designed visual aids, including synchronized lighting effects and projected stock-footage montages.  Early performances of the song \"Hurt\", for example, were accompanied by a projected montage of clouds, charred bodies, mushroom clouds, maggots, and war refugees, a performance of which is featured in the song's music video.  Recent performances of the song, however, have featured less lighting effects.\nSince 1999, the visual presentation of Nine Inch Nails live shows have been directed by Rob Sheridan, while Bill Viola designed a large triptych display for the Fragility tour.  The images displayed on the triptych focused on storm and water imagery.  And All That Could Have Been features an audio commentary track by Viola describing the display and his inspirations for it.For the Live: With Teeth tour, Roy Bennett and Martin Phillips were responsible for the lighting design and stage design respectively.  Bennett explained in a 2005 interview that much of the lighting was done using a series of LED lights arranged in \"stalactites or stalagmites [formations] to tie in to the album artwork\".  DLP projectors were also used to project images onto a gauze screen in front of the stage.\nUsing the gauze projection-screen, Phillips, Reznor, and Sheridan devised a \"gag\" where they projected \"a sheet of glass shattering onto a downstage kabuki scrim that would drop as the glass shatters fell. ... We settled on Trent swinging his guitar at the gauze [and] shattering it, but with all the pieces falling up as the [screen] flew out\".  This technique can be seen in the tour documentary Beside You in Time.  In contrast to the lighting of previous tours, Performance 2007 featured minimal lighting that was designed to shadow Reznor and the band.The visual elements of the live shows has been subject to much commentary.  The Boston Globe described the Fragility tour as \"one of the most outstanding light shows in memory\".  A reviewer from the Contra Costa Times described a Live: With Teeth performance as being \"heightened by just the right amount of dark purple or blue spotlights, with up-lighting from the stage front, giving the band a horror-flick feel\".\n", "labels": "What is the name of the publication that described the tour with minimal lighting as \"one of the most outstanding light shows in memory\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-221df60a5bdc4e6cac9eae0c408c7b2b"}, {"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: Visual elements employed during Nine Inch Nails concerts have often included numerous lighting, stage and projection effects employed to accompany and augment presentation.  Prior to the Fragility tour in 2000, Reznor reflected that \"I\u2019ve adopted a philosophy of the way to present Nine Inch Nails live that incorporates a theatrical element. I want it to be drama. I want my rock stars to be larger than life, you know? The Kurt Cobains of the world, I\u2019m sick of that shit. I don\u2019t want a gas station attendant being my hero. I grew up with Gene Simmons. I grew up with Ziggy Stardust.\"Many songs are typically accompanied with specially designed visual aids, including synchronized lighting effects and projected stock-footage montages.  Early performances of the song \"Hurt\", for example, were accompanied by a projected montage of clouds, charred bodies, mushroom clouds, maggots, and war refugees, a performance of which is featured in the song's music video.  Recent performances of the song, however, have featured less lighting effects.\nSince 1999, the visual presentation of Nine Inch Nails live shows have been directed by Rob Sheridan, while Bill Viola designed a large triptych display for the Fragility tour.  The images displayed on the triptych focused on storm and water imagery.  And All That Could Have Been features an audio commentary track by Viola describing the display and his inspirations for it.For the Live: With Teeth tour, Roy Bennett and Martin Phillips were responsible for the lighting design and stage design respectively.  Bennett explained in a 2005 interview that much of the lighting was done using a series of LED lights arranged in \"stalactites or stalagmites [formations] to tie in to the album artwork\".  DLP projectors were also used to project images onto a gauze screen in front of the stage.\nUsing the gauze projection-screen, Phillips, Reznor, and Sheridan devised a \"gag\" where they projected \"a sheet of glass shattering onto a downstage kabuki scrim that would drop as the glass shatters fell. ... We settled on Trent swinging his guitar at the gauze [and] shattering it, but with all the pieces falling up as the [screen] flew out\".  This technique can be seen in the tour documentary Beside You in Time.  In contrast to the lighting of previous tours, Performance 2007 featured minimal lighting that was designed to shadow Reznor and the band.The visual elements of the live shows has been subject to much commentary.  The Boston Globe described the Fragility tour as \"one of the most outstanding light shows in memory\".  A reviewer from the Contra Costa Times described a Live: With Teeth performance as being \"heightened by just the right amount of dark purple or blue spotlights, with up-lighting from the stage front, giving the band a horror-flick feel\".\n", "labels": "What is the name of the publication where a critic wrote that the lighting on the Live: With Teeth tour was \"giving the band a horror-flick feel\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-221df60a5bdc4e6cac9eae0c408c7b2b"}, {"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: Visual elements employed during Nine Inch Nails concerts have often included numerous lighting, stage and projection effects employed to accompany and augment presentation.  Prior to the Fragility tour in 2000, Reznor reflected that \"I\u2019ve adopted a philosophy of the way to present Nine Inch Nails live that incorporates a theatrical element. I want it to be drama. I want my rock stars to be larger than life, you know? The Kurt Cobains of the world, I\u2019m sick of that shit. I don\u2019t want a gas station attendant being my hero. I grew up with Gene Simmons. I grew up with Ziggy Stardust.\"Many songs are typically accompanied with specially designed visual aids, including synchronized lighting effects and projected stock-footage montages.  Early performances of the song \"Hurt\", for example, were accompanied by a projected montage of clouds, charred bodies, mushroom clouds, maggots, and war refugees, a performance of which is featured in the song's music video.  Recent performances of the song, however, have featured less lighting effects.\nSince 1999, the visual presentation of Nine Inch Nails live shows have been directed by Rob Sheridan, while Bill Viola designed a large triptych display for the Fragility tour.  The images displayed on the triptych focused on storm and water imagery.  And All That Could Have Been features an audio commentary track by Viola describing the display and his inspirations for it.For the Live: With Teeth tour, Roy Bennett and Martin Phillips were responsible for the lighting design and stage design respectively.  Bennett explained in a 2005 interview that much of the lighting was done using a series of LED lights arranged in \"stalactites or stalagmites [formations] to tie in to the album artwork\".  DLP projectors were also used to project images onto a gauze screen in front of the stage.\nUsing the gauze projection-screen, Phillips, Reznor, and Sheridan devised a \"gag\" where they projected \"a sheet of glass shattering onto a downstage kabuki scrim that would drop as the glass shatters fell. ... We settled on Trent swinging his guitar at the gauze [and] shattering it, but with all the pieces falling up as the [screen] flew out\".  This technique can be seen in the tour documentary Beside You in Time.  In contrast to the lighting of previous tours, Performance 2007 featured minimal lighting that was designed to shadow Reznor and the band.The visual elements of the live shows has been subject to much commentary.  The Boston Globe described the Fragility tour as \"one of the most outstanding light shows in memory\".  A reviewer from the Contra Costa Times described a Live: With Teeth performance as being \"heightened by just the right amount of dark purple or blue spotlights, with up-lighting from the stage front, giving the band a horror-flick feel\".\n", "labels": "What is the last name of the lighting designer that explained how the lighting for the Live: With Teeth tour was done in a 2005 interview?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-221df60a5bdc4e6cac9eae0c408c7b2b"}, {"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 Pyramid of Neferirkare (in ancient Egyptian the Ba of Neferirkare) was built for the Fifth Dynasty pharaoh Neferirkare Kakai \u2013 referred to as Neferirkare \u2013 in the 25th century BC. It was the tallest structure located on the highest site at the necropolis of Abusir \u2013 found between Giza and Saqqara \u2013 and still towers over the necropolis today. The pyramid is also significant because its evacuation led to the discovery of the Abusir papyri.\nThe Fifth Dynasty marked the end of the great pyramid constructions during the Old Kingdom. Pyramids of the era were smaller and becoming more standardized, though intricate relief decoration also proliferated. Neferirkare's pyramid deviated from convention as it was originally built as a step pyramid: a design that had been antiquated after the Third Dynasty (26th or 27th century BC). This was then encased in a second step pyramid with alterations intended to convert it into a true pyramid; however, the pharaoh's  death left the work to be completed by his successors. The remaining works were completed in haste, using cheaper building material.\nBecause of the circumstances, Neferirkare's monument lacked several basic elements of a pyramid complex: a valley temple, a causeway, and a cult pyramid. Instead, these were replaced by a small settlement of mudbrick houses south of the monument from where cult priests could conduct their daily activities, rather than the usual pyramid town near the valley temple. The discovery of the Abusir papyri in the 1890s is owed to this. Normally, the papyrus archives would have been contained in the pyramid town where their destruction would have been assured. The pyramid became part of a greater family cemetery. The monuments to Neferirkare's consort, Khentkaus II; and his sons, Neferefre and Nyuserre Ini, are found in the surrounds. Though their construction began under different rulers, all four of these monuments were completed during the reign of Nyuserre.\n", "labels": "What was replaced by a small settlement of mudbrick houses south of the monument from where cult priests could conduct their daily activities??", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-8857b3d21c4d43729a8e0900781d09da"}, {"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: Britten's fellow-composers had divided views about him. To Tippett he was \"simply the most musical person I have ever met\", with an \"incredible\" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten \"a man at odds with the world\", and said of his music: \"[I]f you hear it, not just listen to it superficially, you become aware of something very dark\". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: \"There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out\".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as \"inimitable, possessed of ... a voice and sound too dangerous to imitate\". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became \"a phenomenal father-figure\". Brett believes that he affected every subsequent British composer to some extent: \"He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate.\"Whittall believes that one reason for Britten's enduring popularity is the \"progressive conservatism\" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, \"the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times\". Britten defined his mission as a composer in very simple terms: composers should aim at \"pleasing people today as seriously as we can\".\n", "labels": "What was the name of the person who was described as having a huge abyss in their soul?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-aee3fddfa3b243a4abe23a1d90b73a1a"}, {"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: Britten's fellow-composers had divided views about him. To Tippett he was \"simply the most musical person I have ever met\", with an \"incredible\" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten \"a man at odds with the world\", and said of his music: \"[I]f you hear it, not just listen to it superficially, you become aware of something very dark\". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: \"There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out\".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as \"inimitable, possessed of ... a voice and sound too dangerous to imitate\". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became \"a phenomenal father-figure\". Brett believes that he affected every subsequent British composer to some extent: \"He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate.\"Whittall believes that one reason for Britten's enduring popularity is the \"progressive conservatism\" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, \"the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times\". Britten defined his mission as a composer in very simple terms: composers should aim at \"pleasing people today as seriously as we can\".\n", "labels": "What was the name of the person who was described as \"inimitable, possessed of ... a voice and sound too dangerous to imitate\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-aee3fddfa3b243a4abe23a1d90b73a1a"}, {"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: Britten's fellow-composers had divided views about him. To Tippett he was \"simply the most musical person I have ever met\", with an \"incredible\" technical mastery; some contemporaries, however, were less effusive. In Tippett's view Walton and others were convinced that Britten and Pears were leaders of a homosexual conspiracy in music, a belief Tippett dismisses as ridiculous, inspired by jealousy at Britten's postwar successes. Leonard Bernstein considered Britten \"a man at odds with the world\", and said of his music: \"[I]f you hear it, not just listen to it superficially, you become aware of something very dark\". The tenor Robert Tear, who was closely associated with Britten in the latter part of the composer's career, made a similar point: \"There was a great, huge abyss in his soul ... He got into the valley of the shadow of death and couldn't get out\".In the decade after Britten's death, his standing as a composer in Britain was to some extent overshadowed by that of the still-living Tippett. The film-maker Tony Palmer   thought that Tippett's temporary ascendancy might have been a question of the two composers' contrasting personalities: Tippett had more warmth and had made fewer enemies. In any event this was a short-lived phenomenon; Tippett adherents such as the composer Robert Saxton soon rediscovered their enthusiasm for Britten, whose audience steadily increased during the final years of the 20th century. Britten has had few imitators; Brett describes him as \"inimitable, possessed of ... a voice and sound too dangerous to imitate\". Nevertheless, after his death Britten was lauded by the younger generation of English composers to whom, in the words of Oliver Knussen, he became \"a phenomenal father-figure\". Brett believes that he affected every subsequent British composer to some extent: \"He is a key figure in the growth of British musical culture in the second half of the 20th century, and his effect on everything from opera to the revitalization of music education is hard to overestimate.\"Whittall believes that one reason for Britten's enduring popularity is the \"progressive conservatism\" of his music. He generally avoided the avant garde, and did not challenge the conventions in the way that contemporaries such as Tippett did. Perhaps, says Brett, \"the tide that swept away serialism, atonality and most forms of musical modernism and brought in neo-Romanticism, minimalism and other modes of expression involved with tonality carried with it renewed interest in composers who had been out of step with the times\". Britten defined his mission as a composer in very simple terms: composers should aim at \"pleasing people today as seriously as we can\".\n", "labels": "What was the name of the person who did not challenge the conventions in the way that contemporaries such as Tippett did?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-aee3fddfa3b243a4abe23a1d90b73a1a"}, {"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: For the In Rainbows download, Radiohead employed the network provider PacketExchange to bypass public internet servers, using a less-trafficked private network. The download was packaged as a ZIP file containing the album's ten tracks encoded in a 160 kbit/s DRM-free MP3 format. The staggered online release began at about 5:30am GMT on 10 October 2007. On 10 December, the download was removed.Fans could also order a limited \"discbox\" edition from inrainbows.com, containing the album on CD and two 12\" heavyweight 45 rpm vinyl records with artwork and lyric booklets, plus an enhanced CD with eight additional tracks, digital photos and artwork, packaged in a hardcover book and slipcase. The limited edition was shipped from December 2007. In June 2009, Radiohead made the second In Rainbows disc available for download on their website for \u00a36.Radiohead ruled out an internet-only distribution for fear that some fans would not have internet access. In Rainbows was released on CD and vinyl in Japan by BMG on 26 December 2007, in Australia on 29 December 2007 by Remote Control Records, and in the United States and Canada on 1 January 2008 by ATO imprint TBD Records and MapleMusic/Fontana respectively.Elsewhere, the album was released on 31 December 2007 by independent record label XL Recordings, which had released Yorke's solo album The Eraser. The CD release came in a cardboard package containing the CD, lyric booklet, and several stickers that could be placed on the blank jewel case to create cover art. In Rainbows was the first Radiohead album available for download in several digital music stores, such as the iTunes Store and Amazon MP3. On 10 June 2016, it was added to the free streaming service Spotify.Radiohead retained ownership of the recordings and compositions for In Rainbows. The download and limited editions of the album were self-released; for the physical release, Radiohead licensed the music to record labels. Licensing agreements for all releases were managed by the band's publisher, Warner Chappell Music Publishing.\n", "labels": "What label released the album you could order on inrainbows.com in all reamining countries?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-1e41751865cc49b9b70e0cbf4d9fc69c"}, {"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 substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as \"a static, recitative-like vocal style\", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois po\u00e8mes de Mallarm\u00e9 (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Sh\u00e9h\u00e9razade and Chansons mad\u00e9casses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq m\u00e9lodies populaires grecques, Deux m\u00e9lodies h\u00e9bra\u00efques and Chants populaires. Among the poets on whose lyrics he drew were Marot, L\u00e9on-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914\u201315, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Sh\u00e9h\u00e9razade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.\n", "labels": "What is the name of the person whose word-setting is noticeably more formal than Ravel's?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61627c2b0fd44783b708a06ccb7c1455"}, {"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 substantial proportion of Ravel's output was vocal. His early works in that sphere include cantatas written for his unsuccessful attempts at the Prix de Rome. His other vocal music from that period shows Debussy's influence, in what Kelly describes as \"a static, recitative-like vocal style\", prominent piano parts and rhythmic flexibility. By 1906 Ravel was taking even further than Debussy the natural, sometimes colloquial, setting of the French language in Histoires naturelles. The same technique is highlighted in Trois po\u00e8mes de Mallarm\u00e9 (1913); Debussy set two of the three poems at the same time as Ravel, and the former's word-setting is noticeably more formal than the latter's, in which syllables are often elided. In the cycles Sh\u00e9h\u00e9razade and Chansons mad\u00e9casses, Ravel gives vent to his taste for the exotic, even the sensual, in both the vocal line and the accompaniment.Ravel's songs often draw on vernacular styles, using elements of many folk traditions in such works as Cinq m\u00e9lodies populaires grecques, Deux m\u00e9lodies h\u00e9bra\u00efques and Chants populaires. Among the poets on whose lyrics he drew were Marot, L\u00e9on-Paul Fargue, Leconte de Lisle and Verlaine. For three songs dating from 1914\u201315, he wrote his own texts.Although Ravel wrote for mixed choirs and male solo voices, he is chiefly associated, in his songs, with the soprano and mezzo-soprano voices. Even when setting lyrics clearly narrated by a man, he often favoured a female voice, and he seems to have preferred his best-known cycle, Sh\u00e9h\u00e9razade, to be sung by a woman, although a tenor voice is a permitted alternative in the score.\n", "labels": "What is the name of the person whose early vocal music from the Prix de Rome period is described by Kelly as \"a static, recitative-like vocal style,\" with prominent piano parts and rhythmic flexibility?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-61627c2b0fd44783b708a06ccb7c1455"}, {"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: Los Angeles. The season of El Ni\u00f1o. Frank is a high school student obsessed with heavy electron resurrection (reanimating corpses soon after death). One night Frank's neighbor and fellow student Lance throws a party and as a joke invites Karl, an outsider in school. When Karl shows up, however, he gets into a fight with Lance and Tuttle and dies after falling into an empty swimming pool. Frank sees Lance and Tuttle attempting to dump the body and offers to reanimate the corpse for them. Stealing a brain from his father's (Judge Reinhold) lab, Frank successfully resurrects Karl and returns him home.\nThe next day Frank is befriended by Lance and Tuttle, and Karl appears to be changed into a cool kid in school. Frank, suspicious of Karl's personality change, discovers that the brain he used was that of a murderer named Skeeter Wayne Dobbs. Revealing this to Karl, Karl and Frank agree to keep this a secret from the others. Karl then helps Frank to get a date with his crush Macy by throwing a party using money stolen from the homecoming dance. At the dance Karl beats up Lance and Tuttle and leaves with Andrea who soon goes missing. Realizing Karl has stolen the homecoming money and potentially murdered Andrea, Frank confronts Karl who dismisses his concerns and invites him to a Halloween party that night. Macy, thinking Frank stole the money, breaks up with him and goes to the party alone.\n", "labels": "Who used a brain of a murderer to reanimate a corpse?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-016a246527084991aba7075e53ae163e"}, {"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 Stooges operate a local drugstore whose landlord, the cantankerous Amos Flint, informs them their lease is about to expire. Larry protests that the trio have had their establishment for a decade, and do not want to leave. As the four bicker, Flint's elderly wife Cerina enters the store, only to be berated by Flint for being an old hag. \"25 years is enough,\" he coldly confirms. After he storms off, the boys take to the frail Cerina, who begins to weep that ever since she lost her beauty, Amos had threatened to leave. Both saddened and incensed, the Stooges offer Cerina their spare room in the back. Shemp, seeing this, hatches a plan to invent a \"Fountain of Youth\" to restore Cerina to her stunning beauty. Deeming the idea \"tremendous, colossal and putrid,\" the Stooges flee to their pharmaceutical lab and mix together a powerful serum.\nAfter several false tries, the trio give Cerina a taste of their Fountain of Youth, and she transforms into a fetching beauty right before their eyes. Several days later, Amos comes storming into the Stooges' drug store only to see the youthful Cerina flaunting her newfound beauty. Amos quickly reneges on his threat to evict the Stooges and even gives them the deed to their store in exchange for a dose of the serum himself. The Stooges proceed to mix a new batch on the spot, resulting in Amos becoming a baby.\nThe following day, Cerina celebrates her return to youth by preparing a Marshmallow Jumbo layer cake. Shemp is assigned to hunt down marshmallows but inadvertently retrieves bubble gum. The resulting celebration then finds the Stooges and Cerina blowing bubbles after every bite, with Shemp getting two bubbles out of his ears.\n", "labels": "Who cooks with bubble gum by mistake?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-70d808728ad841dbbfd5668626858c5b"}, {"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 Stooges operate a local drugstore whose landlord, the cantankerous Amos Flint, informs them their lease is about to expire. Larry protests that the trio have had their establishment for a decade, and do not want to leave. As the four bicker, Flint's elderly wife Cerina enters the store, only to be berated by Flint for being an old hag. \"25 years is enough,\" he coldly confirms. After he storms off, the boys take to the frail Cerina, who begins to weep that ever since she lost her beauty, Amos had threatened to leave. Both saddened and incensed, the Stooges offer Cerina their spare room in the back. Shemp, seeing this, hatches a plan to invent a \"Fountain of Youth\" to restore Cerina to her stunning beauty. Deeming the idea \"tremendous, colossal and putrid,\" the Stooges flee to their pharmaceutical lab and mix together a powerful serum.\nAfter several false tries, the trio give Cerina a taste of their Fountain of Youth, and she transforms into a fetching beauty right before their eyes. Several days later, Amos comes storming into the Stooges' drug store only to see the youthful Cerina flaunting her newfound beauty. Amos quickly reneges on his threat to evict the Stooges and even gives them the deed to their store in exchange for a dose of the serum himself. The Stooges proceed to mix a new batch on the spot, resulting in Amos becoming a baby.\nThe following day, Cerina celebrates her return to youth by preparing a Marshmallow Jumbo layer cake. Shemp is assigned to hunt down marshmallows but inadvertently retrieves bubble gum. The resulting celebration then finds the Stooges and Cerina blowing bubbles after every bite, with Shemp getting two bubbles out of his ears.\n", "labels": "Who does the landlord end up not evicting?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-70d808728ad841dbbfd5668626858c5b"}, {"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 Stooges operate a local drugstore whose landlord, the cantankerous Amos Flint, informs them their lease is about to expire. Larry protests that the trio have had their establishment for a decade, and do not want to leave. As the four bicker, Flint's elderly wife Cerina enters the store, only to be berated by Flint for being an old hag. \"25 years is enough,\" he coldly confirms. After he storms off, the boys take to the frail Cerina, who begins to weep that ever since she lost her beauty, Amos had threatened to leave. Both saddened and incensed, the Stooges offer Cerina their spare room in the back. Shemp, seeing this, hatches a plan to invent a \"Fountain of Youth\" to restore Cerina to her stunning beauty. Deeming the idea \"tremendous, colossal and putrid,\" the Stooges flee to their pharmaceutical lab and mix together a powerful serum.\nAfter several false tries, the trio give Cerina a taste of their Fountain of Youth, and she transforms into a fetching beauty right before their eyes. Several days later, Amos comes storming into the Stooges' drug store only to see the youthful Cerina flaunting her newfound beauty. Amos quickly reneges on his threat to evict the Stooges and even gives them the deed to their store in exchange for a dose of the serum himself. The Stooges proceed to mix a new batch on the spot, resulting in Amos becoming a baby.\nThe following day, Cerina celebrates her return to youth by preparing a Marshmallow Jumbo layer cake. Shemp is assigned to hunt down marshmallows but inadvertently retrieves bubble gum. The resulting celebration then finds the Stooges and Cerina blowing bubbles after every bite, with Shemp getting two bubbles out of his ears.\n", "labels": "What is the full name of the character who says \"25 years is enough\"?", "task_name": "task001_quoref_question_generation", "task_category": "question_generation", "id": "task001-70d808728ad841dbbfd5668626858c5b"}]