community-datasets/selqa huggingface dataset:
Article: Blackfish (film)
Section: Home media

Question: When did Blackfish come out in the UK?

"Blackfish" was released on DVD and Blu-ray Disc on August 26, 2013 in the UK (Region 2, PAL).
Its US release was on November 12, 2013.
The documentary was broadcast on CNN on October 24, 2013.
After the broadcast, CNN aired an Anderson Cooper special with Jack Hanna, Gabriela Cowperthwaite, Naomi Rose and Jack Hurley.
This was followed by a special edition of "Crossfire" with "Blackfish" associate producer Tim Zimmermann debating Grey Stafford, a conservationist, zoologist, and member of the International Marine Animal Trainers Association.
The documentary aired on BBC Four in the UK on November 21, 2013 as part of the "Storyville" documentary series.
Article: Atomic bombings of Hiroshima and Nagasaki
Section: The bombing

Question: How many died in the Hiroshima bombing?

Hiroshima was the primary target of the first nuclear bombing mission on 6 August, with Kokura and Nagasaki as alternative targets.
The 393d Bombardment Squadron B-29 "Enola Gay", piloted by Tibbets, took off from North Field, Tinian, about six hours' flight time from Japan.
The "Enola Gay" (named after Tibbets' mother) was accompanied by two other B-29s.
"The Great Artiste", commanded by Major Charles Sweeney, carried instrumentation, and a then-nameless aircraft later called "Necessary Evil", commanded by Captain George Marquardt, served as the photography aircraft.
After leaving Tinian the aircraft made their way separately to Iwo Jima to rendezvous with Sweeney and Marquardt at 05:55 at , and set course for Japan.
The aircraft arrived over the target in clear visibility at .
Parsons, who was in command of the mission, armed the bomb during the flight to minimize the risks during takeoff.
He had witnessed four B-29s crash and burn at takeoff, and feared that a nuclear explosion would occur if a B-29 crashed with an armed Little Boy on board.
His assistant, Second Lieutenant Morris R. Jeppson, removed the safety devices 30 minutes before reaching the target area.
During the night of August 5–6, Japanese early warning radar detected the approach of numerous American aircraft headed for the southern part of Japan.
Radar detected 65 bombers headed for Saga, 102 bound for Maebashi, 261 en route to Nishinomiya, 111 headed for Ube and 66 bound for Imabari.
An alert was given and radio broadcasting stopped in many cities, among them Hiroshima.
The all-clear was sounded in Hiroshima at 00:05.
About an hour before the bombing, the air raid alert was sounded again, as "Straight Flush" flew over the city.
It broadcast a short message which was picked up by "Enola Gay".
It read: "Cloud cover less than 3/10th at all altitudes.
Advice: bomb primary."
The all-clear was sounded over Hiroshima again at 07:09.
At 08:09 Tibbets started his bomb run and handed control over to his bombardier, Major Thomas Ferebee.
The release at 08:15 (Hiroshima time) went as planned, and the Little Boy containing about of uranium-235 took 44.4 seconds to fall from the aircraft flying at about to a detonation height of about above the city.
"Enola Gay" traveled before it felt the shock waves from the blast.
Due to crosswind, the bomb missed the aiming point, the Aioi Bridge, by approximately and detonated directly over Shima Surgical Clinic at .
It created a blast equivalent to , ± 2 kt.
The weapon was considered very inefficient, with only 1.7% of its material fissioning.
The radius of total destruction was about , with resulting fires across .
People on the ground reported seeing a "pika" or brilliant flash of light followed by a "don", a loud booming sound.
Some 70,000–80,000 people, of whom 20,000 were soldiers, or around 30% of the population of Hiroshima, were killed by the blast and resultant firestorm.
and another 70,000 injured.
Article: Union Station (Washington, D.C.)
Section: 1953 overrun

Question: When did the Federal train in Boston crash into a station?

On the morning of January 15, 1953, the Pennsylvania Railroad's "Federal", the overnight train from Boston, crashed into the station.
When the engineer tried to apply the trainline brakes two miles out of the platforms, he discovered that he only had engine brakes.
He radioed a warning ahead, and the concourse was cleared as the train coasted downhill into track 16.
The GG1 locomotive, No.
4876, hit the bumper block at about , jumped onto the platform, destroyed the stationmaster’s office at the end of the track, took out a newsstand, and was on its way to crashing through the wall into the Great Hall.
Just then, the floor of the terminal, having never been designed to carry the weight of a locomotive, gave way, dropping the engine into the basement.
The electric locomotive fell into about the center of what is now the food court.
Remarkably, no one was killed, and passengers in the rear cars thought that they had only had a rough stop.
An investigation revealed that an anglecock on the brakeline had been closed, probably by an icicle knocked from an overhead bridge.
The accident inspired the finale of the 1976 film "Silver Streak".
The durable design of the GG1 made its damage repairable, and it was soon back in service after being hauled away in pieces to the PRR's main shops in Altoona, Pennsylvania.
Before the latter action was undertaken, however, the GG1 and the hole it made were temporarily planked over and hidden from view due to the imminent inauguration of General Dwight D. Eisenhower as the thirty-fourth President of the United States.
Article: Family Guy
Section: Origins

Question: What two sitcoms did Seth MacFarlane draw inspiration from for Family Guy?

MacFarlane initially conceived "Family Guy" in 1995 while studying animation at the Rhode Island School of Design (RISD).
During college, he created his thesis film entitled "The Life of Larry", which was submitted by his professor at RISD to Hanna-Barbera.
MacFarlane was hired by the company.
In 1996 MacFarlane created a sequel to "The Life of Larry" entitled "Larry and Steve", which featured a middle-aged character named Larry and an intellectual dog, Steve; the short was broadcast in 1997 as one of Cartoon Network's "World Premiere Toons".
Executives at Fox saw the "Larry" shorts and contracted MacFarlane to create a series, entitled "Family Guy", based on the characters.
Fox proposed MacFarlane complete a 15-minute short, and gave him a budget of $50,000.
Several aspects of "Family Guy" were inspired by the "Larry shorts".
While working on the series, the characters of Larry and his dog Steve slowly evolved into Peter and Brian.
MacFarlane stated that the difference between "The Life of Larry" and "Family Guy" was that ""Life of Larry" was shown primarily in my dorm room and "Family Guy" was shown after the Super Bowl."
After the pilot aired, the series was given the green light.
MacFarlane drew inspiration from several sitcoms such as "The Simpsons" and "All in the Family".
Premises were drawn from several 1980s Saturday morning cartoons he watched as a child, such as "The Fonz and the Happy Days Gang" and "Rubik, the Amazing Cube".
The Griffin family first appeared on the demo that MacFarlane pitched to Fox on May 15, 1998.
"Family Guy" was originally planned to start out as short movies for the sketch show "MADtv", but the plan changed because MADtv's budget was not large enough to support animation production.
MacFarlane noted that he then wanted to pitch it to Fox, as he thought that that was the place to create a prime-time animation show.
"Family Guy" was originally pitched to Fox in the same year as "King of the Hill", but the show was not bought until years later, when "King of the Hill" became successful.
Fox ordered 13 episodes of "Family Guy" to air in midseason after MacFarlane impressed executives with a seven-minute demo.
Article: Sinking of the RMS Titanic
Section: Casualties and survivors

Question: Who was the only first-class child to die on the Titanic?

The number of casualties of the sinking is unclear, due to a number of factors, including confusion over the passenger list, which included some names of people who cancelled their trip at the last minute, and the fact that several passengers travelled under aliases for various reasons and were double-counted on the casualty lists.
The death toll has been put at between 1,490 and 1,635 people.
The figures below are from the British Board of Trade report on the disaster.
Less than a third of those aboard "Titanic" survived the disaster.
Some survivors died shortly afterwards; injuries and the effects of exposure caused the deaths of several of those brought aboard "Carpathia".
Of the groups shown in the table, 49% of the children, 26% of the female passengers, 82% of the male passengers and 78% of the crew died.
The figures show stark differences in the survival rates of the different classes aboard "Titanic".
Although only 3 percent of first-class women were lost, 54% of those in third class died.
Similarly, five of six first-class and all second-class children survived, but 52 of the 79 in third class perished.
The only first-class child to perish was Loraine Allison, aged 2.
Proportionately, the heaviest losses were suffered by the second-class men, of whom 92% died.
Additionally, among the pets brought aboard three survived the sinking.
Article: Australia
Section: Arts

Question: When did Australian visual arts begin, and how?

Australian visual arts are thought to have begun with the cave paintings, rock engravings and body painting of its Indigenous peoples.
The traditions of Indigenous Australians are largely transmitted orally, through ceremony and the telling of Dreamtime stories.
From the time of European settlement, a theme in Australian art has been the natural landscape, seen for example in the works of Albert Namatjira, Arthur Streeton and others associated with the Heidelberg School, and Arthur Boyd.
The country's landscape remains a source of inspiration for Australian modernist artists; it has been depicted in acclaimed works by the likes of Sidney Nolan, Fred Williams, Sydney Long, and Clifton Pugh.
Australian artists influenced by modern American and European art include cubist Grace Crowley, surrealist James Gleeson, and pop artist Martin Sharp.
Contemporary Indigenous Australian art is the only art movement of international significance to emerge from Australia and "the last great art movement of the 20th century"; its exponents have included Emily Kngwarreye.
Art critic Robert Hughes has written several influential books about Australian history and art, and was described as the "world's most famous art critic" by "The New York Times".
The National Gallery of Australia and state galleries maintain Australian and overseas collections.
Australia has one of the world's highest attendances of art galleries and museums per head of population—far more than Britain or America.
Many of Australia's performing arts companies receive funding through the federal government's Australia Council.
There is a symphony orchestra in each state, and a national opera company, Opera Australia, well-known for its famous soprano Joan Sutherland.
At the beginning of the 20th century, Nellie Melba was one of the world's leading opera singers.
Ballet and dance are represented by The Australian Ballet and various state companies.
Each state has a publicly funded theatre company.
Australian literature has also been influenced by the landscape; the works of writers such as Banjo Paterson, Henry Lawson, and Dorothea Mackellar captured the experience of the Australian bush.
The character of the nation's colonial past, as represented in early literature, is popular with modern Australians.
In 1973, Patrick White was awarded the Nobel Prize in Literature, the first Australian to have achieved this.
Australian winners of the Man Booker Prize have included Peter Carey and Thomas Keneally; David Williamson, David Malouf, and J. M. Coetzee, who recently became an Australian citizen, are also renowned writers, and Les Murray is regarded as "one of the leading poets of his generation".
Article: Stone Mountain
Section: Geology

Question: What does tourmaline look like?

Stone Mountain is a pluton, a type of igneous intrusion.
Primarily composed of quartz monzonite, the dome of Stone Mountain was formed during the formation of the Blue Ridge Mountains, part of the Appalachian Mountains.
It formed as a result of the upwelling of magma from within the Earth's crust.
This magma solidified to form granite within the crust five to ten miles below the surface.
Stone Mountain pluton continues underground at its longest point into Gwinnett County.
Numerous reference books and Georgia literature have dubbed Stone Mountain as “the largest exposed piece of granite in the world".
This misnomer is most likely a result of advertisement by granite companies and early park administration.
Stone Mountain, though often called a pink granite dome, actually ranges in composition from quartz monzonite to granite and granodiorite.
The minerals within the rock include quartz, plagioclase feldspar, microcline and muscovite, with smaller amounts of biotite and tourmaline.
The tourmaline is mostly black in color, and the majority of it exists as optically continuous skeletal crystals, but much larger, euhedral pegmatitic tourmaline crystals can also be found in the mountain's numerous, cross-cutting felsic dikes.
Embedded in the granite are xenoliths or pieces of foreign rocks entrained in the magma.
The granite intruded into the metamorphic rocks of the Piedmont region during the last stages of the Alleghenian Orogeny, which was the time when North America and North Africa collided.
Over time, erosion eventually exposed the present mountain of more resistant igneous rock.
This intrusion of granite also gave rise to Panola Mountain in DeKalb County, smaller outcroppings further east of Stone Mountain.
Article: Henry Moore
Section: Beginnings as a sculptor

Question: In what year did Moore win a scholarship to study at the Royal College of Art in London?

After the war Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him.
At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years.
In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development.
In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries.
While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum.
The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals.
Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture.
Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach.
During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's "The Virgin and Child" by first modelling the relief in plaster, then reproducing it in marble using the mechanical technique of "pointing".
Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.
In 1924, Moore won a six-month travelling scholarship which he spent in Northern Italy studying the great works of Michelangelo, Giotto di Bondone, Giovanni Pisano and several other Old Masters.
During this period he also visited Paris, took advantage of the timed-sketching classes at the Académie Colarossi, and viewed, in the Trocadero, a plaster cast of a Toltec-Maya sculptural form, the Chac Mool, previously seen in book illustrations.
The reclining figure was to have a profound effect upon Moore's work, becoming the primary motif of his sculpture.
Article: United Arab Emirates
Section: Geography

Question: Where is the United Arab Emirates located?

The United Arab Emirates is situated in Southwest Asia, bordering the Gulf of Oman and the Persian Gulf, between Oman and Saudi Arabia; it is in a strategic location along southern approaches to the Strait of Hormuz, a vital transit point for world crude oil.
The UAE lies between 22°30' and 26°10' north latitude and between 51° and 56°25′ east longitude.
It shares a 530-kilometer border with Saudi Arabia on the west, south, and southeast, and a 450-kilometer border with Oman on the southeast and northeast.
The land border with Qatar in the Khawr al Udayd area is about nineteen kilometers () in the northwest; however, it is a source of ongoing dispute.
Following Britain's military departure from UAE in 1971, and its establishment as a new state, the UAE laid claim to islands resulting in disputes with Iran that remain unresolved.
UAE also disputes claim on other islands against the neighboring state of Qatar.
The largest emirate, Abu Dhabi, accounts for 87% of the UAE's total area ().
The smallest emirate, Ajman, encompasses only (see figure).
The UAE coast stretches for more than along the southern shore of the Persian Gulf.
Most of the coast consists of salt pans that extend far inland.
The largest natural harbor is at Dubai, although other ports have been dredged at Abu Dhabi, Sharjah, and elsewhere.
Numerous islands are found in the Persian Gulf, and the ownership of some of them has been the subject of international disputes with both Iran and Qatar.
The smaller islands, as well as many coral reefs and shifting sandbars, are a menace to navigation.
Strong tides and occasional windstorms further complicate ship movements near the shore.
The UAE also has a stretch of the Al Bāţinah coast of the Gulf of Oman, although the Musandam Peninsula, the very tip of Arabia by the Strait of Hormuz is an exclave of Oman separated by the UAE.
South and west of Abu Dhabi, vast, rolling sand dunes merge into the Rub al-Khali (Empty Quarter) of Saudi Arabia.
The desert area of Abu Dhabi includes two important oases with adequate underground water for permanent settlements and cultivation.
The extensive Liwa Oasis is in the south near the undefined border with Saudi Arabia.
About to the northeast of Liwa is the Al-Buraimi oasis, which extends on both sides of the Abu Dhabi-Oman border.
Lake Zakher is a man-made lake near the border with Oman.
Prior to withdrawing from the area in 1971, Britain delineated the internal borders among the seven emirates in order to preempt territorial disputes that might hamper formation of the federation.
In general, the rulers of the emirates accepted the British intervention, but in the case of boundary disputes between Abu Dhabi and Dubai, and also between Dubai and Sharjah, conflicting claims were not resolved until after the UAE became independent.
The most complicated borders were in the Al-Hajar al-Gharbi Mountains, where five of the emirates contested jurisdiction over more than a dozen enclaves.
Article: Henri Matisse
Section: Early life and education

Question: Where did Matisse spend his childhood?

Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France, the oldest son of a prosperous grain merchant.
He grew up in Bohain-en-Vermandois, Picardie, France.
In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification.
He first started to paint in 1889, after his mother brought him art supplies during a period of convalescence following an attack of appendicitis.
He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father.
In 1891, he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau.
Initially he painted still-lifes and landscapes in a traditional style, at which he achieved reasonable proficiency.
Matisse was influenced by the works of earlier masters such as Jean-Baptiste-Siméon Chardin, Nicolas Poussin, and Antoine Watteau, as well as by modern artists such as Édouard Manet, and by Japanese art.
Chardin was one of the painters Matisse most admired; as an art student he made copies of four of Chardin's paintings in the Louvre.
In 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany.
Russell introduced him to Impressionism and to the work of van Gogh, who had been a friend of Russell but was completely unknown at the time.
Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained colour theory to me."
In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, two of which were purchased by the state.
With the model Caroline Joblau, he had a daughter, Marguerite, born in 1894.
In 1898 he married Amélie Noellie Parayre; the two raised Marguerite together and had two sons, Jean (born 1899) and Pierre (born 1900).
Marguerite and Amélie often served as models for Matisse.
In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica.
Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, and Jules Flandrin.
Matisse immersed himself in the work of others and went into debt from buying work from painters he admired.
The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, and Cézanne's "Three Bathers".
In Cézanne's sense of pictorial structure and colour, Matisse found his main inspiration.
Many of Matisse's paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signac's essay, "D'Eugène Delacroix au Néo-impressionisme".
His paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form.
Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, completing "The Slave" in 1903.