community-datasets/selqa huggingface dataset:
Article: Football
Section: Cambridge rules

Question: Modern rules for football where established in what British city?

In 1848, at Cambridge University, Mr. H. de Winton and Mr. J.C. Thring, who were both formerly at Shrewsbury School, called a meeting at Trinity College, Cambridge with 12 other representatives from Eton, Harrow, Rugby, Winchester and Shrewsbury.
An eight-hour meeting produced what amounted to the first set of modern rules, known as the "Cambridge rules".
No copy of these rules now exists, but a revised version from circa 1856 is held in the library of Shrewsbury School.
The rules clearly favour the kicking game.
Handling was only allowed "when a player catches the ball directly from the foot" entitling them to a free kick and there was a primitive offside rule, disallowing players from "loitering" around the opponents' goal.
The Cambridge rules were not widely adopted outside English public schools and universities (but it was arguably the most significant influence on the Football Association committee members responsible for formulating the rules of Association football).
Article: Hamburger
Section: Frank and Charles Menches

Question: What county fair was it that Frank and Charles Mences said they sold the first hamburger?

Another claim from 1885 comes from Frank and Charles Menches who claim to have sold a ground beef sandwich at the Erie County Fair in Hamburg, New York.
During the fair, they ran out of pork sausage for their sandwiches and substituted beef.
Kunzog, who spoke to Frank Menches, says they exhausted their supply of sausage, so purchased chopped up beef from a butcher, Andrew Klein.
Though historian Joseph Streamer wrote that the meat was from Stein's market not Klein's; despite Stein having sold the market in 1874.
The story notes that the origin of the hamburger comes from Hamburg, New York not Hamburg Germany.
Yet Frank Menches's obituary in "The New York Times" states that these events took place at the 1892 Summit County Fair in Akron, Ohio.
Article: Have Yourself a Merry Little Christmas
Section: "Meet Me in St. Louis"

Question: Where was the song "Have Yourself a Merry Little Christmas" written?

The song was written while Martin was vacationing in a house in the neighborhood of Southside in Birmingham, Alabama, that his father Hugh Martin designed for his mother as a honeymoon cottage.
Located at 1919 South 15th Avenue, (just down the street from his birthplace at 1900 South 14th Avenue) the house became the home of Martin and his family in 1923.
The song first appeared in a scene in "Meet Me in St. Louis", in which a family is distraught by the father's plans to move to New York City for a job promotion, leaving behind their beloved home in St. Louis, Missouri, just before the long-anticipated 1904 World's Fair begins.
In a scene set on Christmas Eve, Judy Garland's character, Esther, sings the song to cheer up her despondent five-year-old sister, Tootie, played by Margaret O'Brien.
Article: Udon
Section: Abstract

Question: How many different versions of packaging noodles are there?

Udon is often served hot as a noodle soup in its simplest form, as "kake udon", in a mildly flavoured broth called "kakejiru," which is made of dashi, soy sauce (shōyu), and mirin.
It is usually topped with thinly chopped scallions.
Other common toppings include tempura, often prawn or "kakiage" (a type of mixed tempura fritter), or "aburaage", a type of deep-fried tofu pockets seasoned with sugar, mirin, and soy sauce.
A thin slice of kamaboko, a halfmoon-shaped fish cake, is often added.
Shichimi can be added to taste.
The flavor of broth and topping vary from region to region.
Usually, dark brown broth, made from dark soy sauce ("koikuchi shōyu"), is used in eastern Japan, and light brown broth, made from light soy sauce ("usukuchi shōyu"), is used in western Japan.
This is even noticeable in packaged instant noodles, which are often sold in two different versions for east and west.
Article: Napoleonic Wars
Section: Financing the war

Question: How many soldiers were Austrian and Russian in 1813?

A key element in British success was its ability to mobilize the nation's industrial and financial resources and apply them to defeating France.
With a population of 16 million Britain was barely half the size of France with 30 million.
In terms of soldiers the French advantage was offset by British subsidies that paid for a large proportion of the Austrian and Russian soldiers, peaking at about 450,000 men in 1813.
By the terms of the Anglo-Russian agreement of 1803, Britain paid a subsidy of ₤1.5 million pounds for every 100,000 Russian soldiers in the field.
Most important, the British national output remained strong and the well-organized business sector channeled products into what the military needed.
Britain used its economic power to expand the Royal Navy, doubling the number of frigates and increasing the number of large ships of the line by 50%, while increasing the roster of sailors from 15,000 to 133,000 in eight years after the war began in 1793.
France, meanwhile, saw its navy shrink by more than half.
The system of smuggling finished products into the continent undermined French efforts to ruin the British economy by cutting off markets.
Subsidies to Russia and Austria kept them in the war.
The British budget in 1814 reached £66,000,000, including £10 million for the Royal Navy, £40 million for the army, £10 million for the allies, and £38 million as interest on the national debt.
The national debt soared to £679 million, more than double the GDP.
It was willingly supported by hundreds of thousands of investors and tax payers, despite the higher taxes on land and a new income tax.
The whole cost of the war came to £831 million.
By contrast the French financial system was inadequate and Napoleon's forces had to rely in part on requisitions from conquered lands.
Article: The Godfather
Section: Box office performance

Question: what year was the godfather the highest grossing film?

Box office performance.
"The Godfather" was a blockbuster, breaking many box office records to become the highest grossing film of 1972.
It earned $81.5 million in theatrical rentals in North America during its initial release, increasing its earnings to $85.7 million through a reissue in 1973, and including a limited re-release in 1997 it ultimately earned an equivalent exhibition gross of $135 million.
It displaced "Gone with the Wind" to claim the record as the top rentals earner, a position it would retain until the release of "Jaws" in 1975.
News articles at the time proclaimed it was the first film to gross $100 million in North America, but such accounts are erroneous since this record in fact belongs to "The Sound of Music", released in 1965.
The film repeated its native success overseas, earning in total an unprecedented $142 million in worldwide theatrical rentals, to become the highest net earner.
Profits were so high for "The Godfather" that earnings for Gulf & Western Industries, Inc., which owned Paramount Pictures, jumped from seventy-seven cents per share to three dollars and thirty cents a share for the year, according to a "Los Angeles Times" article, dated December 13, 1972.
To date, it has grossed between $245 and 286 million in international box office receipts, and adjusted for ticket price inflation in North America, ranks among the top 25 highest-grossing films.
Article: Protestant Reformation
Section: Zwingli

Question: where was the meeting, a complete failure, held in 1529?

Reformation outside Germany.
Parallel to events in Germany, a movement began in the Swiss Confederation under the leadership of Huldrych Zwingli.
Zwingli was a scholar and preacher who moved to Zurich – the then-leading city state – in 1518, a year after Martin Luther began the Reformation in Germany with his 95 Theses.
Although the two movements agreed on many issues of theology, as the recently introduced printing press spread ideas rapidly from place to place, some unresolved differences kept them separate.
A long-standing resentment between the German states and the Swiss Confederation led to heated debate over how much Zwingli owed his ideas to Lutheranism.
Although Zwinglianism does hold uncanny resemblance to Lutheranism (it even had its own equivalent of the 95 Theses, called the 67 Conclusions), historians have been unable to prove that Zwingli had any contact with Luther's publications before 1520, and Zwingli himself maintained that he had prevented himself from reading them.
The German Prince Philip of Hesse saw potential in creating an alliance between Zwingli and Luther, seeing strength in a united Protestant front.
A meeting was held in his castle in 1529, now known as the Colloquy of Marburg, which has become infamous for its complete failure.
The two men could not come to any agreement due to their disputation over one key doctrine.
Although Luther preached consubstantiation in the Eucharist over transubstantiation, he believed in the spiritual presence of Christ at the mass.
Zwingli believed that the mass was only representative and memorial – Christ was not present.
Luther became so angry that he famously carved into the meeting table 'Hoc Est Corpus Meum' – a Biblical quotation from the Last Supper meaning 'this is my body'.
Some followers of Zwingli believed that the Reformation was too conservative, and moved independently toward more radical positions, some of which survive among modern day Anabaptists.
One famous incident illustrating this was when radical Zwinglians fried and ate sausages during Lent in Zurich city square by way of protest against the Church teaching of good works.
Other Protestant movements grew up along lines of mysticism or humanism (cf.
Erasmus), sometimes breaking from Rome or from the Protestants, or forming outside of the churches.
Article: As Long as You Love Me (Justin Bieber song)
Section: Synopsis

Question: What did Madsen find on his daughter's neck?

The video starts off with some flashbacks foreshadowing of what's going to be shown or happen in the video.
Then presently, at a mansion gate, Bieber appears as a loyal-but-troublemaking boyfriend to the daughter of an overprotective father, played by Madsen.
In what can be seen as a prelude to the main events of the video, Madsen finds the words "You r so sexy" written on his daughter's neck.
Outside their house, Madsen threatens Bieber to stay away from his daughter, despite Bieber's insistence that he loves her.
Bieber and his love interest secretly plan to meet at a train station late at night, to escape the clutches of her father.
However, their plans are foiled when Madsen finds his daughter's bedroom empty and races off, only to catch up with them in the middle of the street.
Bieber is assaulted by Madsen multiple times, only to rise to his feet and stand up again as the daughter watches and screams in horror.
As the video fades, representing that Bieber is passing out from the pain, Madsen drags his daughter to their car.
Throughout the video, scenes of Bieber and his love interest in various scenes (such as on her bed, at the park and on a rooftop) are shown, displaying their love.
The video also features a complicated dance routine performed in a parking garage, which is rumored by multiple critics to be a nod to the video for Michael Jackson's "Bad" (coincidentally, Madsen also appeared in the video for Jackson's "You Rock My World").
Article: Electrochemistry
Section: First law

Question: The proportionality of the amount of a substance to the quantity of electricity passed through is described by which law?

Faraday concluded after several experiments on electrical current in non-spontaneous process, the mass of the products yielded on the electrodes was proportional to the value of current supplied to the cell, the length of time the current existed, and the molar mass of the substance analyzed.
In other words, the amount of a substance deposited on each electrode of an electrolytic cell is directly proportional to the quantity of electricity passed through the cell.
Below is a simplified equation of Faraday's first law:
formula_7
Where
"m" is the mass of the substance produced at the electrode (in grams),
"Q" is the total electric charge that passed through the solution (in coulombs),
"n" is the valence number of the substance as an ion in solution (electrons per ion),
"M" is the molar mass of the substance (in grams per mole).
Article: Virus
Section: Etymology

Question: What year was the word Virus first used in English?

The word is from the Latin "virus" referring to poison and other noxious substances, first used in English in 1392.
"Virulent", from Latin "virulentus" (poisonous), dates to 1400.
A meaning of "agent that causes infectious disease" is first recorded in 1728, before the discovery of viruses by Dmitri Ivanovsky in 1892.
The English plural is "viruses", whereas the Latin word is a mass noun, which has no classically attested plural.
The adjective "viral" dates to 1948.
The term "virion" (plural "virions"), which dates from 1959, is also used to refer to a single, stable infective viral particle that is released from the cell and is fully capable of infecting other cells of the same type.
Article: Assassination of Martin Luther King, Jr.
Section: Robert F. Kennedy speech

Question: What did Kennedy's aides think the speech would cause?

A speech on the assassination of Martin Luther King, Jr. was given on April 4, 1968, by New York Senator Robert F. Kennedy (who was himself assassinated two months later).
Kennedy was campaigning for the 1968 Democratic presidential nomination and had spoken at the University of Notre Dame and Ball State University earlier that day.
Before boarding a plane to fly to Indianapolis for one last campaign speech in a predominantly black neighborhood of the city he learned that Martin Luther King had been shot, leading Kennedy press secretary Frank Mankiewicz to suggest that he ask the audience to pray for the King family and ask them to follow King's deeply held belief in non-violence.
They did not learn that King was dead until they landed in Indianapolis.
Both Mankiewicz and speechwriter Adam Walinsky drafted notes immediately before the rally for Kennedy's use, but Kennedy refused Walinsky's notes, instead using some that he had likely written on the ride over; Mankiewicz arrived after Kennedy had already begun to speak.
Prior to arriving at the rally, the Chief of Police in Indianapolis told Kennedy that he could not provide protection and that giving the remarks would be too dangerous, but Kennedy decided to go ahead regardless.
Standing on a podium mounted on a flatbed truck, Kennedy spoke for just four minutes and fifty-seven seconds.
Robert F. Kennedy was the first to inform the audience of the death of Martin Luther King, causing some in the audience to scream and wail.
Several of Kennedy's aides were even worried that the delivery of this information would result in a riot.
Once the audience quieted down, Kennedy acknowledged that many in the audience would be filled with anger.
But then Kennedy went on: "For those of you who are black and are tempted to fill with -- be filled with hatred and mistrust of the injustice of such an act, against all white people, I would only say that I can also feel in my own heart the same kind of feeling.
I had a member of my family killed, but he was killed by a white man."
These remarks surprised Kennedy aides, who had never heard him speak publicly of John F. Kennedy's death.
Kennedy continued, saying that the country had to make an effort to "go beyond these rather difficult times," and then quoted a poem by the Greek playwright Aeschylus, on the theme of the wisdom that comes, against one's will, from pain.
To conclude, Kennedy said that the country needed and wanted unity between blacks and whites, asked the audience members to pray for the King family and the country, and once more quoted the ancient Greeks.
The speech was credited in part with preventing post-assassination rioting in Indianapolis where it was given, though there were riots in many other parts of the country.
It is widely considered one of the greatest speeches in American history.
Article: Yosemite National Park
Section: Uplift and erosion

Question: What further acellerated the uplift of the Sierra?

Starting 10 million years ago, vertical movement along the Sierra fault started to uplift the Sierra Nevada.
Subsequent tilting of the Sierra block and the resulting accelerated uplift of the Sierra Nevada increased the gradient of western-flowing streams.
The streams consequently ran faster and thus cut their valleys more quickly.
Additional uplift occurred when major faults developed to the east, especially the creation of Owens Valley from Basin and Range-associated extensional forces.
Uplift of the Sierra accelerated again about two million years ago during the Pleistocene.
The uplifting and increased erosion exposed granitic rocks in the area to surface pressures, resulting in exfoliation (responsible for the rounded shape of the many domes in the park) and mass wasting following the numerous fracture joint planes (cracks; especially vertical ones) in the now solidified plutons.
Pleistocene glaciers further accelerated this process and the larger ones transported the resulting talus and till from valley floors.
Numerous vertical joint planes controlled where and how fast erosion took place.
Most of these long, linear and very deep cracks trend northeast or northwest and form parallel, often regularly spaced sets.
They were created by uplift-associated pressure release and by the unloading of overlying rock via erosion.
Article: The Dark Knight Rises
Section: Music

Question: What method did Zimmer use to solicit voices for the chant used in the score for The Dark Knight Rises?

In an interview in October 2010, composer Hans Zimmer confirmed that he would be returning to score "The Dark Knight Rises."
James Newton Howard was offered to return and write the score with Zimmer as he did for "Batman Begins" and "The Dark Knight", but he chose not to because he noted that the chemistry established between Zimmer and Nolan during the making of "Inception" would make him seem like a "third wheel".
Zimmer included several cues from the earlier scores, but explains that he wanted to go in a "completely different direction" for Bane's theme.
While the theme accompanying Selina Kyle is deliberately ambiguous, the musical thread spanning throughout the trilogy was composed exclusively for Bruce Wayne.
The film features a prevalent Moroccan chant of the phrase "deshi basara" (proper transliteration: "teeji basra") (Arabic: تيجي بسرعة), which translates to "rise up" (literally: "come quickly").
In November 2011, Zimmer crowdsourced online audio recordings of the chant to be used in the film's score.
When asked about the chant for clarification, Zimmer said, "The chant became a very complicated thing because I wanted hundreds of thousands of voices, and it's not so easy to get hundreds of thousands of voices.
So, we Twittered and we posted on the internet, for people who wanted to be part of it.
It seemed like an interesting thing.
We've created this world, over these last two movies, and somehow I think the audience and the fans have been part of this world.
We do keep them in mind."
Article: Where Have You Been
Section: Critical reception

Question: Where Have You Been was said to be rave-tastic by whom?

"Where Have You Been" garnered positive reviews from music critics.
Andy Kellman for Allmusic wrote that "Where Have You Been", along with the album's lead single "We Found Love", serve as "Talk That Talk"s "place-holding" dance tracks.
Greg Kot for the "Chicago Tribune" compared "Where Have You Been" and "We Found Love" for being "rave-tastic."
Aside from noting the similarities between the two songs, Randell Roberts for "Los Angeles Times" wrote that neither song would sound out of place at an Electric Daisy Carnival.
Julianne Escobedo Shepherd for "Spin" also wrote that the song was a perfect play for a festival, writing Where Have You Been' is tailor-made for a Coachella pool rave."
Jon Caramanica for "The New York Times" was complimentary of both songs, but wrote that "Where Have You Been" "is even better."
Mark Graham for VH1 compared the song to one of Rihanna's previous singles from her 2007 album "Good Girl Gone Bad", "Don't Stop the Music", writing Where Have You Been will almost certainly be Rihanna's biggest club smash since 'Don't Stop the Music'.
"Robert Copsey for Digital Spy shared the same opinion as Graham, writing "We labelled 'Where Have You Been' the record's 'Don't Stop The Music'."
He continued to give an explanation as to why the songs are similar writing "On the surface, similarities between the two are almost non-existent, but on closer inspection, not only are they the danciest cuts on their respective LPs, they're both favourites that fans have been eager to see get an official release."
Copsey concluded his review praising the song and Rihanna, writing "Like Rihanna herself, it's hectic, confident and unashamedly sexual."
Meghan Brownfield for the "Columbia Missourian" praised the song as a track which people will want to dance to as well as writing that the lyrics ensure that the listener pays attention to the lyrics, saying "It is a song you would hear in a club that everyone would want to dance to.
This song makes you want to move, and it also has some strong lyrics that make you focus on what she is saying."
Matthew Cole for Slant Magazine, however, was critical of the song, writing that the song is a "boring dubstep-normalizing dance number reminiscent of LMFAO," as well as Rihanna's own "We Found Love".
Article: Jackson Pollock
Section: At auction

Question: What the 1973 auction price for Jackson Pollock's Blue Poles Number 11 1952?

Art market.
At auction.
In 1973, Blue Poles "(Blue Poles: Number 11, 1952)," was purchased by the Australian Whitlam Government for the National Gallery of Australia for US $2 million (A$1.3 million at the time of payment).
At the time, this was the highest price ever paid for a modern painting.
The painting is now one of the most popular exhibits in the gallery.
It was a centerpiece of the Museum of Modern Art's 1998 retrospective in New York, the first time the painting had been shown in America since its purchase.
In November 2006, Pollock's "No.
5, 1948" became the world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of $140,000,000.
Another artist record was established in 2004, when "No.
12" (1949), a medium-sized drip painting that had been shown in the United States Pavilion at the 1950 Venice Biennale, fetched $11.7 million at Christie's, New York.
In 2012, "Number 28, 1951," one of the artist’s combinations of drip and brushwork in shades of silvery gray with red, yellow and shots of blue and white, also sold at Christie's, New York, for $20.5 million—$23 million with fees—within its estimated range of $20 million to $30 million.
In 2013 Pollock's "Number 19" (1948) was sold by Christies for a reported $58,363,750 during an auction that ultimately reached $495 million total sales in one night which Christies reports as a record to date as the most expensive auction of contemporary art.