This task is about creating an unanswerable question based on a given passage. Construct a question that looks relevant to the given context but is unanswerable. Following are a few suggestions about how to create unanswerable questions:
(i) create questions which require satisfying a constraint that is not mentioned in the passage
(ii) create questions which require information beyond what is provided in the passage in order to answer
(iii) replace an existing entity, number, date mentioned in the passage with other entity, number, date and use it in the question
(iv) create a question which is answerable from the passage and then replace one or two words by their antonyms or insert/remove negation words to make it unanswerable.

Input: Consider Input: Passage: A new generation of clubs such as Liverpool's Cream and the Ministry of Sound were opened to provide a venue for more commercial sounds. Major record companies began to open "superclubs" promoting their own acts. These superclubs entered into sponsorship deals initially with fast food, soft drinks, and clothing companies. Flyers in clubs in Ibiza often sported many corporate logos. A new subgenre, Chicago hard house, was developed by DJs such as Bad Boy Bill, DJ Lynnwood, DJ Irene, Richard "Humpty" Vission and DJ Enrie, mixing elements of Chicago house, funky house and hard house together. Additionally, Producers such as George Centeno, Darren Ramirez, and Martin O. Cairo would develop the Los Angeles Hard House sound. Similar to gabber or hardcore techno from the Netherlands, this sound was often associated with the "rebel" culture of the time. These 3 producers are often considered "ahead of their time" since many of the sounds they engineered during the late 20th century became more prominent during the 21st century.

Output: Where was a new type of club called Darren Located?


Input: Consider Input: Passage: At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

Output: What type of boat was La Maison Cubist?


Input: Consider Input: Passage: By the 1840s, India was no longer capable of supplying the vast quantities of cotton fibers needed by mechanized British factories, while shipping bulky, low-price cotton from India to Britain was time-consuming and expensive. This, coupled with the emergence of American cotton as a superior type (due to the longer, stronger fibers of the two domesticated native American species, Gossypium hirsutum and Gossypium barbadense), encouraged British traders to purchase cotton from plantations in the United States and plantations in the Caribbean. By the mid-19th century, "King Cotton" had become the backbone of the southern American economy. In the United States, cultivating and harvesting cotton became the leading occupation of slaves.


Output: What was the difference that made Indian cotton preferred over British cotton?