In this task, you're given a question, along with a context passage. The passage will not have a direct answer to the question, but can include some information and a clue for the answer. Assuming you can only obtain information about one entity in the passage, your job is to determine whether information from the passage can be used to answer the question. Indicate your choice as `a` for Yes or `b` for No.

[Q]: Question: When was the mother of Hagood's daughter born? Passage:Hagood was born in Detroit, Michigan, and first sang at the age of 17 with Benny Carter. He sang with the Dizzy Gillespie Orchestra from 1946 to 1948 and then with Tadd Dameron later in 1948. He recorded two pieces with Thelonious Monk in 1948 and with Miles Davis on the Birth of the Cool sessions in 1950. He then moved to Chicago and later Paris. There in 1960 he had a short-lived marriage to Alice McLeod (later known as Alice Coltrane), who bore him a daughter. Hagood recorded with Guy Lafitte in the 1960s. He moved to Los Angeles, California, in 1965 to 1980. In the early 1980s he returned first to Chicago, and later to the Detroit area.

[A]: b


[Q]: Question: Why did the Nok culture die off about 200 AD on the Jos Plateau? Passage:The Nok culture thrived from approximately 1,500 BC to about 200 AD on the Jos Plateau in north and central Nigeria and produced life-sized terracotta figures that include human heads, human figures, and animals. Iron smelting furnaces at Taruga, a Nok site, date from around 600 BC. The Nok culture is thought to have begun smelting iron by 600-500 BC and possibly some centuries earlier. Kainji Dam excavations revealed iron-working by the 2nd century BC. Evidence of iron smelting has also been excavated at sites in the Nsukka region of southeast Nigeria in what is now Igboland: dating to 2,000 BC at the site of Lejja (Uzomaka 2009) and to 750 BC and at the site of Opi (Holl 2009). The transition from Neolithic times to the Iron Age apparently was achieved indigenously without intermediate bronze production. Others have suggested that the technology moved west from the Nile Valley, although the Iron Age in the Niger River valley and the forest region appears to predate the introduction of metallurgy in the upper savanna by more than 800 years. The earliest iron technology in West Africa has also been found to be contemporary with or predate that of the Nile valley and North Africa, and some archaeologists believe that iron metallurgy was likely developed independently in sub-Saharan West Africa.

[A]: b


[Q]: Question: How many years had the Ballet Russe de Monte Carlo been doing performances the year that Rudenko signed up with them? Passage:In 1938 Rudenko was signed up to the Ballet Russe de Monte Carlo, where, at 17, she was their youngest soloist. Her stage name was Lubov Roudenko, and she was also popularly known as "Spitfire Lu-Lu." She had a can-can sequence in the 1938 ballet Gaîté Parisienne choreographed specially for her by Léonide Massine. She would later reprise this role in the 1941 Oscar-nominated short film The Gay Parisian. Whilst with the Ballet Russes, Rudenko was the subject of several drawings by Henri Matisse in 1939. Four of his portrait sketches of her are now in the Fogg Museum. Matisse also made a drawing of Rudenko in the ballet  Rouge et Noir. While on tour with the Ballet Russe, Rudenko performed the role of the Cowgirl in the 1942 ballet Rodeo until the tour reached New York and Agnes de Mille, the original choreographer, reclaimed the role for herself. Disappointed by this, Rudenko quit the Ballet Russes, and took a better-paid job performing in a Broadway production of The Merry Widow. This production launched at the Majestic Theatre on 4 August 1943, with Rudenko and James Starbuck leading the character dances, including a comic polka and a can-can number. After this, Rudenko played Grisette in Nellie Bly, a short-lived 1946 musical based on the life of Nellie Bly, and then became lead dancer for the 1946-49 Broadway production of Annie Get Your Gun, but following a knee injury, decided to pursue a career in fashion design. She continued performing until 1951, appearing in the 1950-51 Olsen and Johnson revue Pardon our French.

[A]:
b