instruction:
In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it, i.e., the proper nouns in the passage. Your job is to determine whether information from more than one term is needed to answer the question. Indicate your choice as 'a' for Yes or 'b' for No.
question:
Question: What year was the league established that Hague first played senior hockey in? Passage:Hague first played senior hockey in the Ottawa City Hockey League for the Ottawa Emmetts. He joined the Ottawa Hockey Club during the Silver Seven era, in 1905, succeeding Dave Finnie. In 1906 he was replaced by Percy LeSueur and he joined the Ottawa Victorias for the 190607 season. He played for the Victorias in a Cup challenge against Montreal Wanderers in 1908 losing a two-game series. He later played for Galt, Ontario of the OPHL. With Galt he played in a Stanley Cup challenge against Ottawa losing 74 in 1911. He joined the Moncton Victorias with several other Galt players, winning the Maritime championship and played in another Stanley Cup challenge in 1912 against the Quebec Bulldogs, losing a two-game series. He later played for Halifax Socials and Montreal Wanderers of the NHA. He retired after the 191617 season.

answer:
b

question:
Question: How old was John Sargent the year Vassos moved to Boston? Passage:Vassos moved to Boston, Massachusetts in 1919, where he attended the Fenway Art School at night. He studied alongside American artist John Singer Sargent and worked as an assistant for Joseph Urban. In 1924 he moved to New York, where he attended the Art Students League of New York, studying under George Bridgman, John Sloan, and others. He opened his own studio creating window displays for department stores, like Wanamakers, murals, and advertisements for Saks Fifth Avenue, Bonwit Teller, and Packard Motor Cars in his unique black and white illustrated style. At the same time, he illustrated a series of books by Oscar Wilde for E.P. Dutton followed by others including Phobia on which he based his life-long design focus on psychology, his area of expertise as noted by Fortune Magazine's list of top designers in the country. He entered the emergent field of industrial design and was hired by rapidly-growing RCA Victor, under the leadership of David Sarnoff, who discovered Vassos while painting murals at the WCAU skyscraper in Philadelphia. The company had recently acquired Victor Phonograph, built Radio City, and owned NBC Broadcasting, but needed to amplify and modernize their radio manufacturing business. By hiring Vassos, an up-and-coming industrial designer who created their first Styling department, launched Vassos on a four-decade relationship with the company for whom he designed hundreds of items, while also consulting for numerous other clients like Coca-Cola, Waterman, Universal Artists, Remington, and the United States Government. Vassos's work as an interior designer included the Chrysler Building apartment of photographer Margaret Bourke-White, Nedick's Hot Dog stands, displays for RCA in department stores and the World's Fair,and many others for which he employed modular furniture. He eschewed trendy styles like the extreme-streamlined look, popular in the 1930s, and favored the clean, modern look unadorned with unnecessary elements. He expressed his design philosophy for magazines like Pencil Points and in lectures on modern design and art. Although he was hailed as a top designer in the United States during the 1930s, he slipped away from the spotlight of his industrial design peers like Raymond Loewy, Henry Dreyfuss, and Norman Bel Geddes, largely because he did not open a large firm. Unique among the industrial designers of the 20th century, his work was focused on the intersections between interior decorating, furniture design, and the shapes of phonographs, radios and televisions. His contributions include creating a futuristic living room including television, the slide rule dial on radios, emphasis on the haptic experience of media (knobs and buttons), and the "user experience," years before this term was coined.

answer:
b

question:
Question: Which of the works produced by Greg in 1923 was longer? Passage:After school, Greg settled into a life of steady productivity, while living on the proceeds of his shares of The Economist. Working in close association with A. H. Bullen, he produced Pastoral Poetry and Pastoral Drama (1906), the first edited version of the account books of Philip Henslowe (19068) and the papers of Edward Alleyn. The latter two works provided him with a knowledge of Renaissance theatrical conditions perhaps rivaled only by E. K. Chambers, and this knowledge he applied to the publications of the Malone Society, which he served as general editor between 1906 and 1939. He served as Librarian of Trinity College, 190713, resigning after his marriage to his cousin Elizabeth Gaskell. As an independent scholar, Greg produced editions of The Merry Wives of Windsor (1910), Robert Greene's Orlando Furioso and George Peele's The Battle of Alcazar (published together, 1923), and Sir Thomas More (1911). He returned to specific editing with work on Doctor Faustus (1950). Greg also wrote on the material conditions of Renaissance theater and publishing; his work in this regard includes Dramatic Documents from the Elizabethan Playhouses (1931) and English Literary Autographs, 15501650 (1932). The Variants in the First Quarto of King Lear (1940) offered a careful examination of this printing. He also wrote hundreds of reviews, including a notably caustic rejection of J. Churton Collins's 1905 Oxford edition of Robert Greene.

answer:
a