In this task, you will be presented with a context passage, a question about that paragraph, and a possible answer to that question. The task is to check the validity of the answer. Answer with "Yes" or "No".
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Question: The Golden Heian Era: The geomancers in 794 decided that Heian-kyo (modern Kyoto) would be an auspicious site for the imperial family. It was indeeduntil 1869. Grants of tax-free land over the years had been made to Buddhist temples and members of the court aristocracy. The most powerful families thus carved out for themselves whole regions that were to become the fiefdoms of Japanese feudalism. By the end of the eighth century the clans had created a hierarchy of shiki, or rights, from the highest to the lowest ranks of society. The aristocrat or court patron lent his prestige to a powerful provincial proprietor, who employed a competent estate-manager to oversee smallholders, who in turn worked their farms with dependent laborers. This elaborate structure of interdependent rights and obligations was to serve Japanese society right into the 20th century. Meanwhile, Heian court life blossomed in an effusion of aesthetic expression. Princes and princesses judged the merits of birds, insects, flowers, roots, or seashells. Literary party games held in ornate palace gardens required each guest to compose a small poem as his wine cup floated toward him along a miniature winding channel of water. Expeditions were organized to the best viewing points for the first spring cherry blossoms, and special pavilions were built to watch the rising of the full moon. Every gesture, from the most banal opening of an umbrella to the sublimest act of lovemaking, had its appropriate ceremonial. Conversation often took the form of elegant exchanges of improvised verse. The changing role of Chinese culture in Japanese life was epitomized in the language itself. In the absence of an indigenous alphabet, Japanese scholars had with the greatest difficulty tried to adapt the complex ideograms of monosyllabic Chinese to the essentially polysyllabic Japanese. Thus developed the katakana system used as a vehicle for writing Buddhist names and concepts. After rival Fujiwara factions had been struggling for years to gain control of the imperial throne, they turned to the Taira and Minamoto armies in 1156 to wage the four-year war that heralded the end of the golden age of the Heian court. The Taira, controlling the region along the Inland Sea, defeated the Minamoto armies based in the Kanto province east of the capital. <sep>What time period was Heian-kyo used as a site for the imperial family?<sep>From 794 to 1869

Answer: Yes

Question: "Femme" is an apt description of the depiction of Madame White Snake and all her incarnations. It refers to a woman who is dangerously attractive, and lures men to their downfall with her sexual attractiveness. In both incarnations of Madame White snake, the authors depict her as bewitchingly beautiful. Toyoo, her human lover in "Lust of the White Serpant" cannot shake the image of her beauty from his mind and dreams of her, and finds himself "disturbed and agitated" by her "ethereal beauty". In "Eternal Prisoner," Madame White Snake's bewitching beauty follows her lover Hsu into his dreams, and the next morning "he was so distracted that he could not concentrate on doing business." Both of these stories align negative connotations with her beauty, suggesting that her sexuality is the cause of their distraction. In addition to distracting sexuality, the irregular characterization of Madame White Snake might be another trait her character has in common with the archetypical noir femme fatale. In her essay analyzing the noir film from a feminist perspective, Christine Gledhill writes "Not only is the hero frequently not sure whether the woman is honest or a deceiver, but the heroine's characterisation is itself fractured so that it is not evident to the audience whether she fills the [femme fatale] stereotype or not". <sep>In this passage, "Femme" is referring to what kind of woman?<sep>Bewitching beauty

Answer: Yes

Question: Hotel California Fact: Sound is a vibration. Sound travels as a mechanical wave through a medium, and in space, there is no medium. So when my shuttle malfunctioned and the airlocks didn't keep the air in, I heard nothing. After the first whoosh of the air being sucked away, there was lightning, but no thunder. Eyes bulging in panic, but no screams. Quiet and peaceful, right? Such a relief to never again hear my crewmate Jesse natter about his girl back on Earth and that all-expenses-paid vacation-for-two she won last time he was on leave. I swore, if I ever had to see a photo of him in a skimpy bathing suit again, giving the camera a cheesy thumbs-up from a lounge chair on one of those white sandy beaches, I'd kiss a monkey. Metaphorically, of course. Fact: If, before all the air is sucked out of the ship, a person is so lucky to have stuffed him or herself into a space suit, that person has less than twenty-four hours to live. This is more than the person would have sans space suit. Me, I found a space suit, but it was statistically unlikely that I, and whomever else has followed suit (pun intended), would manage to repair our ship before the less-than-twenty-four hours are up; yes, studies have been done. So, twenty-four hours. Give or take. About the time I was composing my last words in my head, trying not to think too much about what suffocating felt like, that's when I heard a bell. <sep>Why couldn't the protagonist hear anything?<sep>Because he was momentarily death from a thunder

Answer:
No