rajpurkar/squad huggingface dataset:
Title: Professional_wrestling

Those involved in producing professional wrestling have developed a kind of global fraternity, with familial bonds, shared language and passed-down traditions. New performers are expected to "pay their dues" for a few years by working in lower-profile promotions and working as ring crew before working their way upward. The permanent rosters of most promotions develop a backstage pecking order, with veterans mediating conflicts and mentoring younger wrestlers. For many decades (and still to a lesser extent today), performers were expected to keep the illusions of wrestling's legitimacy alive even while not performing, essentially acting in character any time they were in public. Some veterans speak of a "sickness" among wrestling performers, an inexplicable pull to remain active in the wrestling world despite the devastating effects the job can have on one's life and health.

Question: What is expected of newcomers? 
Answer: to "pay their dues" for a few years by working in lower-profile promotions

Question: What were wrestlers expected to do for decades? 
Answer: keep the illusions of wrestling's legitimacy alive

Question: How did wrestlers have to act in public? 
Answer: acting in character

Question: What effects can wrestling have on the wrestlers? 
Answer: devastating effects the job can have on one's life and health
Title: Professional_wrestling

Fans of professional wrestling have their own subculture, comparable to those of science fiction, video games, or comic books (in some cases, the "fandoms" overlap; in recent years, some professional wrestlers, particularly those who nurture an anti-establishment rebel persona, such as CM Punk, have made guest appearances at comic book conventions). Those who are interested in the backstage occurrences, future storylines, and reasonings behind company decisions read newsletters written by journalists with inside ties to the wrestling industry. These "rags" or "dirt sheets" have expanded into the Internet, where their information can be dispensed on an up-to-the-minute basis. Some have expanded into radio shows.

Question: What do the fans have?
Answer: their own subculture

Question: What sometimes happens with fandoms? 
Answer: overlap

Question: Where have some wrestlers appeared?
Answer: comic book conventions
Title: Professional_wrestling

Some fans enjoy a pastime of collecting tapes of wrestling shows from specific companies, of certain wrestlers, or of specific genres. The Internet has given fans exposure to worldwide variations of wrestling they would be unable to see otherwise. Since the 1990s, many companies have been founded which deal primarily in wrestling footage. When the WWF purchased both WCW and ECW in 2001, they also obtained the entire past video libraries of both productions and have released many past matches online and on home video.

Question: What do some fans like to do?
Answer: collecting tapes of wrestling shows

Question: What has the internet done for wrestling fans? 
Answer: exposure to worldwide variations of wrestling

Question: Many companies who handle wrestling footage have been founded since what decade?
Answer: 1990s

Question: What companies did WWF purchase in 2001? 
Answer: WCW and ECW
Title: Professional_wrestling

From the first established world championship, the top professional wrestlers have garnered fame within mainstream society. Each successive generation has produced a number of wrestlers who extend their careers into the realms of music, acting, writing, business, politics or public speaking, and are known to those who are unfamiliar with wrestling in general. Conversely, celebrities from other sports or general pop culture also become involved with wrestling for brief periods of time. A prime example of this is The Rock 'n' Wrestling Connection of the 1980s, which combined wrestling with MTV.

Question: What kind of notoriety have wrestlers achieved?
Answer: fame within mainstream society

Question: What did the Rock 'n' Wrestling Connection do?
Answer: combined wrestling with MTV

Question: What are some other career paths wrestlers embarked on?
Answer: music, acting, writing, business, politics or public speaking
Title: Professional_wrestling

Many television shows and films have been produced which portray in-character professional wrestlers as protagonists, such as Ready to Rumble, ¡Mucha Lucha!, Nacho Libre, and the Santo film series. In the wildly popular Rocky series of films about the fictional boxer Rocky Balboa, Rocky III saw its hero fighting a "boxer vs. wrestler" exhibition match against the enormous and villainous wrestler "Thunderlips", portrayed by real-life soon-to-be wrestling icon Hulk Hogan. At least two stage plays set in the world of pro wrestling have been produced: The Baron is a comedy that retells the life of an actual performer known as Baron von Raschke. From Parts Unknown... is an award-nominated Canadian drama about the rise and fall of a fictional wrestler. The 2009 South Park episode "W.T.F." played on the soap operatic elements of professional wrestling. One of the lead characters on the Disney Channel series Kim Possible was a huge fan of pro wrestling and actually featured it on an episode (with two former WWE wrestlers voicing the two fictitious wrestlers featured in the episode). The 2008 film The Wrestler, about a washed-up professional wrestler, garnered several Oscar nominations.

Question: Name a popular series of boxing films?
Answer: Rocky series

Question: Who is the movie The Baron about? 
Answer: Baron von Raschke

Question: What episode of South Park dealt with wrestling?
Answer: "W.T.F."

Question: What critically acclaimed wrestling film came out in 2008? 
Answer: The Wrestler

Question: Many of what forms of entertainment have portrayed wrestlers? 
Answer: television shows and films
Title: Professional_wrestling

With its growing popularity, professional wrestling has attracted attention as a subject of serious academic study and journalistic criticism. Many courses, theses, essays, and dissertations have analyzed wrestling's conventions, content, and its role in modern society. It is often included as part of studies on theatre, sociology, performance, and media. The Massachusetts Institute of Technology developed a course of study on the cultural significance of professional wrestling, and anthropologist Heather Levi has written an ethnography about the culture of lucha libre in Mexico.

Question: What other areas has wrestling garnered interest from?
Answer: academic study and journalistic criticism

Question: What areas of study is wrestling talked about in?
Answer: theatre, sociology, performance, and media

Question: What did Heather Levi write?
Answer: an ethnography about the culture of lucha libre

Question: What college has a course about the cultural impact of wrestling?
Answer: Massachusetts Institute of Technology
Title: Professional_wrestling

However, this was not always the case; in the early 20th century, once it became apparent that the "sport" was worked, pro wrestling was looked down on as a cheap entertainment for the uneducated working class — an attitude that still exists to varying degrees today. The French theorist Roland Barthes was among the first to propose that wrestling was worthy of deeper analysis, in his essay "The World of Wrestling" from his book Mythologies, first published in 1957. Barthes argued that it should be looked at not as a scamming of the ignorant, but as spectacle; a mode of theatric performance for a willing, if bloodthirsty, audience. Wrestling is described as performed art which demands an immediate reading of the juxtaposed meanings. The logical conclusion is given least importance over the theatrical performers of the wrestlers and the referee. According to Barthes, the function of a wrestler is not to win: it is to go exactly through the motions which are expected of them and to give the audience a theatrical spectacle. This work is considered a foundation of all later study.

Question: What impact did the revelation of wrestling being "fixed" have?
Answer: looked down on as a cheap entertainment for the uneducated working class

Question: When was Roland Barthes book published?
Answer: 1957

Question: What did Barthes believe a wrestler give the audience?
Answer: a theatrical spectacle

Question: What was the name of Roland Barthes' essay?
Answer: "The World of Wrestling"
Title: Professional_wrestling

While pro wrestling is often described simplistically as a "soap opera for males", it has also been cited as filling the role of past forms of literature and theatre; a synthesis of classical heroics, commedia dell'arte, revenge tragedies, morality plays, and burlesque. The characters and storylines portrayed by a successful promotion are seen to reflect the current mood, attitudes, and concerns of that promotion's society (and can, in turn, influence those same things). Wrestling's high levels of violence and masculinity make it a vicarious outlet for aggression during peacetime.

Question: What is wrestling sometimes called?
Answer: "soap opera for males"

Question: What is wrestling to people during a peaceful time?
Answer: vicarious outlet for aggression

Question: What role does wrestling fill?
Answer: past forms of literature and theatre;
Title: Professional_wrestling

Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on them and their families. The 1999 theatrical documentary Beyond the Mat focused on Terry Funk, a wrestler nearing retirement; Mick Foley, a wrestler within his prime; Jake Roberts, a former star fallen from grace; and a school of wrestling student trying to break into the business. The 2005 release Lipstick and Dynamite, Piss and Vinegar: The First Ladies of Wrestling chronicled the development of women's wrestling throughout the 20th century. Pro wrestling has been featured several times on HBO's Real Sports with Bryant Gumbel. MTV's documentary series True Life featured two episodes titled "I'm a Professional Wrestler" and "I Want to Be a Professional Wrestler". Other documentaries have been produced by The Learning Channel (The Secret World of Professional Wrestling) and A&E (Hitman Hart: Wrestling with Shadows). Bloodstained Memoirs explored the careers of several pro wrestlers, including Chris Jericho, Rob Van Dam and Roddy Piper.

Question: Who has studied the lives of wrestlers?
Answer: Documentary filmmakers

Question: When did Beyond the Mat come out? 
Answer: 1999

Question: Who hosts Real Sports?
Answer: Bryant Gumbel

Question: Who are a few wrestlers who have had memoirs written about them?
Answer: Chris Jericho, Rob Van Dam and Roddy Piper
Title: Professional_wrestling

Although professional wrestling is worked, there is a high chance of injury, and even death. Strikes are often stiff, especially in Japan and in independent wrestling promotions such as Combat Zone Wrestling (CZW) and Ring of Honor (ROH). The ring is often made out of 2 by 8 timber planks. Many of the injuries that occur in pro wrestling are shoulders, knee, back, neck, and rib injuries. Chronic traumatic encephalopathy and traumatic brain injuries have also been linked to pro wrestling, including in the double-murder suicide case involving Chris Benoit. Professional wrestler Davey Richards said in 2015, "We train to take damage, we know we are going to take damage and we accept that".

Question: What are the risks of wrestling?
Answer: high chance of injury, and even death

Question: What is the ring commonly made of?
Answer: 2 by 8 timber planks

Question: What are common injuries in wrestling?
Answer: shoulders, knee, back, neck, and rib injuries

Question: What other injuries have been connected with wrestling?
Answer: Chronic traumatic encephalopathy and traumatic brain injuries

Question: Chris Benoit was involved in what tragic event? 
Answer: double-murder suicide case
Title: Film_speed

Relatively insensitive film, with a correspondingly lower speed index, requires more exposure to light to produce the same image density as a more sensitive film, and is thus commonly termed a slow film. Highly sensitive films are correspondingly termed fast films. In both digital and film photography, the reduction of exposure corresponding to use of higher sensitivities generally leads to reduced image quality (via coarser film grain or higher image noise of other types). In short, the higher the sensitivity, the grainier the image will be. Ultimately sensitivity is limited by the quantum efficiency of the film or sensor.

Question: What does the film's quantum efficiency limit? 
Answer: sensitivity

Question: What speed of film is produced by insensitive film? 
Answer: slow film

Question: What leads to lower quality images?
Answer: reduction of exposure

Question: What types of film are considered fast films?
Answer: Highly sensitive films

Question: What effect does highly sensitive film have on images?
Answer: reduced image quality
Title: Film_speed

The Warnerke Standard Sensitometer consisted of a frame holding an opaque screen with an array of typically 25 numbered, gradually pigmented squares brought into contact with the photographic plate during a timed test exposure under a phosphorescent tablet excited before by the light of a burning Magnesium ribbon. The speed of the emulsion was then expressed in 'degrees' Warnerke (sometimes seen as Warn. or °W.) corresponding with the last number visible on the exposed plate after development and fixation. Each number represented an increase of 1/3 in speed, typical plate speeds were between 10° and 25° Warnerke at the time.

Question: What consists of 25 pigmented squares touching a plate below a phosphorescent tablet under the light of a burning Magnesium ribbon?
Answer: The Warnerke Standard Sensitometer

Question: What do degrees Warnerke measure?
Answer: The speed of the emulsion

Question: How much speed is associated with each degree Warnerke?
Answer: an increase of 1/3 in speed

Question: What were usual ranges of Warnerke speeds? 
Answer: between 10° and 25° Warnerke

Question: What does the last exposed number on the plate represent? 
Answer: 'degrees' Warnerke
Title: Film_speed

The Scheinergrade (Sch.) system was devised by the German astronomer Julius Scheiner (1858–1913) in 1894 originally as a method of comparing the speeds of plates used for astronomical photography. Scheiner's system rated the speed of a plate by the least exposure to produce a visible darkening upon development. Speed was expressed in degrees Scheiner, originally ranging from 1° Sch. to 20° Sch., where an increment of 19° Sch. corresponded to a hundredfold increase in sensitivity, which meant that an increment of 3° Sch. came close to a doubling of sensitivity.

Question: Who created the Scheinergrade system? 
Answer: the German astronomer Julius Scheiner

Question: What is the Scheinergrade system used for?
Answer: comparing the speeds of plates used for astronomical photography

Question: What do degrees Scheiner indicate?
Answer: the speed of a plate

Question: What is the range of Scheiner speeds?
Answer: from 1° Sch. to 20° Sch

Question: Approximately how many degrees indicate double the sensitivity? 
Answer: an increment of 3° Sch
Title: Film_speed

The system was later extended to cover larger ranges and some of its practical shortcomings were addressed by the Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de) (1896–1960), (who, in 1919/1920, jointly developed their Eder–Hecht neutral wedge sensitometer measuring emulsion speeds in Eder–Hecht grades). Still, it remained difficult for manufactures to reliably determine film speeds, often only by comparing with competing products, so that an increasing number of modified semi-Scheiner-based systems started to spread, which no longer followed Scheiner's original procedures and thereby defeated the idea of comparability.

Question: Who developed a device that improved on the shortcomings of Scheiner's invention?
Answer: Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de)

Question: What did the Eder-Hecht device measure?
Answer: emulsion speeds

Question: What method did manufacturers use much of the time to compare film speeds?
Answer: comparing with competing products

Question: What type of measurement methods began to proliferate?
Answer: modified semi-Scheiner-based systems

Question: What eliminated comparability?
Answer: modified semi-Scheiner-based systems
Title: Film_speed

The DIN system, officially DIN standard 4512 by Deutsches Institut für Normung (but still named Deutscher Normenausschuß (DNA) at this time), was published in January 1934. It grew out of drafts for a standardized method of sensitometry put forward by Deutscher Normenausschuß für Phototechnik as proposed by the committee for sensitometry of the Deutsche Gesellschaft für photographische Forschung since 1930 and presented by Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970) at the influential VIII. International Congress of Photography (German: Internationaler Kongreß für wissenschaftliche und angewandte Photographie) held in Dresden from August 3 to 8, 1931.

Question: When was the DIN system established? 
Answer: January 1934

Question: Who created the DIN system?
Answer: Deutsches Institut für Normung

Question: What was proposed at the VIII International Congress of Photography?
Answer: a standardized method of sensitometry

Question: Who presented the idea that grew into the DIN?
Answer: Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970)

Question: Where was the VIII International Congress of Photography held?
Answer: Dresden
Title: Film_speed

As in the Scheiner system, speeds were expressed in 'degrees'. Originally the sensitivity was written as a fraction with 'tenths' (for example "18/10° DIN"), where the resultant value 1.8 represented the relative base 10 logarithm of the speed. 'Tenths' were later abandoned with DIN 4512:1957-11, and the example above would be written as "18° DIN". The degree symbol was finally dropped with DIN 4512:1961-10. This revision also saw significant changes in the definition of film speeds in order to accommodate then-recent changes in the American ASA PH2.5-1960 standard, so that film speeds of black-and-white negative film effectively would become doubled, that is, a film previously marked as "18° DIN" would now be labeled as "21 DIN" without emulsion changes.

Question: What unit was used in the DIN to express speeds? 
Answer: degrees

Question: How was sensitivity expressed at first in the DIN system?
Answer: as a fraction with 'tenths' (for example "18/10° DIN")

Question: When did the degree symbol fall out of use in the DIN system?
Answer: with DIN 4512:1961-10

Question: Why did the definition of film speeds change considerably?
Answer: to accommodate then-recent changes in the American ASA PH2.5-1960 standard

Question: What happened to film speeds of black-and-white negative film?
Answer: would become doubled
Title: Film_speed

On an international level the German DIN 4512 system has been effectively superseded in the 1980s by ISO 6:1974, ISO 2240:1982, and ISO 5800:1979 where the same sensitivity is written in linear and logarithmic form as "ISO 100/21°" (now again with degree symbol). These ISO standards were subsequently adopted by DIN as well. Finally, the latest DIN 4512 revisions were replaced by corresponding ISO standards, DIN 4512-1:1993-05 by DIN ISO 6:1996-02 in September 2000, DIN 4512-4:1985-08 by DIN ISO 2240:1998-06 and DIN 4512-5:1990-11 by DIN ISO 5800:1998-06 both in July 2002.

Question: What took the place of the German DIN 4512 system?
Answer: ISO 6:1974, ISO 2240:1982, and ISO 5800:1979

Question: How is sensitivity shown in the ISO systems?
Answer: in linear and logarithmic form as "ISO 100/21°"

Question: What standards did the DIN begin to use?
Answer: ISO standards

Question: When were the ISO standards first adopted?
Answer: in the 1980s

Question: When were the last ISO standards adopted? 
Answer: July 2002
Title: Film_speed

Before the advent of the ASA system, the system of Weston film speed ratings was introduced by Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936), a British-born electrical engineer, industrialist and founder of the US-based Weston Electrical Instrument Corporation, with the Weston model 617, one of the earliest photo-electric exposure meters, in August 1932. The meter and film rating system were invented by William Nelson Goodwin, Jr., who worked for them and later received a Howard N. Potts Medal for his contributions to engineering.

Question: What system was used previous to the ASA system?
Answer: the system of Weston film speed ratings

Question: Who devised the Weston film speed ratings? 
Answer: Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936)

Question: What company did Dr. Edward Weston start? 
Answer: the US-based Weston Electrical Instrument Corporation

Question: When was the Weston model 617 created?
Answer: August 1932

Question: Who is credited with creating the film and meter system?
Answer: William Nelson Goodwin, Jr.
Title: Film_speed

The Weston Cadet (model 852 introduced in 1949), Direct Reading (model 853 introduced 1954) and Master III (models 737 and S141.3 introduced in 1956) were the first in their line of exposure meters to switch and utilize the meanwhile established ASA scale instead. Other models used the original Weston scale up until ca. 1955. The company continued to publish Weston film ratings after 1955, but while their recommended values often differed slightly from the ASA film speeds found on film boxes, these newer Weston values were based on the ASA system and had to be converted for use with older Weston meters by subtracting 1/3 exposure stop as per Weston's recommendation. Vice versa, "old" Weston film speed ratings could be converted into "new" Westons and the ASA scale by adding the same amount, that is, a film rating of 100 Weston (up to 1955) corresponded with 125 ASA (as per ASA PH2.5-1954 and before). This conversion was not necessary on Weston meters manufactured and Weston film ratings published since 1956 due to their inherent use of the ASA system; however the changes of the ASA PH2.5-1960 revision may be taken into account when comparing with newer ASA or ISO values.

Question: Which cameras were first of their type to adopt the ASA scale?
Answer: The Weston Cadet (model 852 introduced in 1949), Direct Reading (model 853 introduced 1954) and Master III (models 737 and S141.3 introduced in 1956)

Question: What were updated Weston values based on?
Answer: the ASA system

Question: How were Weston values changed to ASA values?
Answer: by subtracting 1/3 exposure stop

Question: Beginning with which year was the Weston to ASA conversion not necessary?
Answer: 1956

Question: Until what year did other models use the original Weston scale?
Answer: 1955
Title: Film_speed

General Electric switched to use the ASA scale in 1946. Meters manufactured since February 1946 were equipped with the ASA scale (labeled "Exposure Index") already. For some of the older meters with scales in "Film Speed" or "Film Value" (e.g. models DW-48, DW-49 as well as early DW-58 and GW-68 variants), replaceable hoods with ASA scales were available from the manufacturer. The company continued to publish recommended film values after that date, however, they were now aligned to the ASA scale.

Question: Which company adopted the ASA scale in 1946?
Answer: General Electric

Question: Beginning what year were cameras built with the ASA meter?
Answer: 1946

Question: How did older models convert to ASA scale?
Answer: replaceable hoods with ASA scales

Question: How was the ASA scale shown on models built after 1946?
Answer: labeled "Exposure Index"

Question: What were recommended film values lined up with after 1946?
Answer: they were now aligned to the ASA scale