romikgosai/squad_modified_2 huggingface dataset:
Although professional wrestling in Mexico (lucha libre) also has stories and characters, they are less emphasized. Wrestlers in Mexico are traditionally more agile and perform more aerial maneuvers than professional wrestlers in the U.S. who, more often, rely on power moves and strikes to subdue their opponents. The difference in styles is due to the independent evolution of the sport in Mexico beginning in the 1930s and the fact that wrestlers in the cruiserweight division (peso semicompleto) are often the most popular wrestlers in Mexican lucha libre. Wrestlers often execute high flying moves characteristic of lucha libre by utilizing the wrestling ring's ropes to catapult themselves towards their opponents, using intricate combinations in rapid-fire succession, and applying complex submission holds. Lucha libre is also known for its tag team wrestling matches, in which the teams are often made up of three members, instead of two as is common in the U.S.

Q1: How do characters differ in Mexican wrestling?
A1: they are less emphasized
Q2: How are Mexican wrestlers different?
A2: more agile and perform more aerial maneuvers
Q3: What do American wrestlers depend on?
A3: rely on power moves and strikes to subdue their opponents
Q4: What else is lucha libre known for?
A4: tag team wrestling matches
Q5: How does lucha libre's tag team matches differ?
A5: often made up of three members, instead of two as is common in the U.S
The style of Japanese professional wrestling (puroresu) is again different. With its origins in traditional American style of wrestling and still being under the same genre, it has become an entity in itself. Despite the similarity to its American counterpart in that the outcome of the matches remains predetermined, the phenomena are different in the form of the psychology and presentation of the sport; it is treated as a full contact combat sport as it mixes hard hitting martial arts strikes with shoot style submission holds, while in the U.S. it is rather more regarded as an entertainment show. Wrestlers incorporate kicks and strikes from martial arts disciplines, and a strong emphasis is placed on submission wrestling, and unlike the use of involved storylines in the U.S., they are not as intricate in Japan, more emphasis is placed on the concept of Fighting Spirit, meaning the Wrestlers display of physical and mental stamina are valued a lot more than theatrics. Many of Japan's wrestlers including top stars such as Shinya Hashimoto, Riki Choshu and Keiji Mutoh came from a legitimate martial arts background and many Japanese wrestlers in the 1990s began to pursue careers in mixed martial arts organizations such as Pancrase and Shooto which at the time retained the original look of puroresu, but were actual competitions.

Q1: How is Japanese wrestling similar to American?
A1: outcome of the matches remains predetermined
Q2: How does Japanese wrestling differ?
A2: the form of the psychology and presentation of the sport
Q3: What does Japanese wrestling combine?
A3: hard hitting martial arts strikes with shoot style submission holds
Q4: What is the emphasis placed on in Japanese wrestling?
A4: Fighting Spirit
Q5: What is a common background for a Japanese wrestler?
A5: legitimate martial arts
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.

Q1: What is expected of newcomers?
A1: to "pay their dues" for a few years by working in lower-profile promotions
Q2: What were wrestlers expected to do for decades?
A2: keep the illusions of wrestling's legitimacy alive
Q3: How did wrestlers have to act in public?
A3: acting in character
Q4: What effects can wrestling have on the wrestlers?
A4: devastating effects the job can have on one's life and health
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.

Q1: What do the fans have?
A1: their own subculture
Q2: What sometimes happens with fandoms?
A2: overlap
Q3: Where have some wrestlers appeared?
A3: comic book conventions
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.

Q1: What do some fans like to do?
A1: collecting tapes of wrestling shows
Q2: What has the internet done for wrestling fans?
A2: exposure to worldwide variations of wrestling
Q3: Many companies who handle wrestling footage have been founded since what decade?
A3: 1990s
Q4: What companies did WWF purchase in 2001?
A4: WCW and ECW
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.

Q1: What kind of notoriety have wrestlers achieved?
A1: fame within mainstream society
Q2: What did the Rock 'n' Wrestling Connection do?
A2: combined wrestling with MTV
Q3: What are some other career paths wrestlers embarked on?
A3: music, acting, writing, business, politics or public speaking
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.

Q1: Name a popular series of boxing films?
A1: Rocky series
Q2: Who is the movie The Baron about?
A2: Baron von Raschke
Q3: What episode of South Park dealt with wrestling?
A3: "W.T.F."
Q4: What critically acclaimed wrestling film came out in 2008?
A4: The Wrestler
Q5: Many of what forms of entertainment have portrayed wrestlers?
A5: television shows and films
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.

Q1: What other areas has wrestling garnered interest from?
A1: academic study and journalistic criticism
Q2: What areas of study is wrestling talked about in?
A2: theatre, sociology, performance, and media
Q3: What did Heather Levi write?
A3: an ethnography about the culture of lucha libre
Q4: What college has a course about the cultural impact of wrestling?
A4: Massachusetts Institute of Technology
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.

Q1: What impact did the revelation of wrestling being "fixed" have?
A1: looked down on as a cheap entertainment for the uneducated working class
Q2: When was Roland Barthes book published?
A2: 1957
Q3: What did Barthes believe a wrestler give the audience?
A3: a theatrical spectacle
Q4: What was the name of Roland Barthes' essay?
A4: "The World of 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.

Q1: What is wrestling sometimes called?
A1: "soap opera for males"
Q2: What is wrestling to people during a peaceful time?
A2: vicarious outlet for aggression
Q3: What role does wrestling fill?
A3: past forms of literature and theatre;
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.

Q1: Who has studied the lives of wrestlers?
A1: Documentary filmmakers
Q2: When did Beyond the Mat come out?
A2: 1999
Q3: Who hosts Real Sports?
A3: Bryant Gumbel
Q4: Who are a few wrestlers who have had memoirs written about them?
A4: Chris Jericho, Rob Van Dam and Roddy Piper
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".

Q1: What are the risks of wrestling?
A1: high chance of injury, and even death
Q2: What is the ring commonly made of?
A2: 2 by 8 timber planks
Q3: What are common injuries in wrestling?
A3: shoulders, knee, back, neck, and rib injuries
Q4: What other injuries have been connected with wrestling?
A4: Chronic traumatic encephalopathy and traumatic brain injuries
Q5: Chris Benoit was involved in what tragic event?
A5: double-murder suicide case
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.

Q1: What does the film's quantum efficiency limit?
A1: sensitivity
Q2: What speed of film is produced by insensitive film?
A2: slow film
Q3: What leads to lower quality images?
A3: reduction of exposure
Q4: What types of film are considered fast films?
A4: Highly sensitive films
Q5: What effect does highly sensitive film have on images?
A5: reduced image quality
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.

Q1: What consists of 25 pigmented squares touching a plate below a phosphorescent tablet under the light of a burning Magnesium ribbon?
A1: The Warnerke Standard Sensitometer
Q2: What do degrees Warnerke measure?
A2: The speed of the emulsion
Q3: How much speed is associated with each degree Warnerke?
A3: an increase of 1/3 in speed
Q4: What were usual ranges of Warnerke speeds?
A4: between 10° and 25° Warnerke
Q5: What does the last exposed number on the plate represent?
A5: 'degrees' Warnerke
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.

Q1: Who created the Scheinergrade system?
A1: the German astronomer Julius Scheiner
Q2: What is the Scheinergrade system used for?
A2: comparing the speeds of plates used for astronomical photography
Q3: What do degrees Scheiner indicate?
A3: the speed of a plate
Q4: What is the range of Scheiner speeds?
A4: from 1° Sch. to 20° Sch
Q5: Approximately how many degrees indicate double the sensitivity?
A5: an increment of 3° Sch
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.

Q1: Who developed a device that improved on the shortcomings of Scheiner's invention?
A1: Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de)
Q2: What did the Eder-Hecht device measure?
A2: emulsion speeds
Q3: What method did manufacturers use much of the time to compare film speeds?
A3: comparing with competing products
Q4: What type of measurement methods began to proliferate?
A4: modified semi-Scheiner-based systems
Q5: What eliminated comparability?
A5: modified semi-Scheiner-based systems
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.

Q1: When was the DIN system established?
A1: January 1934
Q2: Who created the DIN system?
A2: Deutsches Institut für Normung
Q3: What was proposed at the VIII International Congress of Photography?
A3: a standardized method of sensitometry
Q4: Who presented the idea that grew into the DIN?
A4: Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970)
Q5: Where was the VIII International Congress of Photography held?
A5: Dresden
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.

Q1: What unit was used in the DIN to express speeds?
A1: degrees
Q2: How was sensitivity expressed at first in the DIN system?
A2: as a fraction with 'tenths' (for example "18/10° DIN")
Q3: When did the degree symbol fall out of use in the DIN system?
A3: with DIN 4512:1961-10
Q4: Why did the definition of film speeds change considerably?
A4: to accommodate then-recent changes in the American ASA PH2.5-1960 standard
Q5: What happened to film speeds of black-and-white negative film?
A5: would become doubled
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.

Q1: What took the place of the German DIN 4512 system?
A1: ISO 6:1974, ISO 2240:1982, and ISO 5800:1979
Q2: How is sensitivity shown in the ISO systems?
A2: in linear and logarithmic form as "ISO 100/21°"
Q3: What standards did the DIN begin to use?
A3: ISO standards
Q4: When were the ISO standards first adopted?
A4: in the 1980s
Q5: When were the last ISO standards adopted?
A5: July 2002
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.

Q1: What system was used previous to the ASA system?
A1: the system of Weston film speed ratings
Q2: Who devised the Weston film speed ratings?
A2: Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936)
Q3: What company did Dr. Edward Weston start?
A3: the US-based Weston Electrical Instrument Corporation
Q4: When was the Weston model 617 created?
A4: August 1932
Q5: Who is credited with creating the film and meter system?
A5: William Nelson Goodwin, Jr.